biglam/cooper-hewitt-alt-text huggingface dataset:
PLUSIEURS PORTAILS ET PORTES Composés et Gravés par L.G Taraval
Louis-Gustave Taraval, French, 1738 – 1794, 1768–75
Album

A series of Neoclassical architectural designs for porticos and exterior facades of buildings with religious, Christian iconography featuring motifs associated with the classical architectural orders of ancient Greece and Rome. The plates are signed, titled, and numbered. Three quarter leather binding with marbled paper boards, red leather lettering piece on spine with 'Taraval' tooled in gold, and marbled endleaves.
Developement de bordure pour la chasse du Roy, Quatre détails..., 7th Plate [Four Details of the Frame for the Hunting picture for the King], pl. 39 in Oeuvre de Juste-Aurele Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off-white laid paper
Print

1921-6-212-14-a: Upper border with center escutcheon decorated with...;     1921-6-212-14-b: Four separate elevations of frame:  upper and lowe...
Rade de Cherbourg (Port of Cherbourg)
, 1780s
linen warp, cotton weft Technique: block printed on plain weave
Fragment

Polychrome diamond grid formed by flowers and large fruit containing an alternation of two scenes, both titled in French. One scene with a couple and a lamb is titled 'le Mouton Cherie', the other shows boats in a harbor, 'Rade de Cherbourg'. Black, two reds, blue and yellow.
"Five Different Fillets," Plate 6 from "Goldsmith Ornament Designs"
Heinrich Raab, German, active Nuremberg 1640 – 1650, ca. 1648
Engraving on off-white laid paper
Print

The group consists of five symetrically arranged black designs for fillets ornamented with floral motifs. Two semi-circular designs ending in severe points at top left and right show white flowers and foliage against a blackground.  Central spiked chevron design shows frontally placed flower in full bloom, flanked by two drooping buds around a center stem, in white on black. Beneath, a tri-looped bow above an arrow.  At left and right, two small hook shaped designs, also ornamented with flowers complete the group. Inscription below above plate mark.
Developments du second et troisieme Etage.
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1740
etching and engraving on paper
Print

1921-6-212-5-a: 2nd state. Central cartouche panel, surrounded by ...;     1921-6-212-5-b: 1st state. Section of building, mezzanine floor sh...;     1921-6-212-5-c: 1st state. Second floor showing fireplace and mirr...
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 of arched window with separate panels, all framed by orange and red; two vertical panels identical designs of spade-shaped pattern with purple vines, mandorlas at center of yellow ground, with C-scrolls below. Upper circular panels contains 4-lobed flower in purple and green.
Sketchbook Page: Portrait of a Man with a Beard
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Portrait of a man with a beard and straight, shoulder-length hair, looking towards the left.
Sidewall
, 1875–99
Block-printed paper, embossed

Imitation leather. Stylized floral and foliate design with scattered butterflies. Heavily embossed to imitate tooled leather. Printed in turquoise, light and dark tan.
Frieze
Kayser & Allman, 1905–1915
Machine-printed paper

Repeating design of large medallions composed of scrolls. Asymmetrical arrangement in Rococo style. Narrow band of scrolling motfs along top edge. Background shades from light at the top to darker at the bottom. Printed in white and metallic gold on an off-white or tan ground.
Panel border
, 17th century
linen Technique: bobbin lace, continuous braid-like

Linen with tab bobbin lace attached at edge and within linen withdrawn element with needle lace.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a twill foundation

Fragment of red cut and uncut pile in a cream-colored ground in a pattern of stylized plant forms and embellished lozenges.
Architectural Details at Lisieux
Arnold William Brunner, American, 1857–1925, 1883
Graphite, white heightening and blue wash on brown paper
Drawing

Left, wrough-iron railings. Right, gable of house.
Textile
, ca. 1550 BC
linen Technique: plain weave

Very small fragment of linen from a mummy wrapping.
Jar and lid
, ca. 1810
Glass

Round body cut with vertical flutes in graduated lengths prismatic cutting above and below, with vertical flutes around lip, a star on bottom of base; domed cover with mushroom finial cut with vertical flutes at out rim.
Dinner Plate with the Arms of Ker-Martin
, ca. 1790
porcelain, vitreous enamel, gold
plate

Octagonal marli with cartouches of the Four Continents: Asia reclining, with parasol, camel, pyramid, and pagoda; Europe as sailor, seated on cornucopia, with ship and cannon as attributes; Africa, nude, seated on rock, with elephant and crocodile; America with feathered headdress, bow and arrow, and unidentified animal, possibly a bear; between cartouches, four diapered ovals with urns; in center, figure of Hope, with anchor, leaning against shield with the arms of William Ker (born 1775), Jane Martin on escutcheon of pretence; surrounding it, husk garland and four anchors.
Sketchbook Page: Sketch of Rabbit
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Sketch of a rabbit, shaded, surrounded by faint sketches of decorative borders.
Fragment
, 18th century
linen Technique: needle lace (commonly called Rosaline)

Fragment of elaborate coral shapes. Pattern outlined by cordonnet and connected by brides picotées, interspersed by portes and gaze quadrillée.
with Coin and Stamp Compartment
, ca. 1890
Plated metal
Matchsafe

Oblong, curved sides and corners, featuring overall incised, decorative scroll pattern, front reveals coin compartment hidden beneath cover located at lower half, hinged at center, with thumb catch at bottom, stamps may be stored on underside of compartment cover; revealed when matchsafe lid is opened at top are 2 long metal cylinders vertically recessed inside (possibly for pencil and toothpick), reverse of box has same overall decorative pattern with open, circular reserve at center, link on side. Lid hinged on side. Striker recessed in top of lid.
Sample sheet
, ca. 1750
paper and wool Technique: fulled plain weave

Sheet of paper pasted with a double row of twelve samples of fulled woolen cloth in greens, reds, purples, blue, black, and white. Crudely drawn floral border of brown ink, green and orange watercolor. Intended for export to the eastern Mediterranean region.
Textile Design: Japonisme
Warner and Sons, Ltd., London, England, ca. 1874–80
Brush and watercolor, gouache, graphite on paper
Drawing

Design of cherry blossoms and magnolias in reds and golds.
Vase
, ca. 1783–99
glass

Tall straight sides slightly flared at scalloped top rim, flat bottom, tall spool stem on flat circular base; sides cut with large swags with small diamonds above and a row of losenges below, under rim has a row of facets with blazes on each side.
Woman's pocket
, 18th century
linen warp, cotton weft, wool embroidery Technique: embroidered on plain weave Label: linen warp, cotton weft, embroidered with wool

Flat pocket of hand-woven fabric, embroidered in a floral design in colored wools. Bound at edges and at opening for hand in fragments of dark, block-printed linen. Waist tapes are missing.
Hounds
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Graphite on tracing paper
Drawing

Circular design with two hounds.
Window shade
, 1880–1900
Block-printed

Printed in wide band near bottom edge: gray half-circles under beading, alternating with motif resembling cast-iron fence. Overprinted with stylized floral motifs. Bell flower pendants below. Printed in gray, metallic gold, black, pink and brown on an olive green fabric support.
Sampler
Elizabeth Warren, English, b. ca. 1808, 1815
silk embroidery on wool foundation, linen tape Technique: embroidered in cross, stem, eyelet, satin, and running stitches on plain weave foundation

Nearly square sampler embroidered in soft colors of green, tan and pink on a cream ground. Variation of the lozenge sampler, with each corner of the diamond cut off to make an octagon, and the typical stepped outline made into a floral border. Within the lozenge are four alphabets and, containted withing a box, a verse:  
How should the morning of my days
be spent in humble pray'r and praise
to him who gave me life and breath
and still preserves my soul from death 
To him I'll dedicate my days
Then shall I prosper in my ways
 And whilst my calling I pursue
His praise shall terminate my view
Surrounded by four squares of pattern darning, two checkerboard diamonds, and a white rose above the signature Eliz'th Warren Aged 7 Years 1815. With deer and dogs filling the space, and a cherub in each corner. 
The verse is from Songs in the Night by Susannah Harrison, first published in 1780. The verse here is from the second edition of 1807.
Funffte Ausgab seiner vorhabenden werckes...Unterschiedliche Neu Inventierte Verkleidunen zu modernen geographiscehen und astronomischen Perpendicul-Uhren, erschienen bei Jer.
Johann Jakob Schübler, German, 1689–1741, ca. 1720
Engraving on cream laid paper
Print

Plate 1. Design for a large, free standing case clock, placed centrally in front of a wall size mirror. Window at left.
Mourning sampler
, ca. 1850
wool, silk and metal-wrapped silk embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave cotton with paired warps and wefts (Penelope canvas)

Two female angels draped over a tomb with an anchor at the bottom and a leafy tree behind.  Lettering at the bottom reads: GRANDMOTHER
Still-life
Yvonne Paul, 1911
Pencil on tan paper
Drawing

Horizontal rectangle. A still-life of a bottle, tea-pot, and onions. Signed in pencil, lower right: "Paul./May 8."
Man's coat (choga)
, 19th century
wool, silk Technique: embroidered

Man's coat opens down the center front with two purple frog style closures at chest. Coat has long sleeves and slightly flared skirt with short side slits. Coat is pieced together, with braid embellishment along seam. Overall paisley and vine motifs worked in red, greens, blues, and yellow on a white background. Lined in beige silk.
Sidewall
, 1835–60
Block-printed and flocked on paper

On flocked deep red ground, two identical columns of varying clusters of grisaille leaves and flowers - all finely outlined in light brown - drop repeat. The groupings of flowers form a diaper pattern.
A Courtyard
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1885
Brush and watercolor, graphite on paper
Drawing

A courtyard is seen, with green and yellow foliage.
Ceiling paper
Cory-Heller Company, 1905–1915
Machine-printed paper, liquid mica

Small scale floral sprig design, Small floral and foliate wreaths. Printed in light blue, green and liquid mica on a thin off-white ground.
Designs for Wallpaper and Textiles: Birds
, 19th century
Brush and gouache on cream paper
Drawing

Group of four birds in flight, wings spread all in profile. From top to bottom, and left to right: blue-gray bird facing right, maroon bird facing right, white bird facing left, yellow bird facing left and downward.
Box
, ca. 1835
Shaped tortoiseshell, ivory, wood, silk (cord) silk velvet (interior)

Rectangular box of wood with wavy sides and hinged cover. Sides covered with flamy tortoise-shell; top cover is domed sheet of tortoise-shell without backing. Inside edges lined with strips of ivory, the box itself with dark purple velvet. Four ivory ball feet.
Bracelet
Fortunato Pio Castellani & Sons, Italy, founded 1815, ca. 1880
Gold, emeralds

Heavy gold bracelet with six cruciform motifs and forty-two cabochon emeralds. "Medieval" style- continuation of Castellani expanding their repertoire of historical styles.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted dark green silk ornamented with cut steel beads in lengthwise pattern of diamond bars.  Two steel rings control side closing; at either end are tassels of steel beads and drops.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Art nouveau style. Alternating large and small floral medallions (of stylized tulips) and S-scrolls. Background of hexagonal dot grid. Cream ground. Printed in light green, light pink, light blue and grey. Printed in selvedge: "Carey Bros. W. P. Mfg. Co."  "I"
Mars, from The Seven Planets
Hans Sebald Beham, German, 1500–1550, 1539
Engraving on laid paper
Print

The figure of Mars, turned toward the right, and carrying a battle axe in his left hand, a sword in his right hand, is accompanied by Aries (the ram) and Scorpio (the scorpion). At upper left the word "MARS" and the symbol for iron.
Cap stand
, mid-18th century
Tin-glazed earthenware

Cobalt blue and manganese purple decoration showing flowers and a bee on globe. Ring of leaves at base of neck. Circles at edge of foot and top of globe.
spoon
, ca. 1600–1700
silver

Large fig-shaped spoon-bowl. Flat flaring neck, on front scrolled decoration with lion's head in the centre, long plain neck, round in section. On top of handle a soldier standing on a pedestal holding a rifle.
Execution Scene
Andrea Boscoli, Italian, 1550–1606, 1800–20
Pen and brown ink, brush and brown wash on cream paper
Drawing

A standing semi-nude figure is seen frontally, knife in right hand. He is on the verge of plunging the knife into a bound, semi-nude man, who kneels before him.
Orphrey fragment
, 15th–16th century
silk Technique: compound weave

Blue and beige orphrey fragment with floral ogives and leafy sprigs.
Sketches from Château de Blois
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Sketches of buildings, rooftops with chimneys, lower right, Victorian-era house.
Self-Portrait
Kenyon Cox, American, 1856–1919, ca. 1877
Graphite on cream wove paper
Drawing

Self-portrait of the artist. Facing forward, hair parted over right eye. Turned slightly, so only the left ear shows.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a figure, seated on the ground with elbow on knee.
Band
, 16th–17th century
linen, silk Technique: needlework on gauze weave

Border of linen gauze weave embroidered in yellow and red silk in a serpentine leaf and ribbon pattern.
Window shade
, 1875–1900
Machine-printed paper

Large rectangular framework, with Renaissance Revival detailing. Stylized floral motifs across bottom, up lower sides, and across the top. White floral pendants within frame at top. Printed on blue paper.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Small rose swag near top edge suspended by ribbons, extends down to near bottom edge of design and becomes larger in scale. A tan monochromatic landscape scene appears within the larger swag. A horizon line divides the design in half with the upper portion lighter than the bottom. Printed in deep red, green and shades of tan, overprinted with small dash marks.
Textile
, 19th century
cotton Technique: stenciled resist (katazome) on plain weave

Length of stencil resist (katazome) in ivory pattern with red details on finely dotted blue ground. Two rows of large (12 cm) full-faced flowers with leaves and tendrils.
Footstool
, 1880–85
Wood, wool, tin

Rectangular wooden stool (a) on bun feet, with hinged lid covered in blue printed wool, mounted with upholstery nails; Rectangular tin liner (b) in stool.
Mourning sampler
Emily Silcox, American, 1839
wool embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave foundation

Within a black Greek key border, an inscription and verse:
When This was done this i have done to let you see what care my parents took of mee (sic)
Below, a very stylized weeping willow embroidered in black, with a bird and a dog below, and a black frame with the text: Sarah Jane Silcox Died March 24 1839, aged 13 years and six months
Frieze
Robert S. Hobbs & Co., Brooklyn, New York, 1905–1915
Machine-printed paper

On tan ground, gray vines and white rinceaux in scrolls. Printed two borders across the width.
Frieze
, 1905–1915
Machine-printed paper

Two bands of mirror-reversed repeating design composed of a pedestal-like acanthus ornament connected by circular beads to a torch framed by a wreath on a dotted ground bordered on the bottom by two rows of circular beads and a row of circular and oval beads divided by a solid line and on the top by circular beads and horizontal stripes. Printed in white, greens, mica, black, gold and scarlet. Classically  styled design.
St. Martins, in the Fields, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Pews and balconies filled. Pulpit at left center. Church interior viewed from the rear. Title, artists', and publisher's names below.
Chimneypiece, from Diverse Maniere d'adornare i cammini
Giovanni Battista Piranesi, Italian, 1720–1778, 1769
Etching on paper
Bound print

The image depicts a chimneypiece with female figures and masks decorating the andirons. The jambs consist of Greek keys, masks, and other composite classical symbols. The mantel is decorated at the center with a medusa-like head, flanked by swans and then by satyrs. Above is a frieze of winged putti.
Project for a Bell Tower
Filippo Barigioni, Italian, 1690 - 1753, 1710–1750
Graphite on off-white laid paper
Drawing

Design for the left half of a bell tower. Below the bell, a clock. Above the bell, a Greek cross.
Fragment
, 17th century
silk Technique: 4&1 satin damask

Plant forms with birds and dogs in purple and yellow.
spoon
Lambert & Jozan, Veuve, 1850–1900
silver

Oval bowl, rattail stem forming three threads terminating in four volutes-- centering and oval with quatrefoil crusher.
Cup and Saucer, from a Napoleon III Table Service (Tasse et soucoupe, Service à Chiffre Doré de l'Empereur Napoléon III)
Sèvres Porcelain Manufactory, French, established 1756, 1849–1859
hard paste porcelain, gold
cup and saucer

Napoleon III shallow cup with flaring edges. Circular handle with knobs. Flat saucer with curved edges. Gilding on all edges and crowned cipher on cup.
Chairs
Giuseppe Barberi, Italian, 1746–1809, 1780–90
Pen and brown ink, brush and brown wash, on off-white laid paper, lined
Drawing

Below, at left: sketch of an armchair with two different suggestions for the back, and another sketch of the left half of another project drawn over it. At right: an armchair, with the back at right and the legs cut off. Further right: plan of a seat, small sketch of an armchair.
Shepherd Boy and Shepherdess in a Landscape
Jean Baptiste Le Prince, French, 1734–1781, 1767
Pen and black ink, brush and black wash over graphite on off-white laid paper
Drawing

A shepherd boy playesa flute, at left, while a shepherdess wearing a turban listens. Their sheep are shown in a rocky, and wooded landscape.
Portrait of a Man
, ca. 1800
Engraving and aquatint on paper
Print

Shoulder-length portrait of a young man in side view to left. His slightly wavy hair worn at ear length. He is wearing a jacket with a high collar and a white necktie.
Composition Suggested by Scenery between Pasto, Colombia, and Quito, Ecuador
Frederic Edwin Church, American, 1826–1900, August 26, 1853
Graphite on gray wove paper
Drawing

Landscape sketch showing a generalized view of mountainous Andean scenery between the cities of Pasto, Colombia, and Quito, Ecuador. In the foreground at left, rolling and heavily wooded terrain descends toward a river valley in the lower right corner. A river winds through the valley floor, which is bounded by abrupt slopes that ascend to a flat plateau in the middle distance at right. Rugged, mountainous topography makes up the middle distance at left, and extends into the background where an immense, sharp, and pyramidal mountain rises above the others--likely a volcano. The extremely rugged terrain forms a jagged horizon in the background.
Laban reproves Jacob for leaving secretely
Gerard Jean Baptiste Scotin, the Younger, 1698–after 1744, 1725–45
Hand-colored etching with watercolor on paper
Print

Left side of a panel. The two men are at right, under a tree. At left are four men, three of whom carry spears, and a horse. In rocky landscape.
Designs for Rocaille Motifs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off white laid paper
Print

Four designs of rocaille motifs comprised of scrolls, rinceaux, batwings, branches, flowers, and leaves. The plate is signed and numbered.
Stage Design for the Interior of a Vaulted Hall and a Capital
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

High vaulted Gothic hall with barred window. Detail of capital at right.
Six Medallion or Frame Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Six designs for medallions or frames, oval and round, decorated with moldings and topped with trophies. The ornament and motifs include laurel leaves, ribbon, scrolling acanthus leaves, lamb's tongue, foliate branches, flowers, fruit, festoon of leaves, distilling apparatus, helmet, cannon, spears with flags, rosettes, nets, paddle, and fish. The plate is numbered and signed.
Study of a Standing Cow
Samuel Colman, American, 1832–1920, August 1876
Brush and oil paint on canvas
Drawing

A cow is shown in profile, on a meadow, walking toward right.
Elevation de l’Hostel de Sully a l’entrée
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of the exterior facade of the Parisian hôtel particulier (grand house), the Hotel of Sully. Two wings connected by a ground floor level with a central arched door flanked by pilasters, and a balustrade above. A scale below. The plate is titled and signed.
Stage Design: the Interior of a Tent
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and gray wash, graphite, on off-white laid paper
Drawing

The tent is partitioned into three sections by posts. The front section is lit by a lantern suspended from the ceiling. Inside this section, there is a circular medallion supported by two winged figures, just below the ceiling. In the background, behind the tent, a woman sits in the corner of the sofa, against the rear wall.
Views along the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray laid paper
Drawing

Botanical, landscape, and figure sketches showing views along the Magdalena River in Colombia. Along the upper margin, a sketch depicts shallow, marshy terrain with semi-submerged grass somewhere along the Magdalena River. At right and lower center, three views of trees are included: the two at right both have tall, thin trunks and wide, umbrella-like canopies while the tree at lower center appears to be enveloped in vines. At left, two sketches of manned rafts are included. The raft above hosts two people--one at the bow and another at the stern--while the raft below carries one figure, a donkey, and a variety of secured goods. 

Verso: Rough sketches of the mechanism of a ferry.
Stage Design, Building Adjoining Park Scenery
, ca. 1750
Pen and brown ink, brush and wash on laid paper
Drawing

Horizontal rectangle. Porticoes and arcades on both sides of a street leading up toward stairs in background and palace beyond. Park trees in the background on either side, four figurative sculptures at left, obelisk in center.
Trophy Design
P. Moithey, French, active 18th century, 
Etching in red ink on laid paper
Print

A design for a military hanging trophy printed in red ink, incorporating a large ewer, shields, swords, axe, helmet, a trident, netting, foliate branches, and ribbons. The plate is signed. Another copy of this print in black ink is bound within the same album (1921-6-363-8).