biglam/cooper-hewitt-alt-text huggingface dataset:
Hercole barca del Sig. Nicolo Cimenes, from Vessels of the Argonauts for the wedding celebration of Cosimo de' Medici in 1608, plate 19
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
Etching on laid paper
Print

Profile of a ship decorated with ornamental banding, moving left to right.  The figurehead decorated with the Hydra and the stern decorated with Cerberus.   Soldiers stand on the deck of the ship and Heracles sits towards the right. Emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Grande Corniche d'Appartement.
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Design for an apartment cornice, with bands of ornamentation including: acanthus leaves, lamb tongue, coffering, egg and dart, bead band, scrolling acanthus leaves, and bead and bar band. The profile of the cornice is provided on the right side of the plate. The plate is signed and numbered, although the plate letter in the upper right is cut off.
Two Trophy Designs
Jacques Ignace de Latouche, French, 1694 – 1781, ca. 1750
Etching and engraving on paper
Print

Two ornamental trophy designs. The top includes agricultural tools, a shovel, rack, scroll, sickle, flowers, and scrolling leaves. The bottom includes a globe, measuring devices, caliper, protractor, foliate branches, and sheets of paper. The plate is signed and numbered.
Trimming
, 18th century
White, black, and colored silk in uncut velvet weave.

Two crowned shields; one shows seven bees under three crosses, and the other show a sun-face within a border with stars (?) in blue, pink, yellow, and black on white.
Sidewall
, 1850–1900
Machine-printed

Hexagon motif with light tan center containing a tiny pencil line design indark tan and old red. Border of hexagon also in light tan with a pencil line design of circles in deep tan. Between the hexagon is a continuous rope-like line in deep red.
Proscenium and Stage Design: Scene 1, Ballet celebrating the marriage of Leopoldo Cesare, Duke of Mantua, and Claudia Felice, Archduchess of Austria, 1674
Giuseppe Maria Mitelli, 1634 – 1718, 1674
Pen and brown ink, black and red chalk on white laid paper
Drawing

A view of a stage and elaborate proscenium arch, through which a scene featuring a deep perspectival view populated by classical dieties. The red chalk is restricted to the figures and setting on stage, creating a strong contrast between the drama and surrounding architecture. A coat of arms appears at the top of the sheet, worked into the proscenium arch. Evidence of reworking of the design can be seen throughout this somewhat unfinished drawing.
Sidewall
, 1850–60
Block-printed and glazed

Vertical rectangle, giving complete width of the upper portion of panel, with rocaille framework and foliage scrolls in grisailles; large and smaller enclosed medallion of floral bouquets, in strong colors. Printed on glazed white paper.
Band
, 4th–5th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry with supplementary weft wrapping

Band with animals in connected circles.
Fragment
, 17th century
linen warp, wool weft Technique: float weave

Lozenge pattern with eight-petaled floral motif at points on intersection. Dark red and white.
POELE circulaire, dans le genre antique, sans tuyaux montans nu apparens, et fait pour être isolé
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, in the form of a pedestal decorated with sculpted winged putti (babies) supporting the pedestal, holding a festoon of flowers, with oval cameos with female figures in between each putto. The top and base are decorated with repeating pattern moldings of egg and dart, fluting, and leaf motifs. A plan view and scale below. The plate is signed, and hand colored with watercolor.
Ewer
, 19th century
clear amber glass

Clear, amber-colored globular body on low circular foot.  Curved neck swirled and flattened, terminating in "bird's head" mouth with narrow spout.
(Rose water sprinkler)
Elevation and Decoration of the Grand Ballroom
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Elevation and decoration of the grand ballroom at the Hôtel de Ville for the masked ball given on February 28, 1745, in honor of the marriage of Louis Dauphin and Maria Teresa of Spain. The space is filled with elaborately costumed individuals socializing on the balconies and ground floor. The space is decorated with garlands, candelabra, and carving.
Frieze
, 1810–20
Block-printed on paper

Square portion of frieze, composed of festooned rust-colored drapery, with pearls, and lace-trimmed edges, against a green satin background. Across the bottom a black border, relieved by vertical white lozenges. This would form the bottom border for a drapery wallcovering.
Horses and Wagon (The Picnic Excursion)
Winslow Homer, American, 1836–1910, 1868
Graphite on off-white wove paper
Drawing

Recto: Horizontal view of two horses harnessed to a wagon, a portion of which is shown at the right.  

Verso: Slight horizontal sketch of people at a fireside.
Dessein de Cheminée pour une Chambre a coucher de l'invention du Sr. Pineau
Nicolas Pineau, French, 1684-1754, 1700-1742
Etching and engraving on laid paper
Print

Chimneypiece design with over mantle mirror. Each side of the mirror features an engaged two-arm candelabra emerging from a grotesque head; at the top of the mirror is rich carving with a mascaron in the center of a cartouche, around with is ornamentation of fluted scrolls and garlands of flowers. "A Tapisserie" printed in the plate at the lower left indicates that the side panels, depicting landscapes with ornamental borders, are tapestries. At the bottom of the plate is a cross section of the "Plan de la tablette" and the "Plan du Chambranle" as well as a scale bar of five French feet ("5 pieds"). The plate has very faint numbering, but no signature.
A Monsieur Le Marquis de Felino
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Dedication page for a series of designs for vases. The name of the dedicatee is lettered in the lower center of the plate, within a framed plaque. Below are a crossed club and broom. Leaves and foliage in the background. The plaque is positioned on a brick wall with two centaurs above, holding up a vase, decorated with a Greek-key frieze and branches and leaves coming out of the top. The plate is signed and dated.
Floating Iceberg, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Graphite on light green wove paper
Drawing

Seascape sketch showing a view of large, craggy iceberg off the coast of Newfoundland and Labrador, Canada. Roughly pyramidal in shape, the iceberg has a pointed peak and jagged ridge that continues out of view at right.
Sidewall
, 1885–95
Machine-printed paper, embossed

Design inspired by a 17th century Genoese cut voided velvet. Slender acanthus leaves in ogival bands. Medallions contain axial motifs in stylized form. The design is embossed to simulate a variety of embroidery stitches and gives the appearance of being worked in gold thread, printed in gold on ivory field.
Chimneypiece Design with Decorated Panels, Suitable for a Gallery
Jacques-François Blondel, French, 1705–1774, 1737-1742
Etching and engraving on laid paper
Print

Richly decorated chimneypiece design with an over-mantle mirror as well as mirrors on the side panels. The side panels are carved with scroll ornamentation on the top and bottom; the top scrolls fuse with flowers and sprays of leaves, and a grotesque winged animal-head mascaron above the flowers. The frieze above the inset chimneypiece features an old man reclining on the ground against an overturned vase (a mythological river god) at the left, a trophy with a helmet and flag in the center, and a singerie (two monkeys, one playing the tambourine), at the right. The chimneypiece is set into the wall. It is richly ornamented with firedogs, carving on the mantle, at the center of which is a mascaron; on the mantle are two candelabra with figures (including putti, herms, and young men) spiraling around the forms, made of scrolls and leaves. There is a panel at the top of the mirror depicting a woman riding on a shell, surrounded by tritons in the water (a mythological Triumph of Venus). The top frame of the mirror has a mascaron at the broken pediment, on top of which sit two young tritons, the one on the left holding a snake. Below the title is a horizontal cross section inscribed, from left to right, "Plan du dessus de la Tablette," "Plan du Foyer et d'un des / Jambages du Chambranle". This section of the plate also features a scale of 6 French feet ("Echelle de 6 Pieds"). The plate is not numbered or signed and has been cut down.
Garden Architecture and Figural Studies
, 18th century
Pen and ink, brush and wash on paper
Drawing

Ornamental garden architecture and two male figures with bound hands, possibly from a grotesque or metalwork.
Project for a Ceiling Frieze
, mid- 17th century
Pen and brown ink, brush and brown wash, white heightening on off-white laid paper
Drawing

Trapezoid. At center is Cupid with quiver. At left, half of a escutcheon with a dolphin and star.
Designs for an Iron Gate
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a tall iron gate, decorated with a crowned coat of arms with palm fronds, flags, and quivers at the the top of the gate. The plate is signed.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1731–68
Engraving on paper
Bound print

Design for a quarter of an oval ceiling. At lower left, a scene of three putti figures picking fruit (possibly apples) from a tree. At upper right, a female trumpeting figure with an armorial trophy below. Within curving border, a panel scene with three putti playing, two of them on a seesaw. A second panel with three putti playing, landscape and stair in background. Part of ceiling medallion visible at upper left--a large group of clouds covered with many putti figures holding garlands of flowers.
Project for a Painted Ceiling
, 1750–1800
Black chalk, pen and ink, brush and watercolor, bistre on paper
Drawing

A coffered arch rises obliquely from a parapet. A kneeling merman supports a bracket under a pediment in the corner. Clouded sky at right.
Title Page
Gilles Paul Cauvet, French, 1731–1788, 1777
Etching and engraving on paper
Print

Title page for album of ornament designs for use by artists and designers. Inscription centered within a simple border above inset crowned seal with French coat of arms.
Cabinet de Mr. le Comte Bielenski (sic), Grand Maréchal de la Couronne de Pologne executé en 1734; Chiminée avec glace, avec de chaque côté une partie du lambris d'appui et des peintures, 1st Plate, plate 87 in l'Oeuvre de Juste Aurèle Meissonier, Paris, 1748
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–48
Engraving on white laid paper
Print

Large-scale drawing of fireplace with andirons in foreground and cartouche decoration at rear of opening. The overmantel consists of a large rococo mirror which reflects the other side of the room. Three-branched wall lights are attached to either side of the mirror. At top of mirror, near ceiling, are two putti playing with garland flowers. Enclosed in a paneled frame (left) is a partial view of a painting, "Zephyr et Flore," showing putti, flowers, and the legs of a goddess. A putto, holding a flamed torch, is at top of painting. In the paneled frame (right) is a partial view of a man holding a spear in his right hand with two dogs nearby.
Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash, red ink on cream laid paper
Drawing

The bowl is supported by two plinths. The central part is shaped like a tablet, framed laterally by two gaines, and bearing an inscription in a wreath, formed by two branches. The diameter of the lid corresponds to that of the front.  In front, cornices of a broken pediment from which festoons hang toward the gaines. At the ends of the cornices sit two angels with lily stems. They lean upon the round base of a statue of St. John the Baptist with shouldered cross staff.
Hill of the Temple of the Sun (Panecillo), Quito, Ecuador
Frederic Edwin Church, American, 1826–1900, June 23, 1857
Graphite on tan wove paper
Drawing

Landscape sketch showing view of the Hill of the Temple of the Sun in Quito, Ecuador, also known as the Panecillo. In foreground, buildings of the city are visible in front of the round hill, which rises in the middle distance. Scant structures are visible atop hill. In the background, a suggestion of a mountainous landscape is visible. In upper left, a vignette illustration of hillside with cloud-filled skies is included.
Double-Ended Scent Bottle
, late 19th century
glass, metal, gold
scent bottle

A polygonal cylinder, beveled at each end, with flat shoulders leading to necks.  Ends fitted with gold-plated collars with pancake-shaped covers of larger diameter than collars but less than body of the bottle.  One cover hinged. Glass divider across center of cylinder is a thick wall of glass.
Decoration for the pedestal of a pilaster
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

The pilaster is flanked by embedded columns. The pedestal is formed like the front of an antae sarcophagus. The body shows half-figures of putti, alternately with palmettes, the cover, triglyphs and lilies. Colored background.
Frame
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Frame.
Section of a Theater in Perugia
Giuseppe Barberi, Italian, 1746–1809, 1778
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Horizontal rectangle: Cross-section of theatre on the long axis showing entrance, orchestra with boxes, and stage.
Dionysus with Panther
Giuseppe Bernardino Bison, Italian, 1762 - 1844, late 18th century
Pen, ink, grey water color, and brush on paper
Drawing

Dionysus, his nudity emphasized by a cloth tossed over his shoulder, holds a sheaf of long vines in his right hand and a jug or wine sack in his outstretched left hand.  Beneath the beverage, which Dionysus looks towards with an open mouth, a panther looks up, its slack maw mimicking his.
Purse
, early 20th century
metal beads Technique: frame beadwork

Small purse that fits inside 1920-21-1-a.
Ornamental Vase Design
Charles Leviez, French, 1708–1778, 1756-1773
Etching on laid paper
Print

Large, lidded vase with two sculptural sirens on top. The vase is decorated with fluting, a festoon, mascarons on either side, and a carved palmette at the bottom. The vase is raised on a claw-footed tripod. The vase is set in a landscape of rocks and ruins. The plate is titled but not signed or numbered.
Title Page: Fireplace (Chimney Piece and Mantel) Designs
Pierre Moreau, French, 170? – 1762, ca. 1767
Etching and engraving on laid paper
Print

Title page and design for a chimney piece (fireplace and overmantel mirror) illustrated as a detailed wall elevation. The design features rococo ornament and motifs, c-scrolls, shells, scrolling leaves (rinceaux) fleurons, foliage, palm leaves, garlands and festoons of flowers, masks (mascarons), cartouches, clasps, hanging trophies, and stick and ribbon molding. The curvilinear mantel features a central asymmetrical cartouche. The fireplace includes an ornately decorated back-plate, with andirons in the shape of dragons. On either side of the fireplace at the dado level, are two wall pedestals supporting lidded vases. The arched overmantel mirror frame includes two-candled wall sconces, and male busts as terminal figures on the upper corners. The narrow wall paneling (boiserie) flanking the chimney piece is decorated with ornate molding, hanging trophies representing love with bows, quivers of arrows and flaming torches, and landscape paintings. The cornice includes a central cartouche featuring putti and lined with corbels. The plate is numbered, titled, and signed, with a scale below.
spoon
J. M. van Kempen and Sons, founded 1835, 1877
silver

The shallow pointed oval bowl with a flat edge and a slightly curved edge. The surface engraved with two crossed ivy fronds with pierced leaves encircling the bowl. The flat, slightly curved stem engraved with spiralling ivy vine. With rounded pointed terminal.
The Ship of the Church
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: View of a large ship to a port. The ship is filled with people. Christ appears seated in the stern, with the dove of the Holy Spirit rising above his head. Onlookers line the shore, while others row towards the ship in several small boats. In the sky above, angels sit on clouds and blow trumpets.  

Verso: Italian inscription.
Summer Harvest
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

Hiroshige captures a summer scene of families gathering shellfish along the shore. The sweltering heat has caused a woman to pause and wipe the sweat above her brow even as she is knee-deep in water. Around her are men and children bent over rigorously harvesting. A man just in front of her, however, seems to be causing trouble for another woman who is looking back as she goes deeper into the water. A tall mast from an unveiled ship frames this summer working day.
Portrait of Johannes Antonius Sergius
Antonio Baldi, Italian, 1692 - 1773, ca. 1760
Line and stipple engraving
Print

Half-length portrait of the seated man. His body in side view towards right, his head in three-quarter view also to right. He holds in his right hand a book. The portrait is surrounded by a rococo frame with an inscribed plaquette.
L'Ouie
Jean-Baptiste Pillement, French, 1728–1808, 1758–89
Etching on laid paper
Print

Print titled ‘Hearing' from a series of six prints, (including title page) depicting personifications of the five senses, represented by chinoiserie figures within rococo-style cartouches. A man stands in the middle of a cartouche, surrounded by plants and trees, holding bells in both hands, with another bell hanging from the top of his hat. The cartouche is decorated with rococo-style ornament with flowers and sprigs. The title is lettered below and the print is signed.
Textile
, late 19th century
birch bark embroidered with dyed porcupine quills

Rhomboid-shaped piece of birch bark embroidered with dyed porcupine quills showing a large central flower, and a trailing vine with flowers and berries.
Stage Design: Classical Buildings and Landscape
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Two different sketches of classical buildings in landscape and rough sketch of ground plan.
Earrings
, ca. 1860
Hair (human), gold, gilt metal

Both (a) and (b) with gold hooks, pendant drops of woven human hair with metal-capped ends. Each hangs from hook as sphere below a rosette cap with three ovoid pendants, and central pendant of elongated spherical flattened oval.
Textile
, 1855–75
cotton Technique: printed by engraved roller on plain weave

Pattern of scrolling stems and leaves in red on a brown milled background.
Textile
, 18th century
cotton Technique: resist-printed on plain weave

All-over pattern of a cartouche with rosette. White design on deep red ground.
Textile
, 1820s
cotton Technique: roller printed on plain weave, glazed

Vertical column, assymetrically placed, with flowers and "Catherine wheels", on a ground of overlapping concentric circles, in bright pink and yellow.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1750–1800
linen warp, cotton weft Technique: mordant dyed and painted (chintz) on plain weave foundation

Exotic flowers with trailing blossoms and leaves in vivid shades of purple, blue, green, yellow, and reds with black outlining on a white ground.
Poetry, after Raphael Sanzio
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and brown wash on off white laid paper
Drawing

A winged figure seated and flanked by two putti, each of whom holds an inscribed tablet.
Etui Knife with Green-stained Ivory and Mother-of-Pearl Handle
John Wilson & Sons, England, 1778–1816, ca. 1790
green-stained ivory, pewter, steel, mother-of-pearl
knife

1985-103-133-a: Leaf-shaped knife (a) with straight sides. Flat re...;     1985-103-133-b: Three flat tines, flat baluster-shaped neck. Recta...
Panel
, 16th century
silk on linen Technique: counted stitch embroidery, cross and stem stitches

Embroidered panel in three different designs arranged in bands: one showing alternating knots and four petal flowers in drop repeats; the second, vertically placed leaf forms crossed by a line with S-shaped ornaments; the third, lozenges and crosses. Worked in pink, blue, yellow and green silk.
print
Daniel Rabel, 1578–1637, 1632
Etching, ink on paper

Cartouche with landscape showing a lake or seashore. Framing line.
Handkerchief
, early 19th century
cotton, linen Technique: embroidered

Large square handkerchief of sheer white linen embroidered around border with grapevine design. Scalloped edges.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed; partially glazed

Ground printed in grey in an elaborate foliage pattern, probably by "molette". Over-printed in pattern of rose clusters in shades of brownish-red, lighter red; white areas in flowers glazed. Remains of a label, giving colors.
Prometheus Chained to the Rocks of Caucasus
Cornelis Cort, Dutch, 1533 - 1578, 1566
Engraving on paper
Print

The nude Prometheus, chained to the rocks of Caucasus, is having his liver plucked out by an eagle. At lower left, a snake.
Fragment
, 6th–10th century
wool Technique: woven compound, complementary wefts, 1&2 twill

Ground is divided into squares each of which encloses groups of smaller squares. In tan, blue, brown and red. One selvage present.
Trimming
, 17th century
silk, metallic thread, metallic strips

Design of broken hexangles arranged as a central band with borders on either side comprised of metallic strips. Metallic thread and strips on yellow and white.
Page Four from "Second Licre Contenant Differens Desseins de Pendules Inventés par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Design for a table clock. The oval clock is held up by two volutes standing upright on a small pedestal with four legs. Crowned with an eagle. Inscribed, upper left: "B"; upper right: "4"; lower left: "Oppenort inv."; lower right: "Huquier sculp. et ex"; center: "Avec privilege du Roi".
Fragment
A .G. Jennings & Sons, American, 1884
cotton Technique: machine made lace

Running stitch pattern at intervals on net ground.
The Peasants' Feast (Alder du must danczen)
Hans Sebald Beham, German, 1500–1550, 1546-1547
Engraving on laid paper
Print

Horizontal rectangle. At right, a woman is led to a table by two peasants; At left is a table, at which are seated a group of peasants, among them a man and a woman embracing.
page Six from "Cinquième Livre Contenant des Cartouches Inventés par G. M. Oppenort Architecte du Roi et Gravé par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three shell-like cartouches in sequence. First, an oval cartouche supported by hunting trophies. Second, surmounted by a crown, flanked by a lion (left), eagle (right). Third, flanked by a triton (left) and a mermaid (left). Inscribed, upper left: "E"; upper right: "6"; lower left: "Oppenort inv."; center: "Avec privilege du Roi"; lower left: "Huquier sculp. et ex."
Landing Place, Leghorn
Joseph Pennell, American, active England, 1857–1926, 1883
Etching in black ink on paper
Print

Curbed quay with small boats tied up. Foreground area left unfinished. Steps and many figures in the distance.