biglam/cooper-hewitt-alt-text huggingface dataset:
Deisgn for a Diadem
, 1825–50
Pen and ink, brush and yellow, gray, light brown watercolor, graphite on paper
Drawing

Design for a diadem showing the left half of the crown or tiara. A branch with curved leaves, and stems with buds and blossoms. On the first lower leaf at left an unnaturalistic shape with rows of diamonds is alternatively suggested.
Design for a Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white, blue gouache on glazed tracing paper
Drawing

A lyre standing in a not quite closed ovoid formed by rinceaux at the bottom from which laural boughs rise. The left hand is shown.
Two Flying Putti
, CA. 1800
Pen and ink on paper, mounted
Drawing

One is shown in profile from the back and flying toward the other who carries an arrow. Framing ink lines.
Mountain Range across a Plain, Mexico
Frederic Edwin Church, American, 1826–1900, February–April 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a rugged mountain range across a flat plain in Mexico. The foreground and middle distance are comprised of this plain, which is dotted with bushes and other small vegetation. In the background, a craggy, sharp mountain range stretches across the horizon with a pointed peak at center right. Faint, puffy clouds hang in the sky above.

Verso: Architecture sketches showing views of a church and two rectangular buildings in Mexico. Situated at upper center, the large dome and tall belltower of a church are visible atop a tree-covered prominence. At center right, a rectangular tower with one window is viewed obliquely. At lower center, a squat, rectangular building is also viewed obliquely as it is situated on gently arching terrain with bushes.
Button
, 19th century
Pewter

Flat button ornamented in design of a crown within a border formed by overlapping circles. Back and shank of brass.

On card E
Fragment
, 17th century
silk, metallics Technique: woven

Hunting scenes including a man mounted on horseback in one row, and a woman holding gun in another.
High Water at Southern Head, Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, September 1851
Graphite, brush and white gouache and oxidized white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of sheer, rocky cliffs along the coast of Grand Manan Island, Canada, at Southwest Head. Visible in the lower portion, high tide has risen the ocean's water significantly, nearly submerging all of the rocks around the base of the cliff. Dominating the composition at center, a precipitous cliff is made up of geometic pillars of stone known as basalt, lending a distinct sense of verticality and upward motion to the scene. The cliff has a somewhat sharp top at upper center, before flattening out and fading out of view at upper left.
Bernese Alps
Daniel Huntington, American, 1816–1906, June 8, 1844
Graphite on paper
Drawing

Trees in foreground. Church steeple and forest in middleground, with mountains beyond. Verso: Mountain ridge, with cliifs at upper left.
Angels with a Medallion Representing the Martyred Bishop St. Rufinus
, mid- 17th century
Pen and ink, black chalk on paper
Drawing

Four figures of flying angels support a medallion at center from the bottom. Two angels above the medallion hold a paper scroll showing the inscription: VICIT TORMENTA RVFINVS; within the medallion is a half-figure of the bishop Saint Rufinus, shown in pontificalibus (wearing a bisop's vestments).
Sitting by the Campfire, Maine
Frederic Edwin Church, American, 1826–1900, 1877–1878
Graphite and oxidizing white gouache on tan wove paper
Drawing

Figure and landscape sketch showing one of the artist's traveling companions sitting on a log by a campfire during an excursion to the Mt. Katahdin region of Maine. Wearing a brimmed cap, boots, and a jacket, he sits exactly opposite the viewer with his legs spread and his hand held up and palm facing outward. Beside him at right, an axe is buried in the top of a tree stump, with its handle facing toward our human subject. In front of him, several criss-crossing logs are engulfed in flame, rendered in white gouache. Closer to the viewer, in the immediate foreground, a bucket with a handle is backlit by the fire and casts a shadow across the ground. In the background, the faintly-rendered trunks of other trees frame the scene at left and right.
Fireplace (Chimney Piece and Mantel) Designs
Jean Mansart de Jouy, French, 1705 - 1783, mid- 18th–late 18th century
Etching and engraving on laid paper
Print

Designs for a chimney piece (fireplace, overmantel mirror, and painting above) illustrated as a detailed wall elevation with two different options in the design (split in half). The designs feature rococo ornament and motifs, with c-scrolls, shells, fleurons, clasps, scrolling leaves (rinceaux), foliage, cartouches, flowers, sprigs, rosettes, gadrooning, feathers, palmettes, and palm leaves. The left side design for the fireplace features an ornately decorated back-plate and side-plate, with an andiron in the shape of a dragon. The left side of the overmantel mirror is flanked by a narrow panel featuring a two-candled wall sconce and a vase or ewer on a wall bracket. The right side of the overmantel mirror frame incorporates a women's head with wings and ostrich feathers in her hair as a terminal figure in the top right corner, and a two-candled wall sconce. The painting above depicts a man and a woman in a landscape seated together, and is framed by ornately sculpted moulding designs. Wall Paneling (boiserie) options flank the chimney piece with large vertical panels, with small rectangular panels above and a dado level below. The plate is numbered and signed, with a scale below.
Carpentry of Armchair A
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Plans for the joinery of the armchair represented in 1921-6-331-44. The plate is signed and numbered.
View of the Chateau of Chantilly (Upper Plate)
Adam Perelle, French, 1638 – 1695, 1680–1703
Etching on laid paper
Print

Two plates printed on a single sheet, one above the other. Both are views of the chateau of Chantilly. The upper plate is a view of the entrance to the chateau with the equestrian statue in the center foreground. Figures and horseman throughout the grounds. The lower plate is a view from the pond or basin with figures and horseman in the foreground and a small rowboat in the basin. The plates are titled.
Portrait of Antonius Perrenot, Cardinal de Granville (1517-1586)
, 1725-1750
Engraving on paper
Print

Bust-length portrait in three-quarter view, facing left, of the elderly cardinal. The oval frame is supported by an inscribed pesedtal.
Study for Saint Joseph's Dream
Giuseppe Diamantini, Italian, 1621 - 1705, 1675–1700
Graphite, pen and brown ink on white laid paper
Drawing

Joseph, father of Jesus, sleeps as angels fly above him into the clouds, some supporting a large cross--premonition of the crucifixion.
Design for an Embroidered or Woven Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and white gouache on glazed tracing paper
Drawing

A torus and a border composed of leaves rising from three points, at left. An undulated dry tree stem with bunches of flowers and a few blossoms and leaves in the intervals rises at right. Two repeats are shown.
Six Theseus Subjects for the Palazzo Gaddi, Forli
Felice Giani, Italian, 1758–1823, 1819
Pen and ink, brush and grey watercolor wash over black chalk on paper
Drawing

Six octagonal drawings of Theseus subjects. Written top left, "Camera di/ compagnia/ dipinto in/ Gaddi Forli/ 1819." Top row: Theseus as boy sacrifices hair to Apollo in Delphi. Accompanied by mother, Aethra, and companions, boy raises hair to statue of gods. Priests stand right.  Written with ink on top, caption 1: "Teseo sacrifica a /Delfo il ciuffo dei suoi capelli." Theseus takes sword and shoes of Aegeus beneath stone. Aethra stands behind him.  Caption 2: "Electtra mostra a Teseo la/ spada del padre e li calzari." Central row: Theseus, showing sword at table is recognized by father.  Caption 3: "Egeo padre di Teseo riconosce/ Teseo per figlio." Theseus presents himself in Athens to do battle against Minotaur. He stands beside priest, the secretary ready to draw lots for youths and maidens to be sent as tribute to Crete. "REST" is written on urn.  Caption 4: "Teseo ofre per il tributo/ di Minose in creta." Bottom row, Theseus and Ariadne stand beside Minotaur's corpse. Jubilant and thankful crowd shown at right. Caption 5: "Teseo ucide  il minutauro/ con l asistenza di Arianna." Theseus and Ariadne board sailing ship. They are followed by girls and youths. Caption 6: "Teseo con Arianna e li ostagi/ d atene sinbarca parte da creta."
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and design for two medallions or frames, oval and round, decorated with moldings and topped with trophies of war and love. The ornament and motifs include festoons of leaves, flowers, foliate branches, crowns of flowers, fleurons, drums, horns, axe, helmet, spears with flags, banners, birds, nest, flaming torch, and quiver of arrows. The plate is titled, numbered, and signed.
Three Bacchus Subjects: Bacchus Worshipped
Felice Giani, Italian, 1758–1823, 1800
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Bacchus shown enthroned in circular vaulted temple. Priest stands behind altar in background, while offerings brought to Bacchus. At center, Bacchus and Ariadne hold each other's hands. Woman behind them raises wreath. Two putti fly. Bacchus rides in chariot drawn by panthers toward left.  At left interval, pen sketch of arm holding pitcher; in right one, pen sketch of man sacrificing wine. Part of framing in center lower edge.
Fragment
Favre Petitpierre, France, 1802–1818, ca. 1825
cotton Technique: printed on plain weave

Fragment showing a pastoral scene with two sheep and a young man with a bundle tied to a stick walking away from them. Partial female figure visible on the right. In red on white ground.
Study of a Female Figure (Victory)
Raimundo de Madrazo, Spanish, 1841–1920, 
Red chalk on paper
Drawing

Study of Victory crowning Christopher Columbus. Made for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Curtain
Bromley Hall, Middlesex, England, 1712–1763, 1774–1811
cotton Technique: copperplate printed on plain weave

White curtain panel printed in blue with chinoiserie design. Two Asian-inspired figures climbing a fantasy stairway in mid-air, a figure pointing to the top of a hill where a pagoda-like structure sits. Oversized flowers, foliage, and rococo scrolls accent the landscape. Narrow rectangular panel with six tabs along top edge for hanging.
Monuments de Paris
Hippolyte Le Bas, French, 1782–1867, ca. 1815
cotton Technique: printed by engraved roller on plain weave
Chef de piece

Design in pale brown on white background. Four familiar scenes of Paris: statue of Henri IV on the Pont Neuf, the Fountain of the Innocents, the Parthenon, the east front of the Louvre all in elaborate frames.
Diverses figures chinoises et tartares peintes par Watteau Peintre du Roy en son Académie Royale de Peinture et Sculpture tirées Du Cabinet de sa Majesté au Chateau de la Meute
Antoine Watteau, French, 1684–1721, 1731
Album

An album of figures in landscapes wearing Asian style clothing. The plates are signed, titled, and numbered.
Design for a Mass-Operational House Designed by Hector Guimard, Construction Directions for Wooden Columns
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, showing the construction of wooden support columns on the facade facing the street.
Cartoon for cotton printing: The Life of Belisaire [La Vie de Bélisaire]
B. M. Lebert, 1759–1836, ca. 1820
Pen and ink with gray wash and white heightening on cream colored paper (mounted)
Drawing

The design of a finished cartoon for a textile illustrates five scenes from the later life of the Byzantine general, Belisarius (ca.505-565), of Macedonia. On upper left, Belisarius' dream; upper right, Belisarius recognizing a friend; center, Belisarius setting free the Visigoths; lower left, Belisarius begging alms at the gates of Constantinople; and lower right, Belisarius' dream of justice.  A schematic substitution by the artist is pasted in the upper center of the composition.
Fragment
, 16th century
linen Technique: bobbin lace (continuous braid-like)

Fragment of braid-like bobbin lace. Insertion with eight-pointed star motif.
The Deserted Ferry
Joseph Pennell, American, active England, 1857–1926, 1924
Etching in black ink on laid paper
Print

View looking out from a roofed-over ferry slip, with the Brooklyn Bridge towering above. River craft seen in the distance.
Keyhole escutcheon
, ca. 1810–30
Bronze

Cornucopia
Fragment
, 18th century
linen Technique: bobbin lace

Fragment of Mechlin lace with incomplete conventionalized design. "Fond de neige" ground.
Textile
, 1750–1800
silk Technique: compound weave with discontinuous supplementary weft patterning (brocaded)

Length of woven silk with a pattern of intertwining flowering branches, with roses and other flowers. In black, blue, green, yellow, peach, pink and red, with white frise and chenille yarns, on an ivory ground.
Fragment
, 17th century
silk, linen (?) Technique: two integrated structures, plain weave plus twill; brocatelle

Ogee lattice formed by lancet leaves framing flowering plants in urns. The background is yellow and the pattern a faded mauve. Cut into the shape of a cope hood.
Sampler
, 1823
silk embroidery on linen foundation Technique: embroidered

Initials and date in a wreath, with baskets of flowers, Biblical scenes, alphabets and numerals, and a lion supporting a castle (arms of teh city of Hamburg).
Ornament, Christmas
, 1850–99
White sugar

Pedestal with a white dove on a metal spring.  Tail and one part of wing missing.
Ancienne Porte du Palais de Justice
Charles Meryon, French, 1821–1868, 1854
Etching and drypoint in black ink on paper
Print

Vertical rectangle. An oval composition, showing the pointed towers and doorway of the building in shadow. The roofs of the city in the background, left and right. Above the towers, a demon appears, holding a ribbon on which is seen the word: ''PARIS.''
Sewing sample
, late 19th century
Cotton

Square of white, ribbed cotton, embroidered in white. Center, a spray of leaves, in high relief; corner decoration in narrow lines of chain stitch.
The Pali, Oahu
John La Farge, American, 1835–1910, September 1890
Graphite on paper
Drawing

Leaf from a Sketchbook. Mountainous landscape, with the sea and islands in the distance.
Spring, Sketch of Winged Figure
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tan paper
Drawing

Angel sitting, facing frontally and looking to the right. Birds in her left hand, and possibly an olive branch in her right hand.
Portrait of Sir Laurence Alma-Tadema
Paul-Adolphe Rajon, French, 1842 - 1888, 1883
Etching on paper
Print

Shoulder length portrait of the English painter, Sir Laurence Alma-Tadema (1836-1912), his gaze directed to the right. His hair is dishevelled, and he wears a full beard.
Carving
, late 18th century
wood, gilded

carved and gilded, festoon
St. Paul
Bernard Palissy, French, 1510 – 1590, late 16th century
Lead-glazed earthenware
Figure

Standing figure of Saint Paul leaning on a large broadsword, head turned toward the figure's right. Right hand on hip. Blue robe, brown cape with white collar. On mottled green plinth.
Bookmark
Thomas Stevens, English, 1828–1888, 1870–1880
silk Technique: jacquard woven

White ribbon with a griffin on a plinth with the word "Trademark" inscribed on it. Below: "Robert K. Davies & Co. New York Novelties from England, France, China & Japan." American shield flag with an eagle is surrounded by the flags of each of the four nations.
Textile
, ca. 1810
cotton Technique: printed by engraved copper plate on plain weave

Fragment in bluish-purple copper plate. Center of design shows huntsmen and dogs running down boar, in background a ruined castle. On rock behind huntsmen the inscription "Vue et sitede la vallee de Munster an Alsace". Other parts of design show elegant garden with swans, milkmaid with cow etc. Far left, large Munster factory is shown, inscribed "Manufacture de Munster". Background between images is lined and dotted with clever leaves at regular intervals. Lower left corner, Ch.... Kurol (?) f. [ecit]. Design known as "Chasse et peche dans la vallee de la Wormsa">
Shawl
, 19th century
silk and wool Technique: twill weave with supplementary weft patterning

Paisley design on red cloth. Six large cone motifs on both ends of shawl. Plain red silk has been stitched to the paisley borders. A brocaded band is stitched all around the shawl. Light blue, green, dark brown, and red are the predominant colors.
Printer's sample book
Old Pacific Print Works, Lawrence, MA, USA, 1879–80
leather, paper, cotton

Small notebook with handwritten formulas for dyestuffs to used for printed textiles. Contains 96 samples of textiles in various designs, mostly small motifs.
Tile fragment
, 13th century
Tin-enamelled earthenware

Four-sided, the lower left corner a right angle. White ground with iridescent olive green decoration consisting of a fragmentary horse and rider and a strapwork border containing conventionalized plant forms.
Sketches for Two Angels and Faith
Francis Augustus Lathrop, American, 1849–1909, ca. 1893
Brush and watercolor, graphite on paper
Drawing

Three angels flying towards right, two of them blowing trumpets. Verso: three different poses for Faith seated on clouds. She holds a cross in her right arm in the outline sketch at left. Center right: she supports an open book with her right hand and holds a cross with her left hand.
Vignette, Wedding Ceremony in a Church
, ca. 1845
Wood engraving on paper
Print

The priest blesses the kneeling couple. Two more figures.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Head of a woman with shoulders, lower right. Head turned to left, gazing downward.
Sheet from the set, "Recherche de Plusieurs Beaux Morceaux d'Ornamens"
Jean Le Pautre, French, 1618–1682, 1661
Etching on paper
Print

A = Jombert 16, 1. The signature is preserved in the bottom margin, of which most has been cut off. B = J. 16, 3.
Embroidered picture
, 16th century
silk, metal foil wrapped around silk core Technique: stem and split stitch embroidery

Panel, almost square, of elaborate embroidery in silk and gold on ground of dark green satin. Central oval with embroidered pictorial representation of the "Adoration of the Christ Child," white background, figures in light colors and metal (worn center and upper right). Elaborate enframement of embroidered design in gold and colored silks. Strapwork pattern combined with flowers, fruit, birds, winged heads of cherubs, and sphinxes in profile. In each corner, an angelic figure, winged, bearing in right hand, a flower, in left, a censer. An embroidered frame in gold may be a later date.
Plate 17, "Suite of Vases"
Benigno Bossi, Italian, 1727 – 1792, 1764
Etching on white paper
Print

Fawns grip rings at each side of a plain vase and pull back from it. they stand on a pedestal base decorated with leaves and a laurel wreath encircling the bottom.
Handle
, ca. 1800
Gilt brass

Repoussé plate, in the form of a basket of fruit. Oval bail.
Design for Serving Table with Four Drawers on Ball and Claw Feet
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Rectangular top with two-drawer unit and back splash above two drawers supported by ball-and-claw feet at front.
Textile
, ca. 1840
cotton Technique: roller printed on plain weave

Flowers and cactus plants in red and yellow.
Album of Designs for Garden Vases from Versailles, Trianon and Marly
Marie Michelle Blondel, French, active mid 18th century, 1744-56
Etching on laid paper, leather and gold tooling
Album

Album containing 26 ornament prints. Title page and 25 prints depicting individual lead and marble vases from the gardens at Versailles, Trianon and Marly, signed by the print maker Marie Michelle Blondel. Bound in an 18th-century mottled calf binding with gold tooling and marbled endpapers.
Design for Sideboard with Upper Shelf
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Sideboard with six straight tapering legs; rounded front corners with patera medallion decoration at center of each; flat front middle section: four drawers in three rows; upperwardly extended back and two short columns support upper shelf.
Plan Development and Elevation for a Spiral Staircase that Turns to the Right
Adolph Bordeaux, French, active 1880–1890, March 1886
Graphite, brush and watercolor, pen and black ink on cream wove paper
Drawing

Plan and elevation of curved staircase; with details.
Les Arts
Dubern & Cie., ca. 1780
cotton Technique: printed by engraved plate on plain weave
Textile

Four different scenes in elaborately framed cartouches with allegorical figures illustrating music, painting, architecture, and sculpture in red on white.
At top of component 'a' a series of small brown dots indicates a chef was present. Component 'b' is very faded.
Sidewall
, 1840–70
Machine-printed, machine-made paper, ungrounded

On ungrounded off-white paper, imitation moire effect is printed in gray, with a wide floral stripe in two shades of pink, two shades of lavender, blue, two shades of green ochre, and black, alternating with a narrow stripe, a twisted lavender ribbon dotted with ochre bandings along the edge interrupted by tiny sprigs of two pink roses at approximately 4 inch intervals.
Design for Title Page Heading of "The Scarlet Thorn" by John Burroughs
Harry Fenn, American, 1845–1911, 1892
Pen and black ink, brush and gray wash, graphite on off-white illustration board
Drawing

Above the title, author and Initial letter (I) there is an arrangement of leaves, blossoms, berries and thorn branches labeled "Washington Thorn" (lower left); "White Thorn" (upper left); "Apple Haw" (upper right)
Plate 7, Vue de l'extérieur de l'église de Notre Dame de Paris (View of the Exterior of the Cathedral Notre Dame, Paris), Vues pittoresques des principaux édifices de Paris
Barthe´le´my Joseph Fulcran Roger, French, 1767–1841, 1792
Engraving with brush and watercolor on white paper
Print

View of the exterior of the cathedral of Notre Dame in Paris. A crowd in the square in front. Houses on either side. Below, the title, artists' and publisher's names and a short commentary.
Sampler
Josefa D. Paz, 1821
silk embroidery on linen foundation Technique: embroidered in cross, satin, stem, and four-sided stitches on plain weave foundation

Long vertical rectangular sampler, with multicolored bands of alphabets, geometric patterns, religious verse, and inscription, surrounded by a frame of numerals. Trimmed with six green tassels.
Thread or yarn winder with base
, late 19th century
Mahogany, metal

Winder formed of rectangular piece of wood with semi-circular cuts at both ends forming arms. Ends of arms curved and rounded. Base of square plan, slightly raised toward center. Base fitted with metal upright post; center of winder drilled with hole to fit and allow rotation of winder.
Seascape with Small Waves and Dramatic Sky
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Ocean in foreground with small waves. In sky at center, dramatic light on clouds.
Sidewall - fragment
, 1880–1890
Machine-printed on embossed paper

On embossed metallic gold ground, tangle of foliage in gray and white. Aesthetic style design with dense mix of vining foliage.
Sidewall
Gledhill Wall Paper Co., New York, New York, founded 1900, 1895–1903
Machine-printed, mica

Repeating anthemian or palmette motif, printed in rows, in red, on tan background patterned with scrolling acanthus leaves.