biglam/cooper-hewitt-alt-text huggingface dataset:
Four Grotesque Candelabrum
, 1600–1630
Red chalk, incised lines on paper
Drawing

Five stripes had been prepared with incised lines. First stripe, at left: a terminus stands at the bottom; an ovoidal medallion with a lying woman is over it. A harpy, two figures flanking a turnip, a vertical garland motif. Second stripe: a standing boy supports a base upon which a half figure splashes liquid from the breast upon flames in pitchers at the bottom. The half figure of a harpy in a pavilion with a cherub on top is shown in the center. A winged girl holding a cloth behind her legs is on top. Third Stripe: a clothed woman stands upon a base at the bottom. Three putti of various sizes, a plant, a star are shown in the middle. Fourth stripe: A putto supports a base, at the bottom. The statue of a god in a pavilion is in the center. An animal seated upright upon a grotesque head and a girl in a panel are on top.
Title Page and Balcony Balustrade Designs
Jean François Forty, active 1775 – 1790, late 18th century
Etching and engraving on laid paper
Print

Title page and designs for two ornamental ironwork balcony balustrades featuring neoclassical motifs and ornament - rosettes, scrolling leaves (rinceaux), foliate scrolls, fleurons, flowers, shells, vases, c-scrolls, and festoons of laurel leaves. The title of the series is lettered above. The plate is numbered and signed.
Box or Snuffbox Design
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a round box or a snuffbox featuring, from top to bottom, a view of the top of the box with a rosette, bead course, and branches; an elevation of the rim of the box lid, with bead course and fluting, and an elevation of the box with lid open at the hinge, and which has bands of wave, bead course, swirling acanthus leaves, and bound leaf ornamentation. The plate is signed, but not numbered. In comparison with other versions of the plate, it should be numbered 4.
Arabesque Ornament Designs
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A vertical plate with arabesque ornament designs featuring Neoclassical motifs, palmettes, fleurons, scrolling foliage and acanthus leaves, rosettes, mythological creatures, griffins, a vase, and mask of Apollo. The plate is numbered.
Stage Design: Curving Portico
, late 17th century
Pen and ink, brush and sepia wash on paper
Drawing

Vertical rectangle showing a curving portico supported by pairs of Corinthian columns.
Ships at Anchor and a Maritime Device, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Graphite on tan wove paper; verso: graphite
Drawing

Mixed sketches near Newfoundland and Labrador, Canada, showing two frontal views of a double-masted ship at anchor--a house is visible on the shoreline behind the boat at left--and, at right, the shaft of a maritime device that has a ring swathed with cloth and rope. 

Verso: Loose sketch at far right showing a sailboat in front of a craggy, floating iceberg off the coast of Newfoundland or Labrador, Canada.
The Nativity, Study after Carlo Cignani
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brush and brown wash, over black chalk on white heavy wove paper
Sketchbook folio

Seated Virgin with Child at center left; Joseph leaning on staff at right. Ox and donkey at left in background. Kneeling shepherd and trussed sheep at lower left.
Design for a Pendant
, 1840–70
Pen and ink on paper
Drawing

A mermaid with a bifurcated tail blows on a shell, suspended from a ring by two chains, one on the wrist and the other on a tail.
Sandy Hook
, 1835
Block-printed paper on pasteboard support
Bandbox and Lid

Marine view; ships and lighthouse on rolling sea. Printed in pink, white and brown on a blue ground. Legend: Sandy-Hook. Cover, which does not belong to box, has cow and ruins.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

The repeat, four of which are shown, consists of a leaf scroll with a cone on top and a cluster of flowers curving downwards.
Cartouche with Two Putti and a Mermaid
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank cartouche in Rococo style framed with two putti and battle weapons at top. Vegetation and plants at sides. A mermaid at lower left holds a triton. Seascape in the background.
Sidewall - fragment
, ca. 1765
Block-printed on handmade paper

Irregular fragments of paper with ground originally pink, printed with large-scale vine pattern in black, blue-grey and white. Portion of geometric border attached to fragment.
Design for a Bedroom Wall
Nicolas Pineau, French, 1684-1754, 1740-1750
Pen and ink on paper
Drawing

The overdoor is decorated with a trophy composed of Cupid's quiver, Hymen's torch and boughs, suspended from a whirl with a bow-knot. Wall panels and pilasters are carved.
Metal Fittings for Staircase Railings
Giuseppe Barberi, Italian, 1746–1809, 1750–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Three views of railings terminating in rosettes with acanthus leaves.
Alcove à Fronton Angulaire
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for an alcove with a daybed within it. The alcove has an angular pediment and is surrounded by fluted columns with Ionic capitals. The plate is signed and numbered.
Title Page
Viriclix, active 18th century, 1751-1769
Etching on laid paper
Print

Three designs for the lids of tobacco boxes, arranged vertically on the page. The top design is of a putti on a cloud; the middle features a frame of scrolls, branches, flowers, and ribbons, and surrounds the title text; the bottom design shows a man reclining in a landscape holding a gun, with a hunting dog running toward him.
Design for a Writing Desk
, ca. 1805
Graphite, pen and ink, brush and watercolor on paper
Drawing

Left, front elevation of a design for a writing desk. Upper section with double doors enclosing fitted desk sections, surmounted by a hood with concave molding, and carved railing with finials at corners. Lower section with two long drawers on legs. Right, details of construction, section through side. Scale below.
Church in the Bavarian Alps
Frederic Edwin Church, American, 1826–1900, June–July 1868
Brush and oil, graphite on tan paperboard
Drawing

Landscape and architecture sketch showing a view of a church in the Bavarian Alps, likely near Berchtesgaden. Characterized by its tall, multi-storied belltower and its steeply gabled, Gothic structure, the church is situated atop a prominence in the middle distance at center, as it catches the pinkish light of the setting sun at right. At group of trees are visible at left, while an expansive valley floor extends to the background, where multiple bulging mountain ridges are obfuscated by haze and low-lying clouds. These puffy clouds in the sky above also catch the golden-red sunset light. Comprising the lower half of the composition, an outline of a craggy, rugged mountain ridge is sketched in graphite and oppositely oriented.

Verso: Indistinct sketch of a disc or semi-circle reflected in water, with an arching band within it. Possibly a rainbow over a water feature.
Two Vertical Arabesque Panel Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, 1765
Etching and engraving on laid paper
Print

Fifth plate from a series of ornament panel designs. Two vertical panels with arabesque and neoclassical motifs including feathers, leaves, flowers, vases, garlands and festoons, baskets of flowers and fruit, fleurons, rinceaux, scrolling acanthus leaves, rosettes, roundel with a putto, sun face, strapwork, fluting and plinths. The plate is numbered.
Design for Doors for a Porte Cochère
Louis Crépy, French, 1680?–1760, 1700-1719
Etching and engraving on laid paper
Print

Elevation of a set of double doors for a porte-cochère decorated with ornament motifs including a coat of arms with flags, fasces, and helmets, and scrolls, shells, and rinceaux.
Detail from a Frame or Molding Design
François Roumier, French, 16..–1748, 1750
Etching on paper
Print

Design for a corner detail of a frame or molding featuring scrolling leaves, acanthus leaves, diaper and flower pattern, flowers and foliate branches. The plate is numbered.
Mountains at Sunset, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite on gray-green wove paper
Drawing

Landscape sketch showing view of the setting sun over mountains in Jamaica, with another sketch of a tree. Loosely rendered ridges and hills comprise the foreground and middle distance. The descending sun is framed by several clouds as it approaches the horizon, sending beams of light across the landscape and sky alike. At lower center, a small sketch of a tree is included.
Baignoire vue de face à la Dauphine
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bathrub decorated with a vase, a medallion with a relief of putti, garlands, dolphins, lamb tongue, egg-and-dart, fluting, scrolls, and a mascaron. The plate is not signed.
Button
, late 18th century
Stoneware

1925-2-33: Oval medallion the style of Wedgwood Jasperware; o...
TItle page for "Nouvelle Cahiers de fleurs idéales"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1760
Etching a la poupée and teal, green, orange, ochre, pink, and purple ink on paper.
Print

An oval enframement of floral motifs rendered in teal, green, pink, purple, and ochre inks enclosing eight lines of the title: "Nouvelle Suitte / de Cahiers de fleurs idéales / a l'usage des déssinateurs / et des Peintres Inventés / et déssinés Par / Jean Pillement / graves par / Anne allen" and below, "no. 1"
Castle Garden
, ca. 1830–40
Block-printed paper, wood support
Bandbox

Yellow field, printed in green, pink and white with Castle Garden and the surrounding park, with figures in foreground. Legend above building: Castle Garden.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1885–1900
Machine printed on ingrain paper

A formal design of three stylized calla lilies enclosed in their leaves forming a medallion. Between is a smaller motif of one upright flower with leaves. At bottom is a continuous border of smaller flowers with upright leaves. At top is a narrow scroll design with circles and dashes. On margin is printed: "Standard paper - 2004".
NEPTUNE
Claude Gillot, French, 1673–1722, 1729–37
Etching on paper
Bound print

Plate of arabesques with the figure of Neptune at the center under a baldachin. The first state of the plate before engraving and before lettering (see 1921-6-224-11 for the lettered version).
Dog
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Sketch of a dog.
Design for Two Knife Handles
Francesco Salviati, Italian, 1510 – 1563, 1583
Engraving on off-white laid paper
Print

1921-6-350-1: Two knives, their points facing downward. The carv...
Fragment
, 10th century
silk Technique: 2\1 twill with complementary wefts and inner warps Label: silk twill with complementary wefts

Fragment containing an incomplete roundel enclosing a pair of confronted lions. The roundel has a dentate outer border, and an inner border which is a debased rendering of the Sassanian pearl motive, in which the pearls are squared off. Scaled outlines to all parts of the design. In dark blue, greenish-tan, cream, and at least one other shade of light tan on golden tan ground (all possibly faded).
Modèles à l’usage des Bordures, Commodes, Tables, Poëles, Balustres &c
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Nine rectangular and corner ornament designs featuring repeat patterns for moldings, and frames for various uses, with neoclassical motifs including geometric, roundels, and meander or Greek key motifs. The plate is titled, numbered, and signed.
Fragment
, 3rd–4th century
Warp; S-spun linen. Weft; S-spun linen, S-spun wool. Technique: Slightly warp -faced plain weave and slit tapestry with supplementary weft wrapping.

A narrow tapestry band, monochrome, dark pattern on light ground. Plant motifs and curvelinear lines.  For the tapestry, warp is grouped in 3+2 with crossing and floating warps.
Scorpio, Lunette for Ceiling, Sala Ottagonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and light brown wash over graphite on white laid paper
Drawing

Winged putto holding on his head, salver with scorpion in demi lune.
Cahier de Balançoires Chinoises
Jean-Baptiste Pillement, French, 1728–1808, 1770–1780
Etching on paper
Print

Two Chinese figures balance on either end of a see-saw in round wicker-backed chairs. Top: "B"; bottom: "Cahier de Balanĉoires Chinoises / Inventées et Dessineés par J. Pillement / Premier Peintre de Roi de Pologne / Gravée par J. J. Avril / A Paris / chez Dalmon rue Fromenteau en façe du Louvre / A Paris chez Chereau rue des Mathurins". Two framing lines.
Design for an Ornament
, 1820–1830
Pen and ink, brush and wash on paper
Drawing

Horizontal rectangle with a carved cornice with rosettes in intervals.
The Departure
Victor Vincent Adam, French, 1801 – 1866, 1835-1840
Graphite, pen and bistre ink, brush and ink wash, brush and white heightening on cream-colored paper
Drawing

A coach passes the gate to a villa. Two girls, each with a doll in her lap, are seen in the coach. A crown is painted on the coach door.
Hohensalzburg Fortress, Salzburg, Austria
Frederic Edwin Church, American, 1826–1900, June - August 1868
Graphite on tan laid paper; verso: graphite
drawing

Landscape and architecture sketch showing a view of Hohensalzburg Fortress in Salzburg, Austria. Prominently situated on the abrupt hill known as the Festungsberg, the sprawling fortress consists of several stacked layers of long buildings will turrets and tall, round towers. Immediately in front of the hill at right, the Nonnberg Abbey and its onion-shaped steeple are visible, with another, similar steeple visible in the distance at far right. Five tall trees are also visible around the base of the Festungsberg. In the background at left, the twin, pointed peaks of mountain known as Untersberg are faintly rendered. 

Verso: Landscape and architecture sketch showing an oblique view of a large house with a tall chimney nestled in alpine mountainside. Small trees grown in front of the building at left, while steep, wooded mountain ridges steeply descend behind it. In the lower portion, an illustration of a body of water--possibly a stream of the shallows of a lake--is shown with numerous rocks breaking its surface. Two buildings on the opposite shoreline are visible at center and right.
Textile
, late 19th century
cotton Technique: plain weave; twist unknown

Yarn-dyed woven pattern of small beige and brown checks.
Vignette with a Blank Oval shield
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

Vignette with a blank oval shield in the center, topped with a crown, and surrounded by ermine, fabric, leaves, flowers, and a cross of the Order of the Holy Spirit, set within clouds with sun rays beaming in the background. The plate is numbered.
VENUS OU LA COQUETTERIE
Jean Démosthène Dugourc, French, 1749–1825, 1782
Etching and engraving on paper
Print

An allegorical arabesque panel design representing the Roman goddess of love Venus or flirtations, featuring putto, a hand fan, birds, festoons of leaves and pearls or beads, vases of flowers, scrolling leaves, a colonnade with an oval medallion in the center with the three muses (three standing nude women), two large sphynxes above the columns and entablatures, and vases with other vessels in between the columns. The plate is titled, signed, and numbered.
Century Plant in Bloom, Jamaica
Frederic Edwin Church, American, 1826–1900, June 14, 1865
Graphite, brush and white gouache on tan wove paper
Drawing

Botanical sketch of a blooming agave or century plant in Jamaica. Sharp leaves of the plant's calyx are visible at its base, with its long, narrow stalk and blooming branches dominating the center of the composition. At right, a detail of the plant's stalk is visible.
Design for a Painted Porcelain Salad Bowl
Jacques-François Micaud, French, ca.1732–1811, ca. 1763
Brush and black ink, watercolor, black chalk on cream laid paper
Drawing

View of decagonal salad bowl (after a silver form) in elevation (above) and plan (below) with scattered floral sprays. View of bowl in plan shows rim of bowl decorated with five floral clusters. Blue and gold border lines.
Three Days on the Front
Winslow Homer, American, 1836–1910, 1863–64
Black and white chalk on blue paper
Drawing

A wounded soldier attempts to rise off the ground. Vague sketches of figures appear at right.
Design for a Vase
, 1780–1820
Pen and ink, brush and sepia on paper
Drawing

Tall footed vase with twisted handles decorated with garlands and ribbons.
Title Page
François II de Poilly, French, 1666 – 1741, 1696–1740
Etching and engraving on laid paper
Print

Title page for a series of designs for paneling, fireplaces, and doors. The title is lettered below an interior wall elevation featuring a central chimney piece with an overmantel mirror, flanked by paneling (boiseries) and doors with overdoor frames. The paneling (boiseries) and doors are decorated with rococo motifs and ornament including c-scrolls, s-scrolls, fleurons, scrolling leaves (rinceaux), scrolling acanthus leaves, cartouches, masks (mascarons), shells, strapwork, wall sconces, rosettes, and diaper patterns. Below the fireplace, there is a plan view of the mantel shape. The publisher's address is lettered in the lower right.
Temples of Hera at Paestum, Italy
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on light gray-green wove paper
Drawing

Landscape and architecture sketch showing a view of the Temples of Hera at Paestum, Italy. Prominently situated in the middle distance at center, the Temple of Hera II--with its pediment still partially intact--extends obliquely into the distance, where the Temple of Hera I is visible with its collapsed pediment. A segment of stone wall is visible in the immediate foreground at lower left. Scene generally loosely rendered.

Verso: Landscape sketch showing a view in Paestum, Italy. Olive trees are shown at center with one of the Temples of Hera beside them at right. In the background, the outline of a rugged mountain range is faintly rendered.
From the Hill of San Juan, Quito, Ecuador
Frederic Edwin Church, American, 1826–1900, 1853 or 1857
Graphite on gray wove paper
Drawing

Landscape sketch showing view of rugged Andean mountains around a high elevation plain, as seen from the Hill of San Juan in Quito, Ecuador. In middle distance, a flat plain stretches along the floor of a valley, bounded by sharp hills at right. In the distance, increasingly tall and rugged mountains extend to the horizon.
Table cover
Sybil Carter Indian Mission and Lace Industry Association, ca. 1900
linen Technique: cutwork with embroidery

Table scarf with borders at each end of cutwork birds and wheels, embroidered canoes.
Design for the Embroidery of a Man's Waistcoat
, 1780–1790
Brush and gouche, white on paper
Drawing

Five buttonholes are shown over a rectangular violet and yellow edged corner at left. A black, yellow edged moulding connects the inner ends of the botton holes and is to run parallel to the bottom edge of the waistcoat. Blue feathery wreaths and three dots are to alternate as decorations of the moulding, from the inner side of which boughs grow. Flower boughs are shown between the buttonholes. The field is to be decorated with rows of three dots alternating in alternative rows with a leaf bough and with a half flower plant.
Textile
, 1915–20
silk Technique: printed on satin weave

Five small pieces of printed satin. Incomplete design of very closely spaced acanthus leaves outlined in gray-blue.
Button
, 19th century
Copper, brass

Button ornamented in design of a crown within crossed laurel sprays. Brass back. Copper shank.

On card E
Title Page
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Chimneypiece design with the title of the series and its dedication printed in the center of the plate. The plate is signed and lettered "I."
Gaines et Piedestal
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for three pedestals decorated with ornament motifs including bead and bar, rosette, crossed branches, lamb tongue, bound leaf, acanthus leaves, garlands, a portrait medallion, satyr mascaron and drapery. The plate is signed.
Study of Sycamore
Samuel Colman, American, 1832–1920, December 23, 1885
Pen and brown ink, graphite, brush and watercolor on paper
Drawing

A double flanked sycamore growing on stony ground. Another tree is shown in the right middle distance.
Beach Scene, England
Winslow Homer, American, 1836–1910, 1881–82
Crayon on paper
Drawing

Horizontal view of the water, beach and figures, with color notations.  Spots of red and blue watercolor on margin at bottom.
Trimming
, 19th century
silk Technique: woven

Blue, white, yellow, green and gold trimming fragment in an incomplete design showing flowers, leaves and scrolls.
Girandole (Candelabra) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for a two-light candelabra (griandoles) decorated with leaves, foliate branches, flowers, festoon of leaves, gadrooning, rosettes, fluting, and scrolling leaves (rinceaux). The plate is numbered and signed.
Box
, late 18th century
Wood, painted

Box for card game
Les plaisirs de l'Isle enchantée
, 1664
Black ink on rolled paper
Print

Horizontal rectangle:  In the foreground, a frieze of the back of an audience.  At the right and left numerous riders in the open area.  Towards the background a man tending a pole from which a ring is suspended.  A rider charges it from the left.  Beyond, a stage formed by trees and clipped hedges.
Cattle Study for Sheep-Shearing
Walter Shirlaw, American, b. Scotland, 1838–1909, 1876
Graphite on heavy cream wove paper
Drawing

Interior view of a cattle shed showing an ox facing right and four resting cows at a feeding trough. At lower left, a graphite sketch of a head of an ox.
Lake Road at Olana
Frederic Edwin Church, American, 1826–1900, 1880-1890
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of the road by the lake on the grounds of the artist's estate in New York, known as Olana. Constructed with red slate gravel, the road has a distinctly red-orange hue as it curves from the foreground into the background, tapering as it goes. Dappled sunlight falls upon the road in the foreground and background, and helps illuminate the dark, parallel ruts made by carriages. The road is lined with three mature trees at left, while a fourth grows diagonally over the water's surface, which extends from the middle distance into the background at left. A distant mountain range is visible in the extreme background, beyond the lake. A wall of foliage resembling a hedgerow lines the road at right.
Autumn Mountains, Vermont
Frederic Edwin Church, American, 1826–1900, probably 1873–74
Brush and oil, graphite on thin paperboard
Drawing

Landscape sketch showing a view looking obliquely at mountain range in Vermont during an autumn sunset. A rolling field fills the foreground before giving way to a densely wooded area tinged with yellow autumn colors in the middle distance. In the background, a rugged mountain range extends across the horizon beneath a warm evening sky.
Design for a Comb
, 1820–30
Pen and sepia ink, brush and gray watercolor on paper
Drawing

Design for a hair comb. Above nine tines, a pointed compartment formed by two entwined ribbons. Inside, two eagles stand beside a vase filled with stemmed flowers and fruits, two of which each the eagles are eating. A feather is fastened at the upper frame of the right part of the headpiece. Bevelled corners.