biglam/cooper-hewitt-alt-text huggingface dataset:
Thunderstorm in the Alps
Frederic Edwin Church, American, 1826–1900, June–August 1868
Oil and graphite on tan paperboard
Drawing

Landscape study showing a dramatic view of a double rainbow arching over a lush valley in the the European Alps, as a jagged bolt of lightning strikes the ground at left. The flat, green valley floor extends from the foreground to the middle distance at left and to the background at right, with the onion-shaped steeple of a church shown in the middle distance at right. At center right, a ferociously burning building sends a plume of dark smoke into the sky. One bright rainbow vibrantly arches into the sky at center, with another, more faded bow beside it at right. At left, a white, zig-zagging bolt of lightning strikes the valley floor near a grove of trees. In the background, a rocky, rugged mountain range extends obliquely into the distance to the right, where the light of the setting sun suffuses the rainy atmosphere with a warm golden glow.
Niche with a Statue of a Female Saint
Filippo Marchionni, Italian, 1732–1805, ca. 1780
Graphite, brush and gray watercolor on cream laid paper
Drawing

Sculptural female figure in a niche. Scale in lower right.
Design for a Pendant
, 1840–70
Pen, brush and sepia on paper
Drawing

A circular diamond is framed by two snakes. Two more serve as handles, by which the chain is fastened. Below, a diamond.
Textile
, ca. 1830
cotton Technique: printed with engraved and relief rollers on plain weave and glazed

Pillar print with continuous vertical pillars with urns of flowers and scrolls with mermaids printed in yellow and red, on a ground of ivy in red outlined in white on an olive ground. An engraved roller was used for the red, and relief rollers for the yellow and olive.
Sheep Resting
Winslow Homer, American, 1836–1910, 1878
Graphite, brush and watercolor on paper
Drawing

Horizontal view of a group of resting sheep, partially filled in with colors, and a detail of a sheep's hind leg and tail.  Color notations.
Design for Brooch
, 1820–30
Pen and ink, brush and sepia on paper
Drawing

An escutcheon with volutes. In center, a circular diamond.
Arabesque Ornament Design
Etienne de Lavallée, French, 1735 – 1802, 1788–89
Aquatint and etching on laid paper
Print

Arabesque ornament design featuring scrolling acanthus leaves, flowers, leaves, rosettes, fleurons, birds, rams' heads, and a winged female figure. The plate is numbered and signed.
Woman with Child
Fortunato Duranti, Italian, 1787 - 1863, ca. 1820
Graphite, pen and ink, brush and watercolor on paper
Drawing

Woman seated on a molded floor, turned toward the left, with the child in her lap, who grasps her head cloth.
Birdcage in the Form of the Rialto Bridge
, late 19th–early 20th century
Painted wood, bent metal wire, metal
birdcage

Green painted wooden frame with metal wires, modeled after the Rialto Bridge.  Intricate wire scrollwork; four doors; two feed cups; hinged panel at either end for removal of trays (trays missing).
The Telephone and the Ticker, Study for "Electricity as Applied to Commerce," Manufactures and Liberal Arts Building, World's Columbian Exposition, Chicago, IL
J. Carroll Beckwith, American, 1852–1917, 1892
Black chalk, graphite on off-white laid paper
Drawing

Outline of a pendentive with draped female figure. The figure's left arm is raised, holding a telephone receiver to her ear. In the background, a ticker, from which come two strands of tape wrap around the figure and end in the basket to the left. The composition is scaled and marked for transfering the image. Squared for enlargement.
Shrine in the Woods near Ceppo Morelli, Italy
Frederic Edwin Church, American, 1826–1900, September 11, 1868
Graphite, brush and white and peach gouache on gray-green wove paper; verso: graphite and white gouache
Drawing

Landscape and architecture sketch showing a view of a shrine in the woods near the village of Ceppo Morelli, Italy. Viewed obliquely at center, the shrine is made of stucco with a stone tile roof and has a large, arched opening at front. Boulders, trees, and other vegetation surround the small structure on all sides. Scene shaded in some detail.

Verso: Landscape and architecture sketch showing a view of an arched stone bridge known as the Ponte Romano spanning the Anza near the village of Ceppo Morelli, Italy. In foreground at left and right, rocks, soil, and rushing water are shown beneath the bridge, visible in the middle distance at center. Bridge's guardrail and individual stones shown in some detail. In the background, soaring alpine mountains are faintly rendered.
Scrollwork Escutcheon with Representation of Winter
Pieter van der Heyden, Flemish, 1530 - 1572, ca. 1565
Engraving on paper
Print

Winter. A woman seated with a foot warmer under a dry tree.
Goat
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a goat.
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738 and 1745
Engraving on paper
Bound print

Two rocaille designs for upright panels. Left panel: within cartouche at upper center, a scene with three putti figures swimming in a river or lake. On the shore, in the distance, a building. Cartouche framed by busts of a man and woman. Ornamental scrollwork completes the decorative scheme. Right panel: within cartouche at upper center, a scene with a putto figure riding a bird, flying towards the sun. Decorative scrollwork completes the scheme, additional putti playing and reclining at bottom.
Design for the Letter K of a Pictoral Alphabet: Kalmucks
Victor Vincent Adam, French, 1801 – 1866, ca. 1830
Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper
Drawing

Letter above, flanked by intertwining rinceau. A Kalmuck couple in conversation. Two men seated by a fire, with a hut and horse in the background. The framing at the left had originally been drawn too much to the right.
Plan et Elevation d'un Cabinet du côté des Croisées
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation (top) and plan (bottom) of a private study.  At center is a bust of a bare-breasted woman on an engaged table with a large mirror behind. On either side are casement windows. The plate is signed.
Standing Lady
, mid-19th century
Brush and watercolor on rice paper
Painting

A standing lady, seen frontally, wearing a blue smock over an orange undergarment.. She holds her right hand at her breast.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1891
Brush and gouache, silver paint on paper
Drawing

On green ground, waves and swirls in green around a silver painted fish.
Designs for a Bracelet and Brooch
, ca. 1875
Black crayon, brush and yellow, light blue watercolor on paper mounted on cardboard
Drawing

Jewelry designs for a bracelet and a brooch intended to be executed in gold with diamonds and pearls. Above, the bracelet consists of oval blue gems in scrollwork frames. The central and four lateral compartments are drawn. The brooch is one escutcheon with five similar oval gems. Two black border lines.
Fragment
, 17th century
silk Technique: 5-harness satin damask Label: silk satin damask

Fragment of woven silk with blue fleur de lys on a yellow ground.
Stage Design of the Ruins of an Antique Building
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

View of ruins of antique building toward arch of ruins.
The Holy Family and St. John
, early 17th–mid- 17th century
Red chalk, pen, ink, black wash on paper; verso: pen and ink
Drawing

On obverse Christ is seated on the Virgin's left knee and St. John, depicted as a child, stands at her right leg.  St. Joseph is depicted twice behind the Virgin. On Reverse three sketches of Europa on the bull.
Design for a Vertical Panel of Ornament
Jean-Louis Prieur the Younger, French, 1759 – 1795, late 18th century
Etching and engraving on white laid paper
Print

Sheet of vertical arabesque design featuring ancient-inspired ornament motifs including urns, censers, mascarons, scrolls, rinceaux, cornucopia, putti, sphynxes, vines, and columns.
Ornamental Vase Design
Louis Doré, French, active 18th century, 1750-1800
Etching on laid paper
Print

Lidded globular vase design with snake handles. The snakes loop around themselves; their tails intertwine in the middle of the vase, and their heads terminate above the vase at a hanging cone shape. The body of the vase is decorated with wavy gadrooning. The foot of the vase is tapered, and the vase is elevate on a low plinth. The plate is signed and numbered.
Tenaya Cañon, from Glacier Point, Yosemite
James D. Smillie (American, 1833-1909), 1872
Wood engraving on off-white wove paper
Print

Sweeping view of Yosemite valley with the rock formation known as Half Dome visible at right. View is from Glacier Point.
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.
Stove and cover
, 18th century
Tin-glazed earthenware

Vase=shaped stove on a hexagonal base. Lion-head antefixes. Relief molded decorated of guilloche below rim and vertical leaves above base. Pierced holes. Domed lid with finial.
Textile
, late 19th century
cotton Technique: plain weave; Z/Z twist

Yarn-dyed woven pattern of large blue, white, and grey checks.
Fragment
, 17th century
silk on linen Technique: embroidery using double-running stitches on plain weave Label: Silk double-running stitches on linen plain weave

White linen ground with red silk embroidery in horizontal lines of zigzag, symmetrical, three-stemmed, conventionalized floral design.
Fountain Design with Boar
Charles Le Brun, French, 1619–1690, ca. 1670
Black and white chalk, brush and gray wash, pen and brown ink on laid paper
Drawing

A boar crouching turned to the right.
Six Antique Gods and Goddesses
Felice Giani, Italian, 1758–1823, after 1850
Pen and brown ink, black chalk, graphite on laid paper
Drawing

Vertical rectangle. One below the other, standing upon a line. A sacrificing woman, carrying in left hand torch; caption: "Pluto." Warrior walking carrying trophy; between two trophies, right one composing thunder-bolt; caption: "Gione" Apollo standing and playing lyre; at left, rolls lying, at right, other objects; caption: "Apollo." Woman hurries to sacrifice at altar; black chalk: the stake upon which Hercules lies is lighted.
Designs for Andirons and a Mantel
Henri Sallembier, French, ca. 1753 - 1820, 1778
Etching on paper
Print

Designs for two andirons (firedogs) with military and geography motifs and a mantel featuring neoclassical ornament including an oval profile portrait, scrolling leaves (rinceaux), foliate scrolls, fluting, putti holding a globe with a putto on top, a vase, incense burner, book, measuring devices, spears with flags, helmet, seated figures with a military trophy above with armor, helmet, and shields, scrolling foliate frieze, and rosettes. The plate is numbered.
Veue de l’Entrée de la Maison Royale de Fonteine-Bleau
Israel Silvestre, French, 1621 – 1691, 1658–1703
Etching on laid paper
Print

View of the entrance to the Palace of Fontainebleau with its monumental gate with arches and domed roof, leading to the inner courtyard beyond. In the background, trees, and more buildings. In the foreground, figures, horseman, and horse-drawn carriages heading towards the chateau. In the lower left, a figure lying on the ground and another seated, possibly sketching the scene. The plate is titled and signed.
Fragment
, 17th century
silk Technique: 7&1 satin damask

Incomplete symmetrical design of large scale palmettes with decorative leaves in green on a blue-gray ground.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-3: Part of a set of Italian Minchiate playing cards.50
Mountain View, Maine
Frederic Edwin Church, American, 1826–1900, September 1877
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a rugged mountain in Maine, likely near Lake Millinocket. Trees and other vegetation are loosely rendered in the foreground at left, while the rounded, pyramidal mountain dominates the composition at center. Its peak is exposed while its lower slopes are wooded, and a ridgeline extends away from the peak in the background at left.

Verso: Botanical and figure sketches showing several evergreen trees and a standing figure at Lake Millinocket in Maine. Along the upper portion, eight evergreen trees and treetops are shown with variously lush and dead canopies. In the lower portion, a standing figure wearing a hat is viewed in profile and flanked by evergreen trees at left and right.
Landscape
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of landscape with a steep hill and trees.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Square window of yellow, green and white weave.
Bandbox
, 1820–50
Block-printed paper on pasteboard support

Design containing flag, eagle with "Union" banner, stars and moon. The large moon and star contain faces. Printed on an orange and blue plaid background. Original document for "Eagle Plaid".
Border
Joseph Dufour et Cie., French, 1752–1827, 1815
Block printed on handmade paper

Classical design, with passementerie and architectural molding, including tassels, swag rope twist and lion head medallions.  Printed in seven colors including gold, orange and blue on yellow ocher ground.
Ceiling medallion
Zuber & Cie, Rixheim, Alsace, France, founded 1797, ca. 1850
block-printed on paper

Half trompe l'oeil ceiling rosette from decor "Renaissance". Printed in grisaille, mauve and gold.
Interior with a Curtained Bed Alcove
Unknown, Austrian, ca. 1853
Brush and watercolor, gouache with touches of gum arabic over graphite on Whatman paper
Drawing

This bedroom-boudoir suggests a room for receiving, sewing, writing, gossiping and sleeping. The tall, narrow room is set with a curtained bed alcove at one end. The walls are densely hung with pictures. A gold-and-black lacquer cabinet, a desk, and a casual arrangement of a table laden with books and sewing basket emphasize the informal character of the room. A colorful floral carpet in red and green tones covers the entire floor.
Livre de plusieurs coins de Bordures Inventez et Gravez par François Roumier, Sculpteur du Roy
François Roumier, French, 16..–1748, 1724–50
Album

An album with a series of corner design details for frames, borders, or moldings. The series is made up of plates from two editions from 1724 and 1750.
Diorama with Model of Classical Temple Ruins
, ca. 1840
Plaster, painted paper, wood, glass
model of a classical temple ruin

Nearly square wooden box with glass front containing a semicircular model of a classical temple ruin set before a painted scene of classical Roman ruins.
Neckerchief
, late 19th century
silk Technique: twill weave with supplementary warps and wefts

Costume accessory with bordered design of paisley botehs along two adjacent right angle edges. Scarf was to be folded diagonally and wrapped over the shoulders.
Mourning sampler
, ca. 1800
silk Technique: embroidered and painted

Rectangular embroidered picture showing a tomb or memorial inscribed "RMG" under the shade of a willow. Embroidered in multi-colored silk on cream silk satin. Heavy chenille yarn is used for the grass. From the Balch School in Providence(?).
Textile
Bromley Hall, Middlesex, England, 1712–1763, 1805–10
cotton Technique: relief printed

Coarse white cotton, slightly glazed. Printed in dull red, buff, green, blue, violet, brown and drab. Fantastic design showing flower basket with long-tailed bird above. Irregular arch extends from the flowers. Under the arch, pointing at the bird, stands a man in Chinoiserie-style dress which a pointed hat and cane.
Band fragment
, 5th–8th century
Warp; s-spun. Z-twist linen. Wefts; S-spun linen, S-spun wools. Technique: slit tapestry

End of a band with a curved end.
Border
, 17th–18th century
linen Technique: bobbin lace, continuous tape with bars added

Band of peasant lace with rounded points in design using continuous tape.
Peep-show, Vue de la Maison Royale de Somerset Avec l'Eglise de St. Marie Dans le Strand à Londres (A View of Somserset House with St. Mary's Church in the Strand London)
Nicolas-Jean-Baptiste Poilly, de, French, 1707 – 1780, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, 18th century
silk, metallic thread Technique: satin weave with discontinuous supplementary weft patterning (brocaded)

Pale blue damask with floral shapes and leaves in metallic silver, metallic gold, and coral silk.
Longinus Piercing the Side of Christ
, 1840s
Wood engraving on paper
Print

Longinus shown from the back and the three crosses are in the foreground. Soldiers in the rear.
Design for Stained Glass Window
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and watercolor, gouache, graphite on tan paper
Drawing

Within a compartment, with pointed arched top, two narrow stained glass panels. Left: full-length female figure, holding lilies in her left hand. Right: full-length female figure, holding an open box in her hands. Inscriptions below.
Collar
, 19th century
silk Technique: bobbin lace, blonde style

Deep collar with two rows of flower head halves that form a scalloped egde.
Fragments
, 19th century
silk, cotton, velvet

Rectangular table-mat formed by 32 small rectangular patches joined by hand in regular rows.  Various striped of floral silk and/or cotton voided cut velvets on variously patterned cloth grounds of contrasting color.  Variety of colors, with black dominating.
Textile
, 1950s
cotton Technique: silkscreen printed on plain weave

Reproduction textile in imitation of 18th century blue and white indigo resist dyed fabrics. Large scale boughs of branches with curling leaves and buds.
Fragment
, 1750–1800
linen Technique: bobbin lace (Brussels-style)

Scalloped border fragment has a small-scale design of floral sprays; vrai droschel ground.
The Letter S
Giovanni Battista Betti, Italian, active 1754 - 1777, 1775
Etching on paper
Print

Horizontal rectangle. Allegorical figure of Sleep in the form of a boy with wings, is sleeping upon a mound and within the letter "S," which is formed by a scroll and a flourish. Leafy trees in background, a cornucopia emitting clouds of smoke at lower left. Part of a set of prints of alphabet letters.
Peep-show, Vue de Baionne, No. 119
, ca. 1750
Engraving in black ink with brown, red, and blue watercolors on paper, mounted on scrapbook page
Print

Peep-show print
A Wall With Two Towers at the Edge of a Stream
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A high wall connects two towers by the edge of a stream. Three people gaze over the wall, and two others are in a skiff in the left foreground.
Fragment
, 18th century
linen Technique: needle lace

Fragment of Argentan lace with a complete flower and a small bit of ground attached at one side.
Textile
, mid-18th century
cotton Technique: relief cloth

Fragment of cream-white cotton, hand-woven, block-printed in red and brown; design of flower sprays intertwining on very thin much carvd stems. Flowers show Indian influence in drawing and are printed with much interior desgin, of fine picotage in both red and brown. Flowers mainly red, with details in white of ground. Stems and outlines brown.
Peep-show, Place de l'Eglise de St. Marc et la Grande Place Terminée par l'Eglise de St. Geminien á Venise
, ca. 1750
Engraving in ink and washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Ornamental Panel
, ca. 1800
Graphite, brush and ink on paper
Drawing

A sphinx terminating in an arabesque, facing left.
Fragment
, 17th century
Medium; silk, linen Technique: woven

Red and white pattern. Selvage present.
Textile
, late 18th century
silk Technique: plain weave with supplementary warp

Small scale allover pattern of a single diagonal floral sprig placed in half-drop vertical rows, facing left in one row and right in the other.
Sampler
Martha Rayne, English, 1734
silk embroidery on wool foundation Technique: embroidered in counted cross and half-cross stitches on plain weave foundation

Within a curving strawberry border, the tablets of Moses, one containing the Lord's Prayer, the other a verse:
A Hymn
Why should I love my sport so well
So constant at my play
and lose the thoughts of heaven and hell
and then forget to pray
What do I read my bible for
but Lord to learn thy will
and shall I daily know thee more
And less obey the still now senseless in my heart and wild. 

With the inscription:
Martha Rayne ended this in the year of our Lord 1734
Manufacturer's sample book
Peter Schneider's Sons & Company, Inc., New York, NY, USA, 1890–99
wool, silk Technique: woven

Swatch book of upholstery fabrics used by William Morlang, owner of a furniture and decor shop in the Bronx, New York. Probably used between 1890 and 1895.
Cutlery case
, 18th–19th century
Paper

Ovoid case (a) with pointed bottom and removeable flat-topped cover (b) fitted over deep flange; all of heavy light green paper.
Fragment
, 19th century
silk Technique: embossed cut velvet

Rectangle of so-called frappe velvet in deep ruby with naturalistic design of flowers closely surrounded by plumelike leafage, rising slightly above pressed ground. Selvages appear to have been cutt off. Lined and edged with galloon.
Scènes romaines
Bartolomeo Pinelli, Italian, 1781–1835, ca. 1811
cotton Technique: printed on plain weave
Fragment

Fragment shows two dancing figures with seven others watching. Classical buildings in the background. In red and yellow on white ground.
Photograph of Facade and Windows of the House of Hector Guimard, 22 Rue Mozart
Hector Guimard, French, 1867–1942, ca. 1910
Photographic print on sensitized paper
Photograph

Photograph depicting three sets of windows on the facade of the house of Hector Guimard.
Pleated cockade fan
, 1870–90
Glazed cotton leaf, tortoise shell handle, silk cord

Pleated cockade fan. Leaf of glazed cotton with silk cords attached--one to the upper center of leaf and the other to the lower center through a hole in the  tortoiseshell tube.  Pulling the cord at the bottom of the tube retracts the telescoping cockade fan into its cylindrical handle. The leaf, when pulled upward, has a circular or "flabellum" form.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

Gray field; scrollwork and foliage arabesques in varnished silver, with green paint.
Cartouche avec des trophées et piramide
Pierre Edme Babel, French, 1720–1775, 1743-1763
Engraving on off-white laid paper
Print

Rocaille cartouche in front of a pyramid. In front of the cartouche are attributes of war, including shields, body armor, flags, horns, bows and arrows. The plate is signed and numbered.
Snuff bottle and stopper
, 1736–93
Rock crystal, jade

Flattened globose bottle, pine and lotus carved in low relief. Ivory spoon; stopper of fei ts'ui (jadeite) set on white porcelain.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a row of buildings with gabled roofs.
Sidewall
, 1850–90
Block-printed on continuous paper

All-over floral pattern, with pink, blue and white flowers on olive-green ground.
Tile
, ca. 1880
Pressed glass

Blue square with flat border. Relief design of a vine with four leaves forming a circle, on a textured ground.