biglam/cooper-hewitt-alt-text huggingface dataset:
Bedspread
, 1851–1899
silk, cotton Technique: compound satin weave

Rose satin with a pattern of circular beige medallions. Each medallion has a center of lilies and acanthus leaves surrounded by a wreath of imbricated leaves and rosettes. These, in turn, are encircled by another wreath of laurel leaves with daisies at intersection.
Feu à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an andiron decorated with ornament motifs including garland, rosette, lion head with ring pull, an urn, and lamb tongue. The plate is not signed.
Sketch: Forearm
, 1750–1800
Black crayon on paper
Drawing

Horizontal composition of a left hand and forearm of a naked man holding a ball.
Ruined Tower, Syria
Frederic Edwin Church, American, 1826–1900, April - May, 1868
Oil and graphite on paperboard
Drawing

Landscape study showing a view of a ruinous rectangular tower in a dry, barren mountain valley in Syria. Foreground consists of brown and green grass and shrubs. In middle distance at center, the remains of a tower are shown with ruined walls or structures nearby. At left, an indistinct herd of animals grazes. In the background at left and center, two other towers are visible in front of a sharp, rugged mountain range that stretches across the horizon. Above, light, wispy clouds hang in a twilight sky.
Architectural Fantasy: Buildings, Monuments and Stairways
Charles Michel-Ange Challe, French, 1718 – 1778, 1750–1770
Pen and red crayon with brown, gray and black washes on laid paper
Drawing

Horizontal rectangle. Staircases are leading up to the level of the structures from the lower level at the frontside. It is crossed at left by a bridge. Several groups of persons are upon the different levels and upon the staircases. Framing line.
Ornament Designs
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Ornament designs with grotesque motifs including an asymmetrical cartouche surrounded by military ornament on a plinth, featuring a helmet, banners, spears, shields, quivers of arrows, and a cornucopia of flowers. To the right, foliate scrolls, scrolling leaves (rinceaux), rosettes, dolphin, a winged lion, and putti/faun. In the upper right corner, a ram head ornament with scrolling leaves (rinceaux) and molding above. The plate is signed.
Lake Thun at Interlaken, Switzerland
Daniel Huntington, American, 1816–1906, June 15, 1844
Graphite on paper
Drawing

Lake, with mountains beyond, outlined.
Study for a kneeling woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on tracing paper
Drawing

A female figure kneeling. Clothed and turned as in -1, but the left forearm is shown as in -a and -b. Only parts of the arm are shown.
Buckle
, ca. 1890
Silver, turquoise

Buckle in two parts; each part, hexagonal in shape. Design of eight cherub heads with small pieces of turquoise set as a cross and in the border.
Snuffbox
Doccia Porcelain Factory, Italian, established 1735, 19th century
porcelain, vitreous enamel, gold, brass
snuffbox

Box, raised and colored decoration, heads & scrolls. Lid, raised and colored royal marriage scene; border, flat conventional flowers. "Cappi di Monte"
Nine Circular Compositions with Diety Subject Matter
Felice Giani, Italian, 1758–1823, 1805
Pen and brown ink, brush and brown wash on cream laid paper
Drawing

Nine compositions: 1. chariot of victory holding mace in right hand. Coliseum shown in rear. 2. Girl shown in profile turned toward right where statue of Venus stands. She kneels upon altar, carrying basket with fruit. 3. Warrior brings panoply to statue. 4. Girl offers game to statue of Diana. 5. Muse shown in profile, standing and turned toward left. She pours wine from pitcher on altar. Statue of Apollo against pedestal of which lyre leans shown in left foreground.
Sword Hilt (Handles) and Guard Designs
Friedrich Jacob Morison, German, active 1693 – 1699, ca. 1700
Engraving on laid paper
Print

Designs for sword hilts, guards, pommels, and grips, featuring scrolling leaves, fluting, drums, swords, shields, flowers, fleurons, strapwork, and fluting. The plate is signed and numbered.
LA PORTE DE LA CONFERENCE
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of Paris, with the river Seine in the center and a large gate on the left bank. Bridges in the background, and buildings. Barges, and boats on the river with figures. A description of the gate is lettered below. The plate is titled and signed.
Design for a Candlestick
George E Germer, 1868 – 1936, ca. 1933
Graphite, black crayon, brush and white gouache on cream paper
Drawing

Stumps of candles are shown. The design  framed by lines at left, above and partially at right. Height indicated is 9 3/4".
Apollo and Diana Chasing the Harpies
François Perrier, French, 1594 - 1649, 1632
Engraving on paper
Print

Within an oval frame, Diana is seated on a cloud near Apollo, who pursues the Harpies with bow and arrow.
Title Page
Antoine Pierretz le jeune, French, active 1660-70, ca. 1665
Etching on laid paper
Print

Title page for a series of ironwork designs. The title is lettered on a banner above a wrought iron gate with two doors featuring grotesque and arabesque ornament. Topped with a winged terminal figure holding a basket of fruit and flowers above their head with their lower body in the form of scrolling acanthus leaves, below sphynx's, cornucopias, moon faces, vases, fleurs-de-lys, and interlaced L's. The doors include rosettes, shells, fleurons, sprigs, masks, vases, scrolling acanthus leaves, and interlaced L's. The plate is numbered.
Figures Mourning Over the Dead Christ
Fortunato Duranti, Italian, 1787 - 1863, 1820-1857
Pen and brown ink, brush and brown wash on paper
Drawing

Two half nude male figures bend over a dead man (possibly Christ). Three other figures in the background. Ink framing line.
Project for a Ceiling
Giuseppe Bernardino Bison, Italian, 1762 - 1844, 1775–1800
Pen and ink on paper
Drawing

A winged genii with two trumpets. Beside him is another one flying. Below are two groups of flying putti.
Vue du Palais Quirinal a Rome (View of the Quirinal Palace in Rome)
Wichyther, English, 
Hand-colored etching on paper; verso: fabric adhered with thread
Bound print

Perspective view of the Quirinal Palace in Rome. The palace is shown obliquely, looming large on the left side. The two-story palace features five rows of windows, which have been cut out so that fabric and thread are visible through the openings. On the right, the street recedes diagonally into the background, framed by rows of buildings on either side, scattered with figures. A cluster of men wearing habits stand conversing at front center, while various other people mill about the area directly in front of the palace.
 
Verso: Patches of colored fabric, visibly attached with thread. The page has heavy brown staining, particularly around the places where fabric has been attached. Printed label: Vue du Palais Quirinal a Rome. / à Londres chés Wichnyther, et a Paris chés Chereau ruë St. Jacques au Coq. A. P. D. R.
Design for a Fountain
, mid- 17th century
Pen and brown ink, brush and blue wash on off-white laid paper; verso: red crayon
Drawing

Vertical rectangle. A basin is supported by a round pedestal, rising from among stones. In it stands a child, carrying upon the head and with the hands a shell. The water springs there, and pours from masks at the shaft of the pedestal. In the upper right corner is a part of sketch of a child. Verso: sketch of a flying child carrying an object.
Design for Magazine Cover, Scribner's Magazine
Kenyon Cox, American, 1856–1919, April 1902
Graphite on paper
Drawing

Sketch of a magazine cover with a female figure seated, pouring a watering can. Inscribed, Vol XXX I APRIL 1902 PRICE  25 CENTS/ SCRIBNER'S/ MAGAZINE/ CHARLES SCRIBNERS SONS NEW YORK/ SAMPSON LOW MARSTON & CO Limited LONDON.
Mixed Sketches, Mexico
Frederic Edwin Church, American, 1826–1900, Feburary–April 1889
Graphite on off-white wove paper
Drawing

Mixed sketches from Mexico showing, at upper left, the ornate belltower and tiled dome of a cathedral or large church; at center left, a small, rudimentary sketch of a person's face with dark hair; and at right, two overlapping and heavily wooded hills. Trees are individually rendered on the foremost hill and are implied on the rear hill through its vibrating/undulating contour.
Allegorial Frontispiece
René-Michel Slodtz, French, 1705–1764, 1751
Engraving on laid paper
Bound print

Frontispiece depicting allegorical figures of France and Saxony being united at the altar of marriage under the presence of Juno, who holds in each of her arms a medallion portrait of Louis Dauphin and Marie-Josephe of Saxony, with Minerva looking on. A rainbow, symbolizing happiness, appears in the background. At the bottom of the print, putti weave a garland. The description of the allegory is provided on the verso of 1921-6-207-39.
Sketch of an Angel
Fortunato Duranti, Italian, 1787 - 1863, 1825-1850
Graphite, pen and ink, brush and bistre on paper
Drawing

Above, in pencil, half-length group of the Virgin and Child, enclosed in frame. Before it, a shouting angel, in a cloud, flies toward right. A large winged angel, in ink, in foreground; city view, in pencil, in background, right.
Sidewall
, 1860–70
Machine-printed, glazed ground

Horizontal rectangle. All-over pattern of lobed, veined leaves and budding flowers. Printed in red and browns on glazed white ground.
Two Studies of Madonna and Child
Fortunato Duranti, Italian, 1787 - 1863, ca. 1825
Pen and bistre ink on paper
Drawing

Left: Full-length figure of the Madonna, seated, facing the spectator. The Child stnads beside her, his left hand raised high, supporting a tablet which is on the Virgin's lap. Right: Full-length figure of the Madonna, seated, facing right, in profile. The Child stands before her, supporting a tablet.
The temples of Apollo and Diana built for the first day of the fireworks at SS. Peter and Paul by Paolo Posi
Giuseppe Vasi, Italian, 1710 – 1782, 1763
Etching Paper; watemark: lily in double ovoid topped by V
Print

Horizontal rectangle.  The two circular, domed temples, to which steps lead, are at left (Apollo) and right (Diana) and are connected by a bridge structure.  In the background is the Palazzo Franese, decorated for the celebration.  In the foreground, workers cut wood while other participants form a procession with smoking vessels.  Framing lines.  Bottom:  "Disegno della Prima Machina rappresentante i Temii...Incendiata per commando di Sua Eccelenza il Sigr DON LORENZO COLONNA Gran Contestabile de / Regno di Napoli S S come Amdella presentazione della Chinea alla Santita di Nostro Signore PAPA / CLEMENTE XIII, nella Vigilia de Gloriosi S. S. Apostoli PIETRO E PAOLO l'anno 1763" / "Paolo Posi Architetto"  "Giuseppe Palazzi dis."  "Giuseppe Vasi incise."
Sampler
, 17th century
linen embroidery on linen Technique: double running, long-armed cross, eyelet, satin, buttonhole, marking cross, cross, herringbone and back stitches, withdrawn element work with needle lace fillings

Cross borders of geometrical patterns.
Jar
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Partial sketch of a ceramic jar.
Sketches and Script
Carlo Marchionni, Italian, 1702–1786, 1765
Pen and black ink on laid paper
Drawing

Two sketches of a door with a niche in the upper floor. The latter is framed in rectangle and has a shell above. One sketch gives the measurements for the door, the other shows the statue of a bishop with a host on the side and a man with a wooden leg wearing a big hat standing on the street. Above, two slight sketches of people standing. Written beside in script: "Lavoro"; "Squario eti"; and "Finezza dell' Amio".
Interior Wall Elevation
L. Janneret, French, active late 18th century, 1788
Etching and aquatint on laid paper
Print

A wall elevation featuring rococo and neoclassical motifs. The wall is split in half with two different designs. To the right, a niche with a sofa, and a wall panel decorated with drapery, a lyre with a clock, olive branches, a horn, and cornucopia. Two narrow vertical panels flank the central panel with a frieze of intertwined olive branches. Below the dado level panel is decorated with vases of flowers, a putto, scrolling acanthus leaves, and fleurons. To the left, the central section is a window with a curtain, and a wall panel decorated with flowers, fleurons, a vase, festoons of flowers, and two birds, with the same narrow vertical flanking panels. Below the dado level panel is decorated with a mask framed by a garland of leaves, olive branches, and torches. The plate is signed and numbered. A scale along the right margin of the plate.
Design for a Sofa
Jean-Charles Delafosse, French, 1734 – 1789, 1862
Etching on paper
Print

Design for an upholstered sofa with a carved frame featuring festoons of flowers, birds, and scrolling acanthus leaves.The plate is signed with the printmaker, publisher, and original designer, and numbered.
Ornament Design with a Heraldic Achievement
Jean Berain, the elder, French, 1640-1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

Ornament designs with grotesque motifs. A central coat of arms featuring a sun and a flaming heart surrounded by a helmet and scrolling foliage. Framed by a semi-circular frieze featuring a procession of figures and mythological creatures possibly representing the seasons, with a central mask with a ring above. Left and right of the center, smaller designs for scrolling foliage featuring rosettes, terminal heads, and acanthus leaves. The plate is signed and numbered.
Sidewall
, ca. 1750
Leather, stamped, silvered, varnished and painted

Diapered field, varnished silver. Rococo vine, in green, with flowers in red and blue.
Cover
, late 18th century
Lead-glazed earthenware with green underglaze decoration, silver gilt (cover)

Cylindrical body. Broad shoulders, Snort neck encased in silver gilt. Body ribbed and striped in green. Cover of silver gilt with knob in the form of a bunch of grapes.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1887–1903
Brush and gouache on paper
Drawing

On tan ground, vertical empty oval box at center framed by green and red lines; surrounded by frame of green leaves and bright red berries.
Decorative door boss and nail
, ca. 1550–1700
Steel-plated iron

Square type, pierced and embossed with wrought lines. Quadrant leaf design based on old examples. Five notched mushroom-head nail with square shank.
Design for the Elevation of a Metal Baptismal Bowl
George E Germer, 1868 – 1936, ca. 1928
Graphite, crayon, brush and blue, yellow, and red watercolor on cardboard
Drawing

In the shape of a baptismal font with a cover; a shell is on top. Diamonds form crosses which alternate with shields in the panels of the parapet. The shields represent: A[p with descender bisecting an X; Greek letter omega]; a rose, a fleur-de-lys; [an anchor with a heart]. Those not visible in the decoration are shown beside it. More diamonds at the molding. Verso: incised corner ornament. [See accession ledger for illustrations.] Verso: incised corner ornament.
Study for a Painting: The Glory of Saint Dominic
Giacomo Zampa, Italian, 1731 - 1808, ca. 1800
Black chalk, pen and ink, brush and gray watercolor on paper
Drawing

The saint kneels upon clouds surrounded by three pairs of angels. The lowest ones carry a lily and a book, respectively. A dog holding a lighted torch and a globe crouches below. Framing lines' the top one is drawn twice.
Cotopaxi at Morning from the Panecillo, Quito, Ecuador
Frederic Edwin Church, American, 1826–1900, June 24, 1857
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch with multiple views of the volcano Cotopaxi in Ecuador. In upper portion, the steaming volcano rises from behind other hills and mountains. More distant mountain visible at right, crowned in clouds. Clouds and snow on Cotopaxi's slopes rendered in white gouache. In lower half, outline of Cotopaxi with steam visible at left; at right, outline of other distant mountain.
Cope hood
, 15th century
silk, metallic threads Technique: supplementary warp in a plain weave foundation (velvet) with metallic supplementary weft

Pomegranate in gold on a ground of blue velvet. Shape of textile is that of a cope hood.
Upholstery trimming
, ca. 1902
silk, copper strips Technique: woven

Trimming of white and pink silk cord and flat copper strips twisted into an ornamental design of loops.
Pork and Beans
Frederick Stuart Church, American, 1842–1924, 1877
Printed in black ink on blue paper
Ephemera

Top; short story on pork and beans. Bottom; pigs sitting and eating vegetation; background, man with hat behind wooden fence screams in surprised, arms extended out in shock.
Back of the South Dome from the Nevada Trail, Yosemite
Thomas Moran, American, b. Britain, 1837–1926, 1891
Brush and gray, black, and white wash, graphite on gray paper; verso: brush and wash, graphite
Drawing

Horizontal view of three peaks in the middle ground with snow-covered Dome in the left background. A horseman is seen upon a trail through a rugged promontory foreground. Verso: view of a snow-covered mountain peak in the left background; a rocky summit is in the right foreground.
Design for a Frieze
, 1820–1830
Pen and ink, stencil on paper
Drawing

At center, a bucranium hung with laurel wreaths. Birds sit on two festoons hung from ribbons, which also support two trophies.
Playing card
, ca. 1855
Red and black ink, paper

At top: O 2 T; below central image: 4
Portrait of Zraigan, the Artist's Dromedary, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 9-12, 1868
Graphite on light green wove paper
Drawing

Portrait of the artist's dromedary and companion, Zraigan, sketched near Jerusalem while en route to Petra, with other light sketches. At right, Zraigan faces directly forward, his smiling face rendered in detail. He is laden with a weight saddle placed upon his hump. Separately at upper center, Zraigan--or perhaps another camel--is sketched from behind. At upper left, another camel and a figure are outlined from the rear. At lower left, a portion of an old stone house is shown with a figure standing on top of it.
Fragment
, 19th century
silk, cotton Technique: woven

Dark blue satin weave with a central palmette and branching leaves in white floating weft twill. Narrow arabesque bands and rosettes.
Designs for Friezes
Henri Sallembier, French, ca. 1753 - 1820, 1777-1778
Etching on off-white laid paper
Print

Four designs for friezes decorated with ornament motifs including scrolling acanthus leaves, shield with gorgon head, monkeys, satyrs, grapes, flaming urn, ribbons, bells, and branches. The plate is signed and numbered.
Design for an Embroidered or Woven Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and white gouache on glazed tracing paper
Drawing

A chain of perspectively shown rings of which leaf boughs form the outside; the insides show dots between lines. Seven rings are shown.
Studies for a Woman With a Book
, late 18th century
Pencil, black and white crayon on grey-blue paper
Drawing

Study of a woman holding a large book in her right hand and lefting her left. Below a study of an upper arm and elbow sheathed in clothing and two studies of hands. Verso has study for the woman's skirt.
Fontaine executé dans une Niche de Charmille
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on paper
Print

A design for a fountain set into a foliate niche. The fountain features shells, a vase, dolphins, mascaron (mask), and mermen supporting a basin in the shape of a shell. The plate is titled, signed, dated, and numbered.
Miya: Atsuta Terminal of the Shichiri Ferry (Miya: Atsuta no eki Shichiri no watashiguchi) from the Series 53 Stations of the Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

Half of a torii divides the print in half. This welcome sign hints that the gathering in the scene is a welcoming of sorts. Women finely dressed in kimonos are greeting men who are also well adorned in kimonos. Behind them are boats docked for the evening. Out on the purple horizon are ships sailing away.
Overlooking El Arabah, Part One
Frederic Edwin Church, American, 1826–1900, February 20, 1868
Graphite and white gouache on gray wove paper; verso: graphite
Drawing

Landscape sketch showing a view overlooking the Wadi Arabah in Jordan from an elevated point. Hills, buffs, washes and ravines in the foreground give way to flat plain in middle distance. In the background, the Mountains of Edom (a region also known as Mount Seir) rise along the horizon and are capped in snow.

Verso: Landscape sketch showing views of a rock face in the valley in souther Israel known to Church as El Yemen. Shaded in some detail, the rock is defined by rounded columnar forms that lend the cliff an undulating quality. A rounded pinnacle is visible at upper right. At upper center, a large bird flies above the wall. A detail of oen of the columnar forms is visible lower right, oppositely oriented.
The Child, Saint John the Baptist and, Possibly, Saint Elizabeth
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite, impressed lines on paper
Drawing

The Child is sitting upon the lamb, leaning his head against it. Behind stands Saint John as a boy, raising his right hand and carrying in his left the cross staff. Behind him sits an elderly
View of the Porta Aurea, Palace of Diocletian, Split
Charles-Louis Clérisseau, French, 1721 – 1820, late 18th century
Pen and brown ink, brush and yellow-brown wash, graphite on paper
Drawing

Wall elevation, in ruins.  The lower portion of the wall includes a walled up doorway, two small niches, placed on either side of the doorway, and a half arch above the doorway.  The upper portion of the wall includes a blind arcade with three niches and partially destroyed entablature.  Only three columns are still intact.  On the ground, three male figures are standing to the right of the doorway.  Small plants grow on various parts of the wall.  Broken columns and other architectural pieces stacked on the left hand side.
Sample
, late 19th century
cotton Technique: printed on plain weave

Woven cotton textile printed in blue and brown on white ground showing a pattern of greyhound dogs.
Design for a Putto Frieze of a Plate
Pietro Belli, Italian, 1780–1828, 1815–30
Pen and black ink, graphite on paper
Drawing

Horizontal rectangle. Design for a circular plate outlined in graphite, the design for the frieze rendered in pen and ink. The figures of putti along the frieze carry, singularly or in pairs: a tiara, a sword, keys, a candelabrum, a ciborium, an umbrella, an altar lamp, a pastoral staff and a candelabrum, a mitre, a chasuble, a censer, a chalice and host, a cross, an umbrella, a mitre, a pastoral staff, a censer, a pallium, a tabernacle with chalice and host, a pitcher, an able, and a book. Between the putti carrying the pitcher and albe, two putti kneel in adoration.
Design for Damask Textile
, 1850–75
Brush and gouache on impregnated tracing paper
Drawing

A basket overflowing with flowers, suspended from a ribbon, and adorned with a bow on its side.  Flies, butterflies, and birds enter from the left and lower margins.
The Apothesis of Hercules, Palazzo Gessi, Faenza
Felice Giani, Italian, 1758–1823, 1813
Pen and ink, graphite on light blue paper.
Drawing

Hercules accompanied by genii presents to Zeus apples of Hesperidae. Sitting beside Zeus, Juno with peacock, Athena and other gods. Hebe pouring ambrosia in cup for Hercules. In foreground, at left, three putti, two with flowers, one pouring water from pitcher. Inscription in Giani's hand: apoteosi di ercole alla preseza delli dei.
Standing Woman
Luigi Vanvitelli, Italian, 1700 – 1773, 1700–1773
Graphite on paper, lined
Drawing

A standing woman, facing left, holding her apron with both hands.