biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Overmantel; recto, Plans of Moldings
Gilles-Marie Oppenord, French, 1672–1742, ca. 1720
Pen and black ink, black chalk on paper
Drawing

Slightly more than left half of overmantel with pilaster panel at left. The mirror frame with dragon in top center rises from top of mantel.  Decoration of pilaster includes medallion with a lion in center. A fragment of section or plan with parts of letters, lower right.  Inscribed at center right:  Cheminée et Plaq(ard)/de la chambre a couch (er).  Verso:  in opposite direction, top:  two rows of plans referring to consecutive moldings.  Annoated in margin:  Cadre des Pilastres; and A bottom; A bases (?) du Plaqcard.
Floral Trophy
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Floral trophy ornament design incorporating flowers, foliate branches, leaves, spear, fish, birds, and a net. The plate is numbered.
Cartouche Design
Borch, active mid 18th century, 1729–68
Etching and engraving on paper
Print

Design for an asymmetrical cartouche framed by shell motifs, c-scrolls, festoons of flowers and leaves, on a ground with foliage surrounded by musical instruments: horns and drums. The plate is signed.
Design for an Embroidered of Woven Horizontal Border
, 1805–1815
Brush and light blue, white gouache on glazed tracing paper
Drawing

Upper and lower halves of blossoms alternate at the bottom, connected by "S" scrolls. Zigzag lines form a winged battlement frieze over the hollows of which plants of two different designs alternate.
Journal de distribution des Fourrages pour l'Ecurie de S. A.sse S.me E.me M.gr le Cardinal de Rohan, precede du tariff des prix des ouvrages relatives à cette partie, extrata des marches faits avec les Ouvriers et Fournisseurs. ***1er Janvier 1782.
Louis Rene Edouard, Cardinal de Rohan, French, 1734 - 1803, 1782–85
leaves: pen and brown ink; drawings: brush and watercolor, pen and ink on laid paper. book: vellum and paper binding
Book

113 leaves, of which 89 are journal entries, 34 blank.  Also contains 11 drawings of the Cardinal's carriages, some with overlays
L'HISTOIRE
Jacques de Lajoüe, French, 1687–1761, 1737
etching and engraving on paper
Bound print

Print after an overdoor painting of an allegory of history. The winged figure of father time, with a putto writing in an open book on his back. The figures stand in a landscape with palm trees and a round temple in the background, other putti stand in the background, including one in the palm tree to the left. The title is lettered below and the plate is signed.
Panorama Fragment of a Mountainous Landscape
Frederic Edwin Church, American, 1826–1900, 1850–1870
Graphite on light brown wove paper
Drawing

Panorama fragment showing a mountainous and heavily wooded landscape. Hills and steep ridges comprise the middle distance before giving way to a large mountain with a sharp peak at center. Another mountain range is visible in the extreme background at center right.
Anatomical Sketches of Heads
Frederic Edwin Church, American, 1826–1900, probably 1865–1875
Graphite on gray-green wove paper
Drawing

Figures sketches of showing twenty-seven views of human (and possibly other) heads in sequential rows. At upper left, the human skull is shown in left profile with its various parts labeled in detail. Beside it at upper right, another human skull is viewed frontally without a jaw. At upper center three rows of four heads are visible: the upper two rows seem to show a progression from a chimpanzee-like head to that of a human or homo sapiens. All heads in the upper two rows face to the left, excepting the two at upper right, which are viewed from above. At center, another row of four heads is shown--the head at far left is viewed obliquely from the rear, while the head second from the right is shown frontally. Below these at left, two faces are viewed obliquely from the front, while beside them at right, four outlines of faces in left profile are rendered in sequence. At lower right, three other faces are sketched in left profile, while at lower left, four heads are also shown in left profile, the two bottommost being described as those of a fighter (aligning with pseudo-scientific phrenological analyses of heads and skulls popular in the 19th century). 

Verso: Figures sketches showing anatomical views of human arms, shoulders, and chests. In the upper left corner, a view of the anatomy of the chest and lungs is shown above two views of arm bones--the rightmost bent and shown in left profile. At upper right, a head is shown frontally above a partial sketch of chest muscles. At center right, a male torso is outlined beside an anatomical drawing of an upturned and bent arm. At lower right, two sketches of a partially extended arm are included--one emphasizing musculature and the other emphasizing skeletal structure. Finally, at lower left, a view of an outstretched arm is included.

Pencil sketches of twenty-seven human heads, predominantly shown sequentially in left profile.
Project for an Altar
Leonardo Scaglia, French, active Italy, 1640 – 1650, ca. 1640–50
Pen and bistre, brush and wash on paper
Drawing

Elevation of an altar with alternative designs. At top, a triangular pediment topped with angels and a cross. At sides, columns are raised to different heights. Niche and tablet below are empty and undecorated.
Arabesque Design for a Panel
, 1780–90
Pen and ink, brush and wash, pencil on paper
drawing

Candelabrum with two lateral framing growths.  The central stem consists of a calyx section, a base with crouching lions flanking an ovoidal medallion, an urn, a thyrsus.  Framing strip.
Altar Lamp
Pietro Belli, Italian, 1780–1828, ca. 1830
Pen and brown ink, gray wash, over graphite Support: white laid paper
Drawing

Suspended from the crown on three chains, which are composed alternately of rings and lozenges. A crest border, composed of acanthus scrolls symmetrical to spades and palmettes in the center of the four sides, stands upon a moulding at the shoulder of the vase forming body.
Canyon View, El Yemen Valley, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 20, 1868
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch of a rocky mountain in what Church called the Valley of El Yemen in present-day southern Israel. In foreground at left, a steep slope descends to the canyon floor at center. In the middle distance, the triangular, rugged peak looms over the landscape at upper center. Throughout the composition, sheer cliffs with visible rock strata interrupt sloping mountainsides.

Verso: Landscape sketch of mountains and cliff faces in a valley in southern Israel known to Church as El Yemen. A tall, steep, rocky ridge with a vertical cliff dominates the composition at right. Throughout the mountainside, slopes give way to cliffs, and vice versa. At left, the opposite face of the canyon is visible, rendered in less detail. Another mountain ridge is shown in the background at left.
Three Views of Sangay Volcano, Ecuador
Frederic Edwin Church, American, 1826–1900, July 1857
Graphite, brush and white gouache on gray-green wove paper
Drawing

Three landscape sketches of smoke rising from the volcano Sangay in Ecuador. At upper left, white and dark smoke rises out of the shaded volcano. At upper right, smiliar scene of mountain and smoke. Below, a larger, notated, and more detailed sketch of the scene is visible. Smoke rises from the darkened volcano in three distinct plumes.
Cover
Sybil Carter Indian Mission and Lace Industry Association, ca. 1900
linen Technique: cutwork and embroidery stitches

Cover ornamented at ends in a design of vases in cutwork and embroidery. Knotted tassels at each corner.
Orfevre Bijoutier
Louis Denis Fossier, French, 1744 – 1781, mid- 18th–late 18th century
Etching on laid paper
Print

Plate with ten numbered designs for gold boxes and cane handles featuring neoclassical ornament - fluting, beads, waves, festoons of leaves, a cypher, and cupid/ putto with a bow and arrow. The plate is titled, numbered, and signed.
Fragment
, 1750–1800
cotton Technique: mordant and resist painted, immersion dyed (chintz) on plain weave

Fragment of mordant-painted and dyed cotton with a Pious Pelican piercing her breast with drops of blood flowing out to three young birds which fly up from the ground below in a row.  Mother pelican is standing on a four-mound.  Leaves and flowers of other motifs on the edges of the fragment.  Colors: red, blue, yellow (faded), dark red.  Outline: black-brown on an ivory background.
Pleated fan
Jean Baptiste Joseph Pater, French, 1695 – 1736, 1760–80
Painted parchment leaf backed with painted paper, incised and pierced mother-of-pearl sticks with applied metallic foil, glass stone at the rivet

Pleated fan. Leaf of painted parchment backed with painted paper; sticks of incised and pierced mother-of-pearl with applied metallic foil; glass stone at the rivet. The figures in the central frame are after a painting by Jean Baptiste Joseph Pater (1695-1736) entitled, "Conversation Galante dans un Parc." The partially visible pen and ink drawing on the left is signed Perelle and is probably a copy of a countryside view by the painter and engraver, Gabriel Perelle (1603-77). Scattered framed pictures and the twisting ribbon motif create a trompe l'oeil effect.
Textile
, 1790–1810
cotton Technique: printed by engraved plate on plain weave

Pillar print with two different pillars alternate with circular cartouches. The imagery is all associated with the secret society of Freemasons.
In red on white. Blue warps.
Study of a Dog
Henry Bernard Chalon, English, 1770 - 1849, 1820–1849
Black crayon on paper
Drawing

Shown in profile standing and directed toward left, with the head turned toward the spectator. The feet are not shown.
Fringe
, 17th century
silk Technique: plain weave

Red and white fringe with a plain weave heading, band in a trellis pattern above red and white skirt threads.
Plate with Monogram
Sèvres Porcelain Manufactory, French, established 1756, ca. 1846
hard paste porcelain, vitreous enamel, gold
plate

Plate with flat, straight marli. In center, crowned monogram of Louis Philippe in laurel wreath, all in stamped gold, surrounded by two polychrome putti with roses. Solid azure band extending over part of well and marli; stamped gold vine and scrolls on rim. Marks all overglaze: ''Château des Tuileries'' (rust); PL Sèvres 1846 (pale blue); crowned (green), France (rose).
Bodice
, ca. 1835
cotton, linen lining Technique: printed

Bodice for a young girl of printed calico with pink, green, and purple flowers sprinkled over a small ground pattern of dark brown curling lines. Bodice has a low neck and pleated sleeves held by self bands; gathered fold of self fabric across front. Hooks on the back.
Portrait of an Old Man
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1780–81
Etching on white paper
Print

Bust-length portrait of an old man slightly turned to left within an oval. He wears a turban-like headgear.
Panel
, 19th century
cotton, silk, metallic threads Technique: plain compound weave

Rectangular panel with a border design of conventionalized blossoms and leaves in green, red and blue with silver threads. Two ends are striped red, green and red and gold.
Sarong (kain songket)
, early 19th century
silk, metallic threads Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Brocaded sarong (kain songket) with a maroon silk warp and purple silk weft, brocaded with an all-over repeating leaf pattern in gold thread. Geometric borders brocaded in gold and a wide center band heavily brocaded in gold in the stylized "lawi ayam" or 'cockerel's tail feathers' motif.
St. Paul's over Temple Stairs
Joseph Pennell, American, active England, 1857–1926, 1905
Etching in black ink on paper
Print

Scene composed in upper center of plate, showing the Thames with embankment, and St. Paul's rising in the distance.
Study of Nude Figure
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on cream paper
Drawing

The boy is shown prone, leaning the left arm and the right hand on the top of a couch, which is not shown. Verso: in opposite direction, a scheme for the decoration of a wall.
Bare feet below a skirt
Martha S. Day, January 1860
Pencil on paper
Drawing

Horizontal rectangle. Bare feet seen in right profile, with a skirt terminating about six inches above the ankles. Inscribed (in ink), on verso: "Drawn by M. S. Day/ Jan. 1860."
Textile
, 19th century
silk Technique: plain weave with supplementary weft patterning (brocaded)

Green textile brocaded with pink and yellow silk showing symmetrical pattern with ribboned bouquets along central vertical axis, and serpentine florals on either side.
Fragment
, 18th century
silk, metallic yarns Technique: satin weave with supplementary weft patterning (brocaded)

Fragment of white satin brocaded in gold metallic thread, pink and terra-cotta silks and blue chenille has a large-scale scrolling leaves and small floral sprays.
Portraits of United State
Frederick T. Stuart, 1837 – 1913, ca. 1888
Steel engraving Support: white wove paper
Print

Vertical rectangle; within oval frames are bust length portraits of the presidents, grouped around a central vignette of government buildings. Illustration for John Stevens Cabot Abbott's ''Lives of the Presidents.'' matted with 1957-148-50D.
Fragment
, 16th century
linen Technique: withdrawn element work with needle lace insertions (reticella)

Fragment with three partial reticella insertions. Two small insertions on the outer edge and one wide central insertion in a circular design.
Study for Christ, Chancel of St. Bartholomew, New York
Francis Augustus Lathrop, American, 1849–1909, ca. 1893
Graphite on paper
Drawing

Sketch for Christ in the painting in the chancel of St. Bartholomew, New York City. Shown without feet, clothed in drapery. The right foreram is raised, the left arm lowered.
Table mat
, late 19th century
silk embroidery on linen foundation Technique: embroidered using satin stitches on plain weave

Table mat of off-white linen, approximately round with scalloped edges. Embroidered in pale greens, pinks, red and off-white silks with a cipher entwined with two pink roses. Border of  small yellow lattice with red dots.
Sewing sample
, late 19th century
Cotton

Sample of plain white knitting with two oblong sections; center appears to be reknit. Knitted edge.
Textile
, 1850–1900
cotton Technique: roller printed

Square scalloped kerchief with a black ground and an allover design of white rings. Edge embroidered with white cotton.
An oratory dedicated to the Virgin
, 1800–1830
Pencil, pen, ink and bistre wash on paper
Drawing

Vertical rectangle. A laterally and in front open aedicula with a high dado. Pairs of Ionic columns and pilasters support the coffered roof. Triangular pediment, showing a crowned heart in a glory of beams and a cross on top. A painting of the Virgin and the Child hangs over a shelf with three vases on the back wall. | The cast shadow is shown.
Fragment
, 19th century
linen Technique: bobbin lace (Lille-style, made with heavy outlining thread)

Fragment of Lille style bobbin lace.
Fringe
, 17th century
silk Technique: woven

Light green fringe with a plain-woven heading and a skirt of light green threads.
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation (velvet)

Small leaf-like shapes in off-set rows in tan.
Fragment
, 5th–6th century
Warp: S-spun linen. Weft: S-spun linen and Z-spun wool Technique: slit tapestry, warps mostly paired

Square tapestry-woven fragment. Monochrome type, dark purple-brown wool and undyed linen.  A roundel within the square shows a warrior wearing a mantle and carrying a sheild.  The border contains ten ornamental medallions.
Fragment
, 1700–1750
linen Technique: bobbin lace, Brussels style

Fragment with a design of a seated maiden flanked on either side by curving tree trunks.
Textile
, 1850–1900
silk on silk Technique: embroidered on plain weave

Cream silk plain cloth ground with polychrome silk embroidery in chain stitch. Ground powdered with flower springs. -a: has garland of flowers at either side. See n-t-624, but it does not appear to be chain stitch.
Sampler
Sarah Phillips, 1742
silk embroidery on linen foundation Technique: embroidery on plain weave

Alphabets and numerals with horizontal geometric borders, and at the bottom a hillock with trees and deer; stylized running vine border.
Staircase model
, ca. 1880
Planed and joined wood

Curved staircase model on shaped base.
DESCRIPTION DES FÊTES DONNÉES PAR LA VILLE DE STRASBOURG Pour la Convalescence du Roi : à l’arrivée et pendant le séjour de Sa Majesté en cette Ville
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

Fifth page (recto) of the engraved text describing the festivities, within a rocaille border, topped with a cartouche with the royal interlaced L's, and the city of Strasbourg's coat of arms on each side. Sixth page (verso) of the engraved text describing the festivities, within a rocaille border topped with three fleurs-de-lys in a cartouche and the city of Strasbourg's coat of arms on the bottom.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Design with rectangle at center made up of blue and gold, vase with curled vines; surrounded by frame filled with gold-green circles.
Entresol
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–50
etching and engraving on paper
Print

1921-6-212-4-a: Architectural plan with alphabetical notations ide...;     1921-6-212-4-b: Architectural plan with alphabetical notations ide...;     1921-6-212-4-c: Architectural plan with alphabetical notations ide...;     1921-6-212-4-d: Architectural plan with alphabetical notations ide...;     1921-6-212-4-e: Architectural plan with alphabetical notations ide...
Square
, 19th century
silk Technique: wax resist dyeing (batik) on plain weave

Silk square in black, dark blue, brown, and cream-white. Shows four "wayang" figures facing diagonally toward center, one of which has a different pattern on his sarong. Outer border and center ornamented with "ship of the dead" and "sawat" (wings and tail of Garuda, mount of Vishnu) motifs, as well as architectural structures.
Sampler
Marya Lopez, 1817
silk embroidery on linen foundation Technique: embroidered in cross, satin, stem, long-armed cross, four-sided, chain, eyelet, running, back, and wrapped stitches on plain weave foundation

In the center, a double-headed eagle and the shield of Castile and Leon, framed by the inscription. With deep borders of geometric pattern bands. Trimmed with four green tassels.
Band
, 17th century
linen Technique: plain weave embroidered with deflected element work

Woven linen band with all white design of a twisting geometric floral vine with embroidered details.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Two small sketches of flowers.
No. 19
Gebrüder Thonet, Austrian, founded 1853, ca. 1860
Bent wood, woven caning
Side chair

Curvilinear, laminated bentwood frame, the back elements shaped into one circular and two elliptical loops; circular caned seat; circular stretcher below seat; the four legs curving out at feet.
Sketchbook Page: Tennyson Poem
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Page divided into thirds. Center, section of Tennyson's poem "The Princess." Below, sketch of man's face, canceled out. Above, numbers and related inscriptions, canceled out.
Chintz border
, 18th century
cotton Technique: mordants for 2 reds and 2 purples applied by pen and brush; madder dyed; blue applied in two strengths by brush; chintz on plain weave

Part of a border with an essentially symmetrical arrangement of plants and scrolls on right side of a tree.
Chalice veil
, 18th century
metallic embroidery on silk foundation Technique: embroidered on plain weave, bobbin lace trimming Label: silk embroidered with metallic yarns, metallic bobbin lace edging

Chalice veil of red silk taffeta embroidered in silver metallic yarns. In the center "I.H.S." is embroidered in a circular frame of wheat and grapes. In each corner, a spray of roses and carnations in gathered with a bowknot; connected by scrolling lines. Edged with narrow gold bobbin lace.
Tablecloth
, late 19th century
linen Technique: damask, embroidery

Damask tablecloth with embroidered signatures of the guests in the position they sat at the table, including Ignace Jan Paderewski and dated 1896.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Framework of foliate scrolls with each set of eight enclosing two alternating motifs: a circular wreath motif containing four torches, and a circular motif composed of more foliate scrolls. Printed in green, metallic gold, and white mica on pale green ground.
Bourdalou
, 18th century
Tin-glazed earthenware

Long vessel with handle at one end. Tinted blue glaze on warm beige earthenware. Body painted with blue and red leaves. A shaky blue and red line under the rim. Lines and leaf patterns break at handle which is decorated with blue leaf motif and spirals.
Floor paper
Warren, Lange & Company, 1875–1906
Machine-printed paper

All-over pattern of basket-weave with inset bosses. Printed in reds and ocher on ocher ground. Possibly parquet design.
Section of a petticoat
, 1700–1750
linen embroidery, cotton cording, cotton foundation Technique: stitched using trapunto technique; embroidered in satin, stem, coral knot, French knot, and eyelet stitches with deflected element work

White on white pattern of symmetrical floral forms stemming from a vase.
Two layers of white cotton fabric are placed one on top of the other with warps and wefts aligned. Heavy cotton yarn is pulled through channels created by parallel rows of running stitches through both layers, giving a padded effect (trapunto). Embroidered details are added in a variety of stitches. In some areas, the back layer of fabric is cut away and deflected element work is added in the top layer.
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

Design of roses linked by flowing and intertwining stems. Background has thick lines that intertwine to create medallion forms. Top border edged with simplified rinceau. Background stipled and has small lines creating texture. Printed in shades of green on a tan background.
Spring
James Joseph Tissot, French, 1836 – 1902, 1878
Etching on paper
Print

An outdoor scene. A young girl stands, facing the spectator, her left hand resting on her hip; her right hand holding a fan which is raised to the height of her face.
Seal
, ca. 1810
Gold, mother-of-pearl

Spirally fluted handle, top, engraved with garden flowers.
Medallion
, late 17th century
linen Technique: needle lace, 6-sided reworked grounds

Medallion in a design showing the French royal sun contained within half-domed architectural structure, surrounded by stylized foliated garlands.
Sidewall - fragment
, 1850–60
Machine-printed on machine-made paper

Unprinted off-white or taupe ground paper.  Very soiled, with dark streak across center. Small loss in middle of sample.
Bonad
, 1775–1825
Hand painted on canvas

Two groups of six people each, standing behind and to left of table. Two large fruit-filled compotes and a pitcher sit in front of table. Two multi-paned windows appear on the far wall.
Bandbox
, ca. 1835
Block-printed paper, pasteboard support

Pasteboard bandbox lid covered with wallpaper: blue background, male figure standing in chariot drawn by lion (only back part of lion visible) in beiges, browns. Rim: blue black ground, three lines of small blue dots, one line of large white and pink dots.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Art Nouveau style. Wide frieze, possibly meant to be cut into wide and narrow borders. Scrolling or scalloped vine with foliage centered between two rods at top. Scrolling flourishes and heart-shaped pendants suspend from foliate band. Stylized foliate motifs in voids under hearts. Printed in colors on horizontally-striped ground.