biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Cross
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys, and liturgical objects. A design for a cross, decorated with acanthus leaf, fleurons and shell ornament motifs on the ends. The cross rests on an urn shaped base, decorated with winged putti herms, garlands of flowers and acanthus leaves, with a central cartouche framed with shell and c-scroll ornament. The plate is signed and numbered.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1765
Etching on laid paper
Print

Design for lidded vase with handles on a plinth, within a landscape with a stone wall and trees in the background. Large vine leaves wrap around the vase and the plinth, stemming from right handle of the vase. The plate is signed, dated and numbered.
Elevation and Plan of the Hearst School for Girls, Washington, D.C.
Whitney Warren Jr., American, 1864–1943, 1896
Graphite, brush and watercolor on cream cardboard
Drawing

Above, elevation and below, plan of school. Scale below.
Design for an Earring
, late 19th century
Pen and black ink, brush and gray watercolor on paper
Drawing

Jewelry design for an earring. Above, a round disk filled with circular gemstones; below, three pear-shaped drops; in the center, three flower blossoms surrounded by ribbon, the bands of which form the volutes of a palmette with rounded gems in between. Beveled corners.
Heurtoirs à une Branche
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for two doorknockers showing their front and profile views, and their rosette plates on either side. The left knocker has an acanthus leaf on the top and a vertical column of bead course down half of the front center, surrounded by a garland of flowers. The bottom half of the knocker has a column of acanthus leaves. The knocker on the right has a rosette at the hinge and a vertical column of bound leaf down the front, and an acanthus leaf with bead detailing at the bottom. The plate is signed and numbered.
Tunic fragment with clavus bands
, 5th–6th century
Warp: S-spun, Z-twisted 2-ply linen; Wefts: S-spun linen, S-spun wool Technique: plain weave with discontinuous wefts (slit tapestry), with supplementary weft wrapping Label: wool slit tapestry with supplementary weft wrapping in linen foundation

Fragment of a linen tunic with nearly intact clavus bands with pendant medallions in-woven in wool tapestry. Bands have a red ground with polychrome figures of very stylized animals, and black borders with scrolling patterns.
Ceiling Design
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Design for a ceiling with a central radiating ornament (upper right) and ornamentation along the edges (lower left). The ornamentation features decorative motifs including shells, dragons, acanthus leaves, scrolls, garlands, mascarons, portraits, putti, and fluted scrolls. At lower left is a profile of the carved edge. The plate is signed and numbered.
Sampler
Eliza Ann Hunt, American, American, 1815 - 1845, 1824
silk embroidery, linen foundation Technique: embroidered in cross, satin, knot, split, and stem stitches on plain weave foundation

A square sampler worked in black, brown, purple, green, beige and pink on a natural ground. At the top four alphabets are worked in black. At the bottom are a house, trees and flowers, and a mourning plaque beneath a willow tree. In the center, three interlocking hearts indicate that the embroiderer's father had had two wives, both of whom were now dead. The hearts are flanked by flowering branches and a verse, and the names and birthdates of the children are embroidered below.
In the top left heart: Reuben Hunt bn Jan11 1783
In the top right heart: 
Eliza Taft bn June 27 1788
Sarah Snow bn dec 14 1785"
In the bottom heart: 
Married
to E T Oct 27 1814
to SS March 10 1819
Beneath the hearts: 
Eliza A Hunt bn Sep 20 1815
Reuben Hunt Jr bn Dec 19 1816
Sarah Hunt bn feb 8 1820
Martha A Hunt bn Nov 7 1822

The tomb reads: 
Sacred to the memory of 
Mrs Eliza Hunt who died Jan 6 1817
Mrs Sarah Hunt  died Sep 28 1823

The verse: 
Jesus permit thy gracious name to stand
As the first efforts of an infant's hand
And while her fingers o'er this canvas move
Enlist her tender heart to seek they love
With thy dear children let her share a part
And write thy name they self upon her heart

Wrought by Eliza Ann Hunt aged nine years 1824
Design for the Embroidery of a Man's Waistcoat, Pattern No. 519 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

A lady's hat lies on a bunch of flowers, in the center, connected with it by waved boughs and roses. Garland festoons are suspended from the bottom edge motif of the pocket and plants rising from the central motif. A garland is suspended from the top edge of the pocket. One end of it rises into the field.
Stage Design for a Classical Palace Interior
Giuseppe Barberi, Italian, 1746–1809, ca. 1820
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

View into barrel-vaulted hall from vestibule across two columns. Measures indicated.
Two Ornamental Arabesque Motifs
Etienne de Lavallée-Poussin, French, 1735–1802, 1770
Pen and brown ink with ink wash, graphite on pieces of paper
Drawing

Top, upper portion of an arabesque panel, consisting of a figure dirving a chariot drawn by four horses on a pedestal rising between two reclining figures. Below, on a panel between sphinxes, a pair of arabesques terminating in half-horse half-human figures. Below, two basiliks standing face to face flanking an urn decorated with a human face.
Panel with the Letter "X" from the "Newes ABC Büechlein"
Lukas Kilian, German, 1579 – 1637, 1627
Engraving on off-white laid paper
Print

A boy holds two stems, forming a pointed oval whose base is an "X" shape.
View of a Monastary
Giovanni Ballarini, Italian, 1700 - 1800, 1750–1800
Black chalk, pen and ink, brush and watercolor on paper
Drawing

View of a monastery with tiled roof. Arcade visible from behind wall. Walla t right decorated with a large cross. Tree at right.
Miser's purse
, 19th century
silk, steel beads Technique: knitted

Miser's purses, knitted in lavender and white silk, and finished with one tassel of steel beads (second tassel missing).
Differents Desseins de Tabatières, deuxième planche [Different Designs for Snuff Boxes, second plate], pl. 50 in Oeuvre de Juste-Aurèle Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off-white laid paper
Print

1921-6-212-19-a: Six rococo designs for snuffboxes. Top center: sev...;     1921-6-212-19-b: Center sword hilt flanked by three details of pumm...
Stage Design, Exterior of Palace
, ca. 1820
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Exterior of vast palace with court and portico in front. Three groups of figures in court, two holding long weapons. In the distance, monumental column with sculpture, mountainous landscape in background.
Cuffs
, 18th century
linen Technique: bobbin lace (Brussels style)

Cuffs of Point d'Angleterre in a pattern of conventionalized flowers and leaves with ornamental fillings forming a cuff that is wider at center than at closing.
Innocent Mischief
Christian Josi, Dutch, ca. 1765 - 1828, 1796
Stipple engraving on paper
Print

Children at play. Two little girls and a boy pursue a butterfly that has landed on a hollhawk bloom near a large sculpted urn.
Three Designs for Candlesticks
Luigi Righetti, Italian, 1780 - 1819, 1802
Pen and ink, brush and sepia wash, watercolor, graphite on light blue paper
Drawing

Horizontal rectangle. Three designs for candlesticks with the coat of arms of Cardinal Braschi. At left, the base supported by lions carrying pomegranates. At center and right, base supported by tortoises. The upper parts of candlesticks "B" and "C" from 1938-88-626 are preserved in these designs. Scale at lower left.
Band
, early 18th century
linen Technique: bobbin made continuous tape with bars added

Scrolls and leaves held in place by bars with picots.
Fragment
, 15th century
silk Technique: two interconnected structures (5 harnes satin pattterned with plain weave)

Green trellis formed by intersecting diagonal lines with white flowers. Each compartment contains a bird or a lion in beige. Blue background.
Designs for Firearms Ornament and Fittings
Claude Simonin, French, ca. 1635 – 1721, 1705
Engraving on laid paper
Print

Plate five from a pattern book with designs for firearm fittings and ornament featuring grotesque motifs, fantastical creatures, animals, foliate scrolls, scrolling leaves (rinceaux), fleurons, and rosettes. The plate is numbered and signed.
Bridge over a Small River
Daniel Huntington, American, 1816–1906, 1855-56
Graphite on pale green paper
Drawing

Bridge, left center, with mountains beyond. Banks, left and right; large trees, right.
Lunette with Saints Peter and Paul, Matthew and the Prophet Isaiah, Study after Sebastiano del Piombo
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brush and brown wash, over black chalk on heavy white wove paper
Sketchbook folio

At lower left, St. Peter standing within arched niche, with book and crossed keys at feet; at right St. Paul standing, leaning on sword and reading book. At upper left, seated prophet and angel both with books; at upper right, seated sybil reading scroll, one end of which held by angel. Coat of arms with crown and suggestion of eagle at upper part of composition.
Design for a Water Kettle with Stand
Joseph Anton Seethaler II, German, 1799–1868, 1820–30
Pen and black ink, brush and gray, black wash, graphite on wove paper
Drawing

Kettle shown side view; spout at left; urn-shaped body. Handle is hinged to the shoulder. Bottom of body and top of cover covered in shell decor. Stand with curved legs, receptacle for spirits.
Stage Design, Interior of High Gothic Hall with Ogival Arches
Romolo Achille Liverani, Italian, 1809 - 1872, 1828
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of Gothic hall with ogival arches supported by columns.
Design for the Elevation of a Sepulchral Monument, Probably for the Young Pretender Charles Edward Stuart (died 1788)
Giuseppe Barberi, Italian, 1746–1809, ca. 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Two sections of circular steps lead to a circular platform. They are interrupted at radial diameters by four pedestals each. The corner ones are empty. The upper ones carry other pedestals with urns with flames; at the corners of the pedestals sit female figures. Upon the platform stands upon a high square vase, a slightly altered variation of the design of the second and higher stories in -1263. Burning lamps stand upon the entablature of the lower pedestals. A sarcophagus stands in front of the vase and the lower part of the lower pedestal. A sarcophagus stands in front of the vase and the lower part of the lower pedestal. It is carried by courching lions, shown in profile, and two figures lie upon the cover. Above at right, and below at left, are two parts of the plan. Colored background.
Project for Tables; Sketches for Chests of Drawers and Possibly Frieze Stand
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

At left, table with square top, supported by baluster. Flower and vase set on table. At right, oblong table supported by four fluted columns. At upper edge, right part of chest of drawers, upper part standing on legs. Verso: shown vertically, three chimerae supporting top, which seems to be bordered by railing. In middle rises pavilion with trellis.
Ceiling Designs and Corner Moldings
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page of ceiling moldings and corners, with decorative motifs including shells, cartouches, rays, ribbons, garlands, and scrolling acanthus leaves. At the upper right of the plate are profiles of the carved borders. The plate is signed and numbered, and a graphite inscription at the bottom of the plate indicates that these were designs for the ceiling of St. Sulpice, in Paris.
Fragment
, 19th century
silk Technique: plain weave

Lightweight silk in vertical stripes of pink, white, green and black.
Trimming
, 19th century
silk Technique: uncut supplementary warp pile on satin ground

Trimming fragment in a design of an angular stem with leaves in uncut red velvet on a yellow satin ground. One border is yellow, and the other is red.
Sample Sheet, Two Designs for Cups and Saucers
, ca. 1825
Brush and gray, yellow, brown watercolor on cream paper
Drawing

Two designs for cups and saucers probably made of cut glass, opal, hyalite. Arranged in a vertical row showing a cup at top, a saucer below, the number "5" inscribed in pen and black ink in the interval between. Second design for a cup and saucer below with the number "6" inscribed in pen and black ink in the interval between. The cup handles are at right. The decoration of the upper designs consists of gray ovoids framed in gold. The decoration of the lower designs consists of gold ovoids with a gray border and no frames.
Ornamental Design for the Letter B
Gilles-Marie Oppenord, French, 1672–1742, ca. 1720
Pen and black ink on white laid paper
Drawing

Letter B in reverse intertwined with trophy.
Lit à trois Dossiers Orné de Sculptures et totalement fini
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a bed with three sideboards. The bed has a textile pattern of striped and vertical flowers. It is carved with rosettes, bead course, fluting, guilloche, and a floral wreath with crossed branches at top. At right is a design for a carved pinecone for the bed legs. The plate is signed and numbered.
Purse
, early 19th century
glass beads, silk thread and steel Technique: looping

Purse made of beads held in place by buttonhole stitches in a design of flowers and leaves in color on white ground. Purse is possibly cut down from a larger one as there are raw edges at the top.
Projects for a statuary group: "Friendship," "Accord"
Jan Claudius de Cock, Flemish, 1667 - 1735, 1726
Black crayon, pen, ink, brush, gray watercolor on paper.
drawing

Horizontal rectangle. At left: a sitting girl and a standing boy unite the flames of their candles. At right: a boy shown from the front, and a girl shown from the back, embrace and kiss each other. Captions written with ink; at left; "Mutua/Amititia/onderlinge/liefde; at right: "Concordia/goed Accoord/van broeder en." Written with a different ink: "suster" below in the middle" foes Claudius de Cock/ inv. Del Antv. 1726."
Mountains in Mexico
Frederic Edwin Church, American, 1826–1900, February 1885
Graphite on off-white wove paper; verso: graphite
drawing

Landscape sketch of a rugged mountain ridge in Mexico. Viewed across a plain that covers gently rolling terrain in the foreground and middle distance, the mountain range includes a sharp peak at center right and several craggy ridges at center left. Large portions of the range are darkened by shadow. At center, an extremely faint sketch of a church dome is visible.

Verso: Botanical sketch showing a loosely rendered view of a tree's dense canopy in Mexico. At center, several branches are visible, flanked by billowing and loosely sketched masses of leaves at left and right.
Frame for a papal inscription
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

The oval tablet is framed by crossed stems springing from the mouth of a mask below. Above are the crossed keys and the tiara. Slight sketching in the tablet. Usual background.
Fragment
, 18th century
silk Technique: compound weave

Fragment with an archway and tower under an oversized tree with large-scale flowers and fruit in white on a green foundation. Green ground has wide horizontal ribs woven with supplementary green warp.
Rock Formations near Cephalonia, Greece
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on light green wove paper; verso: graphite
drawing

Landscape sketch showing views of rock formations and rocky islands near the coast of Cephalonia, Greece. Along the upper portion, a large, rocky island with sheer sides is rendered darkly at upper center, while two rugged, mountainous coastlines are faintly visible behind it at left. In the lower portion, a rugged prominence with a flat top is shown in greater detail with several washes and landslides.

Verso: Seascape sketch showing a distant steamboat at sea near Corfu, Greece. The flat ocean surface extends from the foreground to the horizon, where the steamboat emits a dark, billowing plume of smoke that is carried to the left by the wind. Hasty strokes articulating the sky partially obscure a loose sketch of a sailboat at upper center.
Designs for Firearms Ornament
Gilles Demarteau, Flemish, 1722 – 1776, 1743
Etching and engraving on laid paper
Print

Designs for firearms ornament and details, featuring cartouches, trophies of firearms, drums, canons and hunted animals; figures, animals, garlands of flowers, shells, fronds, sprigs, acanthus leaves, and mascarons. The plate is signed and dated.
Train of Army Wagons
Winslow Homer, American, 1836–1910, 1862
Graphite on paper
Drawing

Horizontal view of a resting train on army wagons, with tethered mules.
Sakanoshita: The Kannon in the Cave (Sakanoshita, Gankutsu no Kannon) From the 53 Stations of the Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

Here the scene depicts men approaching a cave. Three other men are already kneeling in prayer. Alongside the cave is an impressive waterfall.
Cresting of an altar
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

The left side: above an entablature rises a panel framed by a segment. In it, beside a candelabrum, stands a griffin. In front of its left lower corner stands a bearded head as an acroterium. Caption below: "Cimaze del'Ara a Villa Derossi nel Bosco". At left, the background is colored.
Design for a section of the portal of a church
Filippo Marchionni, Italian, 1732–1805, ca. 1725
Graphite on laid paper
Drawing

Vertical rectangle. An oval medallion above the entablature of the door opening. The main entablature is supported by pilasters with Ionic capitals. Above it, in the center, a surbased pediment in front of an attic, above which rises a dome.
Designs for Chairs, a Sofa, and a Bed
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for chairs, a sofa, and a bed decorated with ornament motifs including spiral fluting, wave pattern, rosettes, scrolls, caning, guilloche, floral patterns, tassels, and a shell. The plate is signed and numbered.
Belt
, late 19th century
silk Technique: satin weave

Belt or sash of black satin ribbon trimmed on each end with fringe and tassels of black silk, metal thread and paillettes.
Men Looking Over Earthworks
Winslow Homer, American, 1836–1910, ca. 1862
Pen and brown ink on light-brown wove paper
Drawing

Recto: Horizontal view of the heads and hats of five men with rifles looking over earthworks, whose grass covering is suggested by short vertical pen strokes; a steamer is visible in left background.

Verso: sketch of an arm and a headless, fantastically clad woman with various written notations like: Mother / Father / Please send me / One tube white, Large [underlined]  / one do.
Cathedral in Mexico with Figure
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white paper; verso: graphite
Drawing

Architecture sketches showing views of a building and a bridge in Mexico. In the foreground at lower right, a stone bridge is shown obliquely traversing a ditch or stream. The terrain around it is loosely articulated. In the upper left corner, a square building a with a small dome is also viewed obliquely.

Verso: Architecture and figure sketches of a large ornate cathedral in Mexico and, separately, a figure with a jug upon her head. Dominating the composition at right, the decorated domes and belltower of the church are visible above and behind a nearby building with an exterior walkway on the second story. At left, a woman wearing draped clothing and carrying a jug on her head is sketched in left profile.
Caesar. Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Design for a Painted Door
, 1780–90
Graphite, pen and ink, brush and watercolor, sepia on paper
Drawing

Design for a pair of doors painted in the Pompeiian style. Each has a large central panel with arabesques, and square panels above and below.
Plan et Elévation d'un Cabinet avec Bibliothèques et Médaillers
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Plan and elevation of a study with a fireplace and over mantel mirror at center. On either side are double-leaf bookshelves above smaller drawers for medallions. The room is decorated with ornament motifs including garland, bound reed, rosettes, medallions, putti, acanthus leaves, lamb tongue, and lion heads. The plate is signed.
Project for a Corner Motif of a Painted Ceiling
François Boucher, French, 1703–1770, 1740
Pen and brown ink, black chalk on thin tracing paper
Drawing

Nude and draped figures grouped about an urn with putti above holding heavy drapery.
Woven portrait
Michel-Marie Carquillat, French, 1803–1884, mid-19th century
silk Technique: jacquard woven: warp-faced plain weave (white) with supplementary weft patterning (black) Label: jacquard-woven silk

Small piece of silk with two woven pictures: on top, a portrait of Joseph-Marie Jacquard (1752-1834) after a portrait by Jean-Claude Bonnefond (1796-1860). Below, a picture of a loom with the Jacquard punch-card mechanism. Woven on a loom equipped with a Jacquard mechanism by Carquillat (died 1884).
Plate
, 19th century
glass

Dark purple and white glass
The Deposition
Marc Antonio Raimondi, Italian, 1483 – 1527, ca. 1520
Engraving on laid paper
Print

Christ taken from Cross by four disciples; his right hand is still nailed to Cross. Below, three women consoling the Virgin Mary. In background, a town and mountains behind it.
Study of a Man's Head
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a man's head after A. Watteau. The man looks towards the viewer, his hair is natural and unruly with strands turning into sketchy lines. The plate is numbered and signed.
Fragment
, late 17th–early 18th century
silk, metallic yarns Technique: 4/1 satin damask with discontinuous supplementary weft patterning (brocaded)

Silk satin damask in the 'bizarre' style, showing flowers In blue, green, pinks, ivory and gold metallic on a taupe ground.
Vase with Porcelain Flower Appliqués
, ca. 1840–60
porcelain, vitreous enamel, gold
vase

Oval; scrolled base; sided pierced at top. Two panels, decorated with flowers on back and on front with gardening trophies; front enriched with flowers in high relief. Sides pain, with glaze of red-violet.
Border
, early 19th century
silk Technique: bobbin lace, with point de Paris net

Black lace showing a Lille-patterned border and "point de Paris" net.
Cover
, 18th century
linen Technique: embroidered in feather stitch

White linen with border embroidered in blue and brown in design of a band of scrolls with diagonally-placed ornaments; in the center an embroidered ornament composed of a cross and four oval motifs. Cover is edged with bobbin lace. Embroidery is in feather stitch.
Drawing
Felice Giani, Italian, 1758–1823, C. 1801
Pen and brown ink, brown wash, over black chalk, on rolled paper.

Vertical rectangle octagonal frame. The Muse is shown from the front, sitting upon a platform and holding an open book in her lap with the left hand. The right hand, holding a pen, leans upon the writing desk.