biglam/cooper-hewitt-alt-text huggingface dataset:
Print

Four poster bed design with a center coronet and draperies
Design for a Corsage
, mid- 19th century
Pen and ink, brush and brown, green, gray watercolor on wove paper
Drawing

Jewelry design for a corsage brooch intended to be executed with diamonds and enamel. Five stems, ending in three blossoming and two budding flowers with green-brown leaves, tied with a diamond-studded ribbon. A Y-shaped group of jeweled buttons.
Boathouse
Francis Hopkinson Smith, American, 1838–1915, 1870
Charcoal, brush and gouache on paper
Drawing

Wooden boathouse on a lake with a mountain in the background.
Detail of a Wall Painting
, late 17th–early 18th century
Black chalk, pen and ink on paper
Drawing

A flower vase stands on top of a low arch, under which two figures are seated. Most of the background is formed by a tapestry or a curtain. A part of the pedestal and the bottom of a column are shown in the right foreground.
Coastline near Foggia, Italy
Frederic Edwin Church, American, 1826–1900, April 28, 1869
Graphite on gray-green laid paper; verso: graphite and white gouache
Drawing

Landscape sketch showing a view of the sea and the distant eastern Italian coastline near the city of Foggia. In the foreground, a nearby shore is relatively featureless. Waters of the sea stretch stretch through the middle distance into the background, where they encounter the rugged coastline. Details of flowers are included at upper left:

Verso: Landscape sketch showing the outline of a distant, mountain range with snow-capped peaks in Italy or Greece. Viewed across a body of water, these are rugged coastal mountains. A shoreline is faintly suggested at left.
Bastelleuse Chinoise
François Boucher, French, 1703–1770, 1738-1745
Etching on laid paper
Print

Plate printed with a figure in Chinese costume (chinoiserie) in a landscape, holding a stick with a puppet. To the left of the figure is a basket with a bird. The plate is signed and numbered.
Design for a Necklace
, ca. 1780
Pen and black ink, brush and gray watercolor on paper
Drawing

Jewelry design for a necklace. The chain consists of two entwined scrolls of ribbon connected by rosettes, composed of a central and six framing diamonds. Hanging from a knot, a drop with a frame of a waved ribbon. Beveled corners.
The Right Half of the Elevation of a Reliquary Box
, 1850-1870
Pen and ink on textured brown-gray paper.
Drawing

The right edge of the frame of the receptacle is carved and partly foliated. Lambrequins are suspended form the inner top edge. The entablature is decorated with festoons and foliated on top. A pedestal rises in the center with the base at the bottom.
Trimming
, 19th century
silk Technique: uncut supplementary warp pile in a satin foundation (velvet)

Trimming fragment in a design of alternating red and yellow diagonal bands in uncut velvet and satin weave.
Design no. 1877 for the Embroidery of the Lower Front Part of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

A vase with a bunch of flowers and two fountains rising from a palmette calyx the bottom of which is flanked by a row of disks formed by intertwined waved strips. Bottom left, top parts of: "Po 18 (?) 77" in ink.
Designs for Two Toilet Boxes
, ca. 1805
Pen and black ink, brush and watercolor on paper
Drawing

A toilet box, with lid open is shown in isometric projection. Below, lid, with painted lozenge with motif of Cupid's head, bow and quiver. Right, another box shown in plan, and below, the lid with oval medallion of a standing vessel.
Heur et Malheur (Happiness and Woe)
Raymond Gayrard, French, 1777 - 1858, early 19th century
Cast silver
Token

Octagonal gambling token. Obverse shows the double bust of young Janus. Inscription: HEUR ET MALHEUR (happiness and woe) / GAYRARD-F. Reverse shows a dog and the inscription: TOUJOURS FIDELE.
Snuffbox
Pierre Fromery, French, 1655–1738, ca. 1750
Enamelled copper, silver

A snuffbox made in copper and silver. The lid shows two male figures in an outdoor scene with buildings in the background.
Project for a Vase
, 1800–1835
Pen and ink, brush and watercolor on paper
Drawing

Elevation of a vase. Bottom decorated with acanthus leaves. Swags across body at top and mask under lip.
Fragment of a rank badge
, 15th–17th century
silk, metallic Technique: plain weave with discontinuous wefts (tapestry or k'ossu)

Fragment of a rank badgeshowing part of a bird, an auspicious fungus growing from a rock, and a cloud background.
Sketch of Rain Clouds
Frederic Edwin Church, American, 1826–1900, 1860–68
Graphite on gray-green wove paper
Drawing

Atmosphere sketch showing a loosely rendered view of rain clouds, possibly near Hudson, New York. Comprising most the composition from center left to upper right, a tumultuous mix of dark and billowing rain clouds fill the sky and release light, streaky showers at lower left and center left. Along the lower margin, a nearby treetop is loosely rendered, while the surface of a river is possibly visible beyond.
Fragment
, 1765–1775
cotton Technique: copperplate printed

Portion of a larger pattern, showing a woman riding downhill from the left on horseback, with a dog riding ahead.
Stage Design, Palace and Gardens on Hill
Hubert Robert, French, 1733 – 1808, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Palace and gardens on hillside in Renaissance style with enormous stairs and substructions.
Cope hood
, 17th century
silk, metallic thread Technique: lampas (two interconnected structures: 4&1 satin plus 2/2 twill; metallic wefts bound on the front in 1/3 twill by the twill warp)

Central sunburst with cross and letters 'IHS'. Heads of three cherubs near border. Border of guilloche pattern with rosettes.
Arabesque Ornament Designs
Claude Gillot, French, 1673–1722, 1749–61
Etching on laid paper
Print

Eleventh plate from a series of bifurcated arabesque/ grotesque panel designs with a different design on the left and right side of the plate. The ornament features the central figure of the classical Roman and Greek god Jupiter/ Zeus, seated in the clouds, holding a lightning bolt with an eagle at his feet, with the head of apollo surrounded by rays of light above, framed by a canopy, architectural elements, festoons of flowers, birds, fleurons, rinceaux, vases and baskets of fruit and flowers, foliage, roundels, rosettes, and diaper pattern. The plate is numbered and signed.
Design for an Embroidered Frontal
Giuseppe Barberi, Italian, 1746–1809, 1780-1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The left side is shown. The framing border is decorated with rinceaux. In the center is a circular panel with a cross. The circle is inscribed into a square and connected with the lateral panels which are like lozenges inscribed into oblongs. Small oblongs with figures border laterally the shown parts of the outer panels. In the lozenge is a vase with ears of grain.
Tea strainer
, 18th century
Tin-glazed earthenware

Blue and white decoration. Pierced strainer and scalloped handle.
Late Afternoon Sun Above a River
Frederic Edwin Church, American, 1826–1900, 1850–1860
Oil and graphite on cream paperboard
Drawing

Landscape sketch showing a view of the bright afternoon sun in a hazy sky above a wide, rapidly flowing river, possibly the Niagara River in New York. In the foreground at left, the tops of nearby trees are visible while a pair of rocks are partially submerged at lower right. The river's rushing waters, capped in white, extend across the middle distance to the heavily-wooded opposite shoreline. Above, the stark bright sun radiates white light in all directions in an otherwise open but hazy sky. Light green ground is visible along the lower margin.
Study of Dr. Mott for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined white laid paper
Drawing

Probably a study for the scientific group, never painted. Man facing towards the right, his right arm behind his back in the rhetorical position. His feet not shown.
Towel cover
Elizabeth Witmer, 1847
cotton on linen Technique: embroidered

Towel cover ornamented with name and date, birds, crowns, trees and four cross borders in zigzag design. Worked in cross stitch, fringe at upper and lower edges.
Landscape
Robert Frederick Blum, American, 1857–1903, 1881–1882
Graphite on wove paper
Drawing

Recto: Sketch of a marsh landscape with two rowboats in the foreground; Verso: Partial sketch of a figure wearing a hat and a long coat.
Designs for Carved Decoration of a Stagecoach
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for the carved details of a stagecoach, featuring ornament motifs such as floral garland, branches, scrolls, mascarons, rosettes, acanthus leaves, urns, wave pattern, bead course, and fluting. The plate is signed and numbered.
Pedestal Designs
Gilles-Marie Oppenord, French, 1672–1742, 1737–38
Etching and engraving on laid paper
Print

Four pedestal (plinth) designs (half views) featuring rococo and classical motifs - masks (mascarons), festoons of leaves, scrolling leaves (rinceaux), fluting, gadrooning, shells, snakes, flaming torch, bow and arrow, cartouches, acanthus leaves, textiles, and a profile portrait roundel. The plate is numbered and signed.
Saint John in the Wilderness
Simone Cantarini, Italian, 1612 - 1648, after 1648
Etching on paper
Print

St. John, seated on a rock, collects water in a cup issuing from a rock, left (reverse copy).
Jewelry Designs
Friedrich Jacob Morison, German, active 1693 – 1699, ca. 1700
Engraving on laid paper
Print

Designs for jewelry, seals, broaches, hairpieces, bodice ornaments, and pendants featuring monograms, crosses, butterflies, flowers, crowns, scrolling leaves, palm leaves, ribbons, jewels, and pearls. The plate is signed and numbered.
Fragment
, 13th century
silk, metal wrapped around linen core Technique: samite (complementary weft twill with inner warps)

Eight-pointed stars containing eagle in profile, alternate with rosette and leaves. In off-white and rose pink.
Landscape with Tree beside a Stream
Girolamo Mattioli, Italian, late 16th century
Pen and ink on paper
Drawing

A stream winds through the countryside. In the foreground a group of trees, a road and a bridge across the stream. In the background, a town and mountain.
Plan et Elévation du Chateau commence à construire à Mareuil pour Mr. D…, par Villetard Archite
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An exterior elevation and floor plan for a chateau. The plate is titled, numbered, and signed
Apollo with Lyre, Fame, Abundance, Beauty and Two Putti on Clouds, Study after Marcantonio Franceschini
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brown wash, over black chalk white heavy wove paper
Sketchbook folio

Above, Apollo with lyre, sitting on cloud. At center and at left, three reclining nymphs or goddesses. One with book and trumpet, one with cornucopia, and one with mirror. Below, two winged putti, one holding short sword, and one putti with round shield.
View of Athens, Greece, Part One
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on tan wove paper
Drawing

Landscape and architecture sketch showing the first part of a panoramic view of Athens, Greece, and the Acropolis from the southeast. This description refers to the entire view, comprising two leaves with 1917-4-650-b. In the foreground, a large, cylindrical, stone windmill is perched atop a prominent hill at right. Just beyond it, at far right, the ruinous structures and still-standing columns of the Temple of Olympian Zeus (beside the Arch of Hadrian) are visible beneath the Acropolis, which looms over the scene in the middle distance at upper right. The fragmented Parthenon is clearly distinguishable on top of it and viewed obliquely. At the base of the left slope, the Odeon of Herodes Atticus is shown with its tall walls. In the middle distance at center, the Philopappos Monument is clearly visible atop a prominent hill known as the Hill of Muses, or Philopappou Hill. Between this hill and the Acropolis, the Pynx ceremonial hill is also visible. The terrain at left is marked with several small hills, one of which hosts a windmill, before reaching the seashore at far left. In the background, the rugged mountains of Salamis (at left) and the Egaleo range (at right) form a serrated horizon.
Table and Wall Bracket Designs
Jean-Bernard Turreau, French, 1672 - 1731, ca. 1716
Etching on laid paper
Print

Table (center) and wall bracket (right) designs featuring dragons, vase, roundel profile portrait, shells, diaper, and rosette pattern, scrolling leaves (rinceaux), fleurons, flowers, herms, cartouche, feathers, and fluting. The plate is signed.
Button
, 1830–46
Brass

Circular flat buttons ornamented with a horn and the words "Liberte Ordre Public". Massures.

On card 57
In the Woods, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Oil on bright green paperboard
Drawing

Landscape sketch showing an immersive view within the dense forest of Jamaica. At center and left, three slender tree ferns are discernable against a loosely rendered backdrop of lush vegetation. Below, several fern plants are shown growing in the foreground, while in the background at left, small patches of blue-gray sky struggle to pierce the thick jungle canopy.
Weber River, Entrance to Echo Cañon
Thomas Moran, American, b. Britain, 1837–1926, 1874
Wood engraving on cream wove paper
Print

View of landscape with mountains in the distance; river running through to opening on the lower left and trees on rock formations at right.
Orphrey band
, 16th century
silk, metal wrapped linen Technique:combination of two structures; 4&1 satin plus 2/2 twill and metallic in 3/1 twill

Scene of the Annunciation in coral and yellow silk plus gold.
Plate from Omnia Conando Docilis Solertia Vincit (A Docile Disposition will Conquers all Difficulty)
Paul Birckenhultz, German, 1561 - 1639, Ca. 1600
Engraving on laid paper
Print

Vertical rectangle showing a jeweled vase with three faced containing a symmetrical arrangement of jeweled flowers. The vase stand on a faceted tray.
Design for Two Statues, Spring and Summer
Pietro Belli, Italian, 1780–1828, early 19th century
Pen and ink, graphite on paper
Drawing

Horizontal rectangle. Designs for two statues, "Spring" and "Summer," as shown in 1938-88-653, each shown twice in different sizes, at greater scale outside and at smaller scale inside. Spring is at left holding a basekt of flowers in her left arm and a bouquet of flowers in her right. Summer at right holds grain. Each design is squared and the lines numbered up to 8 and 14, respectively.
Plant Sketch
Frederic Edwin Church, American, 1826–1900, 1855–70
Graphite on off-white wove paper
Drawing

Botanical sketch showing a view, at center, of a plant with a narrow stem and broad leaves and, at lower right, a detail of one of its branches with fourteen leaves included.
Project for a Sepulcher Monument
, 1625–1650
Black chalk, pen and ink, brush and bistre, grey water color on paper
Drawing

Horizontal rectangle showing a winged skeleton with a scythe sitting upon the cornice of a broken pediment. Upper left, festoons hang from a winged skull.
Interior Alcove
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on laid paper
Print

An alcove with a canopy bed in the center with feather finials and a tapestry on the wall. The alcove is framed by columns, a central mascaron (mask), festoon of leaves, and paneling or tapestries on either side featuring scrolling leaves, figures, and festoons of leaves.
Ornamental Frame Design
Jean-Baptiste Fay, French, active 1765 – 1790s, 1784–1792
Etching on blue paper
Print

Design for a rectangular frame with motifs including attributes of music (a lyre, horns, a lute, a guitar, a violin), music making putti, and a rondel at the bottom with a scene of a well-dressed woman seated in a landscape playing a guitar. The plate is signed and numbered.
Lettre sur les Eléments de la gravure á l'Eauforte (Letter on the elements of etching), Page 4
Adolphe-Martial Potémont, French, 1828 - 1883, 1860-1864
Etching on paper
Print

One of five sheets on the techniques of etching with illustrations of various processes involved, as vignettes.
spoon
, 19th century
silver

Pointed oval bowl and twisted stem with fluted and scrolled terminal below the circular crusher.
Green River, Wyoming
Thomas Moran, American, b. Britain, 1837–1926, 1871
Graphite, brush and black wash on tracing paper
Drawing

Horizontal view of a great river flowing through a gorge with high cliffs on either side.
LA GRANDE ECURIE DU ROY A VERSAILLES
Adam Perelle, French, 1638 – 1695, ca. 1682–1703
Etching on laid paper
Print

View of the great stables at Versailles, crescent-shaped building with a courtyard and gates. In the background, a large double tree-lined avenue. In the foreground and in the courtyard, figures, horseman, and horse-drawn carriages. The plate is titled with a description.
Card case
, 19th century
silk and silver foil-wrapped silk embroidery on silk foundation Technique: embroidered in chain, stem and satin stitches on plain weave foundation Technique detail: embroidery on white silk plain weave; chain, stem and satin stitches using dyed silks; chain stitch using silver foil-wrapped silk; worked as a single panel, folded

White silk letter case, worked as a single panel and folded. Embroidered in silver threads with scenes of animals and flowers, with swagged garlands.
Alcove Design
Jean Le Pautre, French, 1618–1682, 1655–57
Etching on laid paper
Print

An alcove featuring a tapestry on the back wall with a portrait bust on a plinth and ornately sculpted paneling and moldings, including doors flanking the alcove with overdoors featuring eagles, festoons and sphynx. The paneling and moldings feature scrolling leaves, rosettes, mascarons (masks), flying putti, a medallion portrait of Apollo, festoons of leaves, and cornucopias. The plate is signed, numbered and includes a scale below.
Plate 6, "A New Book of Chinese Ornaments"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1750
Etching on paper
Print

Chinoiserie escutcheon, to the left side of which a man clings and holds a perch to which a small animal resembling a cat is chained. Fantastic bird above.
Embroidery sample
, ca. 1770
silk, paper Technique: satin and stem stitch embroidery with French knots on cut voided supplementary warp pile (velvet); in paper envelope Label: Satin, stem, and knot stitches embroidered in silk on silk cut voided supplementary warp pile (velvet); paper enclosure

Dark purple velvet with minute square dot pattern; embroidered border design in white and brilliant colored silks. Pattern of fantastic foliage and flowers.
Title Page for Book of Ornament Designs
Pierre Germain, French, 1703 - 1783, 1751
Engraving on laid paper
Print

Title for a book of ornament designs set within a rocaille cartouche. The plate is signed.
Jocko
Arnold Print Works, North Adams, MA, USA, 1892
cotton Technique: printed by engraved roller on plain weave
Textile

Printed panel, entitled "Jocko" with front, back and bottom views of a monkey holding a piece of fruit, meant to be cut and sewn into a stuffed toy. Sewing instructions are printed in the center. "Arnold Print Works, North Adams, MA" is printed in the upper right corner.
Le Jardin des Plantes
Favre Petitpierre, France, 1802–1818, 1802–1818
cotton, Technique: printed by engraved cooper plate on plain weave
Fragments

Zoological park with fenced enclosures containing animals. Design in red on white ground.
Membership Card, New York Gallery of Fine Arts
, 1845–47
Engraving
membership

Horizontal rectangle.
Raccolta di teste
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, 1750–1780
Etching on paper
Print

Vertical rectangle. Middle-aged bearded man turned three-quarters left and wearing a cap.
Candlestick
, 18th century
Pewter

Gadrooned foot, baluster stem and flaring candle holder.
Square
, 1763
linen warp, silk weft Technique: damask

Large napkin or tablecloth of red and white damask. Commemorative piece celebrating the armistice before the peace of St. Hubertusburg in 1763. Translated inscription reads: "In Hubertusburg was declared on Feb. 15, 1763 Peace." A border pattern shows St. Hubert and his symbol, the stag with the cross between the antlers. Center, Hubertusburg framed with garland with allegorical figure of Peace with male figures on either side representing Austria and Prussia.
RECUEIL DES OUVRAGES EN SERRURERIE que STANISLAS LE BIEN-FAISANT, Roy de Pologne, Duc de Lorraine et de Bar a fait poser sur la place Royale DE NANCY, à la gloire de Louis le BIEN-AIMÉ, Composé et exécuté par Jean Lamour son Serrurier ordinaire avec un discours sur L’art de Serrurerie et plusieurs autres desseins de Son Invention. Dedié au Roy.
Jean Lamour, French, 1698–1771, 1759–68
engraving on heavy cream laid paper
Bound Volume

Bound album containing designs for decorative ironwork after Jean Lamour for the city of Nancy and Royal palaces.
Border
, 1800–1830
cotton Technique: deflected element work

Border of fine muslin with an elaborate design in drawnwork and embroidery in imitation of lace. Also known as "dentelles de Saxe."
Border
, late 18th–early 19th century
cotton, metal foil wrapped around silk Technique: bobbin lace, metallic

Abstract floral pattern outlined in metallic covered thread.
Drawing
Felice Giani, Italian, 1758–1823, 
Black chalk, pen and ink, bistre wash on paper.

Vertical rectangle. The Saint stands praying in the center. A youth rises from the floor aided by another. Groups of onlookers are at left and right. Framing lines. ''148'' in chalk written above the upper left corner, in br. ink 130 beneath the bottom center. White margins. Verso: horizontally lower part of an unfinished drawing. A woman, probably a goddess, praying to God standing beside her on clouds. A body lies in the lower left corner [cancelled].
Peep-show, Vue de Jerusalem, Jérusalem, Ville Capitale de la Palestine Sous David et Salomon, est Si Célébre Par Son Temple et Les Magnifiques Ouvrages que Ses Deux Princes Firent Batir...
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, 18th century
silk Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Polychrome flowers on white ground.
Towel end
, 19th century
linen Technique: withdrawn element with embroidery

Broad lower towel end with a border of drawn work with animals confronting initials "M.I.D." under coronet and with floral and bird frame; symmetrical flower motif on each end. Broad geometrical guard bands n embroidery and drawn work. Deep macramé lower edge attached by band. Two plain selvages.
Fragments
, 17th century
silk Technique: brocaded satin

A/grey-purple satin chasuble with short flowering branch design brocaded in green and white silk and gold and silver metal thread. All trimming gone. Centre front panel gone. Patch on left front of silk plain cloth in same colour embroidered to match. B and C/fragments of patch material. D/right front panel. A/backed with linen and lined with silk.
Portrait of a Gentleman
Johann Gottlieb Glume, German, 1711 - 1778, 1740-1770
Black, red, white chalk. Paper;
Drawing

Design for an engraving. A young general is shown in three-quarter length, turned toward right, with the head turned toward the spectator. He wears a ribbon of an order over the cuirass. The left hand leans upon the staff behind which a helmet stands.
Textile
, 18th century
cotton Technique: resist printed on plain weave

Dark blue resist print on a white ground. Design shows serpentine branches with ornamental foliage and perching bird. White dots used to suggest detail in the foliage and on birds.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a pattern of a small trefoil blossom with a central superimposed rosette.