biglam/cooper-hewitt-alt-text huggingface dataset:
Two Ornament Designs
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Two plates of ornament designs printed on a single sheet, one above the other. The upper plate features a basket of flowers, flanked by winged putti, cornucopia of fruit on a plinth with a frieze of figures, mask, fleurons, and festoons of leaves. The lower plate features a vase on a plinth with a cartouche of a figure, flanked by winged putti, foliate scrolls, scrolling leaves (rinceaux), and festoons of leaves. The plates are each numbered and signed.
Textile
, 19th century
silk Technique: damask

Fragments of a chasuble made from tan and blue damask with a baroque-style pattern.
The Annunciation (?)
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Annunciation scene with Mary, Gabriel, and minor angels or other figures.
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, 1663
Etching on laid paper
Print

Two frieze designs with lions and dogs fighting within scrolling leaves (rinceaux) and foliate branches. The publisher's address and date are lettered below.
Design for a Triton Fountain after Giambologna
Unknown, 1650–75
Black chalk, slate-gray wash on laid paper
Drawing

View (as though from ground level) of  the right side of a male nude (Triton) figure (statue) with right arm upraised to support a large horn; the Triton's left hand grasps the tails of two entwined dolphins, which support him; the Triton's head is partly obscured by his right shouler.    The sculpture group is on a rectangular base, which in turn, is placed above a fountain basin, which is on a pedestal.   There is a drawing on the verso, top: a fragment of an ornamental design, with inscriptions and notations.
Design for a Set of Silver Tableware
Pietro Belli, Italian, 1780–1828, 1815–30
Pen and brown ink, brush and gray wash over graphite on off-white laid paper
Drawing

A hand bell.  the lower part of the handle is shaped like a lyre.  Marked, as all the letters, in pencil: "Q." A glass in a lower frame, "L." A cup shown sidewise; laurel staffs are the decoration; "N." A tureen topped by a putto with a bird in a sphere.  The handles consist of angular bands, Medusae, plant motifs; "A." An egg cup consisting of a bowl carried by Atlas; "G." A sugar spoon; "I." A sugar bowl; the handles are like those of the tureen; "H." Another sugar spoon with a larger bowl; "I."  A candlestick with a burning candle; a Medusa forms the handle; "P." Second row, laterally: two glass bottles in low frames; "K."  Third row: a knife, a spoon, a fork; "O." A candlestick: a boy with a snake standing on a sphere raises with the left hand a cup with a burning candle; round pedestal; "R." A pitcher shown sidewise.  A goat forms the handle, a merchild blowing a shell, the spout; "D." A circular plate; "B." A pitcher facing the other; the same spout; a dog forming the handle; "C." A candlestick symmetrical to the other; "R." Again "O." in opposite order.  Bottom center; sugar tongs; "J." A bowl; handles of those as the tureen; A bird is shown at the top center; "E." A spoon; "F." Below the bird is circular base; "M."
Bird of Paradise among Jungle Undergrowth, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Brush and oil, graphite on paperboard
Drawing

Botanical sketch of a bird of paradise plant among jungle undergrowth in Jamaica. Long, broad, green leaves with horizontal striations are simultaneously bathed in light and obscured in shadow, nearly blending with the dark background. Leaves and tendrils of nearby foliage are visible around margins.
Fragment
, 18th century
silk Technique: woven

White ribbed silk ground with incomplete large-scale floral design brocaded in blue, green, and rose.
Hexagonal Balustrade Tea Caddy
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1725–1740
hard paste porcelain, vitreous enamel, gold
tea caddy

A white tea caddy with a bulbous shoulder and simple cup-like lid. Tea caddy outlined in gilt with painted birds, flowers and figure on the sides.
Sash
, 19th century
silk

Narrow fringed red sash with horizontal stripes of varying thicknesses in red, blue, black, yellow, green and white.
Telemachus and the sheperds sacrifice in the temple of Apollo
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and brown wash on cream laid paper
Drawing

A priest standing at the altar implores the god.  A bull lies beside the altar, killed by a kneeling man.  Telemachus and the sheperds, kneeling or standing surroung the altar.  A part of the temple front is shown in the rear.  
Caption: "6 sacrifici fatti da Talemaco/ a dolli pastori al tempio di/ Apollo."
Design for a Tabernacle Door to be Executed in Bronze
G B C, ca. 1725
Pen and brown ink, brush and gray wash, graphite on paper
Drawing

Two angels are supporting a pavilion with the chalice and the host, the roof is shaped as a crown. Between the mantles of the angels, a socle with a swan on top. Below at right L "NO. 2" and a monogram, "BC." Above in another handwriting, probably of the man, making the commission: G. Ciacchetti, which may mean his signature or the name of the artist. Above in another handwriting, probably of the man making the commission: G. Ciacchetti that may mean his signature or the name of the artist.
Alpine Lake
Frederic Edwin Church, American, 1826–1900, June - August, 1868
Oil and graphite on paperboard
Drawing

Landscape sketch showing an elevated view of an alpine lake, possibly the Königssee in Bavaria, Germany. In the immediate foreground at left, a tall, slim conifer tree frames the view. At right, a steep, wooded slope curves into the distance and forms the abrupt shoreline of a lake with emerald-blue water. The lake extends from foreground to the middle distence, then out of frame at left. The tan color of the work's ground is visible along the lower margin.
Medallion or Frame Design
Théodore Bertren, active in France, 18th century, ca. 1771
Etching on laid paper
Print

Design for an oval medallion or frame featuring fleurons, palm leaves, acorns, clasps, and ribbons. The plate is numbered and signed with the artist's monogram.
Title Page
Richard de Lalonde, French, active 1780–96, late 18th century
Etching on off-white laid paper
Print

Title page set within an architectural frame.
Design for a Frame or Molding
Jean Joseph Balechou, French, 1719 – 1764, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys and liturgical objects. A design for a frame or molding, decorated in relief with acanthus leaf fronds, flowers, foliage, C-scrolls, rosettes, shell ornament, fretwork and strapwork. With a section of the molding in the lower right corner. The plate is signed and numbered.
Hearing, from "Senses"
, 1750–1775
Etching on paper, pasted on backed larger paper
Print

The central part as 1921-22-270, without the outer border.
Fragment
, possibly 10th century
silk Technique: 3 harness weft twill with inner warps

Four different kinds of domestic birds; peahen, peacock, duck, pigeon  arranged in a vertical repeat in two shades of gret.
Mantel Clock Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching and engraving on paper
Print

Design for a mantel clock in the form of a vase decorated with a frieze of dancing women and the roman numerals wrapped rotating around the upper section, with the head of a bearded man indicating the time in the center, and wings draped on either side. The vase is on a base with foliate branches, a telescope, caliper, fluting, rosettes, and two putti morphing into scrolling leaves (rinceaux) as the feet. The plate is signed and numbered.
Trittenheim, Rhineland
Eugène Edouard Soulès, French, 1811–1876, 1828–1838
Black crayon, brush and wash, brush and white gouache on greenish-brown paper
Drawing

Houses on a street are shown. Written in the lower left corner: 8 / Trittenheim sur la Moselle (1828)
Lit à la Romaine
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on light blue laid paper
Print

Design for a canopy bed with small crown (baldachin) mounted above a large panel or wall, along the side of the bed. The headboard and foot boards are the same height and decorated with acorn finials. The bed linen is striped and decorated along the skirt with a floral diaper pattern, with swags of hanging textiles. The bed curtains are drawn back, and the canopy is topped with three feather finials. The plate is titled, numbered, and signed. A scale below.
Profil d'Entablement Ionique couronne avec fronton développée dans ses proportions
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for an Ionic entablature decorated with lamb tongue and egg and dart motifs. The plate is signed and numbered.
Bandbox
, ca. 1830
Block-printed paper, pasteboard support

On box, large-scale floral sprig set within a vining foliate framework. On lid, sailing vessel on ocean, with legend: Prosperity to our Commerce and Manufacturers. Printed in pink, white and olive on a yellow ground.
Design for a Bowl
Luigi Righetti, Italian, 1780 - 1819, early 19th century
Pen and ink, brush and watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a bowl intended to be executed in alabaster and gilded metal. The base is like the upper one in 1938-88-634. Three chimaerae support the bowl. Inscription below. Verso: the plan of the base.
Metalwork Design
Babin, French, ca. 1750, ca. 1780
Etching on paper
Print

Design for ironwork/ metalwork - a unicorn supporting a blank coat of arms. The plate is numbered and signed.
Elevation of a Fountain
, ca. 1790
Black chalk, pen and ink, brush and watercolor on paper
Drawing

Below is a plinth. An obelisk rises from pedestal consisting of several parts. It is flanked by two crowned griffins shown in profile. Water pours into lateral basins. First, their moldings continued at the pedestal but were erased afterwards. On top is a sphere with a point.
Design for Embroidered Floral Motifs of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1780–1790
Graphite, brush and gouache on paper
Drawing

Top row, left: a festoon and a garland hang from grass, from which a plant rises; a flower bough is fastened to it. A flower motif is roughly sketched beside it with pen, ink. At right, a bunch of flowers. Staggered bottom row. At left: a flower and a bunch of flowers shown upside d own are connceted by a blue ribbon and a bough. At right: A bunch of flowers in which cornflowers are included. Verso: scale, graphite.
Dedication Page
Carlo Maria Pozzi, 1708
Engraving on laid paper
Bound print

Plate with dedication to Frederick IV, King of Norway and Denmark, printed in Latin on an architectural pedestal decorated with scrolls, putti, a coat of arms, vases, and a sculptural group of an angel on a cloud blowing a horn. The plate is signed.
Ornament Design
Alexis Peyrotte, French, 1699–1769, 1740–49
Etching on laid paper
Print

A design for rococo ornament or cartouche on a plinth, with scrolling leaves, shells, foliate branches, and flowers. The plate is signed.
A fish peddler. A gentleman.
Massimo Stanzione, Italian, 1585 - 1656, ca. 1625–50
Pen and ink on paper.
Drawing

At left: a peddler, in his right hand a pail and in his left hand a basket with fish, and d a pair of scales.  He is walking toward the right, shown from the front.  The gentleman is walking toward the left, shown in profile.  He wears low shoes, stockings, a hat with a feather and a sword.  He is wrapped in a cloak.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design with winged anguipeds, crossed branches, a vase with sprouting foliage, and a lidded vase on a plaque with faux script and garland.
Diane
Claude Gillot, French, 1673–1722, 1729–37
Etching on laid paper
Print

An arabesque design for tapestries (door curtains) featuring the standing Classical Greek and Roman goddess Diana in the center, framed by a canopy, two female herms on either side on plinths, with objects associated with hunting, a net, horns, spears, trees, and foliage. A cartouche below with a hunting scene, birds, dogs, a squirrel, and porcupine on plinths, and rococo ornament, featuring rosettes, fleurons, rinceaux, festoons of flowers, and baskets of flowers. This is a first state of the second plate of the series before lettering.
Trimming
, 19th century
silk Technique: woven

Green trimming fragment in a design of triangular shapes within diagonal bands and chevron borders.
Project for the Tomb of the Maréchal de Belle-Isle
Augustin Pajou, 1730–1809, 1761
Black chalk, pen and black ink, point of brush and brown-black ink; gray and brown wash, red watercolor, white gouache on yellow-brown wove paper
Drawing

In this monumental scheme, the Maréchal's former wife and son (each of whom had predeceased him),  flank the standing Maréchal, dressed in classical armor. The Maréchal gestures towards his wife, who stoops to greet him at the doorway (surmounted by family crest and pair of lions) of  the family mausoleum; his son (also in classical military garb) kneels and kisses his father's left hand.  The angel of death, holding a scythe, hovers above.  Smoke emanates from censors on either side of the central group.
Monument of King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below is a base, with steps in the center and candelabra above the corners, only the right one being visible. On top of steps are three diagonally crouching lions, supporting a rectangular sarcophagus. Its front is decorated with festoons. Pyramidal cover. The feet of the lion at left at the front are not visible.
Design for a Woven Fabric
, 1825–1850
Brush and gouche, brush and black paint on oily tracing paper
Drawing

An undulated stem with many side branches rises in the right center. Parts of it are crossed by fantastical flower boughs which alternate in horizontal and vertical rows. Shown are: a bough with a leaf and a blossom and bough with many leaves and several blossoms and with a lace panel with a lattice gree, top row, and in an opposite direction in the bottom row; besides a bough with a leaf and a leaf blossom. Laterally are white, and outside black stripes.
Street scene
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketches of a street scene with the facade of a building.
Elevation d'une Porte ornée de Colonne Corinthienne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation, with plan below, of a door with Corinthian columns on either side. The plate is signed.
Stage Design: Details of Gothic Interiors
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink on lined off-white laid paper
Drawing

Four drawings showing architectural details of Gothic interiors, roughly sketched.
Hadrian's Villa near Tivoli, "Le Vedute di Roma" (1748-1778)
Giovanni Battista Piranesi, Italian, 1720–1778, 1748–78
Etching
Print

Ruins of a Classical building with an apse.  Interior of praetorian castle, with scattered small-scale figures.  At left, is a section of a high wall with two arched doorways.  At right, a curved wall with seven niches surmounted by a half-dome (the apse).  Etched in the cartouche: Avanzi di una Sala appar / tenente al Casto Pretorio nel / la Villa Adriana in Tivoli / A. Tribunale ornato di nicchie, and signed on the plate at lower left: Cvalier Piranesi F.
Fragment
, 18th–19th century
wool Technique: 1) complementary warps in plain weave with inner wefts; 2) warp-faced plain weave; warp selvage at one end; sides are cut

Plain rep stripes alternating with double-faced warp-pattern weave stripes of highly conventionalized birds, fish, etc. in dark blue, yellow, green, red and tan on dark blue single wefts.
Female Monkey in Rococo Dress
Christophe Huet, French, 1695 – 1759, late 19th century
Brush and gouache over graphite on thin board
Drawing

A singerie, a work from the visual arts genre characterized by depictions of monkeys imitating human behavior, often fashionably attired. A female monkey is depicted in Rococo dress, consisting of a blue and white gown, a fluffy white hat with feathers, and a pink muff which she holds in front of her. She is sitting in the center of the composition against a peach-colored background, resting on a portion of a blue frame with pink floral garlands beneath her.
Fragment
, possibly 17th century
silk Technique: dyed and cut supplementary warp pile (velvet) in a twill weave foundation

Incomplete design of foliage and flowers in blue, yellow, green brown and red.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-6: Part of a set of Italian Minchiate playing cards.50
Sampler
, 18th century
silk and metal thread embroidery, linen foundation Technique: cross and gobelin stitches on plain weave

Divided into seven sections, each showing different patterns (four geometric, three floral); fragments of gimp used as edging and as ornament on the embroidery
Design of a Mausoleum
, 1790
Pen and grey ink, brush and ink washes, graphite on paper
Drawing

Rustic central section with a closed folding door and a trophy as an overdoor. Stone posts and benches stand before the dado. The receding corners are formed by Ionic columns. Over the entablature is an attic with flower vases at the corners. A pedestal rises in the center topped by an escutcheon. Rinceaux decoration is suggested for the central section of the attic, in the right half. Short, lateral wings are shown measurements are inscribed in the left ones.
Sidewall
, 1830–40
Block-printed on handmade paper

Full width of paper with diagonal squares composed of green lines, with large pseudo-anthemion motifs at points of intersection. Secondary of violet scrolls in vertical meander. Printed in green and violet on ungrounded paper. Formerly used as a book cover.
Box
, ca. 1850
Enamel on copper, gilt copper (mounts)

In shape of a Dalmation dog's head with hinged circular cover, thumb-lift of row of graduated beads. Cover slightly domed. Head is painted in naturalistic colors, spotted black on white ground, yellow eyes. Cover coarsely painted with standing Dalmation on paved terrace, trees beyond, surrounded by violet scrolls. Interior is white.
Feux de Cheminée d’un très nouveau Gout
Clément Pierre Marillier, French, 1740 – 1808, 1763
Etching and engraving on paper
Print

Designs for four andirons (firedogs) featuring playing putti (one bent over and the other about to hit him on the backside), a figure with a rifle with dogs at his feet, a monkey, a vase with flowers, balustrade, vase, scrolling leaves (rinceaux), drapery, festoon of leaves, c-scrolls, a tree trunk, and gadrooning. The plate is titled.
Elévation d'une Bibliotheque
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a tall bookcase with a bracket in front supporting an antique bust. The top of the bookcase is decorated with a portrait medallion, rose garland and ribbons, and Corinthian capitals. The plate is signed.
Navette, Manche de Couteau, Boëtes de Montre, Boucle &c.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for a metal knife handle, shuttle, pocket watch case, and buckles. The knife handle is decorated with acanthus leaf, fluting, and wave band ornamentation. The oval shuttle is decorated with bead course and a rosette at its center. The watch case at upper right is shown in elevation and profile; it is encircled by floral ornamentation and has a basket of flowers depicted in the center. There are two buckles at bottom right. The one at the left is decorated with bead course and a central rosette; the one at right has a frame of bead course at sight edge and floral, leaf, and bead course at back edge. The plate is signed but not numbered. Based on comparison with other versions, it should be numbered 4.
Stage Design, Interior of Renaissance Portico
, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. Renaissance style portico with coupled columns in park.
Side Chair
Michel Angelo Pergolesi, Italian, active ca. 1760–1801, ca. 1785
wood, paint, gilding, textile

Elaborately carved and painted side chair. Back composed of crossed cornucopia, from which spring almost at right angles griffins and heads, holding between them an umbrella shaped canopy, with foliated stem of trumpet flowers, in false Chinese taste; surface is painted in buff, red, green, and blue. The rounded tapering legs curve inwards in the middle but splay out towards the feet; above the finely tapered feet, are carved acanthus leaves. Top of legs have square capitols carved with acanthus leaves and berries.
Mount
, ca. 1700
Pierced and engraved brass

Interlacing foliage motif.
Fragment
, 16th century
wool, linen Technique; supplementary warp froming pile in a plain weave foundation (velvet)

Blue/green fabric stamped (embossed) with a pattern that indicates French royalty. Within cartouches of vines and birds a close-crowned sheild with three fleur-delys, On one side of the sheild are paired crescents (Diane de Poiters), on the other a close-crowned 'H' (Henri II).
Lunette with Music and Poetry
Felice Giani, Italian, 1758–1823, ca. 1800
Pen and dark brown ink on cream laid paper
Drawing

Apollo seated upon shawl against which quiver leans and plays lyre. Table with opened book stands at right.
Fringe
, 15th century
gilt foil on silk core, linen Technique: woven

Gold fringe with a plain-woven heading and a fringe skirt of twisted loops.
Edge
, 18th–19th century
linen Technique: bobbin lace (Valenciennes ground)

Coarse provincial-style lace with angular vine pattern.
Man's coat
, early 18th century
cotton Technique: mordant painted and dyed and resist dyed (chintz) on plain weave

Man's coat of  cotton, painted and mordant dyed. Patterns of many groups of small figures, arranged on little "islands" of color, - hunters, woman with child, man on camel, one elephant, birds, trees, buildings with pointed towers. In colors of red, blue, yellow, green, brown. Figures are small, two inches or less. Repeat about 15" long. The style is long and flaring; deep opening collar to waist, fastened with two small buttons. Opening for hands at sides, 10" long. Sleeves long, pointed, fastened elbow to end with loops and buttons. Trimmed with red cotton; lined with cream-white cotton.
Head of a Woman (Project for Stained Glass)
Francis Augustus Lathrop, American, 1849–1909, ca. 1889
Black crayon on paper
Drawing

Face framed by hair, shown frontally.
Table cover
, mid-19th century
linen, cotton Technique: embroidered

Semi-circular table cover, possibly for a dressing table. White linen with a quilted design to fit shape. Center has a flower sprays. The quilted portions are stuffed and stitched around. Lined with white cotton.
Fragment
, early 18th century
silk Technique: compound satin with supplementary weft

Incomplete upper section of rearing winged crested dragon clutching at a lance pressed into its side by a fragmentary hand. Tiny pavilion with flowers rising from it in the background. In white outlined with pale green on a golden yellow ground. Details in yellow, dark red, and pale blue.
Fragment
Anna Maria Garthwaite, English, 1688–1763, ca. 1745
silk, metallic thread Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Silk brocaded with colored silks and silver thread, with a rocaille pattern in the ground and floral sprays.
Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

At lower right, a kneeling woman, holding a plate. In front of her on the ground, an axe. Behind her, a cylindrical altar decorated with a satyr head. At left and in the rear, several standing figures. First state, before the number.
Vignette
, 1800–1830
Wood engraving on paper
Print

Flower bowl standing on a base.