biglam/cooper-hewitt-alt-text huggingface dataset:
Edging
, late 18th century
Technique: bobbin lace

Edge of bobbin lace, elaborate plant scrolls; late 18th century Buckinghamshire.
Thanksgiving Day – The Dinner
Winslow Homer, American, 1836–1910, November 1858
Wood engraving in black ink on paper
Print

Thanksgiving dinner with a man carving the turkey, center. Adults at a long table, with children at a separate table at right. Upper half of the page.
Frieze
M.H. Birge & Sons Co., 1834, 1904
Machine-printed on ingrain paper

a) Portion of a frieze. Dutch landscape with milkmaid in shades of green, brown, and maroon on pale chartreuse ingrain paper; b) same design but slightly smaller piece; c) Cows with distant windmill. Possible children's pictorial frieze.
Head of Apollo
Giuseppe Longhi, Italian, 1766–1831, 1790–1830
Color pencil on cream paper
Drawing

Drawing of the head of Apollo, the Greek and Roman god of the sun, light, music, prophecy, healing, and poetry, from a classical statue. His head, containing thick, curly hair, is facing one-quarter right and tilted slightly downward. The drawing is rendered by means of cross-hatching.
Embroidered picture
, early 19th century
wool on cotton Technique: split and flat surface embroidery stitches

English schooner in full sail running off tropical island fortress that flies the British flag. Executed in a crude style that depitcs a child-like perspective of a scene containing large birds, blue waves, sun and palm trees.
Map sampler
, late 18th century
silk and wool embroidery on wool foundation Technique: embroidered in cross, stem, satin and running stitches on plain weave foundation

Oval map of Scotland, England and Wales.  The wool fabric is over plain weave cotton.  Some of the embroidery is through two layers; some through one.
Fragment
, 1750–1800
linen warp, cotton weft Technique: block printed (2 reds, yellow), blue applied by brush over yellow, plain weave foundation.

Small buds facing alternately left and right on a patterned picottage background.
Textile
, 18th century
silk Technique: plain compound twill, brocaded

Hexagonal motif enclosing rosettes. Blue, red and green on tan ground.
Dado
, 1850–99
Block-printed on machine-made paper

a) On gray ground two octagonal frames with yellow vases on blue, flanking large rectangular cartouche with scrolled sides containing grisaille flowers on blue. Connecting scrolls in grays with yellow fruits; b) section of same paper, with cartouche only.
Sampler
, early 18th century
silk and linen embroidery on linen foundation Technique: embroidered in cross, long-armed cross, and four-sided stitches with withdrawn element work on plain weave foundation

Green and brown bands of pattern.
Alternate Scheme for Ground Floor Plan of a Country House
John Trumbull, American, 1756–1843, ca. 1781
Pen and brown ink on paper
Drawing

Alternate plan of 1963-47-3, showing the double staircase as turning at right angles, rather than curving, and connecting with the one portico. Four chambers at either side.
Frieze
Wallace Wall-Paper Co., Cortland, New York, 1905–1915
Machine-printed paper

Very stylized art nouveau floral design. Large-scale tulips enclosed in foliate framework. Band of small floral motifs along bottom edge. Printed on a chevron-like patterned background. Printed in pink, green, tan and black.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

On blue ground, treillage of zigzags in white and gold containing floral fan-like bouquets printed in green, brown, gold, white, and gray.
Sidewall
W. Campbell & Co., 1895–1903
Machine-printed paper, liquid mica

Set within a green grid framework, a wreath tied with ribbon in pink mica, printed on a background of pale yellow.
Sidewall
, 1875–99
Embossed

Embossed "baroque" pattern of sunflower, poppy, roses and acanthus leaves, printed in tan and brown. Imitation leather.
Design for State Bedchamber, in Second Livre d'Appartement (Second Book on Interiors)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Design for a bedchamber with shell theme and rinceaux.
Fashion Plate from Journal des demoiselles
A. Pauquet, French, active 19th c., February 1860
Hand-colored engraving on paper
Print

Fashion plate from Journal des demoiselles.
Band
, mid- 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Band with floral scrolls.
Monstrance
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Monstrance with an irreguarly-shaped window.
Dessert Knife with Mother-of-pearl Handle
, 1819–38
mother-of-pearl, silver
knife

Rounded tapering blade, with flat outer edge. Silver ferrule shaped as a doric column capital. Tapering rectangular mother-of-pearl handle with stepped sides. Monogram 'py' mid-way down front of handle.
Inro
, 19th century
Lacquer, cord

Black lacquer inro, oval in section, decorated with gold waves and flowers. Tied and braided cord.
Design for a Chinese Pavilion
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and ink on paper
Drawing

Vertical rectangle. A building hexagonal in plan. Six columns support the two-tiered roof. The building is open on all sides and stands on a podium.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Study of foliage
William Trost Richards, American, 1833–1905, May 13, 1865
Graphite on paper
Drawing

Sketch of a tree with foliage.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Rococo inspired ceiling paper with large trellis pattern formed of scrollwork navettes with medallions outlined in c and s-scrolls at intersections. Medallions outlined in vine-like scrollwork are placed in the center of each diamond-shaped cell of the trellis. Both medallions contain radial designs of swags and further scrollwork. Pattern is printed in browns, gold and beige on khaki ground.
Frieze
Howell and Brothers, 1835 – 1900, 1905–1915
Machine-printed paper

A repeating design of interconnected sprays of gold oak leaves forming a fleur-de-lis design, interspersed by smaller formations of oak leaves, upon a cream gound with a pale green cloud running down the center upon which the sprays are placed, between complementary borders. Printed in cream, celadon green, brown, metallic orange, copper and gold.
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed
Scenic

In sepia tones. Two figures in foreground, a structure or object behind.
Une visite dans le voisinage
Gihaut Frères, French, 1815 - 1871, ca. 1830
Lithograph, brush and watercolor on paper
Print

Four people entering a room, left, interrupting three men, right, at a game of billiards. Title and artists' names below.
Textile
, ca. 1835
cotton Technique: printed by engraved roller on plain weave; mordant for purple

Offset repeat of an exotic bird perched on top of a bowl of fruit. Three motifs within fabric width. Lengths of fabric continue repeat with 1/2" additional of pattern for seam allowance.
Knife with Triangular Pattern Ivory and Bone Handle
London Cutler's Company, ca. 1610
steel, silver, gold, ivory, bone
knife

Blade with straight sides and leaf-shaped point, hollow bolster. Ferrules silver-gilt with floral pattern. Tapered handles of ivory and bone inlaid in triangular pattern. In middle of handle black inlaid dots and two horizontal bands. Silver-gilt caps with floral pattern on end of handle.
Architect's Table
David Roentgen, German, 1743–1807, ca. 1780–1795
oak, mahogany, walnut, pine, cherry; bronze, brass, iron, steel, gold; leather, gold
mechanical table

This mechanical table has a rectangular double-hinged top veneered with flame-grained mahogany. It can also serve as a console. A horizontal molding, on which reading, writing, and drawing materials may be propped, emerges automatically when the top is raised. Below is a long frieze drawer decorated with milleraies banding and moldings and mounted with drapery-swag handles. The interior is fitted with a leather-covered writing slide above a nest of moveable drawers. The square, tapering legs decorated on all sides with millerailles panels have gilt-bronze profiles and moldings and brass block feet. The molding on the tops of the three legs were gilded only on the three visible corners. All four legs are screw-topped to permit easy transport. Latches underneath the tabletop can be turned outward to hold adjustable candlesticks.
Chimneypiece Design
N. Bruchon, French, active 18th century, 1775–87
Etching and engraving on laid paper
Print

Design for a chimneypiece with an overmantel mirror and panel with neoclassical ornament. The mantel features drapery, floral festoons, leaves, a central trophy with a shield and flags, and fleur-de-lys. The overmantel mirror is framed with a bead course and topped with a festoon of flowers. Above a rectangular panel with a musical trophy (sheet music, and horns) surrounded by foliate branches and a ribbon, framed with two bead courses. Below, two plan details of the chimneypiece, with a scale below. The plate is signed and numbered.
Cartouche with River Landscape
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on paper
Bound print

Design for upright symmetrical cartouche topped with urn full of flowers and surrounded by vegetal decoration. Within the frame, a riverscape scene with a boat upon the water. Shoreline at left and right with architectural buildings partially in view and in the distance.
Purse
, ca. 1799
silk, sequins, painted design Technique: embroidered, painted

White silk purse trimmed with white silk cord and tassels, and silver sequins; one side embroidered in pink, brown, and green chenille in floral design; reverse has painted trophies of music.
Sidewall
, 1880–90
Machine-printed, embossed

A conventionalized balanced design. A floral motif. The design is finely embossed with parallel lines while the entire outline is highly embossed in gilt and resembles tooled leather. Marked on margin is "3475".
PIED-D’ESTAL surmonté d’un trépied dans le genre antique, ou de tel autre ornement qu’on desirera
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching and hand colored watercolor on paper
Print

Design for a stove heater decorated with neoclassical motifs, an incense burner or flaming torch in the form of a tripod decorated with ram's heads, feet, festoons of flowers, leaf motifs and a snake, on top of a marble pedestal with running pattern moldings. The plate is signed, and hand colored with watercolor.
Lit à la d'Artois
Richard de Lalonde, French, active 1780–96, 1789
Etching on off-white laid paper
Print

Design for a bed, split down the middle of the plate to show the bed frame construction (left) and the bed furnished (right). The bed is covered in a fringed and tasseled textile, and the frame is carved with ornament motifs including fluting, Ionic capital, rosette, and pinecone. The bed has above it a canopy with matching textile as well as an ostrich feather. The plate is signed and numbered.
Design for a Frieze
, 1600–1625
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Horizontal frieze with symmetrical grotesque decoration. At center, a fountain flanked by griffins.
Embroidery fragment
, 10th–12th century
linen, silk Technique: plain weave with satin and couching stitches

Tan linen ground embroidered with heavy tan linen thread and blue and yellow silk. Design arranged in horizontal bands of geometric, plant-like and animal forms.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornament design of a trophy with an open book of geometry, measuring devices, and a section of a fluted column, framed by flowering branches with leaves, and a hanging festoon of leaves.
Alpine Landscape near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June - August 1868
Graphite and white gouache on tan wove paper
drawing

Landscape sketch showing a view of a river valley and nearby mountains in the Bavarian alps near Berchtesgaden, present-day Germany. At right, wooded foothills ascend to bald, rocky peaks, with a towering, jagged ridge at far right. At center, a river winds its way through a narrow and lush valley, bounded by hills and mountains on either side. In the background, a sharp, serrated mountain ridge comprises the distant horizon at left.
Sidewall
, 1835–50
Block-printed, applied color lithograph, stamped foil motifs

In center, vertical oval medallion brought to a rectangle by rustic framework printed in blue and overstamped in gold. Diagonally repeating on field, conventionalized spiky foliate motif in blue overstamped in gold. Enclosed in frame, applied lithographed medallion displaying Alpine scene, with mountains, lake boats, chalet and figures. Vertical rectangle.
Cartouche with Two Banners
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank cartouche framed with two banners; a head of a dragon at right. Two tree trunks in background.
Cartouche with Armorial Trophy
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank cartouche in Rococo style with armorial trophy including an escutcheon. At lower right, a fold in the paper during printing created a blank line in the image.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Designs for six decorative panels and friezes featuring arabesque motifs with scrolling acanthus leaves (rinceaux), flowers, festoons of flowers, textiles, and s-scrolls. The plate is numbered.
Sepulchral Monument for Improvisor Rochetti
Giuseppe Barberi, Italian, 1746–1809, 1795–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

The poet stands on a rock under a laurel arch. Two genii sit laterally, blowing trumpets and embracing large urns, the left decorated with a lyre. Inscription below.
Preliminary Design for the Salon d'Angle at the Palais Royal, Paris, France
Gilles-Marie Oppenord, French, 1672–1742, 1719–20
Pen and black ink, brush and watercolor on white laid paper
Drawing

The sectional elevation shows a two-storied chamber, the second story indicated by a balcony. Roof construction is also shown.The design continues to the left with the outlines of a roof and the elevation of a wall, showing a dado and an entablature with brackets, and toward the lower right a section of the substructure. Details of interior include fireplace and mantle with candelabra, a large mirror, sculptures in niches, and richly ornamented walls. Remnant of a framing line at bottom edge.
Tables a déjeuner a l'Angloise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two small tables, each with three legs and a round table top. The tables are carved with ornament motifs including fluting, acanthus leaves, wave pattern, leaf garland, and rosettes. The plate is signed.
Rocaille Border Designs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off-white laid paper
Print

Designs for rocaille ornamented borders for doorways or mirrors. The plate is signed and numbered.
Décoration de Chambre de parade du côté de l’estrade ou est placé le liet
André Basset, French, active 1749 – 1787, ca. 1765
Etching and engraving on laid paper
Print

An interior wall elevation with a canopy bed set into an alcove with two fluted columns and on either side, with narrow panels, and a carved balustrade in front. Below the columns are ornamental panels with interlaced letters (cyphers) within rococo ornament and molding. The cornice and the panels are decorated with c-scroll, floral, strapwork, and fleurons motifs. The cornice also features six sets of corbels. The bed is decorated with rococo ornament, c-scrolls, acanthus leaf and strapwork motifs, drapery with passementerie, and vase-shaped finials with feathers. The plate is titled, with a scale and the address lettered below.
Fender
Giuseppe Barberi, Italian, 1746–1809, ca. 1795–1800
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The support has the shape of a framing board, with knobs as feet. Above are low cornices of a broken pediment, connected by a festoon. Above it, in the center of the frame, is a mask. On its top stands an urn. Usual background.
Face et Profil d'un Confident Orné de Sculptures
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a couch with a large central seating area and two smaller side seats that face away. This couch was called a "Confidant," referring the ability for the sitters to have discreet conversations with one another, without facing each other. The couch is decorated with a striped and patterned textile and carved with ornament motifs including rosettes, bead course, lamb tongue, bouquets of flowers in urns, and a central trophy with a plumed helmet, crossed quivers, and branches. The plate is signed and numbered.
Textile
, mid-18th century
silk embroidery, wool foundation Technique: tent, cross, and back stitches on plain weave

Verse between pillars with ships carrying the dead and the Hebrew sign for Life.
Elevation du grand Escalier du Palais d’Orleans
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of an exterior façade for a Parisian palace with a scale below and part sectional views of the interior at each end. The façade features windows, coat of arms, statues, pilasters, balustrades, and horizontal banded rustication. The plate is titled.
The elevation of the entrance wall of a drawing room with alternative suggestions
Jean-Charles Delafosse, French, 1734 – 1789, 1770–80
Pen and black ink, brush and grey wash with red crayon on off-white laid paper
Drawing

Folding door in arched door frame, in the center. Attributes of the Arts and Hymen. Laterally are wall panels between pilasters. Different suggestions for their decoration are made at left and at right. The suggestion at left indicates putti, a genius and a girl supporting vessels. At right: trophies of attributes of the arts and a candelabrum scheme with a censer. Laterally, section of the entablature.
Design for a Painted Octagonal Panel
Marco Capizucchi, Italian, 1784 - 1844, 1826
Brush and gouache, graphite on paper
Drawing

Horizontal format design for a painted panel. Somewhat more than the lower half is executed. In the center is an octagon with the figures of Venus and Mars and two putti. It is framed by two strips. The main panel is decorated by oblongs standing upon the sides of the central octagon. Upon a laced background, candelabra are shown. Candelabra are also in the quadrangles in the intervals between the oblongs. Outside is a border with representations of playing children in octagons which are connected by groups of children upon dolphins, on a laced background.
A Standing Boy
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1875
Graphite on paper
Drawing

The boy is shown obliquely in three-quarter profile wearing a shirt, waistcoat, and trousers, with his hands in the trouser pockets.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of alternately placed lozenge and cross motifs.
Molding Designs and Sections
Jean Mariette, French, 1660–1742, late 17th–mid- 18th century
Etching and engraving on laid paper
Print

Molding designs for interior walls and cornices with section views. Each component is titled and there is a scale in the lower center. The plate is titled, numbered, and signed with the publisher's address.
Sampler
Emma Slade, 1832
silk embroidery on linen Technique: cross, tent, and satin stitches on plain weave

At top, a house with trees, dogs, birds and motifs; below a vase of flowers with trees, birds, hearts surrounded by a chain border.
Plan Elévation et Profil d'un Sopha
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a sofa with the profiel and plan. The sofa is decorated with striped textile and with carved ornament motifs including fluting, rosette, and bound leaf. The plate is signed and numbered.
White Mountains from the South
Daniel Huntington, American, 1816–1906, September 10, 1862
Graphite and black crayon on grey paper
Drawing

Tree stump and rocky shore in foreground; lake and mountians beyond. Below, names of mountains underneath each.
Table candlestand
, 19th century
Wood, wrought iron

Wood block base with wrought iron stem. Adjustable and articulated candle arm. No drip pan.
Waistcoat
, 1770–80
silk Technique: satin, stem and knot embroidery stitches in 10 shades of silk on twill foundation

Embroidered wasitcoat with floral design continuous at the front and lower edges and pocket area, with small offset sprigs spaced over the ground. Small standing collar.
Compartimens de Plafonds
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Two designs for ceiling ornament decorated with neoclassical motifs including leaf, laurel leaf, c-scroll and ribbon moldings, profile portraits, friezes with figures, festoons of laurel leaves, rosettes, and the head of Apollo. A plan view is included below each design, with a scale along the bottom. The plate is titled, numbered, and signed.
Sketchbook Page: Atrium, San Pietro, Bologna and Detail from San Pietro; Detail from S. Michele in Bosco; Verso, Geometrical Studies of Heads
Felice Giani, Italian, 1758–1823, 1811–14
Pen and brown ink, brush and brown wash over traces of graphite on laid paper
Drawing

At top, atrium of archbishop in Bologna, shown with view of cathedral; inscribed: atrio/ Bramante s Pietro Vescovato. At left, interior of cathedral by Domenico Tibaldi, 1575; inscribed: S Pietro Bramante Bologna. At center, segment of stalls from S. Michele in Bosco, by Fra Raffaele, 1521. Two niches: priest hearing confession from woman; inscribed above: monumento del cinque cento S Michele in/ Basco Bologna 1811. Bottom: panel with eagle over cornucopias, candelabrum. Right half of capital; trophy of arms; two candelabra. Inscribed at bottom: monumenti del/ cinquecento. Bologna. Inscribed at top center: 129. Inscribed at left bottom corner: 67. Verso: Twenty studies on proportion; fourteen studies of heads; foot study; study comparing head, foot and hand.
Two Tents, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, March 2, 1868
Graphite on gray-green wove paper
Drawing

Sketch of two pitched tents on Church's return trip from his expedition to Petra. At left, an oblong, slightly decorated tent is support by two tall poles at its center and numerous others around its circumference. All poles supported by taut ropes tied to stakes in the ground. At right, a similar, but smaller and circular tent is visible, characterized by only one central peak.
Design for the Embroidery of a Man's Waistcoat, Probably no. 951, of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Brush and gouache on paper
Drawing

Left bottom corner; slightly rising bottom edge. A fox seated by a basket and a harvesting fox are shown upon baskets, which are supported by S-shapes from which festoons are suspended around leaf scrolls, from which bunches of flowers rise. A basket stands upon a similar bracket, on the pocket. Top edge: bottom parts of figures.
L'Une des Faces de la Chambre à Coucher de Mme G. à Pari
Charles Percier, French, 1764–1838, 1812
Etching on cream wove paper
Print

Plate 37 of the book by Charles Percier and Pierre-François-Léonard Fontaine, "Recueil de decorations intérieures comprenant tout ce qui a rapport a l'ornement" (1801-12). This image shows a wall elevation for a woman's bedroom, ornamented with paintings and tapestries in the so-called "Etruscan" style.
Man
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Recto: Sketch of a male figure in uniform; Verso, Partial sketch of a group of figures.