biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Chimneypiece
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

The outer frame consists of pilasters with brakcets as consoles. The designs of the latter are different as are the decoration and the material used for the pilasters. The left one shows an inner narrow stripe with a heart motif framed by lilac marble. The right pilaster shows a framed oblong panel of red marble. The inner frame consists of oblongs of yellow marble and squares with rosettes. Above is an entablature with a high frieze. In its center is a device, a ring and two feathers. Laterally are at left a calyx, in an architrave at right a crouching lion shown from the front face. The cast shadow is indicated. The background is colored slightly brown. Base line. Below are the plan and thes cale.  Traces of framing lines above and below.
Fragments
, 12th–13th century
silk Technique: lampas with supplementary discontinuous metal-wrapped pattern wefts

Three fragments of large-scale design of tangent roundels containing symmetrical design of addorsed lions twisting heads around to bite backs of confronted bird-women standing on lions' backs. Twining snakes at back of each bird-woman's neck. Wide borders showing repeats of a man's figure between two griffons (apotheosis of Alexander?), and pearled guard bands. Smaller roundel overlaid at four tangent points of large roundels, with central rosette and inscription border. Interspaces completely filled with large four-pointed rosettes composed of four ornamental tree forms, each with roundel enclosing rabbit-like creature on either side of trunk, growing out of eight-pointed star. Blue-green, dark rose, golden tan, metal brocading now tarnished to dull brown, on cream ground
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1882
Graphite on wove paper
Drawing

Recto: Sketch of a street scene in Venice; Verso: Sketch of playing cards.
Design for a Ewer
Auguste Bergeret, French, ca. 1715
Pen and brown ink, brush and gray wash, graphite on paper
Drawing

Shown in profile; the handle is at right.  It consists of baluster forms and masks.  A satyr with fishtail legs is below the spout.  The body divided in three sections.  Drapery festoons are in the upper one, the tails in the central one.  The bottom shows three panels, two of them with medallions.  Elaborated foot.
Lady, Boy, and Two Old Men
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

The lady sits at left, facing right, with the boy climbing into her lap. The old men, at the right, look at her.
Tables a l Angloise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two tables; on the left, a small three-legged table with a round top; on the right, a longer four-legged rectangular table. The tables have acanthus leaves at the join between leg and top; the smaller table is also decorated with fluting and rosettes. The plate is signed.
Pour l’Usage des Poëles
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Six designs for stoves decorated with neoclassical motifs including fluted columns, friezes, trophies, festoons of leaves, roundel portraits, plaques, vases, creatures, musical instruments, flames and smoke, and an obelisk. A scale along the bottom. The plate is titled, numbered, and signed.
Panel Design with a Vase and Female Figures
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Panel design with a vase in the center surrounded by female figures, a mascaron (mask), putto, festoons of leaves, scrolling leaves, acanthus leaves, fruit, and foliate branches.
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, before 1666
Etching on laid paper
Print

Two frieze designs with tritons, sea lions, female figures, putti, a carriage, dolphins, shells, foliage, water, scrolling leaves (rinceaux), and wave pattern moldings. The plate is signed and numbered.
Stage Design, Group of Antique Buildings
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and ink on paper
Drawing

Horizontal rectangle. Group of antique buildings situated on hillside.
Stage Design, Church Facade from a Loggia, I due Valdomiri by Felice Romani, music by Pietro de Winter. Performed at La Scala, Milan, 1818
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and brown ink, brush and gray wash, graphite on laid paper
Drawing

Horizontal rectangle. Facade of Gothic church seen through huge vaulted loggia.
Design for a Woven Fabric
Brush and gouache on blue paper
Drawing

Small flower bunches alternate with strips composed of leaves and other flower bunches running vertically. Verso: stripes of floral meanders, leaves, or simply solid colors. Alternate horizontal rows decorate the ground stripes.
Design for a Hemicycle, Villa Albani, Rome, Italy
Carlo Marchionni, Italian, 1702–1786, 1753–63
Pen and brown, gray ink, brush and gray wash, graphite, on cream laid paper
Drawing

Rocky landscape in front of building. Elevation of a one-story circular building decorated with pilasters, windows, and a central doorway which contains a fountain with two sphinxes. On lower level below fountain, a grotto with a standing female deity. Throughout the foreground, groups of men conversing. Cliff at left and center; building is in center of drawing behind cliff. Trees at right. Graphite borderline.
Toothpick Holder
Tiffany & Company, American, established 1853, late 19th century
silver electroplated, nickel
toothpick holder

Small cylindrical cup with straight sides repoussé and chased all over with flowers between plain bands at foot and rim.
LA CULBUTE / LE JEU DE CARTE
Jacques Bacheley, French, 1712 – 1781, mid- 18th century
etching on paper
Print

Fourth plate from a series of twelve scenes depicting children's games, framed within decorative rococo cartouches, two per plate, side-by-side. The left-hand side shows a group of boys playing and tumbling in a landscape. The right-hand scene shows a group of children playing cards in a landscape. The titles are lettered below each frame, the plate is signed and numbered.
Sidewall
, ca. 1710
Leather, stamped, painted, silvered

a) Trellis-filled strapwork, with bellfowers, foliage and grapes; b) Central motif of a large parrot, surrounded by foliage and flowers.
Botanical Sketches from the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray-green laid paper
Drawing

Botanical sketches showing views of several plants and trees along the Magdalena River in Colombia. At upper left, a tree with many boughs and a white bird is visible. Two studies of bushes or other vegetation at upper right. Below, one tree with many branches, a water plant, and two palm trees are visible.
Ornamenti di fregi e fogliami
Stefano della Bella, Italian, 1610–1664, ca. 1648
Etching on paper
Print

Plate 10
Design for a Gate
Richard de Lalonde, French, active 1780–96, 1789
Etching on off-white laid paper
Print

Design for a gate with a monogram surrounded by cornucopia. The plate is signed, but the numbering is not visible.
Cloud Sketch
Frederic Edwin Church, American, 1826–1900, 1844 and June 1845
Graphite on white wove paper; verso: graphite
Drawing

Atmosphere sketch showing a view of a massive, billowing cloud. Dominating the composition at center, the rounded forms of the cumulus cloud climb high into the sky.

Verso: Figure sketch showing the head and neck of a doe, at left, and the face of a dog, at right. Both animals are shown from the front and return the viewer's gaze.
Smoke Rising from Cotopaxi, Ecuador
Frederic Edwin Church, American, 1826–1900, 1857
Graphite on tan wove paper
Drawing

Landscape sketch showing view of the volanco, Cotopaxi, erupting and sending plumes of smoke across the mountainous Ecuadorian landscape. In foreground, a human-made structure is visible at right. In middle distance, a valley separates view from distant mountains. Beyond, a rugged mountain range stands before Cotopaxi, which spews a column of smoke into the atmosphere that spreads across the rest of the sky at right.
Mountains and Sunshine, Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch showing a loosely rendered view of a large mountain range, seen across a valley or plain in Mexico. A sharp peak is discernable at center right, while the mountains at center and right appear unfinished. At upper left, sunbeams shine down on the landscape.

Verso: Landscape sketch of a rock formation in the mountains of Mexico. It is rounded in shape and resembles the bottom of a truncated column.
Teapot and cover
, late 18th century
Unglazed stoneware ("black basalt")

Semi ovoid, with simple molded foot, cavetto shoulder. Outward curving spout and two pierced tables for handle; flat domed cover with "window" knob. Low relief decoration of vertical chevron bands and horizontal ribbing; leaf ornament on spout and on handle attachments; beading on collar about mouth. Simple radiating chevron on cover. Flat brass handle soldered with hooks.
Ornament Design
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Arabesque ornament design featuring a flaming torch on a plinth with scrolling leaves (rinceaux), rosettes, foliate branches, and foliate scrolls. The plate is numbered.
Plate, from Grotteßco: in diverßche manieren
Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, 1564
Etching on laid paper
Print

Grotesque panel. In center, two men kneel before a woman sitting in a chariot, over whose head a genius holds a crown; an incense burner stands on a pedestal between the two groups.
Sidewall
, 1755–65
Block-printed, distemper colors, handmade paper

Portion of a cartouche outlined in pink and violet, set with pink and green arrow heads; to right and left, trailing flower garlands, blanked by floral sprays. The register of the printing is not accurate, and varies in the two pieces. The paper is light brown, of coarse texture. -a was formerly used as a book cover.
Strapwork Design
, early 17th century
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Strapwork with winged figures holding a crown over an oval reserve.
La Cuisiassa
, 18th century
Carved and painted wood, glass and woven cloth
Puppet

Set of Commedia dell'arte marionettes, each with facial masks and costume of stock character. La Cuisiassa shown as an old woman with hooked nose, hair tied in ribbons atop her head. Cream colored gown with white apron. Wooden hands sewn into sleeves.
Two Designs for Hand Fans
Bellay, French, active from 1734, ca.1734–37
Etching on laid paper
Print

Two designs for hand fans or hand screens printed on the same plate, side-by-side. The fans or screens are pear-shaped and feature rococo and chinoiserie motifs along the edges with the center left blank. The ornamental frames include sprigs, shells, feathers, ribbons, rinceaux, fleurons, flowers, c-scrolls, s-scrolls, vases, rosettes, and leaves. The plate is lettered, numbered, and signed.
Distant View of Niagara Falls, Niagara River, Canada
Frederic Edwin Church, American, 1826–1900, July 1856
Graphite and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a distant view of Niagara Falls and the Canadian bank of the Niagara River, as seen from the surface of the river itself. The river's surface extends from the foreground to the middle distance, where it encounters the American Falls at left, Goat Island at center left, and Horseshoe Falls at center which curve into the Canadian bank at right. A large hotel is adjacent to Horseshoe Falls at right, while nearby trees and foliage are visible at far right.
Border
, ca. 1800
Block printed on handmade paper

Horizontal rectangle. Border paper with two and one-half repeats of foliageserpentine with recurring hydrangea blossom. Two black lines along one edge and black band with pink chevron along other edge.
Japanese Passion Flower
, ca. 1880
Block-printed on embossed paper
Frieze

Narrow bands of geometric ornament across top and bottom. Long narrow panels, trefoil-headed, set with conventionalized axial passion-flower, above small tangent semi-circles enclosing conventional half- water lilies. Paper embossed with pebbled figure.
Blue, tans and red-violet on embossed paper.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Design scheme similar to 1938-88-833, a disk above and three drops below, a knotted ribbon at center.
Stage Design, Nymphs Bathing in Grotto
, 1780
Pen and ink, brush and wash on laid paper
Drawing

Vertical rectangle. High vaulted grotto with plants, waterfall and group of four female nymphs bathing. Oculus on domed ceiling.
Three bands
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

At left, the decoration consists of a garland of ears of grain fastened by a ribbon, in the center of a waved vine stem. At right: a central band is framed by two lateral projecting ones decorated with a row of ovoids separated by two disks. Usual background.
Study for the Clubhouse of the golf club of Newport
Whitney Warren Jr., American, 1864–1943, 1893–94
Graphite, pen and red ink, brush and brown, red, light blue, green, and black watercolor, on cream wove paper
Drawing

Elevation, executed in delicate watercolor washes, showing the central part of the building and terrace.  A coach, seen from the rear, stands at left in front of the elevation.  Below image, a scale and numerical annotations.
Ruins and Figure Sketches, Syria
Frederic Edwin Church, American, 1826–1900, April or May 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Architectural sketch obliquely showing an ancient, ruined stone wall with ornate pediment and acanthus leaf decorations. Two figure sketches of faces are visible at upper right.

Verso: Architectural sketch showing a view of fuel drying on the roofs of two mud-brick houses in Syria. At left, telegraph wires and poles are obliquely shown descending a mountainside.
Panel Design
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Ornamental panel design with a sculpted male portrait bust framed by a shell, scrolling leaves, and a garland of fruit and leaves on a plinth, flanked by winged putti, scrolling leaves, draped textiles, festoons of leaves and fruit with a landscape in the background and framed by carved moldings. The publisher's address is lettered on a draped textile on the front of the plinth in the lower center. The plate is signed.
Covering for a chair seat
, ca. 1830
cotton Technique: block printed on plain weave; glazed

Sprays of yellow, red and pink roses on a pale blue ground.
Border
, 1900–10
Machine-printed

Striped in white and various shades of gray, forming a rounded column or architectural molding.
Decorative Study; Verso: Anatomical Studies of Heads
Felice Giani, Italian, 1758–1823, 1814–18
Pen and ink over graphite on cream laid paper
Drawing

Three capitals; ten entries of sarcophagi. Verso: two barbarian heads in profile from antique.
Title Page, from "Etchings of Pictures in the Metropolitan Museum, New York"
Jules Ferdinand Jacquemart, French, 1837 - 1880, 1871
Etching on paper
Print

A wreath with "The / Metropolitan / Museum of Art". The title as given above, and "Etched by / Jules Jacquemart / London...1871".
Fragment
, 19th century
silk Technique: plain weave with discontinuous supplementary weft; moire

Two fragments of white silk moire with brocaded design in shades of green, red, pink, and yellow. Symmetrical arrangement of floral sprays reversed on either side of central line.
The Virgin Teaching the Infant Jesus
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

The Infant seated at a table, left, his Mother to the right. She holds a book open with both hands for Him to see. He is facing frontally, the Virgin in profile. Plants visible over a back wall.
Sidewall
Allen-Higgins Co., 1890–1900
Machine-printed paper

Moire or watered silk design. Dark red watered in light red. Paper is embossed in fine parallel horizontal lines with a fine hair-like line of gold. Printed on margin is portion of name: "...ggins Co."
Clouds over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1860–1880
Graphite and oxidized white gouache on gray wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a bright, cloudy sky-likely near sunset-over the Catskill Escarpment, looking northwest from a location on or near the artist's property in Hudson, New York. Rolling, heavily wooded terrain comprises the foreground and middle distance with Cairo Round Top visible as a solitary prominence in front of the rugged Catskill Escarpment, which forms a jagged contour across the horizon. Acra Point and Windham High Peak are visible at center while North Mountain is shown at far left. Above, layers of puffy and wispy clouds let beams of sunlight through their sporadic breaks and are highlighted in white gouache.

Verso: Landscape sketch showing a view of puffy clouds over Kaaterskill Clove, seen from or near the artist's property in Hudson, New York. The shorter, rounded prominence at center, beside the clove itself, is South Mountain, while North Mountain is the taller, flatter mountain at right. At left, the twin peaks of Kaaterskill High and Roundtop are visibly crowned in low-lying clouds.
Six Designs for Decorative Ironwork Lanterns and Brackets
Jean Lamour, French, 1698–1771, 1759–68
Etching and engraving on laid paper
Print

Six designs for decorative ironwork lanterns hanging from brackets, ornamented with rococo motifs, acanthus leaves, foliage, palmettes, c-scrolls, fleurons and French Royal coat of arms, including those of the Dauphin, with dolphins, crowns, a bird and a snake. The plate is signed.
Maidenhair Fern
Samuel Colman, American, 1832–1920, ca. 1880
Graphite on cream paper
Drawing

Diagrammatical study. Fourteen leaf-boughs branch, nearly symmetical from the main stem. Six designs of leaves are in the right top corner.
Fragments
, 14th century
silk Technique: two integrated fabric structures (plain weave plus plain weave)

Vines and confronted birds in purple on yellow.
Four Tailpiece Designs
Jacques de Sève, French, active 1742 – 1788, 1759–80
Etching and engraving on laid paper
Print

Four individual designs for tailpieces. Top left: Two putto fighting with daggers, above a putto with snakes as hair, holding two snakes and a torch looking down at the fighting pair. Below a central cartouche with rococo ornament, scrolling acanthus leaves, shell motifs, arms and armor and snakes. Top right: a putto seated under a canopy with a half-moon finial, with turquerie (in the Turkish style) style motifs, incense burners and two standing figures. Below a central rococo cartouche with scrolling acanthus leaves and c-scroll motifs. Lower left: a cartouche with a trophy of arms and armor. Lower right: a trophy of turquerie style arms and armor.
Studies of Mouths
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1773
Crayon-manner with red ink on laid paper
Print

Studies of eight mouths from different angles, some with noses and teeth visible, with accompanying explanatory text, from a series of figure studies for the education of artists and amateurs, printed in red ink in the crayon manner. The plate is numbered and signed.
Embroidered picture
Unknown, ca. 1630
silk, metal yarn, linen Technique: tent stitch

Unfinished picture of Faith and Hope standing on rolling hills amongst flowers and various animals and insects. Unfinished section is drawn in and includes a building, hills, trees, flowers, insects, sky, sun, and clouds.
Sampler
Mary Bulley, English, 1786
linen, silk Technique: embroidered in stem, cross and satin stitch

Map of Europe embroidered in colored silks on bolting cloth.
Design for Book Plate
Alice Cordelia Morse, American, 1863–1961, late 19th century
Pen, brush and black ink on paper
Drawing

Design of a stand composed of a footed platform with two torches that are lit; a lintel across the top holds several books, another torch at center; across the design is a garland tied to the torches by ribbons; the central torch is encircled by a laurel wreath and behind is an open book.
The Study of Grand Duchess Cecilia von Oldenberg
Ernst Christian Anton von Lautzow, 1839
Brush and watercolor, gouache with accents of gold paint on white wove paper
Drawing

In this view, the Grand Duchess Cecilia von Oldenburg's study is dominated by the large wall-hung portrait on the right of a man in military uniform, possibly the Grand Duke Paul Friedrich.  Pale yellow walls with trails of flowers and a floral carpet of the same coloration create a background for the elegant suite of Biedermeier furniture. The ormolu-mounted desk holds two porcelain vases, perhaps from the Imperial Porcelain Manufactory of Russia. A reflection of the bronze sculpture of Psyche is seen in the tall mirror behind the desk on the left. Books, small pictures and a sewing box-on-stand create a very personal study for a duchess.
Sidewall
, 1800–1810
Block-printed

On light blue ground, Greek key frame printed in green with geometric pyramid design in center, printed in white and gray.
A Studio in the Villa Medici, Rome
Joseph-Eugène Lacroix, French, 1814 - 1873, 1835
Brush and watercolor with scraping for highlights on white wove paper
Drawing

French artists who won the Prix de Rome were given studios in which to live and work during their time spent in Rome. The Academie de France occupied the Villa Medici on Monte Pincio from 1803. Three artists are seen in this room, which is sparsely furnished with simple wooden chairs, work tables and workstands. Folding beds, which would have been set up at night, were probably stored in the daytime behind the blue striped curtain in the right foreground. Paintings, plaster casts and portfolios are placed around the room. A pair of pistols mounted on a pedestal was carried for protection during sketching expeditions. A snake and a tortoise, presumably pets, are in open view.
Sidewall
, ca. 1860
Block printed on machine-made paper, polished ground

Stripe design, with diamond quatrefoils alternating with clusters of green triangles. Printed in white and green on a taupe satin or polished ground.
Washington and Lafayette
, ca. 1810
Glazed earthenware, transfer printed decoration
Mug

Cylindrical mug with red decoration on a yellow ground showing an eagle, its wings spread, above portrait ovals of Washington and Lafayette; strap handle.
Livres des Ouvrages d'Orfevrerie
Gilles Légaré, French, 1617 – after 1685, 1663
Album

A series of jewelry designs including pendants, bracelets, case covers, and fob-seals featuring gems and floral motifs. The plates are signed and numbered. The title page lists the printmaker Louis Cauquin (Louis Cossin), and the plates are signed by Collet or L.C. Some sources believe Collet to be Louis Cossin.
No. 2
Josef Lobmeyr Senior, Austrian, 1792 - 1855, ca. 1835
Mouth-blown crystal, faceted and relief-prismatic-cut and polished
Wine decanter with stopper

Mouth-blown crystal wine decanter, faceted and relief-prismatic-cut and polished.
Musical clock stand
, 1745–49
Molded and chased gilt bronze

formed of a series of S-curves in ormolu, surrounding a grille on the top with curvy scroll decoration, the front and back of different scroll forms, the front with central asymmetrical shell
Alfred Peats Wallpaper, No. 1
Alfred Peats Company, 1915
Machine-printed paper
Sample book

Selection of wallpaper samples, bound in embossed black paper cover. Contains combination sets of matched sidewall, frieze/border and ceiling papers. Most are very conservative, showing stylized floral and fruit designs in the Arts and Crafts/Mission style and the art nouveau style. Contains papers for all rooms of the home.  Does not contain sanitary, ingrain, independent ceiling, cut out borders or ingrain/oatmeal papers.