biglam/cooper-hewitt-alt-text huggingface dataset:
Fraktur: Gedächtniss (In Memory of) Jacob Hessel
, ca. 1825
Calligraphy in brown ink, brush and watercolor on paper
Calligraphy

Borders and form words printed in black. Names and date filled in, in ink: "Jacob Hessel, born 1787, died 1827, had nine children." Identical flower sprays of red, yellow, green, and orange, upper left and right.
Plate
, ca. 1720–40
Tin-glazed earthenware

Circular plate with deep cavetto, standing on short foot rim; painted in underglaze blue on white with overall scene of 4 figures in landscape (two seated, two standing), 2 large trees on right, a windmill and onion-domed tower background, spongework leaves.
Study for Cartoon, "Editor's Easy Chair"
Thomas Nast, American, b. Germany, 1840–1902, 1870
Graphite on paper
Drawing

The editor is seated at his desk, facing left with editions of Harper's Weekly hanging on racks behind him. Seated on the floor, facing right in profile, is the artist himself depicted as a young child. The artist is sharpening his pencil, with a drawing block spread across his knees.
Plate LIX from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machine of axel and screws to raise blocks of wood or marble. Two men turn the axel, lower right, and left. Indoors. Description in Latin on verso of 1949-152-256.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache on white wove paper
Drawing

Multi-colored sprigs of flowers, green leaves on white ground, lined graphite border.
Miser's purse
, 1800–1810
silk, gilt foil Technique: netting

Dark brown netting silk ornamented with small flat rectangular gold paillettes in overall pattern. Gold rings with scale pattern control side opening; gold bead tassels at either end.
Sketchbook Page: Sweet Scented Syringa
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Sketch of a type of lilac in profile, from lower right to upper left. Upper right corner, study of flower from above, showing four petals.
Border
, 1850
Machine-printed, flocked

Green flock; surmounted by dentil molding and quatrefoils enclosed in circles done in buff color, and gilt.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of ornamented lozenges with scrolls and leaf forms.
Alcove with Apollo Kissing Leucothoe
Jean Le Pautre, French, 1618–1682, 1658–1703
Etching on laid paper
Print

A scene from Greek and Roman mythology featuring figures in an alcove with a bed. In the center, Apollo kisses Leucothoe with a highly ornate canopy bed behind them, flying putti, and a landscape tapestry on the wall. Doorways flanking the alcove with female figures watching from both sides. The paneling is ornately carved featuring mascarons (masks), portrait busts, leaf pattern moldings and cornucopias. The scene is described below. The plate is signed.
Design for a Mantelpiece with Alternative Suggestions
, 1690–1720
Pen and ink, brush and bistre wash, black chalk on paper
Drawing

Vertical rectangle. Pilasters in the shape of gaines with stag heads in the upper parts of the shafts and with lion masks in the capitals, support the entablature of the framing. A richly framed looking glass stands upon it. The mirror is shaped ovoidal, at left, and spherically oblong, at right. A foliated mask is at right, below in front of the center of the frame. A sitting stag is shown in profile, at left. He is turned outwards and the right foreleg is raised. Two seated children are on top. The left one raises a garland, the right one is in front of a broken pediment.
Ceiling paper
Wm. Campbell Wall Paper Company, 1872, ca. 1890
Machine-printed

Horizontal rectangle. Slender conventional foliate and floral forms repeating in alternating geometric patterns. Printed in blue-green and cream on pink ground.
Cup and saucer
, 19th century
Glass

Gold and black decoration,gold cup interior and handle; exterior black with gold decoration (floral and animal). Saucer black with gold geometric border and gold floral and animal decoration.
Summit with Billowing Clouds
Frederic Edwin Church, American, 1826–1900, August - September, 1868
Graphite and white gouache on tan laid paper
drawing

Landscape and atmospheric sketch showing a view of large, billowing cumulonimbus clouds behind a wooded mountain peak, darkened by shadow. Partly rendered in white gouache, the clouds are backlit by the sun. Along the right margin and oppositely oriented, a vignette of backlit clouds, through which the sun is faintly visible, is shown. 

Verso: Landscape sketch showing a view of the moon illuminating mountain peaks in the Swiss alps. At right, a tall, sharp, and rocky peak is the highest point on a serrated ridge that extends horizontally across the composition. At center, a full moon is visible behind hazy clouds.
Stage Design, Entrance to an Oriental Temple
Karl Josef Koebel, German, active Italy, 1796 - 1850, 1815
Pen and black ink, brush and watercolor, ruled border in pen and black ink on white wove paper laid down on blue paper mounted on cardboard
Drawing

Horizontal rectangle. Interior of open-air temple hall with brick walls and wooden ceiling. In background, two male figures near small open chamber. At upper right, two seated figures on temple wall exterior.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design filled with symmetrical, grotesque ornaments. The motif in the center of the plate is of a banquet, and there are attributes of banqueting throughout: wine, meat, vines, fire, etc. At either side of the plate are oval rondels with scenes of Silenus. Throughout the composition are monkeys performing human feats (singeries) and satyrs. The plate is not signed.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase decorated with shell and gadroon ornament within an architectural niche. The plate is signed and numbered.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decoration

Standing woman, right arm raised and pointing to upper corner; dressed in multi-colored checkered skirt, yellow shirt and white shawl. Chinoiserie type decoration.
Design for a Frame
Richard de Lalonde, French, active 1780–96, 1785
Pen and brown ink, brush and brown wash on paper
Drawing

Several moldings with and without ornamentation. An ovolo, a leaf, and arrow leaf friezes occur. Bands, in one of which overlapping in another, a rising waved bough with leaves, seeds and flowers is shown; bow-knots are bound around the stem.
Lit à la Turque
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bed with a canopy decorated with a garland of flowers, bound laurel leaves, lozenges with rosettes, and roses at the top. The plate is signed.
Retreat of the Turks after the Siege of Vienna, 1529
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1589
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper Verso: pen and brown ink over black chalk on laid paper
Drawing

Recto: In the foreground a group of warriors on horseback reach the crest of a hill, moving toward the right. Behind them is a view of a city. 
Verso: Italian inscription in ink, written over a faint black chalk drawing of an unidentified subject, possibly of battling figures on horseback.
Design for a Fountain with Pegasus, for the Villa Albani, Rome
Carlo Marchionni, Italian, 1702–1786, ca. 1750
Pen and brown ink, brush and gray wash, graphite on cream laid paper
Drawing

A horse stands on naturalistic rocky arch with a shallow cascading fountain below that is flanked by park-like walls. A lion sits in left middle ground, while a man in lower right foreground looks upward at the arch. There are trees and low vegetation throughout the composition, which is framed by a ruled border of pen and brown ink on three sides.
Panel
, 18th century
silk; pineapple fiber; tempera Technique: painted on compound gauze weave

Polychrome painted design on a cream colored ground. A border of grape-and-vine motif is on the two small sides and along the bottom length. The design consists of a central unit of landscape with rock and grass and a large basket of flowers; on each side is a tree with flowers and fruit, birds and a basket with a tassel hanging from a branch.
Designs for Furniture and Ornament
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

Designs for furniture, ornament, and vases decorated with Neoclassical and Empire style motifs. A shallow bowl, panel or alter, two perfume burners, three chairs, a lyre, and a vignette featuring a mask, fruit, ribbons, and an eagle. The pieces are decorated with snakes, sphynxes, rosettes, scrolling foliage, drapery, masks, repeating patterns, animals, and mythological creatures. The plate is numbered and signed.
Boats and a Bay Window, Jaffa, Palestine (Tel-Aviv, Israel)
Frederic Edwin Church, American, 1826–1900, February 7, 1868
Graphite on white wove paper
Drawing

Mixed studies around what was Jaffa, Palestine, showing a boat with five people at upper center, a building's bay window at lower left, and the bow of a boat floating on transparent water.

Verso: Figure studies showing twelve partial and complete views of men and women around what was Jaffa, Palestine. Most are adorned in headdresses and robes. A figure carrying palm fronds is visible lower left.
Design for an Oval Frame on Theme of Venus Victorious
Gilles-Marie Oppenord, French, 1672–1742, 1690–1700
Pen and black ink, graphite on paper
Drawing

Oval frame showing in top center an escutcheon with Venus head and her girdle. Lambrequins hang at the bottom, the central one shows a pair of doves on globe under a star. A pair of torches. At left rises a bough of myrtle.  Much of the decoration of the right half is not shown.
Study of a Right Hand
, early 18th century
Red and white crayon on fibrous light brown paper
Drawing

Vertical rectangle; study of a relaxed hand, hanging down, with the forefinger slightly extended.
Designs for Two Drawer Handles
, ca. 1820
Pen and black ink, brush and yellow, brown, gray wash on paper; verso: graphite
Drawing

Vertical rectangle. Designs for two drawer handles intended to be executed in metal, one below the other. The upper with lion masks at the ends, the lower with a laurel festoon and knots. Verso: an architectural plan.
Ornamental Vase Design
St. G..., active 18th century, 1772-1777
Engraving on paper
Print

Two vases side by side. The vase on the left is of a krater shape, with egg patterning at the lip, and a meander band at the belly. There is a large rosette at the bottom, and the foot is tapered. The vase is elevated on a tiered socle. The vase on the right is of a jug shape and has a guilloche with rosettes at the lip. The neck of the vase is fluted, and the body has a floral garland across it. The foot of the vase has spiraling fluting, and the vase is elevated on a short socle. The plate is numbered.
Four Caryatids
Felice Giani, Italian, 1758–1823, 1800–1825
Pen and dark brown ink, brush with sepia wash over traces of graphite on light blue laid paper
Drawing

Figures one beside the other; first and fourth raising both arms; third raises right; second figure crosses arms.
The Five Wise Virgins, from the suite "Speculum Virginitatis"
Hieronymus Wierix, Flemish, 1553 - 1619, 1575-1600
Engraving on paper
Print

Christ appears to the Virgins, showeing his wounds. Mary is to his left, both she and Christ in clouds and bathed in light. To the right are the Virgins looking at them. Below, "Quinque prudentes Virgines accipientes oleum in vasis suis eum lampadibus exierunt obuiam Sponso et Sponsae. Matth. 21." The artist's name and "cum gratia et privilegio. Buschere."
Title Page
Nicolas Guérard, French, ca.1648 – 1719, 1715-19
Etching and engraving on laid paper
Print

Title page for a series of fireplace (chimney piece and mantel) designs. The title is lettered above a section from an interior wall elevation featuring a fireplace and sections of wall paneling (boiseries) on either side. The mantel, overmantel mirror frame and paneling are decorated with rococo motifs - scrolling leaves (rinceaux), acanthus leaves, fleurons, cartouches, strapwork, c-scrolls, and shell motifs. There are wall sconces on either side of the overmantel mirror with two candles each. The design of the ornament for each of the panels varies. The overmantel mirror is topped with a painting of a man wrestling a bull in a landscape. There is a plan view of the mantel shape and a scale below the design. The plate is numbered and signed with the publisher's address below.
Autumn Day
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

An autumn scene shows humble people having a conversation. The brown leaves still covering the trees gives off the sense of a crisp day. In the background are two partial figures approaching the foreground.
Fragment
, 19th century
cotton Technique: printed by engraved roller on plain weave, glazed

Ivy pattern in green on tan background with stippling. Glaze nearly worn off the surface.
Sketch of Villeneuve, Lake Geneva
Daniel Huntington, American, 1816–1906, August 21, 1843
Graphite and white chalk on buff laid paper
Drawing

Church and trees center, with mountains beyond, left and right. Verso: River below, with high bluffs, left. Castle on one, and bridge below.
Textile
, late 18th–early 19th century
silk Technique: plain compound satin

Light terra-cotta satin ground with incomplete small scale, closely-spaced design based on lotus forms, highly conventionalized in ploychrome silk wefts. At one end portion of warp end of fabric.
Design for a sedan chair
, 1775–80
Brush and yellow, brown, blue, purple, rose water colors, pen and Chinese ink, black chalk on paper
Drawing

Shown in profile, turned toward right, with one bar. On top of the roof is a corner of a baron, supported by scrolls, at the ends of the garlands which line the edges of the roof starting from the corners. At these stand blossom motifs; from them hang tassels. Scallops hang from the entablature. The window is subdivided by scrolls in a cross form; garlands frame the panels and make shield forms in those below, showing leaf plants. The panel beside the window is decorated with a medallion with a vase, festoons and entwined garlands. The bar shows two crossed branches. The name is written beside at left and has been erased.
Fragment
, 1100–1400
cotton, wool Technique: Slit tapestry and compound weave. A. warp-faced plain weave; B. tapestry on grouped warps, tapestry occasionally single-interlocked, C. complementary wefts in plain weave with inner warps Sides: intact Bottom: tubular warp selvage

Corner fragment. Brown cotton plain cloth with corner in figured weave. Pyramidal outline in red, tan (two shades). Center filled with minute bird repeat in tan wool and white cotton. Wefts occasionally link with wefts in border. Colors now so faded that design is almost indistinguishable.
Decorative door boss and nail
, 15th century
Wrought iron

Hemispherical boss divided into four triangular sections by roughly parallel paired lines. Rounded nail head with wrought line across top, above circling serrated band. On square shank.
Death of the Woman of Sestos [above]; Inscription [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580 – 1605
Recto: pen and brown ink, brush and black wash over black chalk on laid paper Verso: black chalk on laid paper
Drawing

Recto, above: In the center of the composition, the body of the Woman of
Sestos is burned on a pyre. Seated and standing mourners surround her. An eagle that has been reared by the dead woman throws itself on her funeral pyre and is consumed by the flames along with her body.

Recto, below: Italian and Dutch inscriptions.

Verso: Faint sketch with kneeling figures surrounding a center element. This unidentified subject is possibly related to the recto.
Galerie métallique des grands hommes français (Great Men of France)
Louis Michel Petit, French, 1790 - 1844, 1821
Cast bronze
Medal

Bust of Jacques Delille (1738 - 1813), to the right.
Vase and Furniture Designs
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

Horizontal framed plate with designs for four vases, a candlestand and two plinths decorated with Neoclassical and Empire style motifs - acanthus leaves and scrolling foliage, laurel leaf garlands, snakes, dolphins, gadrooning, repeat patters, mythological figures, masks, and ribbons. The plate is numbered and signed.
Two Masked Ladies Bowing
Edouard de Beaumont, French, 1821 - 1888, ca. 1860
Graphite, brush and white, blue gouache, red, grey watercolor on brown paper
Drawing

Two women bowing to each other. One female figure wears a black mask, the other a false face with a long nose and moustache. Woman on left wears a pinkish-tan skirt and blue blouse; woman on right wears a white skirt, tan jacket and hood.
Mt. Katahdin from the South, Maine
Frederic Edwin Church, American, 1826–1900, 1878
Oil and graphite on paperboard
Drawing

Landscape study showing a view of Mt. Katahdin across a lake south of it--likely Pemadumcook or Ambajejus. In the foreground, the sandy shoreline curves away from the lower margin. The great expanse of the lake's surface extends from the foreground to the background, and hosts several wooded islands in the middle distance at center and center right. A figure paddles a canoe at center right, leaving a small, rippling wake behind them. In the middle distance along the far right margin, a large campfire is visible on the lakeshore. In the background at center, the round, wide, and sprawling form of Katahdin is partly shaded at right by clouds that hang just above the summer. In addition to these puffy clouds, a large, grey cloud bank inhabits an otherwise blue sky.
Imposte. Vase et Autel Antique.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

On the left, a simple impost with column and part of the archivolt. The vase in the center sit on top of another bowl that is handled and has bead course, a ram's head, and gadrooning ornamentation. The altar at right has a scrolling-footed base and is adorned with acanthus leaf decoration. There are two scale bars on the plate: one of "2 Modules" at the left, and another of three French feet ("3 Pieds") above the vase and altar. The plate is signed and numbered.
Project for a wall decoration (Female figures and putti support medallion with coat of arms)
Luca Giordano, Italian, 1634 - 1705, ca. 1700
Red crayon, blotted and wash, pen and ink on paper
Drawing

Four female figures with flowing robes support the circular medallion at center. Two of the figures are below, and two are on either side of the medallion. Three winged putti support the medallion on the left. On the medallion is a tower between two stars.
Border
, 1880–90
Machine-printed and varnished

Five borders printed across width of paper. Wide black band containing row of mustard-yellow dots, with narrow black band above and below wide band. Printed on mustard-yellow ground.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1815
Brush and white gouache on glazed tracing paper
Drawing

A cluster of seeds rises over a horizontally disposed bough with two upright leaves. Nearly two repeats are shown.
Textile
, 17th century
silk, metallic thread Technique: plain satin, brocaded

All-over pattern of stylized floral forms brocaded in tan and tinsel threads on a red satin ground.
Lit à l’Antique
Pierre Ranson, French, 1736–1786, 1779-90
Etching and engraving on laid paper
Print

Design for a canopy bed with a small crown (baldachin) (side view) projecting from the wall at the head of the bed, with no outer posts or footboard. The canopy is topped with a central feather finial and side acorn finial. The curtains are drawn back and tied with rope with tassels. The bed frame is decorated with balusters and drapery tied back with rope and curtains. The bed posts have acorn finials and feature a leaf running pattern along the side. The plate is titled, numbered, and signed. A scale below.
Landscape Near Melgar, Colombia
Frederic Edwin Church, American, 1826–1900, July 1853
Graphite on tan wove paper
Drawing

Landscape sketch showing a view near Melgar, Colombia. Wooded hillside in foreground descends from right to left, where two domestic structures and a cow are situated at its base. Hill descends into a topographically diverse valley in the middle distance. Mountains rise in the distance.
Frieze, from the set, "Ornemens à la Mode"
Jacques Androuet Du Cerceau the Elder, French, ca. 1515 - after 1584, ca. 1650
Engraving on laid paper
Print

Three freizes; top: with a plant in an escutcheon; center: with an escutcheon in heart shape; bottom: with a female mask in an escutcheon. With du Cerceau's name and the address, " rue St. Jacques a la Victoire."
Mixed Sketches, Larnaca, Cyprus
Frederic Edwin Church, American, 1826–1900, May 27, 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Mixed sketches around Larnaca, Cyprus, showing views of sailboats, a building, and a man smoking hookah. Throughout the middle and upper portions, eight sailboats are variously rendered obliquely and in profile. At upper right, an oblique view of a house or other building is shown. At lower right and oppositely oriented, the head and face of a man smoking hookah are included.

Verso: Botanical sketch of an oleander bush in Beirut, loosely rendered. At center, the bush's leaf- and bud-laden branches radiate out from a central point. A detail of a branch with flower buds is shown at lower right.
Ornamental Vase Design
Jean Claude Thomas Duplessis, French, 1730-1783, 1775-1780
Etching on paper
Print

Tall, lidded vase with a stylized acanthus leaf finial. The vase has two thin curved handles with ribbon wrapped around and from which transforms into a garland of flowers draped across the vase. The vase is elevated on a low, cracked pedestal, and there is shrubbery in the foreground and background. At the lower left of the image, a fallen tree is also visible. The plate is signed but not numbered.
Sketch for “Grasshopper and the Ant” in “Comic Fables, Out of The World Series”
Frederick Stuart Church, American, 1842–1924, ca. 1878
Graphite, pen and black ink on paper
Ephemera

From upper left to center to lower center a trail of grasshoppers doing various activities. Upper right, profile of grasshopper reading and walking. Upper center, profile of grasshopper sitting at desk writing. Upper left, profile of grasshopper bending at the waist with top hat in hand. Center left, grasshopper eating watermelon. Lower left, grasshopper with blade of grass in hand. Lower center, profile of grasshopper laying down, head by pumpkin, drinking.
Design for an Embroidered Border of a Man's Waistcoat of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and gouache on glazed tracing paper
Drawing

Beside a strip, an ovolo and a bead chain at left are oblongs, the buttonholes, from the right top corners of which bunches of flowers rise obliquely; every other includes a rose bough. From the corners of the oblongs start boughs in straight and oblique directions, forming a panel containing bunches of flowers of different colorings in alternate rows. Incised bottom right: "b…Nau ()?) f/fait"
Two Frieze Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Two details of frieze designs, one above the other, featuring a putto, eagle, mask (mascaron), rosettes, foliate branches, foliate scrolls, scrolling leaves (rinceaux), and grapes. The plate is numbered.
Border
, 1840s
Block-printed, flocked

Purple morning glories and scrolling acanthus leaves. Twisted cable motif runs along bottom eedge. Printed on deep red flock background.