biglam/cooper-hewitt-alt-text huggingface dataset:
Title Page
Christophe Huet, French, 1695 – 1759, 1743
Etching on laid paper
Bound print

Plate 1 of a series of 23. Title plate for an album of prints featuring monkeys acting as humans in various figural scenes. Large winged rocaille escutcheon with shell motifs at center, upon which is printed the book's title. At left, a kneeling monkey wearing pince-nez with paintbrush and palette adds the album's title to the cartouche. Above the wing at left, the upper body of a monkey visible, wearing a feathered hat. At right, another monkey figure crouching behind the title. He wears a pointed hat and holds a cup or portion of bread upside down on a flat stone. Beside him is an amphora of wine and a butter knife.
Case
, ca. 1800
shagreen

miniature locket case
Fragment
, 18th century
tempera on silk Technique: printed and painted on plain weave

White ground with a central spray of blue bells, cherry blossoms and purple fringed flowers caught together with a red ribbon. Bluebells, cherry blossoms and purple and yellow flower sprays curving toward the central group. Portion of right selvage present on both pieces.
Pair of Earrings
, late 19th century
Gold, lava
earring

A) and B) Design of small lozenge-shaped plate of gold carved to represent a flower, above a long-oval pendant of red lava carved to represent a woman's head, set in a gold rim.
In a Spanish Town
Constantin Guys, French, 1802 – 1892, 1847–56
Pen and brown ink, brush and yellow, black, and blue watercolor, graphite on paper
Drawing

Vertical rectangle, bevelled corners. Two Spanish women, shown in side back view, walking in a public square. Both heads in profile. Female figure on right wears a gray skirt and a black shawl covering her head. The other wears a blue and white striped dress and black shawl. Woman at left also has elaborate headdress and fan. In background, group of soldiers and details of Spanish architecture.
Minerva and Mercury
Francesco Bartolozzi, Italian, active England, 1727–1815, 1787
Aquatint engraving in brown ink on white paper
Print

Minerva stands at right, with the sheild in her left hand, and gesturing with her right. A young man is seated on a stone to her left, while Mercury, behind him, looks on.
Design for a fountain
Giuseppe Barberi, Italian, 1746–1809, 1787–88
Pen and brown ink, brush and brown wash, on paper
Drawing

A variation of the fountain in 1901-39-2103. Three mermaids kneeling upon a rocky base support the upper basin. From the mouth of three upright entwined dolphins water springs and flows below.
Trimming
, ca. 1830
silk Technique: woven

Light brown trimming fragment in a design of open flowers and diagonal leaves between borders in a twill pattern.
Sidewall and border
, 1780–90
Block-printed, handmade paper

Vertical rectangle. Design simulating a brocaded silk weave with stripes ofparallel white bars, of white dots and of pink lozenge forms between chevron band. Alternating with these small stripes, a broad stripe of the blue field, sewn in two rows with floral and foliate whorls, Border shows clusters of fruit alternating with single flowers. Printed in white, reds, and greens on blue field. Greens glazed.
Rocaille Motif, from Set No. 76
Franz Xaver Habermann, German, 1721 – 1796, 1750-1770
Etching on paper
Print

Plate 3. Four motifs and their schemes, disposed in two rows.
The Invention of Distillation
Jan van der Straet, called Stradanus, Flemish, 1523–1605, before 1590
Recto: pen and brown ink, brush and gray wash, black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: View of a busy laboratory with figures using large equipment to heat liquid and condense vapors. At center is a large vessel for heating. In the foreground at right, a seated man reads while a young man stands behind him. At left, a boy holds a mortar and pestle. 
Verso: Fives sketches of figures. Three seems to depict female children in aprons worn over long dresses, seen from behind. In the foreground a man in a hat sits in a wooden chair, holding something bulbous (Guaiacum, a plant). He is seen again in the upper part of the sheet, standing and leaning forward with one arm tucked behind his back.
Recto: domed triangular room; Verso: colonnade and a dado
Giuseppe Barberi, Italian, 1746–1809, 1790–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

The corners are beveled. Scale underneath. Verso: horizontally, bottom: interior view of a colonnade. The full width is indicated. Three panels of a dado of diminishing width with measurements. Written underneath: Zocolo". Other measurements, those of a molding stand under a sketch of it.
Panel Designs of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two panels of grotesque ornamentation featuring strapwork, garlands, putti, eagles, censers, satyrs, medallions, terms, and griffins. The plate is signed and numbered.
Ceiling Design with Rinaldo and Armida, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and brown wash over black chalk on white heavy laid paper
Drawing

In garden setting, Armida reclines in lap of Rinaldo; both hold oval mirror in which they look at themselves. Amor leans on Rinaldo's left thigh. Rinaldo's armor at lower left; at right, two warriors spy through bushes. (Scene from Tasso's Gerusalemme Liberata).
Trimming
, 19th century
silk Technique: woven

Trimming fragment with a design of diagonal brown bands on a yellow ground; picot edges.
Soldiers in a Sleigh or Wagon
Winslow Homer, American, 1836–1910, 1862
Graphite on wove paper, laid down
Drawing

Horizontal very rough sketch indicating soldiers in a sleigh or wagon (possibly).
Two Panels of Ornament Design
Charles Errard, French, c. 1601 - 1689, 1664-1689
Engraving on laid paper
Print

Two vertical panels of ornament design. The left panel depicts a man with two dogs below scrolling acanthus leaves, cat tails, and flowers. The panel at the right depicts a basket of flowers, a swan with signets, scrolling acanthus leaves, and an octagonal medallion with a bust. The plate is numbered but not signed.
Autre Developpement et aßemblage de Charpente concernant diverses Combles et Voußures
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for frameworks for roofs and vaults. The plate is signed and numbered.
Stairway
Giuseppe Barberi, Italian, 1746–1809, ca. 1786–1787
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Stairway. Probably for the Palazzo Braschi alle Convertite.
Elévation du Dorique avec Piédestal
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation of a column according to the design principles of the Doric order, segmented to show details of the cornice, the capitals, the shaft, and the base. The plate is signed and numbered.
Design for Windows in a Hall or Gallery
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for Windows in a Hall or Gallery.
Playing card
, ca. 1855
Red and black ink, paper

At top: O 2 T; below central image: 1
Thompson's Farm in North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, September 1, 1854
Graphite, white chalk, black crayon on paper
Drawing

Barnyard with chickens and cattle. Sheds at left and at rear, and a fence in the foreground. Figure in a haywagon at center.
Military Trophy
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1605
Recto: pen and brown ink, brush and brown, black, and touches of blue washes over black chalk on laid paper. Verso: pen and brown ink on laid paper.
Drawing

Recto: Military trophy with a shield at center, feathered helmet above, and breastplate below. Banners and weapons surround. 
Verso: St. Barbara kneels in the foreground at center. Her father, Dioscorus, stands behind her and to the right. He lifts her hair with his left hand and raises a sword with his right, preparing to behead his daughter. A small figure holding a cloth appears at far right.
Designs for Two Tables
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Profiles of two tables. The left table has straight legs, one fluted and with acanthus leaves, the other with sphynx bust. The right table has curved legs and a shelf with an urn filled with flowers. The plate is signed and numbered.
Sash
, 19th century
silk

Fringed white sash has horizontal stripes of varying thicknesses in light blue, red, green, yellow, black, and white.
Chiffonnière
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a chest of drawers showing variations for bases and drawer pulls. The plate is signed and numbered.
View of a Masquerade Ball
Jean-Charles Delafosse, French, 1734 – 1789, 1770–80
Pen and black ink, brush and gray wash, watercolor on laid paper
Drawing

Crowd in formal dress in highly ornate hall.  Musicians on a loft over the door in the center rear.
Border
, 1795–1805
Block printed on handmade paper

Horizontal rectangle. Border paper with repeating design of medallions, enclosed by simple leaf forms, containing floral spray, set against vertical stripes. Across upper edge, stripes of orange and white; across lower edge, white stripe.
A Basket with Floweres Standing upon a Base
Jan van Huysum, Dutch, 1682 - 1749, 1720–1749
Pen and Chinese ink, brush and watercolor on paper, mounted
Drawing

The upper corners are stepped; framing lines.
Plans et Elevations de deux corps de Bibliothèques aux côtés d'une Cheminée
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of a library with a fireplace in the center and a door at right. The interior is decorated with pilasters with bound reed shelf divider, garland, wreaths, rosettes, scroll brackets, branch guilloche, portrait medallions, and cornucopia. The plate is signed
Fragment
, 1750–1800
silk Technique: cut and uncut voided supplementary warp pile in a satin foundation (pile-on-pile velvet)

Small-patterned or "miniature" velvet with a ground of uncut pink pile. Design of slender serpentine stem with heavy drooping blossom in pink and green cut and uncut pile. Design heightened by voided outline in white satin of the ground.
Lake Thun, Switzerland
Frederic Edwin Church, American, 1826–1900, August 20, 1868
Graphite on tan wove paper; verso: graphite
drawing

Landscape sketch showing a view of the expansive, placid Lake Thun in Switzerland, with a view of buildings on the opposite shoreline in the middle distance at center. Wooded hillsides abruptly rise around the town. In the background, a mountain wall of the Swiss alps is visible. In lower left corner, a small vignette showing two buildings on a hill is included.

Verso: Landscape and architecture sketch of the buildings that comprise Castle Thun in the Swiss city of the same name. In the foreground, river waters reflect vegetation and buildings near the bank. Above, the primary tower of the castle overlooks several structures below on the hillside.
Imaginary River Landscape
Frederic Edwin Church, American, 1826–1900, 1870–75
Pen and dark brown ink on off-white laid paper
drawing

Landscape sketch showing an imagined view of a lush river landscape with a prominent tree, position in the foreground at center on a grassy bank. The tree's lush canopy springs out of its wide and squat trunk. A reflective river snakes behind it and into the middle distance, where a heavily wooded shoreline is visible at left. The opposite and equally densely wooded bank is visible at right, beneath what appears to be an open sky.
Design for a Sugar Bowl with Spoons
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Design for a sugar bowl elevated on a socle and with a tripod; sugar spoons hand from its side. The sugar bowl is decorated with ornament motifs including pinecones, rinceaux, bead course, bound leaf, and garland. The plate is signed and numbered.
Lamentation over the Body
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brush and brown wash, over traces of black chalk on white heavy wove paper
Sketchbook folio

Left drawing of body of Christ reclining at lower left; Virgin, faces front with arms outstretched towards Christ. Angel atop clouds above. Right drawing of body of Christ resting in lap of Virgin; two Marys lean towards her from left and right. St. John behind her at left. Two male figures, one with turban at middleground. Two angels on clouds above.
Design for a Double Door with Overdoor
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A variation of the scheme of -1662. In the center of the door folding is a lozenge with the figure of a standing woman, causing a correlated shape of the upper and lower panels. They are decorated with floral candelabra. The panel of the overdoor is divided into a central lozenge, with two goddesses upon clouds and four triangles with a palmette. The cornices of the entablature are supported by two consoles. In front of the entablature, in the center, is a shell with a head, framed above by a garland, the ends of which are supported by bowknots. Usual background.
Beheading of John the Baptist
Mattia Preti, Italian, 1613 - 1699, 1661–66
Brush and watercolor, black chalk on paper; verso: red chalk on paper
Drawing

A study for mural decoration around a window, S. Giovanni in Valletta, Malta; Verso a sketch for a ceiling plan.  At top left, two women, possibly Salome, holding a platter and looking to the right as John the Baptist kneels down while a soldier above him is ready to strike down with a sword.  At center at each end two figures are seated holding an end of a garland.  At bottom center, a doorway with seated soldiers holding shields on either side.
Plate, from a series of designs for ewers and vessels
Cornelis Floris II, Flemish, ca. 1513–14 – 1575, 1548
Engraving on white laid paper
Print

A large snail shell on the body from which emerges a dragon biting the ankle of a man at left at the base of the handle. Three other bearded men and two snakes make up the handle, which is at left. A foot with a decoration of plant motifs.
Vase en plomb bronzé de la piece de Neptune à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase from Neptune's Fountain at Versailles. The vase is decorated with acanthus, and foliage ornament, with fleurs-de-lys, dolphins and figures, and a central open-mouthed mascaron and two lion-faced mascarons below the handles. The description is lettered on either side of the foot, with a scale below. The plate is signed.
The Virgin and Child
Simone Cantarini, Italian, 1612 - 1648, ca. 1640
Etching on paper
Print

The Virgin, seated on a cloud, facing frontally, holds sthe Christ Child to her right. Seraphs below.
Designs for Gun Parts and Ornament
François Marcou, French, 1595 – 1660, 1657
Engraving on laid paper
Print

Designs for gun parts (flintlock and ornament) decorated with grotesque ornament, flowers, mascarons (masks), head of a man wearing a helmet, scrolling leaves (rinceaux), foliate scrolls, fleurons, a seated man wearing armor with arms and armor behind him and a landscape on the sideplate of the flintlock. The plate is signed and numbered.
"On the Bluff at Long Branch, at the Bathing Hour"
Winslow Homer, American, 1836–1910, August 6, 1870
Wood engraving printed in black ink on paper
Print

Four women in foreground, drawn to beach by white flag announcing calm water, approach the steep wooden staircase that leads from the top of the high sand dunes known as the Bluff to the bathhouses on the wide beach below.  Others descending steps to beach in middle distance.
Frieze
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on paper
Print

Top frieze with the top part of the address.
Embroidery sample
, ca. 1770
silk thread, silk chenille thread, cotton gauze appliqué, flat gold and silver metal thread wound on a silk core, gold and silver metal coils, metal sequins, metal beads on silk ground Technique: embroidered on cut voided supplementary warp pile (velvet) Label: Satin, stem, and knot stitches in silk, chenille, and gold and silver metallic thread; embroidered gold and silver metal wire coils, sequins, beads; gauze appliqué on cut voided supplementary warp pile (velvet); paper enclosure

Dark green cut and voided velvet with minute dot pattern embroidered in elaborate border design of flower sprays in gold and silver with silver and white beads.
Dessus du Couvercle de la Boite à Poudre
Jean François Forty, active 1775 – 1790, 1774–88
Etching and engraving on paper
Print

Design for a lid (view from above) for a round powder box (part of a toilet service), decorated with three putti in the center, with festoons of flowers, bunches of wheat, and a bird, encircled by a frieze of scrolling leaves (rinceaux), rosettes, putti embracing, and fleurons. The plate is titled, numbered, and signed.
Landscape near Catskill, New York
Frederic Edwin Church, American, 1826–1900, October 1844 and May 1845
Graphite on white wove paper; verso: graphite on white wove paper
Drawing

Landscape sketch showing a view of clouds over a rolling mountain range--likely the Catskill Escarpment near Catskill, New York. In the middle distance, gently sloping, wooded terrain stretches across the composition. In the background, the undulating outline of a mountain range forms a horizon beneath layers of puffy and hazy clouds. 

Verso: Landscape sketch showing a view from a wooded mountaintop surrounded by misty clouds, likely in the Catskill Mountains. In the foreground, five or six evergreen trees grow out of rocky and rugged terrain, mostly located at center. Above, the jagged outline of a nearby cloud that dominates (or obscures) the view is visible.
Project for a Corsage
, 1825–1850
Pen and ink, brush and watercolor on paper
Drawing

A branch with two leaves, two buds, a blossom and a knot.
Pastorale
Jean-Baptiste Huet, French, 1745 – 1811, 1772
Black chalk, sanguine on cream laid paper
Drawing

Sanguine is used for the forepart of the dog and the head of the sheep. An altar with heart lying on it in a tree-filled landscape; dog and sheep in foreground. Shepherdess's hat and staff.
Textile
, 19th century
silk, metal wrapped silk thread Technique: plain weave with complementary wefts and inner warps (taquete)

Fragment of a pattern featuring courtly entertainment with man seated on throne, two male servants, bowls of fruit or sweetmeats, and a dancer. An interior setting is indicated by pillars and drawn back curtains. Sad colors in roses and blue on what was once a gold background.
Design for an Andiron
Jean François Forty, active 1775 – 1790, ca. 1780
Etching and engraving on laid paper
Print

Third plate from a series of six designs for andirons. The andiron features a sphynx with a winged cupid on its back, who is holding a flaming torch, along with fleurons, snake and acanthus leaf ornament, and friezes along its base. The plate is numbered, lettered, and signed.
Study of Peony Stalk with Blossoms
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and gouache, graphite on gray paper
Drawing

Vertical sheet illustrating a peony stalk drawn just left of center.  The stalk contains two blossoms - one fully opened closer to the foreground the other only partially, both in pale pink.
Agony in the Garden, from The Engraved Passion
Albrecht Dürer, German, 1471–1528, 1508
Engraving on laid paper
Print

Night-time, outdoor scene. Sleeping figures occupy the lower section of the image book and sword in hand, while the kneeling figure of a bearded, robed Christ holds his arms up to an illuminated angel, appearing in profile, surrounded by clouds, and holding a T-cross. Signed 1508 AD, lower right.
The National Assembly at Versailles in 1789
Isidore-Stanislaus-Henri Helman, French, 1743 - 1809, 1790
Engraving on paper
Print

Interior at the Hall of Revels at Versailles, showing the meeting of the "Assembleé Nationale" at which privileges of nobility were forfeited.
Fountain of the Animals at Versailles
Jean Raymond, 1695 - 1766, 1763
Engraving on paper
Print

A single spout fountain in a square basin fed by pairs of animals stands in a hedged-in area bordered by clipped trees. Figures in the foreground.
Title Page, Vedute e Maraviglie di Roterdam Peep-Show
, mid- 18th century
Brush and gouache on paper
Print

Peep-show print.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Lower part of drapery of standing figure.
Drawing
Felice Giani, Italian, 1758–1823, Ca. 1780
Pen and ink, brush and sepia on paper

Horizontal rectangle. Verso: At left, a quarter of a ceiling. The field is divided into panels and framing bands. Outside is a narrow framing frieze, and another broad one at left, and spheric triangles at right. Inscribed numbers are inscribed in the caption... At right, the field is divided into panels with rosette in center. Outside are spherical triangles. In those with the points above are the signs of the Zodiac. Shown are the Scorpion and the 'Balance' (?).
The Immaculate Conception
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1775
Oil on canvas
Painting

Vertical rectangle.  Madonna in center of composition surrounded by angels.
Embossed wool
, ca. 1780
wool Technique: moire and glazed plain weave

Bright golden yellow woolen cloth, moire and glazed on one side with medium scale watered effect.
Pentaptych: Five girls with theater puppets
Utagawa Kuniyasu, Japanese, 1794 – 1832, 1805–20
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Horizontal rectangle. Five vertical prints form a horizontal composition. Girls are seen (upper parts only) manipulating dolls in a puppet performance. Chrysanthemum blooms above.
Band
, 17th century
linen Technique: bobbin lace, Binche style with no ground

Band of Binche-style lace worked with a compact floral design. Edges straight and ends fringed.
The Madonna With Sleeping Child
Jean-Baptiste Michel, French, 1748 - 1804, 1781
Engraving on paper
Print

Half length Madonna, facing frontally, holding the sleeping Child on her lap. Above, two seraph-heads.
Border
, early 18th century
linen Technique: bobbin lace, Binche style with snowflake ground

Binche style border with dense, swirling asymmetric floral pattern.
Textile
, 16th–17th century
silk and wool(?) Technique: 6-harness satin damask

Coarse damask with small-scale design of close-set lines in symmetrical, curved zigzags with small stylized leaves in areas formed by diverging curves.
American Officer (Spanish American War)
Howard Chandler Christy, American, 1872 - 1952, ca. 1898
Pen and black ink, brush and white gouache, scraped highlights on illustration board
Drawing

Full length figure of a man, in uniform, standing and facing the spectator, turned slightly toward the left. He holds a sword in his right hand.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1815
Pen, ink; greyish brown water-color wash. Paper. Pencil

H. R. Minverva wearing a helmet is seated and leaning against the pestal of a column. She looks at an architectural plan, she holds in her right hand, and is surrounded by papers and tools. Distant view of a mountainous landscape, at left. Reverse, in opposite direction: lower parts of the legs of a walking  man.
Fragment
, 19th century
linen Technique: bobbin lace

Fragment of Lille-style insertion and edging lace.
Table cover
, ca. 1913
linen Technique: crochet, bobbin lace

Linen center; lace border with the initials EGH, MHY, SCH, and AMY, and Italian place names worked in crocheted lace; edging of bobbin lace. This lace was crocheted and the tablecloth made by Miss Eleanor Hewitt after an Italian trip made by herself and her sisters with Mrs. A. Murray Young. The initials of the travellers are worked in the lace.