biglam/cooper-hewitt-alt-text huggingface dataset:
Designs for a Carved Relief and Pediment
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for a carved relief of anguipeds surrounding a rondel, and a semi-circular pediment with a lion head. The plate is signed.
Sidewall
, 1890–1900
Machine-printed

A formal design inspired from the French Louis XVI period in a striped effect. An urn is filled with roses. Dainty clusters of roses are festoonedat bottom of urn and at either side. Also a blue bow knot suspends a blue and pink parasol. Between these motifs are two vertical parallel lines withpicot edges with little urns with roses between them. On reverse side is printed: "Side 2636C, Band 3636 C, Band 3636 CC, Ceil 2637 C".
Fragment
, 15th century
silk Technique: supplementary warp pile on a foundation of 4&1satin (velvet)

Small strip of dark blue voided velvet of the ferronerie type with portion of a much larger pattern.
The Spirit of Piety
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1595 or before
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: Cain, at left and seen from behind, kneels before an altar upon 
which burns his offering of sheafs of corn. Abel is seen at right, in a similar pose, his hands clasped in prayer before his offering of burning lambs. God the Father appears above, extending his arms to indicate rejection of Cain's offering, and acceptance of Abel's.
Furniture mount
, ca. 1800–10
Gilt bronze

Foliate srolls with cornucopiae centered by anthemion motif.
Mrs. Sheppard Gandy Seated
Daniel Huntington, American, 1816–1906, 1859
Graphite, black crayon, white chalk on grey wove paper
Drawing

Woman seated in a chair facing frontally.  She is turned toward a table, at right, and examining a piece of cloth in her hands.  Full-length figure. She wears a wide-brimmed hat and a shawl. Verso: Drapery study, with drapery falling mainly to the left.
Corner detail of ceiling, Hotel de Cluny, Paris
Frederick Marschall, ca. 1885
Graphite, brush and watercolor, gold on heavy paper
Drawing

Left, corner of ceiling with reclining river god beside shield containing sea horse and trident. Right, painted relief with cupid, coral, shell motifs before it.
Mountain beyond a Wooded Shore
Frederic Edwin Church, American, 1826–1900, possibly 1856
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of a distant mountain beyond a lake with a wooded shoreline. The water's surface extends from the foreground the middle distance, where it encounters the opposite shoreline, covered in conifer trees. In the background, the contour of a round mountain is visible at center left and descends to the right.
Women Riding Sea Centaurs, Villa Aldini, Montmorency, France
Felice Giani, Italian, 1758–1823, 1813
Pen and dark brown ink, brush and brown wash over black chalk with traces of graphite on laid paper.
Drawing

Horizontal rectangle. Upper row, each semi-circle contains woman sitting upon centaur. Left panel turned toward left, carries bowl. Above sketched, shell in center between pairs of dolphins besides tridents. Second panel, Centaur turned right, woman carries bowl. Third panel: Centaur turned toward left, carries shell. Fourth panel: Centaur turned right, carries something indistinct, possibly bone. Fifth panel: Centaur same direction; he swings sword.  Second row first panel: Centaur turned toward left carries thyrsus. Woman plays lire. Second panel:  Centaur turns right, a woman embraces him. Third panel: Centaur turned left, he carries cornucopia. Fourth panel: Centaur turns left and carries oar. Fifth panel: Centaur turned right embracing woman on right arm; their left hands joined. Bottom row: at left and at right, four lozenges, each with dancing woman. In center, two semi-circles. In left one, centaur turned toward left, holding cloth. In right panel, "Centaur" turned toward right, playing lyre. Verso: written in ink by Giani, "Delle/ Revoluzioni/ D'italia/ libri venti quattro/Di Carlo Denina/ colonne terzo/ torino/ apresso li/ fratelli/ Revcendis/."
Dossier de lit
Nicolas Guérard, French, ca.1648 – 1719, late 17th century
Etching on laid paper
Print

Design for an embroidered backboard for a bed featuring strapwork, fleurons, rosettes, foliate scrolls, and scrolling leaves. The plate is titled, signed, and numbered.
Project for Cross
Paolo Roberto, Neapolitan?, active ca. 1837, 1837
Pen and brown ink, brush and green and gray wash, black chalk on cream wove paper
Drawing

A triangular pedestal resting on three lion paws supports a round shaft decorated with a festoon leads to a cup-shaped element decorated with leaves above which rises a slender cross.  Two pen and brown ink framing lines.
Design for a Bowl
, ca. 1820
Pen and sepia ink, brush and blue, gray watercolor, graphite on light green-gray paper
Drawing

Horizontal rectangle. Design for a bowl, supported by scrolls springing from four female half-figures (three are visible) which carry festoons in their raised and backwards-turned hands. The blue bowl has a metal rim in architectural form.
Elevation of a church
Giuseppe Barberi, Italian, 1746–1809, 1796
Pen and brown ink, brush and brown wash (bistre) on lined off-white laid paper
Drawing

A variation of 1938-88-1235. The main differences are: the columns form a projecting colonnade. Above its entablature is a dado upon which six statues stand in front of an attic with a semicircular window. Above it is a triangular pediment, behind which a vaulted roof is shown. Walls and roofs of two apses are shown above the lateral sections. A low octogonal dome rises in the center.
Sécrétaire à la Dauphine
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a desk with a curved cover and two small drawers at front. The desk is decorated with ornament motifs including a lozenge with a bouquet of flowers, scrolls, leaves, a mascaron, garland of roses, rosettes, lamb tongue, and fluting. The plate is signed.
Shawl
, 1850–1875
wool Technique: embroidered on twill weave foundation Label: wool embroidery on wool twill weave, pieced together

Square shawl with a solid black center medallion and a vertically and horizontally symmetrical design of elongated boteh or paisley forms incorporated into an overal vegetal scheme.The shawl is embroidered in a design typical of woven-pattern Kashmir shawls in red, white, blue, black and green threads on ground of red twill. The black twill which forms the center medallion is pieced in, while small solid areas of red, black and blue cloth are appliquéd. Guard border and separate "harlequin" border of green, blue, yellow, white, red and black tabs. Signature in center.
Sofa
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and and gray brown ink, brush and gray wash on blued-white laid paper, lined
Drawing

Elevation of an oval sofa with a woven base, standing on a stepped platform. On either side is a column supporting a vase with floral sprays. Two cushions on the sofa, each with a bow. At center, a figural vase with floral sprays sits under drapery .
Military Trophy Design
François Marie Isidore Queverdo, 1748 - 1797, 1768
Etching on paper
Print

An allegorical hanging trophy design representing war with its attributes, including armor, a helmet, birds, a flaming torch, trumpet / horn, spears, banners, swords, a crown, a shield, and a quiver of arrows. At the top, a round medallion with two putti in a landscape. The plate is signed and dated.
Ornamenti di fregi e fogliami
Stefano della Bella, Italian, 1610–1664, ca. 1648
Etching on paper
Print

Plate 9
Study: Head of a boy
Mauro Gandolfi, Italian, 1764–1834, 1810–34
Black crayon on paper
Drawing

A child shown in three-quarter profile.
Prudence
Johann August Nahl The Younger, German, 1752 - 1825, ca. 1781
Lead pencil, pen and dark ink, brush and black and grey watercolors on paper
Drawing

Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Manuta. A man in the prow of a boat. A woman is shown at left, walking toward left. She has two heads, the back one bearded, and raises a key with her right hand. At right is the man, shown from the back.
Rocaille Motifs, from Set No. 169
Johann Georg Hertel, German, 1719–1768, 1750-1770
Etching on paper
Print

Plate 1. Five crest motifs, an escutcheon, disposed in three lines.
MEUDON du côté du Jardin
Adam Perelle, French, 1638 – 1695, 1679–1703
Etching on laid paper
Print

View of the garden façade of the Chateau of Meudon with parterre on two levels with fountains and trees. Figures throughout the grounds. Buildings and landscape in the background. The title and description of the garden are lettered on a separate plate, printed directly below the image.
Possible Design for an Overdoor Frieze
, 17th–mid- 18th century
Pen and ink, brush and wash on paper
Drawing

Possible design for an overdoor frieze with ewer, helmet, and military motifs.
Design for a Reliquary
Pietro Belli, Italian, 1780–1828, ca. 1810
Pen and black ink, brush and gray watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a reliquary with an oblong pedestal base. Two figures of kneeling slaves shown in profile at center and two standing slaves at edges support an urn. A tablet with an inscription is at its front. On top of the cover are two angels, a standing one holding a pastoral staff, another sitting and painting a mitre.
A Young Priest
Giacomo Cavedone, Italian, 1577 - 1660, 1630–1660
Charcoal with white heightening on rough grey paper
Drawing

Young priest standing clothed with the alb pointing at a structure in the back.
Four Medallion or Frame Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Four designs for medallions or frames, oval and round, decorated with moldings and topped with trophies. The ornament and motifs include laurel leaves, ribbon, beads, scrolling acanthus leaves, foliate branches, flowers, fluting, lamb's tongue pattern, festoon of flowers, a bagpipe or musette, and a rake. The plate is numbered and signed.
A Boy Driving a Goat
, 1700-1750
Pencil, white heightening, gray paper
Drawing

Vertical rectangle. The goat is in front if the boy, walking toward the right. The boy has his right forearm upon the back of the goat and holds up a stick with his left hand. Only the forepart of the goat and the upper part of the boy are drawn. The whole front is colored brown.
Gedney Bunce
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Two sketches of a male figure in profile.
Façade d'un Bâtiment de l'ordonnance Composite avec soubassement
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profile of a building of the Composite order with figurative statues at the middle level, and with relief carving at the pediments. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters) at the bottom of the page. The plate is signed and numbered.
Table de Jeu avec Damier, Grande Table de Jeu, avec Trictrac en dedans
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for two game tables, both with thin, curved, tapered legs. The table on the left features a checkerboard top; the table at the right, a trictrac, or backgammon, board. The plate is signed and numbered.
Tungurahua at Morning, near Riobamba, Ecuador
Frederic Edwin Church, American, 1826–1900, September 1853
Graphite on white wove paper
drawing

Landscape study of the stratovolcano Tungurahua near Riobamba, Ecuador. The conical mountain's snow-capped peak dominates the center of the composition, as clouds gather around its crown and spread across the sky to the right. Nearby grass and hills visible in foreground and middle distance.
Button
, 1852–70
Brass, gold plated

Eagle with head, wearing a crown, wings spread.

On card 57
Chocorua Mountain from Cara's Pond, New Hampshire
Daniel Huntington, American, 1816–1906, September 28, 1854
Graphite on cream wove paper
Drawing

Pine trees at left on the shore of Cara's Pond, with slopes beyond and mountain in the distance.
Textile
, mid- 18th century
silk, metallic yarns Technique: 8-harness satin weave with discontinuous supplementary weft patterning (brocaded)

Yellow silk satin with brocaded design in violet, pink and silver, showing two parallel flowering vines with serpentine stems.
Fragment
, late 17th–early 18th century
silk Technique: compound weave

Fragment of yellow silk with ‘bizarre' style pattern of green and pink florals, and a curving lace-like ivory band.
Waistcoat
, late 18th century
silk, metallic yarns Technique: compound weave with discontinuous supplementary weft (brocaded), embroidered

Waistcoat without collar embroidered with silk and metallic yarns. Cream brocade foundation with trailing florals, embroidered with scattered blue flowers throughout and polychrome flowers along center, bottom and curving pocket flaps.
Fragment
, 5th century
wool Technique: sprang

Pattern of polychrome diamonds. Fragment of bonnet or bag
l'Este
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of ornament with a central oval depicting a scene of figures harvesting hay. The oval frame is comprised of leaves, grains, and wildflowers, and is surrounded by ornamental vines and scrolls. Below the oval is a mascaron with rays projecting out. The plate is signed.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Pink/brown warp with lighter and darker pink/brown weft. It has a fringed edge that would have been the beginning of a length.
LES ENFANS DE MOMUS
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of ornament with a scene of children dressed as actors, as a Pierrot, and playing the lute in the center. They are surrounded by motifs including terms, branches, scrolls, a fountain with dolphins, and a cartouche. The plate is signed.
Celandine
John Henry Dearle, British, 1860–1932, 1872–82
Block-printed on paper
Sidewall

Alternating horizontal rows of clusters of flowers, including Lily of the Valley and Bluebells, surrounded by bower-like pattern of vines. Printed in blue, salmon and green on off-white. Sample number stamped on verso: 134580
Band
, 17th–18th century
linen Technique: bobbin lace, Binche style with no ground

Band of northern Italian guipure with an open scrolling pattern with brides.
Leaf from a sketchbook: T. Addison Richards and Robert O'Brien at High Bridge.
Martha S. Day, June 29, 1860
Graphite on paper
Drawing

Vertical rectangle. The two teachers are seen seated under trees. Women are seen sketching in the foreground. Inscribed, upper right (in pencil): "High Bridge, June 29th 1860," and lower left: "from nature." Indentification of personages on verso.
Mme la Marquise de Belfons
Pieter Schenk, German, 1660-1711, ca. 1700
Black ink on paper
Print

Vertical rectangle. Full-length figure of a woman, standing, turned toward the right. She holds a fan. Section of terrace and staircase in background. Title below.
Beaker
, 400–600
Slip-decorated earthenware

Concave, flaring sides, and flat bottom. Body covered in white slip and painted with large face of snake with bat headdress, and horizontally displayed body with spiny, curling tail.
Mug
Dominick and Haff, New York, New York, 1872 – 1928, 1879
silver
mug

Conical shape, slightly flaring rim, and angular handle terminating in leaf scroll.  Whole body, except for circular cartouche with engraved "R", covered with repousse and chased flowers, leaves and butterflies on granular ground.
Fragment
, 1750–1800
silk Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Ground striped vertically in blue and white satin with wide horizontal ribbing. Scattering bouquets of small-scale roses and carnations and tiny sprigs brocaded in green, dark red, pink, white, and yellow silk.
Border
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Border of Valenciennes lace. Finished piece, narrow band on upper edge. Pattern of rococo banding, detached floral sprays, and buds. Fine quality, Louis XV style.
Bald-Headed Man in Profile Right: Small Bust; The Artist's Father?
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1630
Etching on laid paper
Print

Head of an old man, facing right in profile.
Thimbleberry
Elizabeth C. Field, ca. 1860
Pencil and watercolor on paper (mounted)
Drawing

Vertical rectangle. Pink blossoms and green serrated, star-shaped leaves.
Sketch of a Female Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on cream wove paper
Drawing

Nude female figure facing frontally, reclining towards the left. Her left arm is outstretched. Verso: part of a rectangular design.
Mount
, ca. 1780
bronze (gilt), gold

Oval cabochon in which keyhole is cut, surrounded by laurel leaves, with laurel branches extending to right and left.
Fragment of a border
, 17th century
silk, metallic Technique: brocaded satin

silver scrolling shapes on white with a bluish cast
Fringe
, 18th century
silk Technique: woven

Fringe with a red and blue checkerboard heading. Red and blue skirt threads arranged to form stripes.
Cap streamer
, 1750–1800
linen Technique: bobbin lace (Mechlin style)

One lappet of Mechlin style bobbin lace
Wood Engraving. Vignette.
, 1800–1830
Engraving and etching

A lyre showing a girl's head in a glory of rays, at the bottom.
Finial
, 18th century
Wood, carved and gilt

Possibly Italian or Mid-Continental
John Paul Jones in Battle
Carl Guttenberg, German, 1743 - 1790, ca. 1780
Engraving on paper
Print

John Paul Jones (1747-1792) is shown on the "Bon home Richard" during his battle with the English frigate, "Serapio." He is about to draw a pistol from his belt. Set in a frame. Inscribed below in French, description of the battle of July 22, 1779 and artists' and publishers' names.
Durham
Ernest Clifford Peixotto, American, 1869–1940, 1899
Brush and black and grey watercolor on paper
Drawing

The cathedral and the Bishop's Palace, seen in the distance, with the roofs of the town in the foreground.
Mount
, ca. 1700
Brass

Basket of flowers and fruit.
Ornament, Christmas
, 1850–99
Dough

Rabbit with pink eyes.
Vermont mountains
Gueliema Field, ca. 1860
Pencil on paper
Drawing

Horizontal rectangle. View of a village (possibly Rutland or Battleboro), with the Green Mountains beyond. Inscribed below (in ink), in the hand of Alice Donlevy: "Vermont Mountains. Drawn by Guelielma Field." Dated on verso by her [:].
Ornament, Christmas tree
, 1850–99
Sugar

Diamond shape, with multicolored frosting in high-relief.
Peep-show, Vüe des Enfers, 7, Vue d'Optique Nouvelle, Representant, La Descente d'AEnée aux Enfers, Avec le Palais de Pluton Dans L'Éloignement
, ca. 1750
Engraving in ink and washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, 13th–15th century
cotton Technique: resist-printed on plain weave

Untreated fine plain weave ground with small-scale all-over design of squares formed by diagonally crossing lines of dots alternate, alternate squares enclosing concentric circles and rosette.  Design in tan and red against brown background.
Design for a table clock
Giuseppe Gagliardi, Italian, 1697 – 1749, 1697-1740
Pen and ink, brush and watercolor, black crayon on laid paper
Drawing

Scheme of an aediculum with a dado and a pediment flanked by censers. Alternative suggestions for the decoration of the dado which shows an escutcheon supported by two seated putti and containing a head of Hercules in the center. Two more putti carry the circular frame of the dial and two others crouch upon it. A dragon forms the band.
Side chair
, late 18th century
carved mahogany

Shaped upholstered back, the top rail crested with a coarsely carved shell and leaf-like ornament. Posts terminate in round raked rear legs with hocked feet. Shaped upholstered seat, the front rail carved with crude garlands flanking a cabochon. Channeled cabriole front legs, coarsely carved at knee and foot.
William Hague
Mary A. Hallock Foote, American, 1847–1938, 1900–15
Graphite on cream wove paper
Drawing

Profile drawing of a young man facing left.
Puppet
, late 19th century
Painted papier-mâché, woven cloth

Red pill-box hat; red cotton flannel shirt with white cuffs and white rabbas.
Plate
Boston and Sandwich Glass Company, Sandwich, Massachusetts, USA, active 1824–1888, ca. 1875–85
Overshot mold-blown glass, applied gilding

Circular form of pink-red "ice" or "overshot" glass with wide rim and shallow well, smooth top surface, the underside rough and irregular; narrow gilded band around rim.
Textile
, ca. 1790
cotton Technique: printed by engraved plate on plain weave

Central curving stem with a variety of different plants growing from it. Birds are in the foliage. In red on white.
Le Char de l'aurore, (copy 2)
, ca. 1800
cotton Technique: Printed by engraved copper plate on plain weave
Fragment

A second copy of the Petitpierre design, "le char de l'aurore'.
red on white.
Picture
, ca. 1865
silk Technique: jacquard woven

White silk ribbon brocaded with portraits of Eugenie and Napoleon III, enclosed in much floral ornament in shades of green and lavendar; ribbon edge picoted in lavendar. At lower right, woven initials and date: LF Ce 1865.
Design for Sideboard B of Mahogony
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Front view of rectangular sideboard on four straight tapering legs; tripartite front with large central section with keyhole at center surmounted by horizontal drawer with round pulls and keyhole at center; smaller front sections that flank central section each have a single drawer with one round pull at center.
Title Page
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Album

Title page, introduction, and table of contents for two series of prints (50 sheets each) of designs for metalwork by Pierre Germain. Part one consists of liturgical objects; part two, secular works.
Bottle
, 19th century
glass

Footed bellows-form.  Red rose glass with slight white swirls
Fragment
, 17th century
silk Technique: cut and uncut voided supplementary warp pile (velvet) in a plain weave foundation

Fragment of blue cut and uncut pile on a ground shot with silver; pattern is small floral sprigs.
Band
, late 19th century
silk on linen Technique: embroidered on plain weave

Embroidery in dark red silk forms the background and black silk forms the outlines of birds facing a geometric form alternating with a plant form. Border at top and bottom of stylized leaf forms. Three pieces sewn together.
Sidewall
, 1850–60
Block-printed

The design is composed of two alternating stripes. The wider one has small sprays of roses bowknotted together by a wide ribbon streamer. The narrow stripe is a vertical reeded molding. Printed in white, red and green on natural gray skin paper.
Border
, 1825–30
Block-printed on handmade paper

Stylized foliate forms, striped edging. End of run included. Printed in yellow, brown, orange and tan. Printed on ocher background over a gray base coat.
Sampler
Gabriella Magneda, 1822
silk embroidery on cotton foundation Technique: embroidered in cross, satin, stem, four-sided, and back stitches on plain weave foundation

Center field with spot motifs, including double-headed eagle, surrounded by bands of geometric pattern in concentric squares. Tassels at each corner.
Knife
, 1550–1600
Steel, gilding, agate

Small knife with leaf-shaped blade. Upper rib on side with engraved scroll device, a gilded crest at bolster, reverse with gilded engraved fleur-de-lis. Handle decorated with volute scrolls, capital, and an octagonal column inlaid with coral dots, scroll capital. End of handle in the form of a winged figure; oriental male on front, grotesque female on reverse. Traces of gilding on handle.
"Baxter" Print: Gems of the Great Exhibition of 1851, Gem No.1
George Baxter, 1804 – 1867, 1852
Lithograph, with woodblock-printed oil inks, ruled borders in gold paint Support: white wove paper laid down on white wove paper
Print

Interior, The French Department; statuary:"sabrina," center; "Psyche," left; "A Nymph," right. Arched top mounted in gold border