biglam/cooper-hewitt-alt-text huggingface dataset:
Great Aletsch Glacier, Switzerland
Frederic Edwin Church, American, 1826–1900, August 31, 1868
Graphite and white gouache on tan laid paper; verso: graphite
Drawing

Landscape sketch of the Aletsch Glacier near Bel Alp Hotel in Switzerland. The glacier, rendered in white gouache, winds through a mountain valley from lower right toward the horizon at center. Elongated striations made of rock and debris, known as medial moraines, visibly curve down the spine of the glacier. At left and right, the sheer, rugged mountainsides of the Bernese Alps hem in the glacier. A break in the cloudy sky is shown above. 

Verso: Mixed studies around the Bel Alp Hotel in the Bernese Alps of Switzerland. At center, a pyramidal, snow-capped alpine peak is shown in some detail while, at lower right, a loose sketch of a cabin is included. Along the right margin and oppositely oriented, three sketches of mountain goats are visible.
Man
Robert Frederick Blum, American, 1857–1903, 1876–77
Graphite on wove paper
Drawing

Sketch of a male figure dressed in a uniform, with long waistcoat, short pants, hat.; Diagonal line through drawing.
Cup
Le Nove Porcelain Manufactory, Italian, established ca. 1727, ca. 1765
porcelain, vitreous enamel, gold
cup

Cup with handle. Decorated in red and gold, in outline of conventionalized petals. In center of saucer, and at interior of cup is a butterfly.
Design for Ceiling Decoration with Central Oblong
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Design for symmetrical ceiling decoration with central oblong with figures amidst clouds, and additional figures in surrounding panels.
Sidewall
, 1890–1900
Machine-printed, embossed, liquid mica

Pendants of laurel and acanthus suspended within diaper pattern of acanthus. Embossed and printed in white on gray ground.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including a vase, putti, a portrait medallion, a ceiling, and sculpted angels. The left side of the upper plate functions as the title page. Both plates are numbered, neither are signed.
One of a set of projects for a title page and the decoration of a horizontal panel
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

The panel has an elaborated frame, the outermost borderline of which is framing the drawing. Acanthus rinceau with three putti. Intended to be engraved
Portrait of a Boy
Frederic Edwin Church, American, 1826–1900, 1870–75
Brush and oil paint on canvas
Drawing

Figure sketch showing an oblique view of a standing boy in winter clothing, possibly the artist's son. The boy stands at center against a deep green background, wearing shoes, brown pants, mittens, a jacket, and a fur hat. He gazes out of frame to the left.
Loons on Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, September 1878
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of two loons floating on the surface of Lake Millinocket in Maine. At center, the leftmost bird twists its neck and looks at the other, behind it. Beyond them, in the middle distance, a wooded island with large rocks is visible. In the background at right, the pyramidal peak of Mt. Katahdin is shown in contour beyond the lake's opposite shoreline.
Shepherdess Resting Under a Tree
Winslow Homer, American, 1836–1910, 1878
Graphite, brush and gouache on gray-green wove paper
Drawing

Sketch of a young figure in sunbonnet reclining on a hillside. In the background, a large tree with outspread branches shades numerous sheep gathered around the tree's base.
Ornamental Vase Design
Jean Claude Thomas Duplessis, French, 1730-1783, 1775-1780
Etching on paper
Print

Bowl-shaped vase with three putti sitting on the shoulder facing inward with their arms on their heads. The vase has an empty oval medallion at the center, with a ribbon and garland of grape vine draped above. The vase is decorated with fluting, gadrooning, egg and dart, and acanthus leaf ornamentation. The vase is elevated on a socle and placed amidst shrubs with trees in the background. The plate is signed but not numbered.
Black Basalt Teapot with Sybil Finial
Wedgwood, English, established 1759, 18th century
stoneware
teapot

Of squat globular form with tapering cylindrical spout, loop handle joined to upturned and everted lip around circular mouth;  body decorated with vertical stripes and one narrow horizontal band; circular lid decorated with radiating strips; finial in form of sitting, robed female figure.
A Dutch Barge
Whitney Warren Jr., American, 1864–1943, August 20, 1887
Graphite, brush and watercolor on cream laid paper
Drawing

A moored barge, shown obliquely from the stern. The Dutch colors are flying.
Textile
, 17th century
silk and linen Technique: plain compound satin weave

Brocatelle type with pattern of stylized stems and leaves reserved in red satin on a ground of gold produced by extra yellow silk wefts floated over the surface of the red satin.  Main wefts are coarse linen.
Title Page
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Bound print

Title page for a series of architectural prints. The title is lettered within a central arch of garden arcade with fountains, people, and trees in the center. Through the arches a garden landscape in the distance with more fountains, garden architecture, trees, and more figures. The inner walls of the arcade are decorated with pilasters, caryatids, friezes, vases, balustrades, frostwork panels and rustication. The central arch is topped with the French royal coat of arms flanked by two seated women. The plate is signed.
Elevation and Plan of a Table
Richard de Lalonde, French, active 1780–96, 1787-1796
Etching on off-white laid paper
Print

Elevation and plan of a four-legged table with a brace-shelf at the bottom at center of which is a winged helmet and caduceus surrounded by cornucopia filled with flowers and draped by beads. The table legs are fluted, wrapped in thick floral garland, and terminating in leaves. The plate is signed and numbered.
Design for a Candlestick
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
etching and engraving on paper
Print

1921-6-212-7-a: Panel with central shell flanked by garlands of fl...;     1921-6-212-7-b: Design for candlestick (1921-6-212-6-b, 1921-6-212...;     1921-6-212-7-c: Panel with Apollo on his chariot, enclosed by a fr...
Album of Ecclesiastical Metalwork Designs
Thomas Germain, French, 1673 – 1748, 1748
Album

Album of designs for ecclesiastical metalwork, including candelabra, sanctuary lamps, balustrades, and architectural details featuring rococo motifs and putti (children). The title page is a copy in reverse of a cartouche (plate 4.A) designed by Peyrotte and engraved and published by Huquier from Nouveaux Cartouches Chinois (1921-6-522-4). The designer Germain lettered on the title page could possibly be Thomas Germain but an attribution is unsure given the date of the edition and the earlier style of some of the designs, as explained by Peter Fuhring (1992, see bibliography for full reference). Other published references to the series list varying numbers of plates. It is possible that this album combines plates from different series of ornament prints.
Fragments
John Munns, 1770–80
cotton Technique: printed by engraved plate on plain weave

Four fragments of a design of a stag hunt. In red on white.
Border
Joseph Dufour et Cie., French, 1752–1827, 1815
Block printed on handmade paper

Passementarie. Fancy gimp with bullion fringe and tassels. Fringe for drapery paper. Printed in five colors: shades of yellow ocher and bright orange on yellow ocher ground.
Elevation and Plan View for a Spiral Staircase
Adolph Bordeaux, French, active 1880–1890, March 30, 1886
Graphite, brush and watercolor, pen and black ink on cream laid paper
Drawing

Plans and designs of stairs and staircases, in pink wash; one curved, another U-shaped.
Midnight Sun
Herman A. Elsberg, American, 1869–1938, 1915
silk, metallic Technique: cut and voided supplementary warp pile (velvet) in a plain compound foundation
Textile

Black cloth ground with silver. Background has all-over design of minute voided vertical rectangles. Large-scale staggered horizontal repeat of circular medallion filled with small vertical rectangles alternately velvet and ground fabric.
Drawing of a Woman Holding a Basket Over Her Head
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite on paper
Drawing

Drawing of a woman holding a basket over her head. She is wearing a tunic and placed in an outdoor setting.
Study of a Female Figure (Victory)
Raimundo de Madrazo, Spanish, 1841–1920, 
Red and white chalk on paper
Drawing

Study of Victory crowning Christopher Columbus. Made for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Band
, 1600–1650
linen Technique: narrow loom-woven tape bent and forlded to define pattern; tape edged with buttonhole stitch over a cord for raised outline; buttonhole stitch over a cord for connecting bars; needle-made fillings

Lace border in the style of Gros Point de Venise has stylized and scrolling leaf forms.
La planche de Tzigane
Félicien Rops, Belgian, 1833 - 1898, ca. 1875
Etching in dark brown ink on cream colored paper (proof state)
Print

Vertical rectangle. Various sketches, including nine of heads and two landscapes.
Border fragment
, 16th century
silk Technique: supplementary warp forming raised pile in a satin foundation (velvet)

Sharply curving red branch on yellow ground.
Decoration of the Bedroom Fireplace Wall at Hotel Roquelaure
Jean-Baptiste Le Roux, French, ca. 1677-1746, ca. 1727
Etching on paper
Print

An elevation of a wall with a fireplace in center, flanked by double doors. Fireplace with a mirror with a voluted top. Paintings on overdoors. Panels decorated with scroll pattern at the ends and in center. Inscribed, upper margin: "Decoration du côté de la Cheminée de la Chambre à coucher de l'Hotel de Roquelaure, du dessein de M. le Roux Architecte"; lower right: "Mariette exc."
Towel
, 19th century
linen Technique: cutwork and embroidery

Long linen towel with broad decorated central area made up of wide and narrow cutwork and embroidery bands with floral or geometrical designs and one broad band with initials "M.A.D." Single row of three floral rosettes in same technique at bottom.
Study for a Church Window
John La Farge, American, 1835–1910, 1890–1900
Graphite on paper
Drawing

Design for a church window with scale-like design in center and double panel below, with two roundrels and cross in each side.
Sketch for "Petrouchka" by Stravinsky, for Metropolitan Opera
John Wenger, American, 1887–1976, 1918–19
Casein on board
Drawing

Impressionistically painted scene of Petrouchka and ballerina doll dancing, with two small flying figures overhead.
Design for a painted panel
Michel Angelo Pergolesi, Italian, active ca. 1760–1801, ca. 1774–1801
Pen and ink with watercolor washes on paper
Drawing

Rinceaux, grotesques and garlands set off a single figure medallion, above, and a horizontal panel below, showing figures classically dressed. Probably a decorative scheme for Robert Adam. Below, a scale, without numerical indication.
Pillow cover
, 17th century
wool on linen, silk backing Technique: counted stitch embroidery

Solidly worked multicolored pillow cover with a conventionalized fruit and flower border that encloses a scene from the Parable of the Prodigal Son; scene depicted is his return to his family as destitute, desperate and begging to return as a servant.
Figural Letter, Capital G from a Story of Louis XIV of France
, ca. 1700
Etching with engraving on paper
Print

Shown against the siege of a mountain fortress. Moulded frame.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Black crayon. Pen, ink. Bistre, grey, black wash. Paper

Silenus is supported by a Maenad and by a Satyr boy upon his donkey. He holds a bowl to his mouth. A woman supports a boy who is afraid of the crouching panther he sits upon. A child kisses a lion in the central middle plane. Maenads and Satyrs are in the left rear, Youths treading grapes in a barrel in the right rear, an enormous barrel in the central rear.
Fringe
, 17th century
silk Technique: plain weave

Yellow fringe with a plain weave heading, band in a trellis pattern above yellow skirt threads.
Trimming
, 17th century
silk, metallic thread, metal strips Technique: twill weave

Design in twill weave with flat strips of metal in the center and at the borders.
Virginia Modeling
Jerome Myers, American, 1867–1940, ca. 1912
Etching in black, colored inks on paper
Print

A young girl, sitting before a table, modeling a figure. She faces left, in profile. A potted plant is on the table, left.
Fragment
, 17th century
wool, linen Technique: plain weave with warp and weft floats

Geometric lozenge design in salmon pink and white.
Design for Necklace with Brazilian Beetles
, ca. 1900
Graphite, brush and watercolor, white heightening on tracing paper
Drawing

Nine beads are part of chain, from which hang alternately five large and four small beetles. Chains with beads hang as festoons.
Wall Fountain
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, brush and gray wash on laid paper
Drawing

A wall fountain probably intended as terminus of a villa garden allée. A fountain in a niche: water showers from above over a statue and jets from a mask beneath into a projecting basin. These are flanked by pairs of attached Ionic Columns and a pair of Ionic pilasters which support a simple entablature decorated with swags. Above, an attic with space for a tablet with inscription, between large volutes at each end. At top, an escutcheon and crown supported by putti.
Sketch for "Night"
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Black crayon on paper
Drawing

Nude female figure shown from the rear seated without an indication of the right leg. The hands are raised, with the arms slightly bent at the elbows. Verso: in opposite direction, rough sketch of the back with parts of the head shown.
Fragments
, early 18th century
silk, metallic thread Technique: 8-harness satin patterned by weft floats (alternate wefts are a complementary pair) plus a continuous supplementary weft; all weft floats (including supplementary weft) bound in 3/1 twill weave by a supplementary warp

Fragments, somewhat related to the bizarre style, in cream and silver thread with red and green outlining. Densely patterned with curving stylized leaves and flowers.
Border
, 19th century
linen Technique: bobbin lace (Buckingham style)

Border lace in Buckingham style has a small-scale pattern imitative of punto-in-aria. Scallops on one edge contain circular shapes with a single flower head inside. Each circle is separated by two connected diamond shapes containing flowers with four petals. Just above are wheel-like shapes in groups of three.
Sketches for scene 1 and 2 of the cartoon for cotton printing: The History of Henry IV [L'Histoire de Henri IV]
Hartmann et Fils, Munster, France, ca. 1820
Graphite on cream-colored paper
Drawing

Scene from Voltaire's epic "Henriade". The entrance of Henry IV into Paris, approaching on horseback the Cathedral of Notre Dame, his subjects kneeling before him. (Canto X, lines 512-514).
Design for a Fan Leaf
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Sheet of arabesque ornament for a fan leaf. The design features a woman seated on a bench, playing a guitar. Other decorative motifs of the design include an exotic carpet, bouquets of flowers, cartouches, scrolls, acanthus leaves, and a theatrical mascaron. The plate is signed and numbered.
Ribbon
, 19th century
silk

Grey ribbon
Fragments
, 16th–early 17th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Small-scale repeat pattern in maroon cut and uncut velvet against dark cream-colored ground.
Bag
, 19th century
wool, cotton Technique: cross-stitch embroidery on compound weave

Flat square bag with top opening. Black and white strap with plaited ending on either side of opening. Tassels on bottom. All-over design in solid wool of diamonds framing stylized rosettes in green, gray, purple on salmon ground.
Hold Up Your End! War Fund Week
W. B. King, American, 1880–1927, 1918
Offset lithograph on paper
Poster

Poster with a light yellow background depicting a Red Cross nurse in the center holding up one end of a brown stretcher and extending the other end in the foreground towards the viewer. The nurse wears a white and greenish-grey uniform, with a badge wrapped around her right arm and a nurse's hat on top of her short brown hair—both featuring a red cross against a white background. An artillery shell bursts in the air at her right behind her. Printed in black, diagonally, across the center of the poster, overlapping with the stretcher: Hold up your end! A large red cross appears directly underneath in the center of the stretcher. Printed in smaller black text, below the cross: WAR FUND WEEK / One Hundred Million Dollars.
Reverie
Henri-Emile Lefort, French, 1852 - 1916, After 1882
Etching on vellum
Print

In a landscape setting at dusk, with a crescent moon above a young lady, weraing a flowered dress, stands with her back to a tree, facing the observer.
In The Sunlight
James Joseph Tissot, French, 1836 – 1902, 1881
Etching on paper
Print

Scene in a park. In the foreground a young woman is seated on the grass with two children. In background, left, a woman is seated, accompanied by a small boy.
Plate 4, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for two pendants. At left, a merman and mermaid recline on two squares. Above, strapwork with masks and a central oval tablet with mythological scene. Below, a garland of beads and three drop pearls. At right, a pair of putti and pair of sphinxes flank a central gem. Below, horned masks, two drop pearls and a central tassel.
Sidewall
, 1905–1915
Machine-printed paper

On light brown ground, overlapping dots in red, green, and white.
Sketches of a Nude Figure in Classical Pose and a Seated Figure
Andrea del Sarto, Italian, 1486 - 1530, 1670–1700
Pen and black ink on cream laid paper, laid down
Drawing

Left: a standing male nude, with drapery over his shoulders, in classical pose. He holds a staff in his left hand and holds his right arm half-raised in front of him, with his index finger pointed upwards. Right: a seated male figure, seen in profile from the right, with his hands extended before him. Picture is surrounded by black framing lines.
Garden of Love
Israhel van Meckenem, German, ca. 1440 - 1503, ca. 1500
Engraving on off-white laid paper
Print

Interlaces of foliated rinceaux in the center of which appear a young man and a young woman seated. The woman offers the man an apple symbolizing the garden of Love and holds a dog on her lap.  Among the vegetal scroll ornament are figures, animals, and birds.
Sidewall
, ca. 1790
Block-printed, handmade paper

Incomplete repeat of a twisting floral and leaf design, green, yellow, and black, on a brown patterned ground.
Border
, late 19th century
Technique: bobbin lace

Bobbin lace border, flowering plants; late 19th century Brussels
Sidewall
, 1755–65
Block-printed, paper applique

Appliqued block printed cut-outs of cockatoo, parrot, and various other birds, dragon fly, arranged on background sheet in what appears to be a study for a wallpaper design in the Louis XV manner.
Sampler
, 18th century
silk and cotton embroidery on plain weave cotton foundation Technique: cross, stem, double-running, satin, eyelet, back, scotch, and buttonhole embroidery stitches

Sampler with many bands of geometric patterns, in purples, blues, greens, yellows, pinks, and reds. One section at the left side is much coarser in quality, and may have been worked by a different hand.
Prison Cell Entrance
, late 19th century
Painted and varnished cardboard, thread, sandpaper
Matchsafe

Oblong, curved vertical sides, featuring woven and applied strips of cardboard, painted and varnished to resemble a bricked prison cell entrance. Rectangular, recessed doorway has grid of fine threads, simulating cell bars, black cornice-like band over door, number 43 painted in yellow at left of doorway; lower third of wall area woven and painted green, bordered above and below with black bands, upper 2/3 of wall area woven and painted red. Slip-top cover (upper third of box) when closed meets black overdoor band, lid may also be removed entirely. Striker of sandpaper on box bottom.
Plate
, 1776
Glazed earthenware

Dish depicting soldier holding a saber on horseback in a landscape with building in left background. Border inscribed in black text.
Advertisement for a Beverage
, late 19th century
Lithograph on paper
Print

Vertical rectangle. Two female figures, a woman in yellow dress at right handing a glass of beer or wine to a seated woman wearing a red cape and gray dress at left. Decorated rug on the floor. Behind the woman at right, a wooden table with white eyelet tablecloth. On the table stands a green bottle and a second glass full of a brown beverage. Lamp on a stand in background at right, a plant at left. Blue curtain beyond.
Exhibition Room, Somerset House, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Crowded room with couches. Paintings cover the wall space up to high windows. Title, artists', and publisher's names below.
Border
, ca. 1850
Block-printed

Brown, black and white thin parallel strips decorate a marbled ground. Glossy ground. May be simulating architectural molding.
Border
, ca. 1790
cotton Technique: block printed on plain weave

Continuous curving design of exotic "indienne" flowers turning alternately right and left; brown guard stripes with a repeating, small-scale cornucopia pattern.  In mauve, blue, green, tan, yellow, red, and pinks, with brown and red outlining, on white ground; glazed.
Textile
, 1850–1900
cotton Technique: printed by engraved roller and block on plain weave, glazed

Length of fabric with a cream-colored background printed in small allover pattern of leafy sprigs and stylized scrolling forms on a brown stippled ground. Overprinted, probably by block in detached pattern of leaf sprays in strong green. The green is chemical or "direct" green.
Fragments
, 17th century
silk, metallic thread Technique: cut and uncut supplementary warp pile in a plain weave foundation (ciselé voided velvet); supplementary metal thread weft in foundation

Staggered alternating repeat of two rows of flowering plants: one row has two plants, each with a central axis, the other row has two plants, one with an S-curved stem and the other a Z-curved stem. In the repeat, the S and Z-curved plants support the large single blossom of the alternate row.
Sidewall
, 1875–1900
Block-printed and embossed

Bouquets of roses, printed in multi-colors and embossed over background of yellow with fine white stripes.
Panel
, late 16th–early 17th century
linen Technique: punto in aria needle lace

Floral scrolls surrounding three figures. The lower figure is believed to be Saint Anthony of Padua.
Sidewall
, 1875–1900
Machine-printed

Floral stripe pattern. Floral bouquets connected with ribbon, alternating with narrow band of twisted ribbon guilloche. Tese stripes are printed over a background diaper pattern. Printed in shades of green and black on white ground.
Sidewall
, 1820–40
Block-printed on paper

Overall various floral and leaf motifs.  Printed in grey and white on a blue ground.
Pair of Bracelets
, ca. 1830
iron
bracelets

Pair of open ironwork bracelets, each one a wide, flexible, linked band formed of three quatrefoil-and-foliate forms alternating with rosettes, all in the Gothic style; simple rectangular clasp at one end; quatrefoil-and-foliate form with rosette on oval panel at other end, to receive clasp.