biglam/cooper-hewitt-alt-text huggingface dataset:
The Slap in the Face, Illustration of the Play "Nicht mehr als sachs Schuesseln" by Fredrich Wilhelm Grossman in "Königl: Grosbrit [anische] Genealogischer Kalender auf das 1782 Jahr Lauenberg bey J.G. Berenberg"
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1781
Line and stipple engraving with etching on paper
Print

A man in night attire holds a letter and puts his right hand on the shoulder of a young man holding his hands to his mouth.
Design for a Sepulchral Monument
Giuseppe Barberi, Italian, 1746–1809, ca. 1830
Graphite, pen and ink, brush and watercolor on paper
Drawing

An obelisk rises before the wall of a narrow bay. Before it stand an urn on a pedestal. A displayed eagle and illegible inscription on the pedestal beginning: DOM
Wooded Island, Ambajejus Lake, Maine
Frederic Edwin Church, American, 1826–1900, October 3, 1878
Graphite on white wove paper
drawing

Landscape sketch showing a wooded island on the surface of Ambajejus Lake in Maine. Dominating the composition at center, the small island hosts at least five living trees at right, while multiple dead trees and barren trunks stand at left. The island is otherwise covered in grass and other undergrowth.
Abraham Entertaining Three Angels
Francesco Bartolozzi, Italian, active England, 1727–1815, 1797
Etching and line engraving in brown ink on white paper
Print

The three angels sit at a table center, with Abraham to the right. The table is set, there are pitchers lower left corner. To the left, a servant bearing a tray, and from a tent beyond, a woman appears.
Les Sciences
Pierre-Gabriel Berthault, French, 1737–1831, ca. 1758
Etching and engraving on laid paper
Print

Design of a rocaille frame with scrolls, flowers, and attributes of the sciences, including a globe, a telescope, a compass, a book, caduceus, an hourglass, and a quill and ink bottle. The plate is signed and numbered.
VUË PERSPECTIVE DE LA SALLE DU CAROUSEL
Jean Ouvrier, French, 1725–1784, 1751
Engraving on laid paper
Bound print

View of the temporary structure erected on the Place du Carousel for the celebrations in honor of the marriage of Louis Dauphin and Maria Teresa of Spain given on February 23-26, 1745. The building is illuminated with candles along the roof line and at the posts. The structure is an open framework, and paintings  of landscapes can be seen on the far side. The space is filled with individuals socializing inside and outside.
Mixed Sketches around Niagara Falls, New York
Frederic Edwin Church, American, 1826–1900, possibly 1856
Graphite on gray-green wove paper
Drawing

Mixed sketches around Niagara Falls showing, at left, a woman wearing a dress and wide-brimmed hat, viewed from behind and standing in right profile; at center, an incomplete sketch of a crouching, polish chicken in right profile; and at right, a portion of Horseshoe Falls viewed from the American side of the Niagara River, with the Terrapin Tower prominently shown.
Corniches d'appartement
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for cornices, decorated with ornament motifs including floral garland with ribbon, corner mascarons with crossed cornucopia, egg and dart, and garland. The profiles of the cornices are in the center. The plate is signed.
Architectural Details in Classical and Pseudo-Classical Style
Romolo Achille Liverani, Italian, 1809 - 1872, ca. 1840
Graphite, pen and black ink, brush and bistre, gray watercolor on paper
Drawing

Horizontal rectangle. At lower left, the left part of the under edge; vertically, a right half of a rostral column, with an inscription tablet between. Above are two rods. At left, a weathervane in the form of a mermaid with a mace. Below, a marble throne with a band; a vase on one short side. At right, the left side of a tripod with a flame standing upon a pedestal in the shape of a capital flanked by dolphins; the right side of an altar with a flame. A classical temple in ruins with reliefs and two statues. At right, a standing man with a trophy upon his head. Verso: two sketches of figures.
Design of Escutcheon with Coat of Arms
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620–40
Pen and brown ink, brush and gray wash on off-white laid paper
Drawing

Elevation of an escutcheon supported symmetrically by four putti, with two more sitting above.  The shield of the escutcheon has four quarters in which are depicted a flowering plant, a monogram with the numeral V above (see also 1938-88-2180), and a stone bridge over a stream.  There is a tablet below the escutcheon with an inscription (the same as that of 1938-88-2180), with differences in the orthography.
A Pastoral
Frederick Stuart Church, American, 1842–1924, 1881
Etching on paper
Ephemera

Left, profile of figure sitting on grass with shepherd's crane, facing a lamb and mother. Left, lamb and mother, lamb facing and starring intently at figure. Tree in left background.
Design for a Decorative Burgonet
, early 17th century
Pen and ink, graphite on laid paper
Drawing

Vertical rectangle, lined border in pen and ink. Decorative visored helmet seen from the left in profile, the brim formed by the head of a boar. The body of the helmet is decorated with framed ornamental panels. From a small ear flap hangs a ribbon at bottom. At top, comb with feathers and a sitting lion beside, holding in his dexter paw a branch, forming a ring.
Floral Cartouch Design
Alexis Peyrotte, French, 1699–1769, 1749–61
Etching on laid paper
Bound print

Fifth plate from a series of six designs for rococo ornament by Peyrotte. A cartouche made up of acanthus leaf fronds, and flowers on branches with leaves. The plate is trimmed and pasted onto the album page. It is signed, and numbered.
Sopha à l'Antique
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a sofa decorated with ornament motifs including leaves, sphynxes, drapery, and shells. The plate is signed and numbered.
Design for a Painted Panel
Jean-Guillaume Moitte, French, 1746–1810, ca. 1765
Pen and ink, brush and watercolor, sepia, graphite on paper
Drawing

Vertical bands with candelabrum. At center is a blue circle with the three Graces. At top, Jupiter's eagle with thunderbolts. Scale at side.
Ornament Composition
P. Ludovik, French?, active mid 18th century, ca. 1745
Pen and brown ink, brush and gray wash, black chalk on white laid paper
Drawing

Trellis architecture, showing at its center a fountain with water spouting from a bird's beak.  In lower right-hand corner, there is a vase of some sort with plants sprouting up from it.  Foliage and wood work mingle as they wind around the center fountain.
Botanical Sketches and Waterfall, Rhone Valley, Switzerland
Frederic Edwin Church, American, 1826–1900, August 25-28, 1868
Graphite on tan wove paper; verso: graphite
Drawing

Botanical and landscape sketches showing the branches of a bush with orange berries at upper left, two stalks of a reed-like plant at center left, and along the lower margin and oppositely oriented, a view of a waterfall over a bare, rocky mountain is included.

Verso: Architecture sketches showing, in the upper portion, a pyramidal roof with a tall chimney, and a house with three chimneys, exterior stairs, and vegetation around its base. Below these, at center, a castle with a tall, round tower is shown perched atop a hill. A partial figure study of a woman wearing a hat is visible to the left. Along the lower portion, a view of the town of Saxon in the Rhone Valley, Switzerland, is visible. A castle sits atop a prominence at right while the town spreads across the valley floor below it.
Embroidered picture
, 17th century
silk, silk wrapped wire, mica Technique: raised embroidery on silk 8-harness satin weave with stitches including satin, stem, brick, knot and cross with couching and detached looping

An unfinished embroidered picture, worked only on left side and lower edge. The remainder of the picture was drawn on the silk. The central area shows a man with a woman holding a stringed instrument, under an arch covered in flowers and fruit.
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

A variation of 1938-88-1303, without an attic or a base of the pedestal. The pedestal of the front is supported by four pillars. Above at right is the plan, with dimensions: a circle is inscribed into a square, with the size 14. The projecting cross arms with the width 14 have a length of 3.
Title Page
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

Title page for a series of chimneypiece designs. The title is lettered within a round medallion framed by festoons of leaves and supported by two seated nude men. Above, a plinth supporting a crowned coat of arms with flying angels on either side supporting a festoon of leaves. A frame with fleurs-de-lis surrounds the whole design.
Pastoral Scene, 3rd process
, ca. 1840
Colored aquatint on paper
Print

Fragment of an 1840 "papier print" or wallpaper.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. The plate on the left is divided, with variations on the shape and motifs of the fireplace, mirror, and paneling. The chimneypieces of both plates are decorated with motifs including candelabra, rocaille ornamentation, vases, garlands, scrolls, terms, winged putti, mascarons, shells, and acanthus leaves. Both plates are numbered, and the plate on the right is signed.
Print
, 1664
Black ink on rolled paper

Horizontal rectangle:  In the foreground a banner and above and at sides an audience.  At center, stage with several women, man sitting in chair.  Beyond, through arches, the Grotto.  Engraved on the plate at lower left: " le Pautre, Sculps. 1676."  Inscription on banner.  Lower left:  "Troisieme Journee.  Le Malade imaginaire, Comedie representee dans le Jardinde Versailles devant la Grotte."  Lower right:  "Dies tertius.  Dokesino son, feu aeger imaniarius, Comaedia aeta in Hortis Versaliarum ad fores Cryptae."
Armoire à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a double door armoire decorated with ornament motifs including vases, octagonal panels, scallops, a laurel wreath with ribbons, scrolling acanthus lead, lamb tongue, fluting, and rosette. The plate is signed.
Venus (or Galatea) and Cupids Supported by Dolphins
Agostino Carracci, Italian, 1557 – 1602, 1590
Engraving on laid paper
Print

Reclining nude female figure of Venus or Galatea at center, seated upon a shell resting upon the ocean, her hair in an elaborate braided style. Her legs crossed, her arms raised above holding a swath of drapery that balloons above her like a sail. At her feet are two dolphins who carry her across the surface of the water. At her lap and sides are winged putti. Below, ripples in the surface of the water. Cloudy sky in background.
Lorgnon
, 19th century
Cut steel

Two glasses surrounded by cut steel facets, hinged so that they will fit between ornaments in designs of flower and leaf sprays with a ring of sprays at the bottom.
Design for Right Half of a Door Frame
A. Quadrío, Italian, active 18th century, 1700–30
Pen and ink, brush and wash on blue-gray paper
Drawing

Vertical format design for the right half of a door frame. An arch is supported by pilasters, one of which stands in front of a wall. A harpy, shown in profile, sits on a pedestal in front of it. The lateral part of the frame is somewhat projecting. The figure of an allegorical woman, with a bird upon her head, a cornucopia in her left arm, and a trophy of arms, in which a crown is included, in her right arm. Above an escutcheon, with a hand and a torch. The caption "Vine Div." In the wedge beside the arch is an indistinct royal coat of arms. A bearded firgure, standing, upon the corner of the attic, with a mace and an open book. The pediment has a pedestal, in front of which is an escutcheon. A figure of a putto sits upon a cornice. On top, standing, the figure of a girl, and a lamb beside her. Two framing lines, except at left.
Design for a Brooch or Earring in Shape of a Lyre
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Design for a brooch or earring in the form of a lyre. On top a palmette, the strings of the musical instrument in green. Bevelled corners.
Textile
, mid-19th century
silk, metallic thread, cotton (lining) Technique: plain compound satin

Gift cloth, or fukusa, with woven pattern of dragons in roundels and flowers arranged in horizontal bands on a fret ground. In shades of rose, blue, green, and gray with details in silvered paper. Lined with loosely woven cotton cloth.
Vüe de Même (Czartoryski) Sallon du Costé des Glacés (Design for the Salon Czartoryski), plate 85, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Engraving on white laid paper
Print

Symmetrical view of interior decoration with four mirrors and central double doors. Each mirror and door decorated with overhanging. Left: two putti in rocaille frame, one playing lute; second from left: group of ladies sitting in a trompe l'oeil balcony as though at the theater; central overhanging: two classical female figures flank empty crowned cartouche; right of center: three formally-dressed ladies in trompe l'oeil balcony; far right: two putti, one with bow and arrow with boar. Each mirror is heavily decorated with shells, leaves and two or four candles.
Trees, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch of the Jamaican forest. Several trees distinguish themselves from the mass of green foliage. At center, a tall tree rises above the surrounding canopy and hosts three brightly colored, red-orange birds, who perch on a bough roughly two-thirds up the tree. In background, sky is rendered in gradient from yellow to blue.
Chinese Figures
Bromley Hall, Middlesex, England, 1712–1763, 1774–1811
cotton Technique: printed by engraved plate on plain weave Label: cotton printed by engraved plate
Textile

Chinoiserie pattern in blue on a cream colored ground. Two figures, one carrying a standard, mount a fantastical staircase toward a pagoda. Flowers and figures are in the style of French artist Jean-Baptiste Pillement.  Rococo style scrolls throughout. Bottom edge bound with white braid. Blue warps at each edge.
Panel
, 19th century
cotton, silk Technique: cross, satin and buttonhole stitch embroidery

Panel or sleeve end of fine cotton with a border and sides worked in red silk now faded to nearly cream color. Conventionalized geometric designs with stylized trees above.
A French Officer of the Early 19th Century
Paul Delaroche, French, 1797 - 1856, before 1856
Black crayon, brush and brown watercolor on paper
Drawing

Shown standing and holding the left glove in his right hand which wears the glove. He looks downwards.
Fan leaf
, late 18th century
Painted paper

Unmounted painted paper leaf.  Obverse: a waterside scene of a woman with garlanded attendants and soldiers. Reverse: two men in a landscape with boxes and a gate
Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on cream laid paper
Print

An old magician supported by a young man, and a seated man in front of him watching a head burning. In the background several men and a sarcophagus. Unrecorded early state, before the removal of a strip of metal about 8 mm wide from the left side of the plate, though the scored lines indicating the new edge are present.
Beadwork apron
, 19th century
cotton, glass, china beads, wool (?)

Woven beadwork in design of crosses in blue with surrounding lines in red on a white ground. Cotton strings for tying and for ornament. Border at the bottom of wool (?).
Fragment
, 300–500
wool, linen Technique: tapestry weave

Fragment of a square tapestry woven panel of purple wool and undyed linen. Some slit-tapestry. Design showing large roundel with scrolls, and an animal form at center. Geometric shapes at border.
Tile
, 18th century
Tin-enamelled earthenware

Decorated in blue on white, with landscape, with house and two boats, enclosed within two concentric circles.
Textile
, 1800–1850
cotton Technique: printed

Brown ground printed in imitation of moiré silk with repeating pattern of floral sprays with seashells, conches, snails, and berries. Both selvages present.
Border
, 19th century
Technique: bobbin lace (late Valenciennes ground)

Border with scalloped edge and pattern of leaves and circles.
Ribbon
, 18th century
silk and metallic thread Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Globular shapes arising from central stem in red and gold. Picot edges made by weft.
The Three Witches Appearing to Macbeth
John Trotter, British, active 1756 - 1792, 1790
Engraving on paper
Print

Scene from Shakespear's Macbeth, Act I, Scene 5. The Three Furies appear in the sky to Macbeth and Banquo in an open landscape.
Fragments
, ca. 1700
silk, metallic thread Technique: compound satin with supplementary weft

Brilliant yellow satin ground with a profuse symmetrical design of silver, rose and ivory blossoms and serrated leaves in vases.
Four Parts of the World
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1789
cotton Technique: printed by engraved copper plate on plain weave
Textile

Textile printed in red on white showing design of the four continents.
Fragment
, 17th century
linen Technique: lace of early premade tape with needle work fillings

Large scale floral design with bobbin made tape and needle work fillings.
Sketch of Two Female Figures
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on cream laid paper
Drawing

Sketches of two female figures, perhaps angels, flying to the right.
Oiseaux et ecureuils
Jean-Baptiste Huët, French, 1745–1811, ca. 1806
cotton Technique: printed by engraved plate on plain weave foundation
Fragments

Horizontal arrangement of putti holding fruiting branches of grapes and apples with squirrels and parrots. Sphinx topped by nesting bird feeding its young and vases of flowers on background of a rigid arrangement of leaves. Printed in brown on white and designed for lengths to be sewn together as a straight repeat.
La Pucelle d'Orleans (The Maid of Orleans)
Joan of Arc, French, 1412–1431, late 18th century
Engraved and hand-colored paper leaf, turned wood handle
Handscreen

Obverse: hand-colored engraving of a soldier entering a village on a white horse, seemingly with a message. Reverse: text entitled La Pucelle d'Orleans, a tribute to Joan of Arc.
Collar
, 19th century
horsehair, linen Technique: needle lace with ground of loop and twist with loop and twist return

Round collar of natural colored linen lace. Design of flowers, some with several layers and scrollong leaves.
Tassel
, 17th century
linen Technique: braided and knotted

White linen tassel with one circular base attached to attached to a slightly larger, pear-shaped base (hanging below). Cores are braided over with linen yarns worked in groups for a basket-weave effect. Around the bases hang tiny braided balls and from the bottom of the pear-shaped base hang a few longer clusters of the tiny braided balls.
Album of Prints: Ornaments, Cartouches, and Frames by Cuvilliés père
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Album

Album of prints containing books 1-5, 10-17, and 19-21 of the oeuvre, first series, of François de Cuvilliés the Elder. Each book has six plates of designs for frames, cartouches, and ceilings.
No. 176
Ludwig Lobmeyr, Austrian, 1829 - 1917, ca. 1880
Mouth-blown crystal, hand-cut and polished
Water glass

Mouth-blown crystal, hand-cut and polished
Design for Round Oak Dining Table
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Round molded table top raised on fluted columnar support sitting atop molded base raised on 4 splayed legs with casters.
Sampler
Elizabeth Hine, English, 
silk, linen Technique: needlepoint counted thread embroidery

Worked in needlepoint in browns, greens, neutrals, off-white and light blue on a loose linen mesh. "Primitive" style, composed of irregularly shaped blocks with different motifs, including a castle, a house, a garden, sailing ships, male and female figures, animals, birds, insects, trees, a man on horseback, etc.
Platter
Varages Pottery Factory, French, active 18th century, ca. 1745
Tin-glazed earthenware

Oval platter with scalloped edges. Thin magnesium outlines filled with green show flora and fauna decoration, and three figures in center.
Fragment
, 16th century
silk Technique: velvet

Striped, cut and uncut velvet, with gold bands.
Brooch
Carlo Giuliano, Italian, 1831 - 1895, 19th century
Gold, enamel, pearls

Gold and enamel brooch with one button pearl and ten drop pearls.
Fragment
, ca. 1810
cotton Technique:printed by engraved copper plate on plain weave

Scene of Cupid with woman with wings on her head holding a lyre; scene of woman kneeling before a statue of Cupid, scene of Cupid tying the hands of a woman and scene of a woman with a dog on its hind legs. In red on white.
Teakettle-on-Stand
W.A.S. Benson Ltd., England, 1880 - 1920, ca. 1890
silver plated, metal
teakettle-on-stand

Squat circular teapot (a) having split strap handle with looped wire decoration through center, above a conical lid (b) with spherical ebonized wood knob. Teapot sits on circular tripod stand (c) with curved legs terminating in pad feet; circular burner (d) sits in base of stand.
Sidewall
George Halbert Wallpaper, Brooklyn, New York, 1905–1915
Machine-printed paper

A vertically repeating design of bunches of poppy-like flowers on a plain ground. Printed in mustard, gold, red, black, brown, olive green and off-white.
Fragment
, 18th century
silk, metallic thread Technique: embroidery on damask

Cream-white damask embroidered with silk and metallic thread in a fantastic design of animals, insects and flowers.
Fragment
, late 17th–early 18th century
linen Technique: resist printed on plain weave

Fragment printed on both sides in black over a greenish-blue ground. Design on one side shows open flower faces with pointed leaves, stems and foliage curving around flower heads to form active open frame. On reverse side a small block design framing small flower head alternating with one selvage present.
Arms of the Duchess of Kendal
A.M. Ireland, 1794
Etching on paper
Print

The shield is in a cartouche frame surmounted by the ducal crown and supported by two nude male figures.
Covered Bowl or Box
Richard Chaffers & Company, English, 1756 - 1765, ca. 1770
soft paste porcelain, vitreous enamel
bowl or box

White porcelain bowl and cover with blue floral design and a decorative flower knob. Within the design, there is an image of two figures.
Sidewall
, 1815–35
Block-printed on handmade paper

Foliate diaper pattern with inset floral bouquets. Printed in shades of yellow on ocher ground.
Fork
, ca. 1600
steel, bone, brass, wood

Fork has two long pointed tines, rounded shoulders. Baluster-shaped neck, octagonal in section, gilded and laminated wood, steel, brass socket. Bone pistol-shaped handle, inlaid with brass wire and small wooden bands in diaper pattern. Lozenges filled with wooden dots and brass wire. End of handle inlaid with rozette.
Sidewall
, 1860–70
Machine-printed

Small multicolor floral bouquet within diamond-like medallion, on beige ground printed with tiny white quatrefoils.
Two Sketches of Steeples
Arnold William Brunner, American, 1857–1925, 1880
Graphite on paper
Drawing

Left, clock tower on large building, other in the distance. Right, gothic church steeple, harbor beyond.
Pillow cover
, 18th century
silk, gilt paper, paint Technique: slit tapestry weave (k'ossu)

Four pieces which, when assembled, would form a small pillow.  Each panel contains a dragon with fangs surrounde by cloud motifs.