biglam/cooper-hewitt-alt-text huggingface dataset:
Buildings on a Hilltop, Italy
Frederic Edwin Church, American, 1826–1900, February 1869
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of city buildings on a hill in or near Rome, Italy. In foreground at right, the conical top of a tower is visible. In the middle distance at center, a large building with a tower--likely a church--stands upon a hill overlooking Rome, which spreads across rolling terrain to the horizon at left. 

Verso: Sketch of a street scene along the Via del Corso in Rome during Carnival. The street is viewed obliquely and rendered in one point perspective. The facades of the buildings on the left are visible as they extend down the street, while, at right, only the side of the nearest building in shown. The buildings are lavishly decorated with flags and banners that wave from the windows and balconies. Numerous figures walk through the street while others hang out of their windows.
Grand et petit Flambeaux dans les formes les plus simple
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Designs for a large and small candlesticks decorated with ornament motifs including ram head, bead and rope garland, fluting, lancet leaf, rosette, gadrooning. The plate is numbered.
Elevation and Plan of a House Façade
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation and plan of a house façade with an arched window over the door. The plate is signed and numbered.
Elevation of a Side Chapel of the Congregation of St. Roch in Rome
, 1802
Graphite, pen and ink, brush and watercolor on paper
Drawing

Singles and pairs of pilasters support the entablature. Between them are three painted marble panels and a panel with candelabrum at left. The upper part of the door frame cuts into the central marble panel. A dado is at the bottom. Parts of it are covered by stalls of which four compartments are shown at the left of the door and two at the right. A raised throne is shown at the extreme left. Underneath is the scale.
Portrait of Marcus Aurelius Regulus III C.B.C.
Charles Grignion I, British, 1717 - 1810, 1800-1810
Etching on paper
Print

The portrait, in side view towards right, in imitating an oval stone relief inverted into a wall. The sitter, a middle-aged man is bareheaded. The neckline of his military outfor seen only. Below the portrait a rectangular relief showing a town with four figures in foreground.
Panel
, 19th century
cotton (warp), wool and silk (weft) Technique: tapestry weave

Nineteenth century panel in an eighteenth century style showing a seated female figure in classic dress holding flowers. Framework around figure has scrolling foliage and flowers. Multicolored, but now badly faded.
Sketch for "The Intruding Camel"
Frederick Stuart Church, American, 1842–1924, ca. 1878
Pen and black ink on paper
Ephemera

Top; center, profile of camel, shocked, neck stretched over and under his body; right, profile of figure with stick in hand, yelling at camel; right, pyramid in the distance. Left, front of camel holding umbrella. Raining.
Plan du Rez-de-Chausée du Kiosque, ou Bâtiment à la Turque
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Plan of the ground floor of the kiosk, designed in a turquerie style. There is a scale bar of "4 Toises de Roy" at the bottom of the plate.
Ceiling Design
Philippe Canot, ca. 1727
Pen and in, brush and watercolor, gouache
Drawing

The boy king, Louis XV (1710-1774) stands on a gallery accompanied by Justice and Bellona and crowned by two genii. Abundance is present as well as France, and demons appear to be fleeing the scene. Music greets the king from another gallery. Caryatids support the entablature.
Andiron (Firedog) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for an andiron (firedog) in the form of a lion, with scrolling leaves (rinceaux), fluting, flowers, and running patterns. The plate is numbered and signed.
Mount
, ca. 1810
Cast and gilt bronze

Furniture mount in the shape of a male figure walking into the wind with robes billowing.
Divers desseins d'ornemens de Bronze, à l'usage de la ferrure pour les apartemens
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for nine locks, labeled A-H, with a legend in the lower quarter of the plate. The plate is numbered but not signed.
Cape
, ca. 1845
cotton Technique: printed on gauze

Short shoulder cape of cotton gauze. Printed design shows an allover white and purple leaf pattern on a black ground. Edged with a double ruffle.
Textile
, 19th century
piña (pineapple) fiber, cotton Technique: plain weave

Plaid of cream-colored pineapple fiber and white cotton. Narrow stripes of pineapple fiber in the warp and weft direction separates the larger blocks of cream and white. These narrow stripes are outlined by single warps and wefts of red and white dashed lines.
Portrait of Euphemo Bathio
Nicolaus Guttierez, Italian, active ca. 1740, ca. 1740
Engraving on paper
Print

Bust-length portrait of a middle-aged man in three-quarter view facing right. He is wearing a wig. The portrait is encircled by an oval frame and wreath.
Elevation of a church
Giuseppe Barberi, Italian, 1746–1809, 1796
Pen and brown ink (bistre), brush and brown wash on lined off-white laid paper
Drawing

Main design: a variation of 1938-88-1235. The walls and entablatures of the lateral sections are undecorated. The central door stands in a niche. The attic is divided into five panels. A circular window is in the central one; oblong windows in the lateral ones. In the lower left corner, in small scale: four columns support the entablature with a triglyph frieze and a triangular pediment. A central high and lateral lower doorways are shown in the intercolumniations. Two lateral receding sections and lower than the central one. They show a window in either story, each.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design of two female figures on a low pedestal with mascaron, drapery, and acanthus leaves, holding up a medallion of a classicizing scene surrounded by scrolls, foliage, and a pinecone-topped censer.
Sampler
, 1832
silk embroidery on linen Technique: cross, satin, and back stitches on plain weave

Vase of flowers in center of other ornaments. Sampler may have been made in France or in a school in another country where French was taught to young women.
Design for Embroidery
, 1700–1750
Black crayon, brush and bistre on paper
Drawing

Volute scrolls, which are surrounded by waved stems with leaves and blossoms form a symmetric crest motif. Pricked.
Tray
, ca. 1820
Enameled tôle

Rectangular flat bottom, outcurving sides. Black field, decorated on bottom with motif of oak leaves, on either end with rural scenes, and around upper edge with conventionalized lotus motif.
Fragments
, 1870–80
cotton Technique: printed on plain weave

Brown and purple on a white ground in a design of one inch brown vertical stripes alternating with wider bands in a floral design.
Fireplace
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a paneled fireplace.
Design for Wallpaper: Birds on Stands
, ca. 1730
Pen and brown ink on laid paper
Drawing

Eight birds on perches enclosed by arced branches, in four horizontal rows, and staggered in alternate rows.
Baby's cap
, late 18th–early 19th century
cotton Technique: machine knitted

White baby's cap with bands of lace-like stitches.
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, a disk above and three drops below. The central part being mainly composed of three knots, disposed around the blossom in the middle.
Title Page
Jean François Forty, active 1775 – 1790, 1774–88
Etching and engraving on paper
Print

Title page and design for a round lidded box for powder (as part of a toilet service), decorated with an oval vignette with putti gathering wheat in a landscape with a female sculpture on a pedestal, framed by foliate branches, ribbons, mermaids, running patterns of leaves, fluting and gadrooning. The lid is topped with a finial of two winged putti seated with festoons of flowers and a bird. The plate is numbered, titled, and signed.
Fog over Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, 1878
Graphite on white wove paper
drawing

Landscape sketch showing a view of a foggy day at Lake Millinocket, Maine. The surface of the lake extends from the foreground to the middle distance and background, where it encounters the heavily wooded shoreline of Lake Millinocket, which is partially veiled by mist at left. A small island is likely shown at center. Above, hazy fog and low-lying, puffy clouds fill the sky.
L’Automne
Pierre-Philippe Choffard, French, 1730–1809, 1769–75
Etching on paper
Print

Headpiece for an edition of Les Saisons, Poëme by Charles-François Saint-Lambert. The headpiece represents the season of autumn (fall). A roundel in the center illustrating a young man hunting, holding a gun with a dog at his feet, figures in the background within a landscape. The roundel or medallion is framed by an overlapping frieze with zodiac signs (Libra, Scorpio, and Sagittarius), vine leaves, foliate branches, grass, trees, baskets of fruit, gun, hunting horn, hunting net, jug or ewer, bottle, goblet (glass), barrel, dead bird and dead rabbit or hare. The plate is titled and signed.
Brooch
, ca. 1842
Hair, gold, glass

Rectangular plain gold frame surrounding a panel of braided, brown hair, shown under glass.
Earthenware Jar
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Oval-shaped jar with two handles positioned in a stand.  A label with number "29" is depicted on the jar.
Three Bedouin Men
Frederic Edwin Church, American, 1826–1900, 1868–77
Oil and graphite on cardboard
Drawing

Figure study of three Bedouin men--one standing, two sitting--engaged in conversation in close proximity to one another. At left, the standing figure is viewed obliquely from the rear as he wears a blue robe and red and white headdress while he gestures toward the man seated at center. This middle figure wears a fez and red and yellow draped clothing as he holds a pipe to his mouth with his right hand and leans his long rifle against his left shoulder. Another seated figure is shown in profile at lower right and wears a fez with dark, draped clothing with a curved sword on his hip. Each figure is backdropped by greyish-brown shadow, while they gray ground is visible along each margin.
Design for a Woven Fantastic Plant of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1825–1825
Brush and gouache on oily tracing paper
Drawing

Composed of four boughs of various flowers and of two leaf boughs with a peacock-eye each.
Hearing
, 1750–75
Hand-colored etching with watercolor and gold on paper
Print

A woman plays the flute, while a woman with a music book listens. Musical instruments at their feet. Trees and a domed building in the background. Narrow border of musical instruments and rocaille. The same outer border as 1921-22-268.
Stage Design, Interior of Circular Building
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and ink on paper
Drawing

Horizontal rectangle. Interior of circular building with stairs leading up, decorated with sculptures at the side.
Déshabille
Childe Hassam, American, 1859–1935, June 13, 1918
Lithograph on wove paper
Print

A woman sits in a large overstuffed chair, her legs crossed and a book in her lap.
Cover
, 17th century
linen Technique: withdrawn element work; needle lace

Table cover of fine white linen ornamented with white bands across the ends and sides. The pattern is reserved in the white linen. Edging of narrow pointed needle lace.
Landscape with a Hay Barn and a Flock of Sheep
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1650
Etching on cream laid paper
Print

Left, a flock of sheep on a road, with figures beyond on the horizon. Right, large hay barn set in a thick grove of trees.
Textile
, 19th century
cotton on piña cloth (pineapple fiber) Technique: embroidered

Rectangular piece of fabric embroidered in a design of a plant in a basket alternating with leaf and scroll motif. One scalloped edge.
Costume Design: Persian Prince, for a Stage Production Designed by Giuseppe Galli Bibiena
Antonio Daniele Bertoli, 1678–1743, 1719
Pen and gray ink, gray wash, over pencil on paper
Drawing

Vertical rectangle. Full-length of a man, facing the spectator, his head turned toward the left. His right hand is at this hip, the left gesturing. He wears an elaborate brocaded costume, with an ermine-lined cape over it. On his head a turban adored with a plume and jewels. A sword is at his side.
Drawing
Felice Giani, Italian, 1758–1823, 1795-1800
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Brutus standing in the centre addresses himself to three men at right. He holds the knife with which Lucretia killed herself, in his left hand. At left lies Lucretia mourned by two women.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620-1630
Black cha;k, pen, ink. Light brown wash. Paper

Vertical rectangle. In the shape of an urn, supported by a shaft. The lower part of the body serves as a receptacle, with an inscription as in -2214. The upper part is decorated with plant scrolls and a cherub. The lower part has the shape of a broken pediment, with angels upon the cornices, and with a vase supporting a cross, on top.
Tassel
, 18th century
silk, metal threads, wooden core

Skirt of green silk threads in two lengths, twisted and looped and each supporting a small tassel with a gilt ornament. Collars of green silk and metal thread in loops. Head, cylindrical and broadening toward base, wrapped in green silk and silver threads. Cord of green silk threads.
Textile
, mid-18th century
silk on silk Technique: embroidery on ribbed brocaded weave

Dark green and brown ribbed silk (with small brocaded design) ornamented by colored embroidery in pattern of swaying stems with leaves and colored flowers.
Band
, 18th–19th century
wool, silk, cotton, linen, silver foil on silk core Technique: slit tapestry

Rectangular piece for a cap with a double row of close-set medium scale floriated crosses in green, yellow, blue, tan and black silks with alternating silver or black centers on a red wool ground.
Badge
, early 17th century
membrane metal on silk core, silk ground Technique: pieced, couched, embroidered on satin weave

Shield divided into quarters alternately white satin with black satin blocked peak with couched gold outlines, and crimson satin with three five-lobed white satin rosettes with couched gold outlines, silk embroidered detail. Small superimposed shield of white crimson, blue satin, in center. Embroidered lettering in curving white satin field across top; "BVTZGVG;" curved banderole on either side of shield "16-18." Outlines in couched metal cord.
Fragment
, 17th–18th century
cotton Technique: printed or painted on plain weave, metal powder and enamel on gum or wax base

Rectangle of very fine, loosely woven undyed plain weave cotton with small-scale all-over repeat of small, pointed leaf, in green enamel with gold leaf, in close-set wavy trellis framework of silver leaf; gold dot at each intersection of the trellis. Tiny, impressed dots in gold accentuate design of each leaf. Undecorated margin on left side (1 cm).
Fragment
, ca. 1750
silk Technique: plain weave with discontinuous suypplementary wefts (brocaded)

Symmetrical design of curving vines with flowering urn in the center.
Drawing
Felice Giani, Italian, 1758–1823, 1812
Pen and brown ink over traces of graphite on cream laid paper

Top: A woman is seated upon a bench before a curtain. She holds a book or a tablet with her lowered right hand and raises a lamp with her left. A putto with a paper scroll stands at left, another holds a crane, at right. Bottom: a woman is seated before a curtain. She holds a caduceus in her right hand and the point of a cornucopia in her left hand. A putto is seated on the floor behind the cornucopia, another dances at left.
Fragments
, 16th–17th century
silk

Crimson pattern in cut velvet on red and white silk weave.
Figure Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper
Drawing

Half-figure with bare chest. The head leans on the right hand, the boy gazing over his left shoulder. Left had rests on a flat surface. Verso: Part of a rose window in a Romanesque style.
Study of a Foot
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

A left foot, seen from above.
Textile
, 18th century
crewel wool, cotton, linen Technique: chain stitch embroidery on plain weave

Section of undyed cloth embroidered with medium-scale stylzied semi-fantastic flower sprays with graceful S-curve, in wool chain stitch in shades of pink, blue, green, yellow, white; horizontal rows, diagonal repeat. One plain selvage.
The Passing of the Queen
W. Walton, 1837
Lithograph Support: white wove paper
Print

Horizontal format; in the center of the composition, the Queen's open carriage is shown passing through an enormous triumphal arch composed of foliage and inscribed above: Victoria. Spectators on both sides of the road; people wave from windows of houses, left. (EMB '53)
Coin box
, 19th century
Base metal???

Box, coin dispenser. English, 19th c Base metal
Lampshade covers
, 1900–1915
Technique: machine lace

Tubular shape made of machine-made lace patterned with a symmetrical repeat of a tree, man on horseback, and a man holding a pike. Knotted net with fringe sewn to bottom edge. Machine-made edging along top.
L'ÉTÉ
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a young woman resting in a landscape; a young man approaches from behind a shrub. The scene is surrounded by arabesque ornamentation, including leaves, wreaths, a portrait medallion, birds, scrolls, and cartouches. The plate is signed.
Photograph of Hector Guimard
Hector Guimard, French, 1867–1942, 
Photographic print on sensitized paper mounted on board
Photograph

A photograph of Hector Guimard picturing him in a black suit against a black background showing him from the chest up.
Study of a Woman in Profile
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a young woman's head and torso in profile. Her hair is tied up and she wears a cap. The plate is signed and numbered.
LE DUO CHAMPÊTRE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of two figures in elegant costume sitting in a landscape, with a rustic, thatched-roof structure visible in the background. The man plays a guitar, while the woman, holding an open book on her lap and pointing upward, appears to be singing. The scene is framed by ornament including branches, scrolls, vines, and vegetal motifs. The plate is signed.
Ornamental Vignette of a Fête Champêtre
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Scene of a rural festival (a fête champêtre) attended by well-dressed individuals and Commedia dell'arte characters. The plate is not signed, nor is it found within the original four volumes of the Recueil Jullienne.
Title Page
Jean-Baptiste Huët, French, 1745–1811, 1776–89
Crayon manner on paper
Print

Title page and arabesque ornament design featuring a mask (mascaron, scrolling leaves (rinceaux), foliate branches, sphynx with fish tails, fleurons, and foliate scrolls. The plate is titled and numbered.
Andirons, Dining Room Fireplace, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on beige tracing paper
Drawing

Page divided horizontally into two registers with illustrations of andirons in a fireplace. Upper register: frontal view of andirons to left, and side view of andirons to right. Lower register, view from above andirons on left. Inscription on right.
Fragment
, 17th century
silk Technique: supplementary warp raised in cut pile (velvet)

Detached leaf motifs in rose and yellow.
Band
, 18th century
linen Technique: bobbin lace, Mechlin style with Point de Paris ground

Point de Paris reseau with small ornaments and floral sprays.
Bandbox fragment
, 1800–1820
Block-printed paper on pasteboard support

a,b) On pale green ground a little girl in pink dress feeding turkey amidst white floral vine with green leaves; c) Unconnected fragment of same paper,with turkey in his pride. Mounted on cardboard. Used by Katzenbach and Warren for Wallpaper "Farmington"
Frame
, early 19th century
Brass

Vertical, rectangle opening with raised ornament including balls of fire and shafts of lightening. At top, Hercules with lion skin. Below, an acanthus pendant terminating in a cone. Two prongs at back.
Album of Prints: Fountains Designed by François Boucher
François Boucher, French, 1703–1770, 1736
Bound volume of engraving on paper
Album

Album of prints containing prints of rocaille fountains.
Fragment
, mid- 18th century
silk, metallic thread Technique: taffeta with supplementary weft

Pale rose taffeta brocaded in multicolored silks and gold metallic thread in a symmetrical floral pattern.
Mourning sampler
Mrs. A.M. Lamb, American, ca. 1810
silk Technique: embroidered in satin stitch on plain weave foundation Label: silk embroidered with silk in satin stitch

Weeping willows worked in pale colored silks surround a tomb with inscription: Sacred to the memory of the dear departed Malvina Amanda Lamb who died March 30th [?] aged four years and six months
Saltillo serape
, ca. 1880
two-ply machine spun undyed cotton (warp); handspun undyed wool (brown and white), handspun indigo-dyed wool, handspun synthetic-dyed wool (weft) Technique: weft-faced dovetail tapestry weave

Late Classic Saltillo serape with a brown field and a central aggregate diamond. Brown field has a repeating red dot pattern with a white wavy dot stripe on either side. Warp ends have multicolored stripes and short off-white fringe. Side borders are stacked, variegated rhombuses in red, purple, yellow-green, dark blue, and light blue.
dado
, 1875–1920
Block-printed on machine made paper

Neoclassical design with urns and masks in shades of gray.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Green leaves, blue and red flowers, thin purple branches on white ground, lined graphite border.
Panel
, 1775–1800
silk on silk, metallic thread Technique: embroidered on twill weave

Long, narrow shaped panel, probably from a skirt, that is narrower at the top and curved at the bottom. Cream-white twill weave with brocading in a small floral design. Embroidered in multicolored silks, metallic threads and paillettes. Narrow borders and festoons of flowers extend across the panel, each caught with a ribbon and tassels in metallic thread.
Sidewall
W. Campbell & Co., 1905–1915
Machine-printed paper, liquid mica

Art nouveau-style design, with stylized tulip and foliage forming a repeating motif. Floral motifs are separated by scrolling foliate framework. Printed in brown, deep red, and green on tan ground.
with Pocket Knife
, 1881–82
Silver, gilding, metal
Matchsafe

Elongated oval shape, flat, undecorated front and reverse surfaces, featuring small knife and button hook that swing out from left and right concealed slots on underside. Link attached to end. Lid (box cover on front) hinged on long, button hook side. Striker also on long side beneath hinge.
Sugar Bowl
R. & W. Wilson, Philadelphia, Philadelphia, Pennsylvania, active ca. 1825 – ca. 1846, 1825–1846
silver
sugar bowl

Ovoid body on spreading foot, with bead edging and fret band; two scrolled handles.  Cover in concave tiers, with figure of standing Asian figure holding a bamboo staff.