biglam/cooper-hewitt-alt-text huggingface dataset:
La Scala Theater, Milan
Angelo Biasoli, 1790–1830, 1815–1830
Aquatint engraving
Print

Horizontal rectangle. A framing line covers part of "F. Durelly dis dal veró." At right: "A Biasioli inc." Caption: "Veduta del T. R. Teatro alla Scala in Milano / Milano presso Francesco Bernucca contrada di tre Ré No. 4091."
Grand Pa.
Frederick Stuart Church, American, 1842–1924, 1877
Printed in black ink on blue paper
Ephemera

Top; short story on grandfathers. Bottom; center, large stork bends over with frog in mouth to feed baby storks below, at water bank. Frog has hands out in fear, lower right, frog hides in bushes, watches in fear.
Study for "Mathematics," "The Sciences," Library of Congress, Washington D.C.
Kenyon Cox, American, 1856–1919, ca. 1895
Graphite on paper
Drawing

A young male figure in profile with hands extended. The paper is squared for transferring the image.
Wedding veil
, 1820
cotton muslin Technique: embroidered

White work veil embroidered all over with tiny dots in white cotton.
Fragment
, early 17th century
cotton Technique: block print, 1&3 S-twill

Pattern of leaves and diagonal bars block printed in black (now faded) on cloth previously dyed blue-green.
Mountain Peak, Mexico
Frederic Edwin Church, American, 1826–1900, May 1, 1885
Graphite on off-white wove paper; verso: graphite
drawing

Landscape sketch showing a view of a mountain peak in Mexico. Dominating the composition at center, the rugged peak has several rocky outcroppings and is generally rounded in form. 

Verso: Landscape sketch showing a view of a rugged mountain range in Mexico. Viewed across a flat plain that comprises the foreground and middle distance, the mountain range rises abruptly to several sharp peaks. Behind it, a distant and shaded mountain range forms an undulating horizon in the background. Above, sunbeams radiate downward from behind a loosely rendered cloud bank.
Portrait of a Young Woman, from "Etchings of Pictures in the Metropolitan Museum, New York"
Jules Ferdinand Jacquemart, French, 1837 - 1880, 1871
Etching on paper
Print

In three-quarter profile turned to left, beside a window.
Raccolta di teste
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, 1770–1774
Etching on laid paper
Print

Old man with beard and wearing a turban in frontal view, his head turned to right. His open coat leaves visible a belt docrated with plaquettes.
Porte-Cochère Design
Laurent Francart, French, active 1681-1690, 1707-1742
Etching and engraving on laid paper
Print

Design for a porte-cochère, with two winged putti sitting on either side of an oculus crowned with a shell and garland of leaves. Below the rondel are brackets with hanging leaves. The bottom of the plate includes a scale bar of six French feet (6 Pieds). The plate is numbered but not signed.
Two Chairs and a Table
Jean Démosthène Dugourc, French, 1749–1825, 1790
Brush and watercolor, pen and black ink, graphite on white laid paper
Drawing

Circular table supported by fluted column decorated with snake coil in relief. Base showing frieze of classical figures in white on blue ground, table terminates with women's feet. Flanking table, left, chair with curved back, ovoidal medallion at top rail. Right, X-framed chair painted green, back splat in gothic tracery style.
Pitcher
W. Ridgway & Company, Hanley and Shelton, Staffordshire, England, active ca. 1830 - 1854, ca. 1840
Molded and glazed stoneware, nickel (mount)

Bulbous circular body with narrow neck and circular foot. Nickle lid and rim. Molded relief decoration of grapes, volute scrolls and satyr masks. Half figure on handle. Light blue glaze.
Textile
, 15th–18th century
linen Technique: block printed pigment

Blue zigzags on natural ground.
Landscape
Charles Nicolas Ransonnette, French, 1793 - 1877, ca. 1870
Graphite, black crayon, brush and brown watercolor on paper
Drawing

A winding stream with a sailing boat is shown. A village in front of mountains is in the background. At right is a group of trees.
Serre chaude, construite par J.A. Alavoine, pour Mr. Bourceau dans son Jardin Botanique d’Yeres près Brunoy
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a garden glasshouse with an exterior elevation, two floor plans and an exterior sectional view. There is a legend in the lower left. The plate is titled, numbered, and signed.
Fragments
, 13th century
silk, metallic thread Technique: complementary weft plain weave

Two fragments from a mantle, one with border
A Farm in Zeeland
Madame Rolin-Jacquemyns, Belgian, 1879
Etching on tan paper
Print

A small pool is seen in the left foreground, bordering a meadow with large trees in the background. A thatched cottage, right distance. Inscribed, lower right: "E. Lour... 1879"
LE PRINTEMS
, 18th century
Etching and engraving on paper
Print

Vignette of attributes of spring, including rake, sifter, scythe, and wheat. The plate is not signed.
Jug
, ca. 1820
bronze (gilt), gold, wood(?)

Jug with loop handle decorated with mascaron and acanthus volute.
Design for the Letters B and C
N. Bruchon, French, active 18th century, 1775–87
Etching and engraving on laid paper
Print

In a central oval, within a rectangular frame, the interlaced designs for the letters B and C. The B is made up of flowers and leaves and the C of thin parallel lines. The plate is signed and numbered.
Design for the Embroidery of a Man's Waistcoat
, 1780–1790
Graphite, brush and gouache, white on paper
Drawing

Unfinished design for the bottome left corner. A plant and flower scrolls at the bottom; crest border under the pocket.
Stage Design, Antique Building with Porticoes
, early 19th century
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Antique building from inside with columns supporting friezes, coffered vaults.
Preparing a Camel, Palestine or Syria (Israel or Jordan)
Frederic Edwin Church, American, 1826–1900, February 1868
Pen and ink with graphite on tan wove paper
drawing

Figure and landscape sketch of three Bedouin guides preparing a camel for travel during Church's expedition to Petra. Two figures stand on either side a seated camel and drape textiles on its back as it turns its head towards them. A third figure stands at left facing the viewer, leaning a long rifle against his shoulder. A mountainous desert landscape is faintly rendered in the background.
Sketch for Cover in “The World’s Almaniac”
Frederick Stuart Church, American, 1842–1924, 1878
Brush and black and red watercolor, graphite on paper
Ephemera

Left, tree trunk, with branch, upper right, three owls perched on branch, rightmost owl has head jutted out too look at giraffe. Right, giraffe's neck wrapped around tree trunk. Center right, waxing crescent.
Fragment
, ca. 1840
silk Technique: satin plain weave with supplementary weft

Fragment showing vertical stripes of purple and black with small allover white flower figure.
Design for an Embroidered Woven Fabric, Fragment
, 1815–1840
Brush and gouche on oily tracing paper
Drawing

Top right: a flower plant and a big blossom connected by festoons. Bottom left: a plant with big leaves, one of them being a lace leaf. Bottom right: a bough with a lace bud; a flower bough with a big flower hanging.
Great Aletsch Glacier, Switzerland
Frederic Edwin Church, American, 1826–1900, August 1868
Oil and graphite on tan paperboard
Drawing

Landscape study showing a view of the Great Aletsch Glacier in the Bernese Alps of Switzerland. Viewed from an elevated perspective, the glacier curves through an alpine valley from lower right to upper center. In the immediate foreground at left and center, nearby hillsides and treetops are visible. In the distance at left, the serrated peaks of Aletschhorn are shown bathed in pinkish sunlight, while other jagged mountains form the horizon at right.
L'Air
Maurice Jacques, French, ca. 1712–1784, 1758–64
Hand-colored etching and engraving on paper
Print

An ornamental hanging trophy design representing the element of air with its attributes, including an eagle, horn instruments, a bagpipe (musette), foliate branches, clouds, two putti heads blowing, an arrow, and feathers. The plate is signed, titled, and hand colored.
Band
, 19th century
linen, silk, wool, steel Technique: embroidered

White linen with embroidery of fruit with a flower spray on either side. Edged with rickrack braid. Two steel hooks and eyes with a chain of wool between eyes.
Four Ovals: Fortitude, Justice, Prudence, Temperance
Felice Giani, Italian, 1758–1823, 1803
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Fortitude: woman with helmet and holding club, sits upon bench. Lion crouches beside her. Justice: shown with pair of scales and fasces, seated. Prudence: shown with looking glass and snake sitting upon chair. Prudence: temperance shown seated holding bridle.
Sketches of Soldiers
Winslow Homer, American, 1836–1910, 1862
Graphite, heightened with pen and ink on pasteboard
Drawing

Recto: Vertical view of two soldiers, shown in three-quarter length, with color notations.

Verso:  Slight sketches in graphite, including one of soldier resting on a rifle with fixed bayonet.
Design for Cartouche: Allegory of Fire
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Cartouche consisting of references to fire: a flaming torch (upper left), a flaming bottle (upper right), and a phoenix, a salamander and a mirror.
Cap crown
, 1650–1700
linen Technique: needle lace Label: Linen needle lace

Cap crown of heavy Venetian lace (gros point de Venise) in a symmetrical design of  scrolling acanthus leaves with raised edges.
Heur et Malheur (Happiness and Woe)
Raymond Gayrard, French, 1777 - 1858, early 19th century
Cast silver
Token

Octagonal gambling token. Obverse shows the double bust of young Janus. Inscription: HEUR ET MALHEUR (happiness and woe) / GAYRARD-F. Reverse shows Fortuna guiding Cupid.
Fragment
, 5th–8th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool, Z-spun wool Technique: Weft-faced plain weave (16/cm x 28/cm) and slit tapestry

Oval medallion, monochrome, light pattern on dark ground.  Spotted quadruped animals within a leaf-shaped border.
Two Martyrs
Giovanni Gerolama Boniforte, Italian, 1641
Red crayon, pen and ink, brush with brown and gray water color, and white heightening on blue paper
Drawing

The saint at the left is shown in front view. He is bearded and stands with his right hand extended, palm turned upward. In his left hand is a palm branch. The saint at the right is younger and stands beside a pedestal upon which he leans his left elbow. His hands are crossed on his breast. And a palm branch is held in his right hand. 
At the left in the background is a part of a circular temple framed by a red line. At the right edge are three studies for elbows.
View along the Magdalena River, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on white laid paper
Drawing

Landscape sketch of rocky outcroppings in the mountainous jungle of Colombia, as seen from the Magdalena River. At extreme right, trees and vegetation of nearby bank are visible. In middle distance on opposite bank, several rugged prominences rise above the wooded canopy. Above, distant mountains are capped with clouds.
Profil de deux Venteaux de la porte Cochere
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

Design for double doors with two decorative upper panels. Each panel depicts a rocaille fountain topped by a dolphin spewing water and a herm. At left, the herm figure blows a conch shell horn. Scale at lower center.
Cabriolet
Jean-François Chopard, French, active 18th century, ca. 1750
Engraving on paper
Bound print

Plate 7, Folio 7 of a series of 13 prints of designs for carriages or coaches. Carriage decorated with rocaille motifs, shown in elevation, with details of the various parts at upper left and upper right. The body of the coach is open and decorated with painted panels and mounts likely to be executed in bronze. The carriage roof is an ornamented curved dome.
Twilight over the Hudson River, Hudson, New York, Part Two
Frederic Edwin Church, American, 1826–1900, 1860–80
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the Hudson River Valley, looking southwest from the artist's property in Hudson, New York. The top of a wooded hill is visible in the foreground, while, in the background, the dark, rolling range of the southern Catskill Escarpment stretches across the horizon with Overlook Mountain visible at center. In the sky above, streaks of light radiate over several dark, puffy clouds.

Verso: Landscape sketch showing a view of the sun setting over a body of water, viewed from beyond a nearby hill or embankment with buck wheat. At center, the silhouette of the sun's glow is visible as it begins to dip below the horizon. A bird, possibly a seagull, flies in front of the sun at center.
Study for "The Common Law," "The Reign of the Law," Appellate Division Court House, New York, NY
Kenyon Cox, American, 1856–1919, 1898–1899
Graphite on paper
Drawing

A nude female figure is reclining with arms extended. The paper is squared for transferring the image.
Design for a Candlestick
, ca. 1820
Pen and ink, brush and watercolor, graphite on paper
Drawing

Vertical rectangle. Upper part of the candlestick base is formed by three volutes of leaves, with the coat of arms of Pope Pius VII standing in the center. The shaft is formed by a column standing upon a vase. One socket for candle at top. Scale and inscription at bottom.
LA FONTAINE DE LA RENOMMÉE
Adam Perelle, French, 1638 – 1695, ca. 1676–1680
Etching on laid paper
Print

View of a fountain in the gardens at Versailles. A fountain and basin in the center with water shooting from a trumpet blown by an angel. The basin is framed by balustrades. The whole is contained within a bosquet, or large hedged ‘grove', with statues on plinths and a central arch. The outer balustrades support planted vases. Figures (courtiers) walking along the paths. The title and a description of the fountain is lettered below.
Sidewall
, 1745–55
Leather, stamped, silvered, painted

Diapered field, varnished silver. Rococo vine, in green, with flowers in red and blue.
Coastline and Ships, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, 1850–51
Graphite on tan wove paper; verso: graphite
Drawing

Landscape and water vessel sketches showing three sailboats a view down a mountainous and undulating coastline on Mt. Desert Island in Maine. Featuring a large mountain at upper right, the sketch in the upper portion of the composition shows the curving and cliff-strewn coastline of Mt. Desert. In the lower portion, three sketches of sailing ships are included--one viewed from the side, one obliquely, and one viewed from behind. 

Verso: Landscape and water vessel sketches around Mt. Desert Island, Maine, showing, at upper left, a frontal view of a beached rowboat, at upper center, a sideview of a ship, and at center, a view of billowing clouds over wooded and overlapping hilltops, "just after sunset," according to the artist.
Five Men
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1630–1640
Pen and ink, brush and wash on paper
Drawing

Upper left, a man wearing short pants bending over a task. At tight, two equestrians, one wearing a brimmed hat. Below, left: a man seated on a rock, facing right. Beside him, a larger kneeling figure, shown foreshortened.
Cliffs and Pinnacles, Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 20-22, 1868
Graphite on off-white wove paper; verso: graphite
drawing

Landscape study of a tall cliff face in the Mountains of Edom near Petra, in present-day Jordan. This bulging, rocking prominence dominates the composition at center and is characterized by its sheer cliffs at right and center. Several gullies, pinnacles, and rock strata are variously rendered thoughout the cliffs. Possible architectural carvings are visible at the base of the cliffs, at center.

Verso: Possibly unfinished landscape sketch showing rocky slopes and mountainsides in Petra, in present-day Jordan. A tall, round pillar is visible at left, with a doorway or frame carved into the rock below at right.
La Pêche
Alexis Peyrotte, French, 1699–1769, mid- 18th–late 18th century
Etching on laid paper
Print

Within a double-lined frame, an ornamental trophy representing fishing, with a basket, anchor, and a trident hanging from a cord or textile, intertwined with foliate branches. The plate is titled, signed, and numbered.
spoon
, 19th century
silver

Pointed, heart-shaped oval bowl with central rib, shaped stem embossed with scrolled and panelled sections, fluted terminal below the circular crusher.
Rock Towers in the Muave [Muav] Canyon, Colorado
Thomas Moran, American, b. Britain, 1837–1926, 1873
Graphite on light-brown paper
Drawing

Vertical view of canyon shown between two rock towers.
Gate of a town
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Low arched door opening, topped by an inscription tablet.. Rustic pilasters support a triglyph frieze and a triangular pediment in which an escutcheon is shown laterally round towers in the height of the bottom of the pedestal. The gateway is topped by a tower. Colored background.
Sunset
John Charles Robinson, British, 1824 - 1913, ca. 1880
Etching on mulberry paper
Print

Landscape at sunset. Bushes in foreground; trees at right foreground and in distance. Inscribed, lower left: "C. Robinson".
Landscape with Low Hill and Fields
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on white paperboard
Drawing

Landscape sketch showing a view of a low hill rendered in reddish, russet tones across cultivated fields in the foreground. A sporadic line of trees extends across the middle distance, marking the field's boundary with a fence visible at center. In the background, a low, rambling hill has a round summit at upper center and a ridge that extends out of frame at left and right. A few individual trees are visible on this hill and the ridge around it. The sky above is warm grayish tone.
Orfèvre Grossier, Ouvrages
J.R. Lucotte, French, 1733 – 1784, 1762
Etching and engraving on laid paper
Print

Plate depicting nine designs for silver objects including lidded tureens, bowls, lidded boxes, and a lidded vase. The objects are decorated with rococo motifs and are numbered and lettered. The plate is titled, numbered, and signed.
Designs for Mausoleum
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash, graphite on white laid paper
Drawing

Top: shown is a chapel of design similar to -1133, and the left flanking motif: two towers of alternative designs, connected with a bench. Center: shown are the chapel and the left side of the colonnade standing upon a platform, and ending in a steeple. The steps leading to it are flanked by pyramids which are flanked by two monumental sarcophagi, the pedestals of which are connected with colonnade. The left motif is shown. The elevation of a church is drawn over the design. Bottom: right sketch of a curved bench, shown from the side. Left: section of a bench (?). Originally, the sheet was a part of a larger one, with the plan of a church.
Flambeau
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a candlestick decorated with ornament motifs including fluting, scalloping, mascarons, dolphin heads, and scrolls. The plate is signed and numbered.
Designs for the Letter D
Jean Baptiste Piauger, French, active 1760s, 1767
Etching and engraving on laid paper
Print

A plate of six designs for the letter ‘D' from a series of decorative letters, published in Pouget's ‘Dictionnaire des chifres […]'. The plate features six ornamental inhabited letter designs, two per row for the letter ‘D', featuring putti, male and female figures, mythological characters and gods, garden landscapes, clouds, sheep, a dog, and a winged horse with rococo ornament, such as fleurons, acanthus leaves, scrolling foliate, and friezes. The plate is numbered.
Fragment
, 16th century
Medium; silk, metallic thread Technique: woven

Saw tooth-edged discs with crescent and ball motif on a silver ground.
Two knobs
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Two knobs.
Figure of a Woman
Winslow Homer, American, 1836–1910, ca. 1875
Graphite on paper
Drawing

Vertical view of a portion of a woman, dressed in a skirt, shirtwaist, and cravat, leaning forward and looking down.
Garden Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Design for an ornamental garden with scroll and vegetal motifs and topiary. The plate is numbered with a backward "3" but not signed.
Embroidery
, 16th century
silk, gold-wrapped silk core thread Technique: slashed and embroidered satin weave

Narrow border of same material as component 'a.'
The deities of Olympus (The Olympian Gods)
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1805
cotton Technique: printed by engraved plate on plain weave foundation
Fragment

Circular and oval cartouches containing goddesses and decorative ornament on a background of scalloped lines. In blue on white.
Religion
Francesco Bartolozzi, Italian, active England, 1727–1815, 1783
Stipple engraving and etching in sanguine ink on paper
Print

Full-length figure of a young woman, standing, turned toward the right, her head shown almost full face, the eyes looking upward to left. She is before an altar.
Plate Illustrating Standard House (Structural) Wall Plan (“Plan des Murs de la Maison Type Standard”)
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction and height of the walls on the first floor.
Borage
Morris & Co., London, England, designed 1883
cotton Technique: printed over resist
Textile

Symmetrical small-scale design of arabesques and ogees formed by twining plant stems, flowers and leaves, in white, yellow, and green on a dark blue ground with a tiny all-over floral resist pattern.
Textile
, 1853–71
cotton Technique: prined by engraved roller and block printed on plain weave

Oblong fragment, probably for a valance, of a coarsely printed cotton in strong colors, now faded. Design shows Empress Eugenie, Napoleon III and the Prince Imperial on the right with the coat of arms for Napoleon III on the left. Both are enframed with floral wreaths etc.
Fragment
, 17th century
silk, metallic thread (silver foil on a silk core) Technique: cut and voided supplementary warp pile in 5-harness satin foundation with supplementary weft (velvet)

Panel with diagonal repeats of large flowering plants with smaller flowers on a tan satin ground. Black outlines and black steams with leaves and blossoms in color combinations of orange, green, grey, and tan. Two wide blue-green selvedges with dark blue and red pencil stripe at outer edge.
Border
, 18th century
linen Technique: bobbin lace, Mechlin style

Louis XV pattern, floral spray.
Printing block
, mid-18th–mid-19th century
wood

Rhythmic floral and heart design bordered by symmetrical stripe.
Venus and Adonis with Cupid in a Landscape
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

In a broad landscape, wooded at the left, Venus and Adonis are seen seated in the right foreground, accompanied by two dogs, while Cupid leads another dog away toward the left.
Fragment
, possibly 17th century
wool Technique: plain weave with stamped (embossed) pattern

Floral pattern on strip of red fabric.