biglam/cooper-hewitt-alt-text huggingface dataset:
Orange Sky at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–75
Brush and oil on paperboard
Drawing

Atmosphere and landscape sketch showing a view of a rich, orange sky at sunset over the Hudson River Valley, as viewed from the artist's property in Hudson, New York. Nearby treetops are visible in the foreground at lower left, while the slightly faded Catskill Escarpment creates a rolling horizon in the background at lower left. The sky and clouds near the horizon are a rich red orange that transitions to a softer orange-yellow at center and center right. These colors transition to a bluish green along the upper margin. Puffy and wispy clouds are warmly lit throughout.
The Elderly Couple Haughtily Ending a Visit, Illustration of the Play "Nicht mehr als sachs Schuesseln" by Fredrich Wilhelm Grossman in "Königl: Grosbrit [anische] Genealogischer Kalender auf das 1782 Jahr Lauenberg bey J.G. Berenberg"
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1781
Line and stipple engraving with etching on paper
Print

The elderly woman speaks to the father or the guardian of the girl in -368.
Two Arabesque Panel Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching in red ink on paper
Print

Two vertical arabesque ornament panel designs pasted side-by-side onto the album paper. The panels feature cartouches with figures, birds, putti, festoons of flowers and leaves, vases, scrolling leaves (rinceaux), foliate scrolls, fleurons, and a winged female torso.
Design for a Candlestick
Joseph Anton Seethaler II, German, 1799–1868, 1820-1830
Pen and ink, brush and wash, graphite on paper
drawing

The shaft consists of a column standing upon a high pedestal showing a palmette in the concave front panel. Octagonal plinth and four sockets on branches and a central one rising from a calyx over capital
Sidewall
, 1850–60
Block-printed paper

Rococo Revival stripe printed in red, green and white on gray ungrounded paper.
Design for Ornament: Two Seated Women
Etienne Delaune, French, 1519 - 1583, ca. 1580
Engraving on off-white laid paper
Print

Oval ornament design with a decorative foliate motif throughout and featuring two central seated female figures each with one arm raised towards and holding a leafy branch.  Above the branches is a winged upright female figure.
Design for the Decoration of a Panel
Giuseppe Barberi, Italian, 1746–1809, 1780-1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of the scheme of -1439. The motif below has the width of teh panel. Upon a pedestal stands a circular, vaulted structure in the center of a hemi-circle. The lateral parts of the front of teh pedestal are projecting; upon them are sitting figures. Above the hemi-circle are scrolls from which two stems rise having above scrolls and on top an oval medallion with a standing figure. The scroll rising in teh center end in spirals above the medallions, framing a stem witha female half-figure and supporting the frame of a landscape. Above the latter are two crouching animals beside a medallion, with scrolls on top.
LA LAITERIE
Jacques Bacheley, French, 1712 – 1781, mid- 18th century
etching on paper
Print

Sixth plate from a series of six depicting children's scenes, framed within decorative rococo cartouches. The series is incomplete in this album and the third and fourth plates have been substituted with plates from other series. The scene depicts a girl milking a cow with another churning butter, a boy stands to the right next to beehives and animals within a landscape. The title is lettered below the cartouche, the plate is signed and numbered.
Fragment
, 17th century
silk, metallic Technique: woven supplementary pile (velvet)

Strap motif with crescents and lotus buds in metallic and red.
Stage Design: Atrium of a Villa
, late 18th century
Pen and ink, brush and gray, blue watercolor, graphite on paper; verso: graphite
Drawing

Horizontal format. Architectural stage design with a view of the corners. Two steps are leading up to the level of the ground floor; it is paved, and bordered by balustrades which connect the columns supporting the upper story. A piece of drapery is in the upper left corner. Framed by black lines and stripes, and a blue one. Verso, vertically: rough pencil sketch of a standing and two sitting men. A fourth man is only partly visible.
The Life Boat
Winslow Homer, American, 1836–1910, 1881
Brush and wash, brush and gouache, chalk on wove paper
Drawing

Group of figures rowing a boat in rough sea, toward ship on horizon at upper left; ship vaguely indicated.
Title Page, "Suite de douze Pêcheurs et Chasseurs"
Jean-Baptiste Pillement, French, 1728–1808, 1771
Etching on paper
Print

Decorative landscape with man riding an ostrich and felling a duck. Two bordering lines. Top, right corner: "1". Bottom: "J. Pillement.del."; "j. j. avril-sculp.1771." Bottom center: "Suite de douze Pêcheurs et Chasseurs / se vend à Paris chés Basan et Poignant Mds d'Estampes, rue et Hôtel / Serpente."
Section of a wall, Tapestry Room, Palace of Fontainebleau
Frederick Marschall, ca. 1885
Brush and watercolor, Chinese white on heavy paper
Drawing

Elevation of section of wall, showing panelling and parts of large tapestries. Left, tapestry over mantelpiece. Right, side chair and commode.
Project for a Chandelier
, 1844
Graphite, brush and watercolor on paper
Drawing

Vertical rectangle. In the center is a vase with a big bouquet of colored flowers. Five arms are visible. The bowl on top, the rings of the chains, a bowl below the ring is of glass. The signature below at right: a monogram of HIM.
Théatre Français, Paris
, ca. 1790
Engraving on paper
Print

Circular. Straight view of the facade with the two neighboring houses. In front is the square with walkers and a carriage. Caption: "FRENCH THEATRE". In the shape of a frame medallion, with shadowed background outside.
Deux différents desseins de Comodes
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745–55
Etching, engraving on off-white laid paper
Print

Two drawings for commodes.  The top drawing depicts the cabinet as having an angelic mask in the center, at the top, surrounded by curving, vine-like designs.  On the upper corner of the first commode, there is a grotesque, diabolic head.  The second commode is similar, but without the mask or head and with a slightly varied pattern. The plate is signed and numbered.
Design for a Keyhole Escutcheon
Antoine Jacquard, French, active ca. 1616 – d. 1652, 1615
Engraving on paper
Print

Design for a keyhole escutcheon featuring grotesque motifs including hybrid torsos, part-male, part-female, part-fish, and part-foliage, with surrounding scrolling leaves, and mascarons (masks). The plate is numbered.
Band
, 19th century
cotton Technique: bobbin lace (late Valenciennes ground)

cu study group
Curving stem with leaves and flowers.
Textile
, 16th century
silk Technique: plain compound satin

Two side-by-side repeats featuring a double-headed eagle and flowers in red and yellow.
Fragment
, 17th century
Medium; silk Technique: 4&1 satin damask

Scrolling pattern of leaves and cartouches in red damask.
Sheet with Architectural Sketches and Heads
Filippo Marchionni, Italian, 1732–1805, 1750–75
Pen and brown ink, brush and black wash on cream laid paper
Drawing

Architectural studies of partial window or door cases as well as two heads; some accounting figures at upper left.
Plate
Veuve Perrin Factory, France, 1748 - 1803, late 18th century
Tin-glazed earthenware, overglaze muffle colors

Circular cavetto, scalloped rim irregularly ten-sided. Chinoiserie decoration: seated man and boy holding parasol under double-roofed shelter supporting a bell and a bird, the whole surrounded by foliage. Border of alternating birds and green latticed panels.
Hospital de San Juan de Dios, Honda, Colombia
Frederic Edwin Church, American, 1826–1900, May 23-31, 1853
Graphite on gray laid paper
Drawing

Landscape and architecture sketch of the Hospital de San Juan Dios in Honda, Colombia, which was destroyed in an earthquake in 1805. The ruined portion of the building with overgrowth is visible at left. Viewed obliquely, the remainder of the structure extends diagonally from left to right toward the horizon. A path curves in front of the hospital in the immediate foreground. In distance, mountains comprise the horizon.

Verso: Partial outline of a mountainous horizon.
Centerpiece
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Black chalk on off-white laid paper
Drawing

"Desser," table centerpiece
A Pathetic Ballad
Frederick Stuart Church, American, 1842–1924, 1888
Etching on paper
Ephemera

Right, pensive black bear with right elbow on knee and hand under chin. Left, bird singing, perched on twig or blade of grass
Devil's Gate, Weber Cañon
Thomas Moran, American, b. Britain, 1837–1926, 1874
Wood engraving on cream wove paper
Print

View of river running over rocks and through two cliffs; mountains in the middle and background.
Plan et Elevation d'une Porte avec Pilastre
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Plan and elevation of a door with pilasters. The plate is signed.
L'amour Vendangeur
Emile Wattier, French, 1800 - 1868, ca. 1825–1855
Lithograph in brown ink on white paper
Print

Four children surrounded by leaves and fruit and flowers, bank them about a cleared space - "Love gathering the grapes."
Trimming
, 19th century
silk Technique: uncut supplementary warp pile in a satin foundation

Green and yellow trimming fragment in a design of a serpentine stem with leaves.
Design for a Tureen
Johann Nepomuk, 1825-1835
Pen and brown ink, brush and watercolor
Drawing

The bowl-shaped vessel is supported on high legs with repeating leaf decoration and paw feet. A band about the body of the vessel shows a mask separating alternate schemes of leaf or military attributes decorations. Helmets form handles, and the finial is in the shape of a mask and dogs' heads surmounted by stylized leaves. The top is ornamented with oak leaves.
Shell Ornament Design
Alexis Peyrotte, French, 1699–1769, 1749–61
Etching on laid paper
Bound print

Third plate from a series of six designs for rococo ornament by Peyrotte. Possibly a section from a frieze featuring a shell central cartouche surrounded by acanthus leaf fronds, c-scrolls, s-scrolls, branches with leaves, and strapwork. The plate is trimmed and pasted onto the album page. It is signed, and numbered.
Ornamenti o Grottesche (Grotesque Ornament)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on paper
Print

Vertical rectangle showing a symmetrical design composed of horse heads terminating in acanthus leaves, a shield with a small mask at top, a military trophy in the antique style.
Textile
, early 19th century
silk Technique: compound satin weave

Narrow panel with borders on each side. Blue satin ground with a broad central band of floral vine entwined with serpentine ribbon. Symmetrical borders with stripes and flowers. Design in extra wefts of green, pink, and tan silk.
Saint John in the Wilderness (Saint Hilarion)
Francesco Villamena, ca.1566 – 1626, ca. 1613
Engraving on paper
Print

Half-length figure, turned half-left, leaning on his elbows and comtemplating a cross resting on a skull. Below, two-line Latin inscription, and artist's name and date.
Ornamenti di fregi e fogliami
Stefano della Bella, Italian, 1610–1664, ca. 1648
Etching on paper
Print

Plate 14
Cup and Saucer
Cozzi Porcelain Factory, Italian, 1763 – 1812, ca. 1800
porcelain, vitreous enamel, gold
cup and saucer

Cup plain, simple handle; shallow saucer with slightly curved side, ribbed in relief underglaze. Landscapes on cup and saucer; lacy gold border on saucer.
Surtout pour les Liqueurs
Richard de Lalonde, French, active 1780–96, 1796
Etching on off-white laid paper
Print

A three-tiered centerpiece around a fluted column with a Corinthian capital topped by a draped urn. The tiered platters support small cups for liqueurs. The plate is signed and lettered.
Rugged Landscape, Mexico
Frederic Edwin Church, American, 1826–1900, January–February 1890
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of a rugged landscape, possibly a mountain, in Mexico. Situated at center, the landform appears to be a rocky ridge with a cliff or drop-off facing the viewer. Several vertical fissures are visible. The prominence has a rugged, rocky contour that reaches a high point at center.
Buckle
, 19th century
Steel, rock-crystal, foil back.

Rectangular buckle with rounded corners; in the shape of a frame with a double row of foil-backed rock crystals held together in four places by bow knots; prongs and fastener of steel.
LA PORTE ST. BERNARD
Adam Perelle, French, 1638 – 1695, 1674–1703
Etching on laid paper
Print

View of a Parisian monument, a triumphal arch - The Porte Saint-Bernard (St. Bernard Gate) - decorated with classical motifs featuring figures and a large relief sculpted panel/frieze, with an inscription in Latin above. The gate is at a distance to the left, with the river Seine to the right, bridge, and cityscape visible beyond. In the foreground are figures, boats, and horses along the street and riverbank. The plate is titled with a description.
Lamp shade
Sybil Carter Indian Mission and Lace Industry Association, ca. 1900
linen Technique: bobbin lace

Design of curving stems with conventionalized flowers and leaves surrounding a tepee, a person in a canoe, and a person walking. Pale green silk has been basted underneath.
Stage Design, Egyptian Hall with Columns
Romolo Achille Liverani, Italian, 1809 - 1872, mid- 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Hall in Egyptian building with richly decorated columns.
Boulder and Rocks, Maine
Frederic Edwin Church, American, 1826–1900, probably 1877
Graphite on white wove paper
Drawing

Landscape sketch showing a view of a large boulder in the woods of Maine, likely near Lake Millinocket. The tall, round boulder dominates the foreground at right, and his shown with an undulating, craggy surface that is variously illuminated and in shadow. Several smaller stones at left appear to be wedged between this boulder and another, cut out of view at left. In the background at center and left, the base of a tree trunk and other vegetation are loosely rendered.
Edge
, 19th century
linen Technique: bobbin lace (late Valenciennes ground)

A rose vine flowing horizontally with hanging rose wreaths. A scalloped edge formed by large and small roses. A naturalistic effect is attempted in the large roses with shading.
Fragment
, late 17th–early 18th century
silk, metallic yarns Technique: damassé weave in 8-harness satin plus plain weave with floats of alternate wefts and discontinuous supplementary weft patterning (brocaded), all bound in 3/1 twill

Fragment of green silk damask brocaded with design in the ‘bizarre' style showing flowering vines in red, yellow and green with scrolls in silver. One selvage remains.
Border
, 19th century
Technique: bobbin lace made in Lille style with heavy outlining thread

Ornamental border with brick and honeycomb filling, and floral sprays.
Tablecloth
H.E. Verran Company, New York, NY, USA, ca. 1912
cotton, mercerized cotton embroidery Technique: stenciled and embroidered on plain weave

Light brown tablecloth embroidered with a variety of Egyptian revival motifs. Twill tapes on reverse.
Peri
Owen Jones, British, 1809–1874, 1870–71
silk Technique: two interconnected structures: 4\1 satin and 1\2 twill (lampas) Label: silk lampas
Textile

Woven silk with a highly stylized design of palmettes and floral crosses with curving vines in blue, red and gold on a black ground. Red has faded into rust on the front.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. rust color warp and gold/tan color weft
b. rust color warp and light green weft
c. rust color warp and gold/tan color weft
LA COQUETE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of figures in a landscape, including of a well-dressed woman, a Pierrot (from the Commedia dell'arte), an older man with a cane, and a young man in a cap and cape. This scene is set within an arabesque frame comprised of cartouches, busts, garlands, and scrolls. The plate is signed.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a: green ground with off-white and lighter floral
b: tan gound with green and gold color floral
Cover
, 16th century
linen Technique: cutwork with needle-made fillings (reticella)

White linen table cover with rows of reticella squares in three sizes, each enclosing another square. Deep border of triangular points.
Peep-show, Balbec Pl. 4, Ruines du Grand Temple de Balbec Sur Lesquelles les Turcs Ont Élevé des Tours, 60
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Tassel
, 19th century
silk, metal threads, wooden core

Skirt of blue, pink and yellow silk and metal threads, twisted and looped and each supporting a small tassel. Collar of looped threads. Head is vase-shaped and wrapped in blue and gilt thread in a chevron pattern. Cord of braided blue and yellow silk threads.
Mount
, late 19th century
Gilt bronze

Cornucopia
City Gate
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

A city gate, in a rusticated wall, flanked by attached Ionic columns and pilasters. Over gateway is a tablet for an inscription. Above a simple entablature is an attic which bears a garlanded Papal escutcheon with crossed keys and tiara. Flanking this, trophies. Below at left, a groundplan.
Fragment
, 17th century
medium: silk Technique: plain weave with continuous and discontinuous supplementary weft floats

Flowers, fountains, peacocks and lions on white.
Towel edge
, 19th century
cotton Technique: grid of withdrawn element work with needle lace, reticella style

Border or insertion, cotton, rows of drawnwork. Center row considerably wider. Oval shaped openings made with button-like stitches.
Fragment
, 16th century
silk Technique: cut supplementary warp pile (velvet), embossed

Velvet fragment stamped with a small-scale pattern of paired oval shapes that alternate in direction.
Flavia Domitilla, Wife of the Emperor Vespasian, in escutcheon
Étienne Charpentier, French, 1707 – after 1792, 1750-1760
Engraving with etching on paper
Print

Standing with half raised left arm. The Palazzo Venezia is shown in the right rear, an obelisk and a man in the left middle ground. The escutcheon is composed of rocaille motifs, plants, fruit bowls.
Mary and Eleanor Hague in a Hammock
Mary A. Hallock Foote, American, 1847–1938, 1883
Graphite, brush and gray wash on cream wove paper
Drawing

Two young girls wearing dark bonnets are seated in a hammock, facing left. Their legs are firmly placed on the wooden floor and the hammock streches from upper left to upper right.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, About 1640
Red chalk, pen, bistre, gray; brush, gray water color. Paper

Vertical rectangle. Below, the uppermost part of a fluted column, standing partly upon an elevation of the soil. At left, a bush, at right a blockade. On top of the capital are an angle of a ruined entablature and a bush.
Bag
, late 19th century
wool, beads Technique: embroidered

Small drawstring bag in a flame stitch pattern of red, orange, pink, black and green. Bottom edge of bag has three tassels with blue beads. Drawstring trimmed with multi-colored pompoms.
Fragment
, 16th century
linen Technique: cutwork with needle lace fillings (reticella)

Rectangular fragment has alternating squares of cutwork embroidery and reticella lace.
Printing seal
, 15th century
baked clay

Small reddish-brown cylinder in a high-relief of a simple running fret pattern which may represent snakes. Inside each of the frets is a head with two eyes, each one slightly different.
Pendant
, 19th century
Glass, gold, red and white paste stones

Lozenge-shaped glass with ornamental star of red and white stones in center; border of red and white stones set in gold; gold ring at top.
Page Four from "Quatrieme Livre Contenant Des Montans où Pilastres Inventés par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three "candelabra-like" arrangements of various motifs, characterized by, first: a pole entwined by snakes; second: Apollo with lyre; third: two putti painting. Inscribed, upper left: "D"; upper right: "4"; lower left: "Oppenort inv."; center: "Avec privilege du Roi"; lower right: Huquier sculp. et ex."
Sleeve band
, late 19th century
wool on cotton Technique: embroidered

Sleeve band of grey cotton, embroidered in wool at one side in small sclaed geometric pattern, outlined by a repeated "T" pattern.
Design for a stained glass window
Christoph Murer, Swiss, 1558 - 1614, 1600
Pen and ink, brush and watercolor on paper
Drawing

Saul and his young armor bearer fall upon their swords in the foreground. Battle scene in the rear.
Detail of Mural Decoration: Frieze
Leon Dabo, American, 1868–1960, 1887–89
Printed on sensitized paper
Photograph

Photograph of frieze that shows classical procession. Some nude figures.
Design for a Painted Panel
Etienne de Lavallée-Poussin, French, 1735–1802, ca. 1770
A cloacked figure is seen seated in meditation near a herm. Above, the flying nude figure of Diana, who pours water from two pitchers.She appears against clouds and an arc, on which rest two urns, one superimposed on the other, and from which two swags issue.
Drawing

Vertical rectangle. A cloaked figure is seen seated in meditation near a herm. Above, the flying nude figure of Diana, who pours water from two pitchers. She appears against clouds and an arc, on which rest two urns, one superimposed on the other, and from which two swags issue. Ink framing lines.
Brisé fan and case
, 1810–20
Drilled and painted bone, silk connecting ribbon, mother-of-pearl washer

Fan case with removable lid. Reversible "four-way" brisé fan with figural scenes painted in gouache. Sticks of drilled and painted bone.
Cap crown
, mid-18th century
linen Technique: bobbin lace, Mechlin style

Cap crown, Mechlin style, has a central floral bouquet framed by elaborate symmetrical scrollwork, giving the appearance of a fan, and surrounded by foliated sprays. Made in one piece.
Band
, 18th century
linen Technique: bobbin lace, Binche style with no ground

Band has a design of scrolling stems and leaves surrounded by dense, round dots.
Micro-mosaic Box
Unknown, ca. 1870
Porphyry, various stones (mosaic), gold
box

Flat oblong box with square corners, hinged at center of heights with scroll outlined thumb-piece. Interior is closed in at perimeter by metal mounts to form rectangular opening with round corners. Oval field on cover with the Pantheon in mosaic of colored stones, with border of fine red dots.
Sidewall
, ca. 1800
Leather, stamped, gilded, painted

Entire surface is covered with a shallow relief patterning. The surface is very abraded by some details of small floral motifs are visible.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cy: Rustic pattern of sprigs of flowering vines floati...
The Entrance Hall, East Sutton Place, Kent
Charles James Richardson, British, 1806 – 1871, 1844
Brush and watercolor, graphite on white wove paper
Drawing

East Sutton Place Kent (parts of which dated back to the time of Henry VIII), was the family seat of Sir Edmund Filmer, Baronet and Member of Parliament. The Elizabethan intricately-carved walls and ceiling is reflected in the square design of the marble floor. The Elizabethan  hall chairs, suits of armor and Oriental ceramics all probably close to the original Tudor scheme for the entrance hall.