biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Carriage Box Seat (Driver’s Seat) and Body
Louis Van Nerven, Dutch, active ca. 1750, 1755–69
Etching on paper
Print

Design for a carriage driver's seat or box seat with a faint design for a carriage body above. Both ornately decorated with scrolling leaves (rinceaux), festoons of flowers, mascaron (mask), rosettes, cartouches, c-scrolls, s-scrolls, and shell motifs. The seat is covered with an embroidered and tasseled textile with bows. The plate is numbered and signed.
Design for a Stove
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation and plan for a stove, decorated with a statue of a female figure as the chimney. The base of the stove features ornament motifs including lozenge, rosette, darts, lamb tongue, and busts. The plate is signed and numbered.
Fragment
, 19th century
silk, metallic Technique: woven

Close pattern of scrolls and curves.
Design for a Mantlepiece
Jean Le Pautre, French, 1618–1682, ca. 1675
Etching on paper
Print

Two sphinxes with a garland crouch upon a pedestal over the opening. The wall panel is framed on three sides with mouldings, and an entablature on top.
Trimming
, 19th century
silk Technique: woven

Red, yellow and white trimming fragment in a design of eight-pointed stars alternating with lozenges between borders of triangles; picot edges.
Design for a Chimneypiece, with Alternative Suggestions for the Overmantel Frame
, 1650–1700
Black chalk, pen and ink, brush and watercolor on paper
Drawing

The opening is framed by moldings with an entablature above; marble. Above stands a wooden frame. The glass is intended to be octagonal at left, with scrolls outside of the inner frame. The glass is oblong and curved above at right. Below outside is a volute with a bunch of fruits. Cornices, a broken pediment are on top. A foliated mask is suggested at left for the center. Base line.
Project: A scaffolding for the exhibition of the Host (or of a relic)
, 1750–1780
Charcoal and brush with grey and black water colors on paper
Drawing

A complicated striped pedestal with flaring on the bottom stands on a circular base. Three angels caryikng the lance, three nails and the crown of thorns, respectively, sit on spirals at the base of the pedestal's pilaster strips. A pavilion with a dado, four columns, and a crown is on the pedastal, which is supported by scrolls and cherubim. Brackets with three lighted candles are at the corners of the pedestals.
Bag (one side)
, 18th century
silk and metal thread embroidery, cotton foundation Technique: embroidered in counted satin stitches on plain weave

One side of a bag, embroidered in colored silks and metal thread in a floral design on a white ground; lined with green and white silk and fitted with a blue and white knotted cord
Study of Black Birches
Daniel Huntington, American, 1816–1906, ca. 1855
Graphite on cream wove paper
Drawing

Study of a group of trees growing out of a cluster of rocks.
Design for a Fan Embroidery, Unfinished
, ca. 1820
Sharp stylus on oiled paper mounted on black paper
Drawing

Fan composed of a field of French lilies within overlapping arcs and a lily spray in center framing the monogram "MAC" surmounted by a crown. Fan border of roses and Légion d'Honneur medals at angles. Only left half completed, and drawing cut off slightly right of center. Crown repeated in arc below.
Ceiling Design: Decoration for theater
, ca. 1790
Pen and ink and sepia wash on paper
Drawing

Circular centre showing Paris distributing the prize among the goddess.  Around this centre main part of design describes oval divided into sections decorated with ornaments and representations of scenes fromt he life of Apollo.
LE PARTERRE DE L’ORANGERIE a Chantilli
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the parterre planting in the grounds at Chantilly with circular basins and fountains. Chateau in the background with pond/ canal to the right. Figures throughout the grounds. The plate is titled.
Fragment
, 1700–1750
silk, metallic thread Technique: twill weave with supplementary weft

Panel of cream and silver fabric heavily brocaded with gold thread and multicolored silks. Pattern has architectural ruins and flowers in the lower left and upper right corners while the lower right and upper left corners have trees with decorative foliage.
Grotesque Design
, early 17th century
Charcoal, pen and ink on paper
Drawing

Grotesque frame with candelabrum composed of ox heads, cornucopia and lion masks. At top, griffins and a winged creature. At center, strapwork frames a blank oval.
Autumn Foliage, Hudson, New York
Frederic Edwin Church, American, 1826–1900, October 1860
Oil and graphite on tan paperboard
Drawing

.Landscape and botanical sketch showing a view of a maple tree wreathed in fall foliage, likely located on or near the artist's property in Hudson, New York. Dominating the composition at center, the tree has long, dark branches with green leaves transitioning into red foliage, at lower center and center left. A mass of other treetops are shown beside the tree at left and right. The sky above is hazy or possibly overcast, revealing a patch of distant land at lower left.
Sidewall
Nancy McClelland, Inc., 1920
Block-printed paper

Printed in art deco style of decoration for Nancy McClelland of New York City. A stylized rose and leaf design in imitation of a textile. Rose petals are black and gold strie with black leaves. Printed in gold and black on blue background.
Two Frame Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Two rectangular frame designs arranged horizontally on the page. From the sight edge to the back edge of the frame on the left, the frame features fluted cove, lamb's tongue, fluted cove, and laurel leaf molding. The top of the frame features a trophy with helmet, shields, and fasces; the bottom of the frame features crossed horns with garlands of ribbon draped around them. From the sight edge to the back edge of the frame on the right, the frame has moldings of bead course, fluted cove, and leaf and dart designs. The top of the frame has a carved vase in front of a torch and quiver, with garland of roses; the bottom of the frame has a lunette at the center with a portrait medallion surrounded by laurel leaves. The plate is signed and numbered.
Design for a Sepulchral Monument to King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Beside the steps are at left a tripod with a bowl and a flame, at right a candelabrum with a burning candle. The front of the upper part of the lower pedestal represents that of the sarcophagus bearing an inscription. The upper edge is similar to 1938-88-1297. The lower part of the upper pedestal is decorated with a festoon. The column has no calyx. The angel is kneeling.  Center below is a small plan of the monument.
Tray
, early 19th century
wood, carved and painted

Flat bottom; slightly raised, concave marly; shaped contour; cream field, decorated in red and blue with geometric and floral motifs.
Embroidered picture
, 18th century
silk, metal, linen Technique: satin, knot, couching and bullion stitches on plain weave

Pascal Lamb in silk framed in metal thread.  Flowers in colored silk.
Galerie métallique des grands hommes français (Great Men of France)
Jean Joseph Duboix, French, 1798 - 1841, 1818
Cast bronze
Medal

Bust of Charles le Brun (1619-1690).
Mount
, early 19th century
Gilt bronze

Lyre with swans.
Bands
, 3rd–4th century
Warp; S-spun linen. Wefts;S-spun linen, S-spun wool Technique: slit tapestry with supplementary wrapping

Two bands form same piece. Curving leaves containing leaping animals. Bust of a man in the middle of B.
Candlestick
Giuseppe Barberi, Italian, 1746–1809, ca. 1780–1785
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Below is a high pedestal, the front of which holds the oval representation of a woman. Above it, upon a base, sits a child supporting a bracket diverging into three branches, each with the lower part of a candle. Written at right, by the artist: "Putto di Argento / Cornucopia di Metal- / lo / Piedistallo di porfido / Rosso opure diaspro / duro, base e cimase / di metallo dorato con comeo in mezzo / di Alabastro". Usual background.
Three Trophies
, 1650–1700
Pen and brown ink on off-white laid paper, lined
Drawing

Horizontal rectangles showing three designs for military trophies. At left, a plumed helmet with nose.
Sash
, 19th century
silk Technique:

Fringed white sash has horizontal stripes of varying thicknesses in light blue, red, green, yellow, black, and white.
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 leaves, foliage, flowers, wave, and shell ornament with a central open-mouthed mascaron and two handles. The description is lettered on either side of the foot, with a scale below. The plate is signed.
Fragment
, ca. 1890
cotton Technique: machine made on Schiffli machine

Imitation Venetian needle lace has a center row of flowers surrounded by scrolling bands and leaves. Narrow side borders have circles and crosses.
Design for a title page or frontispiece dedicated to the Empress Maria Theresa
Johann Gottfried Eichler The Younger, German, 1715 – 1770, ca. 1742
Pen and black ink, brush and ink wash
Drawing

A queen is seated on a throne under a canopy, surrounded by carefully identified allegorical figures.
Elevation of a Wall
, 1800–1825
Graphite, pen and ink, brush and watercolor on paper
Drawing

The dado is outlined with pencil. Two doors. At center, a mirror above a mantle. Yellow is suggested as the color for the walls which are framed with mouldings. At right, a black candelabrum motif on a blue ground.
Study for a Painting and Figure in a Canoe, Mexico
Frederic Edwin Church, American, 1826–1900, probably December 1883
Graphite on light green wove paper
Drawing

Mixed sketches from Mexico including a study for a finished landscape painting and a drawing of a figure in a canoe. At center right and oriented to the right, the artist has charted the compositional layout of a painting that depicts an imagined landscape with ancient Greco-Roman ruins, a bridge over a river, and distant mountains. Scene delineated within a rectangular frame. At upper center, the outline of a figure seated in a rear of a long canoe is shown in right profile.
Bracket
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Bracket.
Panel
, 19th century
silk Technique: painted on patterned (open) weave.

Landscape and water scenes with people and animals painted in color on an open weave foundation.
Paper Doll Costume in White with Black Spots
, 1876–80
Lithograph, brush and watercolors on cream heavy wove paper
Print

The bodice of this dress is white with black spots and flows into the top layer of a full skirt.  The bodice is lined with garlands of pink roses.  Below the top layer of skirt are two tiers of lace ruffles. Both the back and the front of this dress are depicted.
Teapot
Cozzi Porcelain Factory, Italian, 1763 – 1812, ca. 1765
hard paste porcelain, vitreous enamel, gold
Teapot

Globular teapot with vine form handle extending onto the body of the teapot with applied grapes and leaves.  The sides are decorated with Imari style trailing flowers below, a blue scalloped border at top. The matching lid applied with branch form handle (broken).
Madonna in Glory, Study after Bartolomeo Passeroti Bologna; Architectural Details
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and brown wash over black chalk on white laid paper
Sketchbook folio

At upper section, Madonna and Child supported by numerous putti, float on clouds. At lower section, three friezes, two with acanthus and one with scrolls; part of capital, and scroll decoration with vase.
Design for a Bed in the Roman Style
Richard de Lalonde, French, active 1780–96, 1780
Pen and black ink, brush and wash, yellow-green watercolor on white laid paper
Drawing

Daybed, hangings suspended from a domed canopy which is decorated with clusters of feathers. Fringed hangings are caught into bows. Frame of bed in Louis XIV style. Scale below.
The elevation of an altar with alternative suggestions
, 1775–1800
Pencil, pen, ink, brush and grey water color on paper.
Drawing

Horizontal composition of an altar with two steps leading to the bowl-shaped mensa. The mensa is fluted and decorated with a representation of the preaching of a sermon. Behind the mensa is a dado. Above the mensa is a very high ledge with the tabernacle in its center. The scale is below.
Gate and Ceiling Piece
, 18th century
Pen and ink on paper
Drawing

Top half shows an ornamented gate with three entry ways. The center entry is an arch. The gate is decorated with vines and leafs as well as busts and a sculpture of a female figure. The bottom half is depicts the right half of a ceiling panel inside of the building.
Plate 2, "Suite de douze Pêcheurs et Chasseurs"
Jean-Baptiste Pillement, French, 1728–1808, 1771
Etching on paper
Print

Decorative landscape with Chinese figure sutting under a canopy fishing with a net. Two framing lines. Right top corner: "2". Bottom: "J. Pillement.del."; "j. j. avril-sculp.1771." Bottom center: "Suite de douze Pêcheurs et Chasseurs / se vend à Paris chés Basan et Poignant Mds d'Estampes, rue et Hôtel / Serpente."
Boudoir
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a bed under a canopy of drapery. The room is decorated with fluted columns and pedestals with busts, scrolls, and branches. The plate is signed and numbered.
Mountains, Maine
Frederic Edwin Church, American, 1826–1900, 1877 - 1881
Oil and graphite on paperboard
drawing

Landscape study showing a view of mountains in Maine during autumn--possibly a view of Hamlin Peak and the Great Basin from the Sandy Stream to the southeast. A loosely rendered expanse of dark green, with a more detailed grove of red and yellow deciduous trees at left, comprises the foreground. Relatively flat, densely wooded terrain, with a patch of fiery foliage at center, makes up the middle distance. In the background at center, the rugged face of a wide, expansive mountain is visible besdie another sloping ridge at left. The central mountain's ridge extends into the distance at right and out of the frame. Above, patches of blue sky are visible though puffy white and grey clouds.
Cheminée à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a fireplace decorated with ornament including leaf garland draped through o-rings and ribboned garland over a central rosette. The plate is signed.
Two Cupids
, mid- 18th century
Pen and ink, brush and watercolor on paper
Drawing

Two cupids, one beside the other. At left, Cupid is flying away with a piece of a broken bow in each hand. At right, standing upon clouds, he is stretching a partially indicated bow.
Drawing for a Rocaille Escutcheon
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–60
Black and red crayon on paper
Drawing

Vertical rectangle, leaf scrolls on top, the field has the general outline of a pedestal.
Design for a Kaffeehaus
Giuseppe Barberi, Italian, 1746–1809, 1789
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Center left: an elevation. The plan is like a spherical square with bevelled corners. In the center of the segments stands a fountain representing one of the four parts of the world. Flights of stairs lead up to the platform on which the building stands. Other fountains upon the landings. Circular rooms are to be connected by small ones. Fights of stairs lead to the portico.
Trimming
, 19th century
silk Technique: woven

Green trimming fragment in a design of stripes between checkerboard borders.
Design for a Looking Glass and Console Table
, 1810–30
Pen and black ink, brush and violet, olive, yellow watercolor, graphite on off-white laid paper
Drawing

Vertical rectangle. Intended to be executed in wood with ornaments of gilded metal. Below is a console table with four legs and a backboard. The oblong mirror glass is framed outside by two columns, in a pseudo-Egyptian style as are the legs. Above is a mask with rinceaux and winged lions in front of the panel.  At the left edge is a part of a pencil plan. Verso: vertically, a childish profile.
Village on the Rio Limona, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a village on a river called the Rio Limona in Ecuador, including a sunset with several figures, structures, and bundles of commercial goods on its banks. River extends from the foreground into the middle distance, where it curves between two banks populated by several figures. At left, three figures on a canoe approach two others on the shore, while two animals graze nearby. Across the river, three figures stand on a loaded barge with other figures and animals on the bank at right. Thatched structures with another figure visible far right. In the background, billowing clouds comprise a vibrant sunset.

Verso: Botanical sketches of two plant leaves in Ecuador, visible upper left.
Frieze Designs
Jean Le Pautre, French, 1618–1682, 1655–82
Etching on laid paper
Print

A large frieze design above and two moldings and a smaller frieze below featuring scrolling leaves (rinceaux), cornucopia with fruit and foliate branches, putti, and eagle, mascaron (mask), shells and leaves. The publisher's address is lettered below
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of lozenges, placed horizontally and vertically between borders; picot edges.
Printing block
, 19th century
wood, metal Label: carved wood block with copper inserts

Block for printing textiles with five-ply wood backing. Design in copper strips laid with fine edge up. Adaptation of Persian cone pattern for a corner design.
Design for a Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below is a plinth and a short shaft, with a row of cherubim. The lower part and the rim of the bowl are separated by moldings with a shorter diameter. The lid has the shape of an angular pedestal with oblique short sides at which cherubim are, above, supporting festoons. On top are three cherubim with lilies in clouds. Usual background.
Soupiere en forme de Vase ornée d'une frise à Rinseaux et couronné par des branches de Lierre
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Design for a soup tureen decorated with ornament motifs including a bird with its chicks in a nest as a finial, ivy, bead course, rinceaux, mascaron, lancet leaves, spiral fluting. The plate is numbered.
Design for a Candle Bracket
, ca. 1740
Pen and ink, brush and wash on laid paper
Drawing

Left, incomplete, side elevation; right, front elevation. The shaft is attached to, and arises from, a convex panel. The shaft itself, consisting of rocaille motifs, and of a dragon supports a scaffolding with two candles.
Botanical Sketches, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Graphite on gray wove paper
Drawing

Botanical sketches of a tree fern and another tree or bush in Jamaica. Tree's narrow is oriented along the work's vertical axis and spotted with patches of moss. The broad, flat canopy of fern leaves is visible along upper portion. Sketch of another tree or bush shown at right.
Title Page
François Boucher, French, 1703–1770, 1738-1745
Etching on laid paper
Print

Plate printed with a female figure in Chinese costume (chinoiserie) playing a wind instrument. She stands next to a plinth which has on it the title of the series printed on the front, and two cats sitting on the top. The plate is numbered but not signed.
Sidewall - fragment
, ca. 1860
Block-printed on paper

Fragment showing a grille or fretwork between simulated moldings, with a spray of stock or hollyhocks.
Curtain Design, Soldiers at a Flight of Steps
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and brown ink on laid paper; verso: pen and brown ink
Drawing

Horizontal rectangle. Antique buildings, stairs in front, two warriors walking up. Verso: sketch of pedestal for column.
The Death of Priamus
, ca. 1800
Pen and gray ink, gray wash over traces of black chalk on paper
Drawing

Phyrrhus killing Priamus, who falls on the body of his youngest son, Polites. In the right middle plane is a group of women, in front of an altar with statues. At left, a battle scene, in front of a colonnade.
Stage Design, Hall in a Babylonian Palace for the Opera "Ciro in Babylonia" by Gioacchino Rossini
Romolo Achille Liverani, Italian, 1809 - 1872, 1818–19
Pen and black ink, brush and gray wash on white laid paper
Drawing

Horizontal rectangle. View from aisle of temple-like building in Egyptian style into nave, richly decorated with sculptures.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Five big and four small drops, hanging from a kind of pavilion with two stories and a cupola. Its base are volutes. Between the first and the second stories is a ribbon. Bevelled corners.
Three Gueridons (Candlestands) Designs
Alexis Loir, French, 1640 - 1713, ca.1660–1703
Etching on paper
Print

Three designs for gueridons (candlestands) featuring supporting putti torsos and female torsos, female heads, foliate scrolls, scrolling acanthus leaves, festoons of leaves, shells, gadrooning, and sphynx. The plate is signed by the publisher.
A Pope with a Book
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

The Pope sits facing slightly right, with his eyes lifted up. He wears his cap and robes and holds, in his lap, a book with three balls on it.
Card case
, 18th century
silk embroidery on silk and linen foundation Technique: embroidered in stem and knot stitches on plain weave linen faced with plain weave silk

Card case of pale yellow silk embroidered in pink, blue and green silk in a floral design; lined with pale blue silk.
Designs for a Sauce Boat and Salt Cellars
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Designs for a sauceboat and two salt cellars decorated with ornament motifs including rosettes, acanthus leaves, ram heads, bound leaf, bead course, pinecones, guilloche, and ribbons. The plate is numbered.
Sepulchral monuments
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

At left and top right are two sketches for the monument for King Louis XVI of France. The sarcophagus stands upon a high pedestal at left, upon a sepulchral chamber at right. Bowls with flames stand at the corners of the platform; in each design, in the center, and partially drawn over the left design, a cinerary urn stands upon a column upon a platform, with candelabra at their usual places. Center, right, a sketch of two oblong pedestals upon the platforms. The upper part of the background discolored.
Trophy with Implements of Outdoor Sports, Plate 5 from "Cahier d'Attributs et Trophées de l'Oeuvre de Ranson," Suite XXI
Etienne Claude Voysard, French, 1746 - 1812, 1778
Engraving on paper
Print

Bagpipes, horns and boxing gloves, with other implements or sport and tree and flower garlands form a trophy. Below, engraver's and designer's names. From: "Cahier d'Attributs et Trophées de l'Oeuvre de Ranson," suite XXI, planche 5.
Textile
Herman A. Elsberg, American, 1869–1938, ca. 1915
silk warp, cotton weft Technique: moiré plain weave

Length of heavily ribbed, dark purple-gray moiré fabric.