biglam/cooper-hewitt-alt-text huggingface dataset:
Ceiling Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Rectangular ceiling design. The ceiling is split along the vertical axis to offer two designs. On the left, the border features bands of bound leaves and acanthus leaves, with scallop shells in the corners. It also features half of a rosette at the center. On the right, the ceiling border has bead course and stylized leaves, and mascarons in the corners with baskets on their heads. The plate is signed and numbered.
Chimneypiece Design with Side Paneling
Jacques-François Blondel, French, 1705–1774, 1727
Etching on laid paper
Print

Chimneypiece design framed by wood paneling on either side. There is a large over mantel mirror, with a frame supporting candelabra and putti playing wind instruments. The wood paneling on either side features mascarons; above each of them is a wall bracket held aloft by grotesque figures and supporting a vase. At the top of the panels are rondels with mythological scenes: on the left, a draped woman playing a lyre and a young boy playing a lute; on the right, two satyrs playing horns with a goat behind them. The plate is not signed or numbered.
Heads of two men, in the style of Frans Hals
Homer Dodge Martin, American, 1836 - 1897, ca. 1860
Pen and bistre ink on light brown paper
Drawing

Bust of man wearing cap and large collar, turned to left. Upper right, small bust of bearded older man. Verso, lower half: section of shading.
Design for Ceiling for the Basement Story, Carlton House, Pall Mall, London, England
Henry Holland, British, 1745 - 1806, 1786–90
Pen and black ink, brush and gray wash on paper
Drawing

Horizontal format design for a ceiling for the octagon on the basement story of Carlton House in London, England. The wall is indicated outside. A rosette is in the center of an octagonal panel. It is surrounded by eight hexagons which have curved sides near the corners of the ceiling. Hexagonal panels are in the hexagons. Below is the scale. Elaborate framing at the edges. Something has been erased in the lower right.
Cartouche with Cartographic Instruments
, late 17th–mid- 18th century
Engraving, brush and blue wash on paper
Print

Cartouche with Cartographic Instruments.
Mercury, plate from a suite of 6 ornamental designs with the Judgement of Paris
Adriaen Collaert, Flemish, ca. 1560 – 1618, ca. 1690
Engraving on laid paper
Print

Mercury shown in a landscape, holding a caduceus with one hand. The figure is set within a medallion on a dark field (sur fond noir) decorated with intricate grotesques.
Brisé fan
, 1780–1800
Carved, pierced and painted ivory sticks, silk ribbon

Brisé fan with ivory sticks, carved with interlacing garlands, flowers, architectural features, and peacocks in medallions. In the center of obverse, an oval medallion is painted  with a scene of a female figure in classical dress seated  in a forest glen.
Framed Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Design for a framed panel of grotesque ornamentation. The central composition features a winged female figure holding a spear and a branch, standing on a pedestal of scrolling goat heads and underneath a baldachin flanked by two horn-blowing angels. Below this central figure are two reclining male nudes surrounded by military attributes. The frame features portrait medallions, lions, military trophies, masks, strapwork, acanthus leaves, and sphinxes. The plate is signed.
Theater Interior with Performance Taking Place
, ca. 1740–60
Engraving on white paper
Print

Horizontal format. Groups of spectators watch a theatrical performance showing a representation of Inferno, with fire and demons. Actors fill the decorated stage; additional spctators in opera boxes at left and right sides. Five large chandeliers hanging from the theater ceiling, which is draped with festoons. Stage design engraved separately.
The Brook, North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, August 18, 1855
Graphite on pale green paper
Drawing

Stream running across, foreground. Large clump of trees, far bank, left. Mountains beyond, right.
Pair of Cuff Studs
, late 19th century
Shaped tortoiseshell with carved and applied tortoiseshell

A pair of rectangular tortoiseshell cuff links with ornate 'E' monogram on each link
Fragments
, ca. 1865
silk Technique: damassé (8-harness satin with 1/3 twill)

Oval panel in blue damask probably for a chair back with a design of an oval frame enclosing a floral group. Acanthus leaves and swags below frame.
Cartouche with Owl
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank asymmetrical rocaille cartouche with an owl at top. Vegetation and garden tools surround the frame; a dog at right, and a cornucopia at lower right.
Daggers
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Six sketches of daggers. Details of handles, tips of the blades, and guard of sheaths.
Trimming
, 19th century
silk Technique: woven

Blue and yellow trimming fragment in a checkerboard design.
Design for Two Friezes and an Escutcheon
, 17th–19th century
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Two friezes. At top, four putti with bucranium against a blue ground. 
Below, a symmetrical grotesque with mermaids and rinceaux.
Key Plate Designs
Antoine Pierretz le jeune, French, active 1660-70, ca. 1665
Etching on laid paper
Print

Five designs for key plates or escutcheons decorated with masks, foliate scrolls, terminal figures, scrolling acanthus leaves, fleurons, bird heads, rosettes, griffins, cornucopias of fruit and flowers, and an owl. The plate is numbered and signed.
Decorative door boss and nail
, 17th century
Wrought iron

Square quadrant type, pierced, shaped and embossed. Design derived from earlier leaf patterns. Nail head a gadrooned mushroom shape on square shank.
Study for a Tribute to Giorgio Vasari
Sante Pacini, Italian, 1735–1790, ca. 1781
Pen and black and brown ink, brush and brown wash, black chalk on white laid paper
Drawing

Minerva dictating to Story, who writes "I STUR[ia]" in a book which the kneeling Saturnus holds on his black.  A genius with two trumpets flies above.  The setting is in a hall with a painter sitting upon a scaffolding and painting a fresco.  Reverse:  pen and chalk sketches of a man climbing a ladder and carrying a package on his head.  Chalk outline of coffers of a ceiling.
Portrait of Friedrich Ferdinand
Martin Martin Bernigeroth, German, 1713 - 1767, ca. 1750
Engraving on paper
Print

Half-length portrait of a middle-aged man in three-quarter view to right. He is wearing a wig, and dressed in armor. He wears a wide ribbon with an order.
Botanical Sketch, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Oil and graphite on tan paperboard
Drawing

Botanical sketch showing isolated views of plants in Jamaica. At upper right, two large leaves of a philodendron plant are shown, the lower of which appears to be dying--rendered, as it is, in shades of orange, red, and brown. In the lower right corner, three stems and eight leaves of a different plant are included. At left, a tree--possibly a datura--is shown with a tall, extremely slender trunk. Its light canopy of green leaves is peppered with white, bell-shaped flower blossoms. Sketches are completed on an brownish, olive green ground, visible throughout.
Design for a Monument
Giuseppe Barberi, Italian, 1746–1809, 18th–19th century
Graphite on paper
Drawing

A large plinth supports three pillars, the largest at center supports a standing figure. On either side, a smoking brazier. Below, a tablet and four small seated figures.
Mountainous Landscape, Mexico
Frederic Edwin Church, American, 1826–1900, 1890
Graphite on off-white wove paper
Drawing

Landscape sketch showing an extremely loosely rendered view of a mountainous landscape in Mexico. In the middle distance at center, what appears to be a line of trees is visible. At right, a steep mountainside descends toward the center, where a mountain range with three sharp peaks is visible in the background.
Stage Design, Temple Atrium
Angelo Toselli, ca. 1765? – 1826, 1815–30
Pen and bistre ink, brush and gray watercolor on paper
Drawing

Horizontal rectangle. Steps leading up to a hemicycle. In its center a bowl crowned by fire. Figures are near it, others upon the stairs. Lateral stairs lead to a colonnade, with a domed building in the center.
Elevations et Profils de Portes Cocheres sous un Imposte avec Oeil de Boeuf
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Divided elevation and plan of an entryway decorated with a small round window at top and ornament motifs including wave pattern, lion head, war trophy, garland, bound leaf, fluting, egg and dart, and a large rosette. The plate is signed
Frieze with Rinceau
Jean-Charles Delafosse, French, 1734 – 1789, 1775–80
Pen and black ink, traces of black chalk on white laid paper
Drawing

The right half is shown: rinceau flanking a shell, half of which is shown.
Design for Two Gilt Bronze Chandeliers
Jean Démosthène Dugourc, French, 1749–1825, 1777
Pen and ink, brush and watercolor on paper, lined with paper and framed with brown paper stripe
Drawing

Design for two chandeliers.  Left, is a chandelier with a lyre as the shaft.  Branches of bottom row of candle shafts form French horns and top branches of candle shafts form flower boughs.  Right, is a chandelier with the shaft formed by four children standing on fantastic birds, which, in turn, stand on a sphere.  Sockets for candles are placed in the children's hands and on the heads of the birds.
Chocorua Peak from a South Shoulder
Daniel Huntington, American, 1816–1906, September 23, 1879
Graphite on cream wove paper
Drawing

Peak of a mountain with steep rock cliffs and note: on way down. Verso: Similar drawings, further from peak, with note: on the ascent.
Sunset off the Coast of Labrador, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Graphite and white gouache on light brown wove paper
Drawing

Seascape sketch showing a view of a sunset at sea off the coast of Labrador, Canada. At center, the sun's light brighly illuminates the undersides of several long, horizontal clouds, while the flat ocean horizon stretches across the composition just below it. Above, several wispy and hazy clouds intermingle in a somewhat indistinct sky.
Fragment
, 17th century
silk Technique: cut and uncut pile in a plain weave foundation (velvet)

Chevron pattern in blue cut and uncut pile on yellowish-tan ground.
Study of Right Hand for "Lesson of Charity"
Daniel Huntington, American, 1816–1906, 1850
Graphite, white chalk on grey wove paper
Drawing

Raised right hand and forearm. Verso: Raised arms and folded hands.
Man
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a male figure wearing trousers and a hat.
Sweetmeats Dish
Royal Worcester, English, established 1751, 1813–1840
soft paste porcelain, vitreous enamel, gold
dish

12-sided basket with scalloped edges. Gilded handle terminating in rosettes. Center decorated with representations of various brightly-colored feathers.
Decoration of a coach panel
, 1650–75
Brush and gray watercolor, pen and ink, black chalk on paper.
Drawing

Vertical drawing of a lateral panel of a coach.  Wing-like.  "Summer" is shown seated upon clouds.  She carries a sickle in her right hand and a sheaf of grain in her left arm, which a child brought her.  Framing line.
Decorative urn
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, black chalk on off-white laid paper, lined
Drawing

Decorative urn.
Standing Bishop
Belisario Corenzio, Italian, active 1590–1646, ca. 1620
Pen and black-brown ink, graphite on cream laid paper
Drawing

Bishop standing, facing left, right hand raised in gesture.
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 ribbons, festoons of flowers, leaf clasps, cartouche, and ribbons. The plate is numbered and signed with the artist's monogram.
Landscape in Dorset, Vermont
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875
Graphite on paper
Drawing

A stone wall with a gate among trees.
Sampler
Friederike Hanewald, 1819
cotton Technique: satin, stem, and overcasting stitches on plain weave

Five alphabets, numerals and ornamented monograms in red on white.
Study: A pair of hands
, 1750–1775
Charcoal and white heightening on blue paper
Drawing

Vertical composition of two hands erected and shown from the inside. Below at left is the left hand with curved fingers and above at right is the right hand holding a bead between the thumb and the forefinger. On the reverse are the right upper arm and a part of the right left of the nude in 1901-39-2748.
Design for a Monstrance with Alternative Suggestions
, 1750–1775
Pen and ink, brush and sepia on paper
Drawing

The upper base is supported by volute feet; the right one with a cherub upon a lower base. In front of it is the pascal lamb upon the book and clouds with a cherub at left. Below, at right, is a cornice with a putto sitting upon it, at the lower end; above at the corner a cherub. At left, an angel with the nails sit outside. The shaft has below clouds, with a cherub and grapes; connected by volutes is the longer upper part with vine and grain, fastened by a ring and a ribbon. The receptacle has a glory of angels, with clouds, grapes and ears of grain.
Triumph of Peace, Roundel, for the Aldini Villa at Montmorency
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink, brush and grey-brown wash over black chalk on textured paper
Drawing

Victory riding in chariot drawn by two horses. She holds caduceus in left hand. Genii flying from opposite direction crowns her. Above, inscribed "PACE." Two cornucopiae at bottom.  Inscribed, inside roundel: Parigi dipinta a Mo Moransi per S.  E. Aldini 4 Genaro 1813.
Sampler
, 18th century
silk embroidery on linen foundation Technique: satin stitch and drawnwork on plain weave

Central panel with name, alphabet and numerals in cross stitch; surrounded by borders in drawnwork of geometric patterns.  Birds and lamb in each corner and a flower motif worked in satin stitch.
The Struggle between Hercules and the River God Achelous
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink, over traces of black chalk on light blue laid paper
Drawing

Two men shown wrestling. Onlookers shown at left and right.
Sunset over a Wooded Landscape
Frederic Edwin Church, American, 1826–1900, 1860–75
Brush and oil on tan paperboard
Drawing

Landscape sketch showing a view a of bright and warm sunset over a rolling and heavily wooded landscape. At left, a prominent group of trees frames the view of the sun's vibrant yellow-white orb at center, which glows orange and red light into the atmosphere around it. At lower center, the landscape grows faded in the distance due to atmospheric perspective. A large bank of gray clouds inhabits the sky above the sun and the break through which it shines.
Developpement de diverses especes de Compartiments de Pavés de Carreaux et des Marbres
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for floor mosaics. The plate is signed and numbered.
A Danish Horse, from the fourth set of "Equile Joannis Austriaci"
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1575
Engraving on paper
Print

A Danish horse from the fourth set of "Equile Joannis Austriaci," the stud of Don Juan of Austria (died 1578).  Horse galloping toward left. Signed bottom right: "Johan. Strada. inuent. / Phls Gallaeus excudit."  At the bottom margin, a verse of two pairs of lines: "Saltu Danus atrox," etc.
Chair
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and gray and brown wash on off-white laid paper
Drawing

Seen from the front. The back is above an octagon with an inner oval supported by a panel with trellis. The arms are volutes springing from corners of the octagon. The back legs stand nearer together than the front legs.
Edging
, early 17th century
linen Technique: needle lace, reticella style

Edging of four scallops with wheel design.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and lateritious, blue, and white gouache on glazed tracing paper
Drawing

A garland of the same design as -88 over two waved and intertwined garlands with five pointed stars in the circles and a moulding.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs. The chimneypiece design on the left is divided in half to show variations in form and decoration. The chimneypiece on the right features a rondel at the top with a mythological motif. Between the chimneypieces is a panel of grotesque ornamentation with a magot at the center as well as singeries and sphinxes. The plate is signed and lettered "I."
Fragment
, 17th century
silk, metallic thread Technique: plain compound satin weave

Fragment has a ground of gold twill, nearly worn away, with a design of slender sprays of carnations and lilies arranged in horizontal rows turning alternately left and right, in blue satin outlined by extra white silk weft.
Stage Design, Palace Courts
, early 19th century
Brush and sepia wash, graphite on paper
Drawing

Horizontal rectangle. View into palace courts through archways. Two sculptured figures in foreground. Unfinished.
Sampler
Lus L. Calderon, ca. 1830
silk and cotton embroidery, linen foundation Technique: satin, stem and eyelet stitches on plain weave

Sampler is divided into squares and rectangles, each with an embroidered motif.  Scenes include: the seal of Mexico, a Pascal Lamb, a lion, a stag, several figures in European-style dress, and numerous floral patterns. A band of whitework extends across the bottom.
Button
, 19th century
nickel plate on brass

three fleur-de-lis surmounted by Imperial Crown; sprays of laurel with Maltese Cross.

On card H
Wallpaper Design
, 1820–30
Brush and gouache, graphite on white paper
Drawing

Two pilasters standing upon a dado support an entablature, for the moldings of which ornamentation is alternatively suggested, at left. Alternative suggestions are also made for the capitals and for design and colorings of details of the pilasters. Circular medallion portraits framed by squares, upon and beneath which palmettes are shown, decorate the centers of the pilasters. A lilac panel is bordered by an entablature, for the decoration of which alternative suggestions were made. Alternative suggestions were also made for the palmette frieze hanging beneath the entablature. Upon it stands a base with semicircular frame between, containing griffons. Two women and two putti are represented in the lunette.
Sheep Resting
Winslow Homer, American, 1836–1910, October 15, 1878
Graphite, brush and watercolor on white watercolor paper
Drawing

Recto: A view of three groups of resting sheep partially filled in with color. Also on this sheet are a sketch of a standing sheep, partially colored and a ram's head drawn lightly in graphite. 

Verso: Graphite sketches of two landscapes, the first with two figures, the second with two filled baskets.
Album of Decorative Panels, Trophies, and Monogram Designs
Pierre Ranson, French, 1736–1786, 1773–90
Print

Album of ornament prints after designs by Pierre Ranson for decorative paneling, trophies, and monograms. Each series of prints have a title page and are numbered 1-6.
Sampler
Sarah Beckett, 1798
silk embroidery on wool foundation Technique: cross-stitch embroidery on plain weave

Finely worked in colored silks on a natural ground, with verses, flowering trees, animals, and a stylized running vine border.
Jeux d'enfants
François Boucher, French, 1703–1770, 1738
Album

An album with a series of four prints of putti playing in various landscapes. The plates are titled and signed.
Le char de l'aurore
J.P.Meiller et Cie., 1792 – 1826, ca. 1790
cotton Technique: printed by engraved copper plate on plain weave
Textile

Series of scenes of the gods and goddesses inspired by Guidi Reni's (1575-1642) design in the Palais Pallavicini in Rome and the sculpture at the Basin of Apollo.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso. The recto begins, and the verso continues, a description of the masked ball given at the Hôtel de Ville on February 26, 1745, to celebrate the marriage of Louis Dauphin with Maria Teresa of Spain.
Design for Oak Corner Sideboard
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Corner sideboard with concave front on five straight tapering legs; center front: two closed cupboard shelves topped by two drawers each; upper shelf supported by four small columns, has solid back, and repeats outline of sideboard top; low backsplash.
Border
, 1880–90
Block-printed paper, embossed

Main central band of several different flower species, with narrow bands of geometric motifs above and below. Printed in colors on a metallic copper ground on embossed paper.
Sidewall in Floral and Foliate pattern
, 1860–1870
block-printed paper
sidewall

Floral and foliate pattern in style of Indian chintz. Exotic-looking plant forms printed in bold, unnatural colors. Printed in eleven colors on a gray ground.
Telemachus and Calypso
, ca. 1790
cotton Technique: printed by engraved plate and by block on plain weave
Fragments with partial chef

Four fragments coming from the bolt end of this fabric. Each fragment has the partial markings of a chef on it.
Standing Man Reaching Upward
Raimundo de Madrazo, Spanish, 1841–1920, 
Drawing

Drawing of a young man in Renaissance dress standing and reaching upwards.
Study of a Standing Man
Raimundo de Madrazo, Spanish, 1841–1920, 
Drawing

Male figure, standing, with his head slightly bowed, and turned to the left. Study made for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Study of Squash Vines
Sophia L. Crownfield, American, 1862–1929, early 20th century
Graphite, pen and ink on tracing paper
Drawing

Horizontal sheet depicting two studies of squash vines with leaves, tendrils and blossoms.
Textile
, late 19th century
cotton Technique: plain weave, indigo dyed, resist applied with stencil (katazome)

Oval and circular floral rosettes in dotted goemetrical framework, forming overall pattern, In white with occasional hand application of orange, on blue ground.
Design for a Plate
Pietro Francesco Garoli, Italian, 1638 – 1716, 1650–1750
pen and ink, brush and wash on paper
Drawing

Shown in bird's eye view with section outlined in the middle. Suggested are an undulating rim and an alternatively convex and concave one. It is edged by a Greek which is intertwined with a laurel garland. Framing lines, which are interrupted by two handles.
Textile
Dubey et Comp., ca. 1800
cotton Technique: printed by engraved copper plate on plain weave

Panel probably from a curtain of white cotton, plate printed in lavendar. Design of varioud scenes of strolling players and musicians. Centre, a cart, with an old man riding the horse, woman and children in cart, musician at back; upper right, performers on an outdoor stage; lower centre, blind musician, drummer and two little dancers; lower left, musicians with people listening.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Kneeling or seated female figure indicated, facing right. Possibly cloak of Virgin Mary.
Portrait, possibly Elizabeth Vail
J. Carroll Beckwith, American, 1852–1917, ca. 1916
Charcoal on paper
Drawing

A young female figure in left profile with curled bangs and hair brought forward over her left shoulder.