biglam/cooper-hewitt-alt-text huggingface dataset:
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a face, cancelled out.
Textile
, late 19th century
cotton Technique: plain weave, patterned with stencil-applied paste resist (katazome) indigo dyed

Length of resist-dyed cotton with broad sweeping water forms framing two turtles swimming toward each other, with flowering plum and pine branches. In white, gray and black on a blue ground.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of two figures reading. Below, face in profile.
Band
, 17th century
linen Technique: bobbin made continuous tape with bars added

Narrow band of curving vine with birds and outling of a heavy cord.
From the Tops of the Furnaces
Joseph Pennell, American, active England, 1857–1926, 1916
Lithograph on ivory laid paper
Print

Looking down on the blast furnaces from above, a large smoke stack on either side. Below, in the foreground, small figures rushing around with wheel barrows.
Textile
, mid-18th century
silk Technique: compound weave with supplementary weft

Panel of gray taffeta brocaded in polychrome silks in a pattern of ribbon meander in dark red with floral clusters.
Seascape with Mountains and Possible Structure
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Choppy ocean in foreground in front of mountain range with two distinct peaks.  A possible structure sits atop the nearest peak, in center of composition.
Shawl
, mid-19th century
wool Technique: twill tapestry, embroidery Label: wool embroidery on wool twill weave, pieced together

Square woven shawl with a red ground and multicolored design in pink, orange, green, blue, purple, and white.  A taupe eight-pointed star in the center is surrounded by snake-like forms. From each corner, a yellow pine cone form set on an elaborate vase points toward the center; between these is a smaller, purple cone. An inner guard boder has a repeating design of alternating flowers, and the outer "harlequin" border is of bands of alternating color. All pattern areas are filled with tiny plants and flowers.
Fragment
, 17th century
wool on linen Technique: crewel wool embroidery

Fragment in a pattern showing leaves with flowers and fruit.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

On a gray ground, with green bands containing two white ribbons in arc form bearing pink flowers and green leaves.
Flounce
, 1650–1700
linen Technique: needle lace

Slightly V-shaped flounce with three-dimensional flowers on a scrolling vine.
Sugar Bowl and Stand
Mennecy Porcelain Manufactory, French, active 1735 – 1773, ca. 1770
soft paste porcelain, vitreous enamel, gold
sugar bowl and stand

Tray attached to bowl, oval with shaped edges; bowl rounded, with shaped edges which are repeated in contour of domed cover. Cover has handle in form of an olive branch with leaves and olives, and notch for ladle. Decorated with sprays of flowers.
Design for a Vase
, 1730–1760
Red crayon on paper
Drawing

Elevation of a vase decorated with two male satyrs and a female figure. Vase stands on a cracked marble ground.
Chimneypiece Design with Overmantel
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Chimneypiece design with an overmantel with a clock and two sphynxes. The chimneypiece features acanthus leaf, pilastre, bead course, garland, vases, and rosette ornamentation. There is a scale bar of four French feet ("4 Pieds") at the bottom. The plate is signed and numbered.
Mountain in Mexico
Frederic Edwin Church, American, 1826–1900, February 24, 1890
Graphite on light brown wove paper
Drawing

Landscape sketch showing a view of a dark and rugged mountain, likely in the vicinity of Mexico City, Mexico. Viewed across a flat, grassy plain that is largely unrendered, the mountain rises in the background at center and is characterized by a double-pointed peak and darkly shaded slopes. The mountain's ridge descends at left and right.
Fan leaves, Second half of the set "Desseins d'Eventails et Ecrans
Nicolas Pierre Loir, French, 1624 - 1679, ca. 1750
Etching, engraving on laid paper
Print

Semicircular plates.
Hanging
, late 18th century
cotton Technique: block printed and painted on plain weave

Central stylized tree flanked by peacocks. Below is a hillock with pairs of lions holding animals in their mouths. The ground is filled with flowers in Indian style and birds. Colors are dark blue, red, and dull olive green with traces of gold. The central panel is framed by successive borders of various combinations of flower motifs. Backed with coarse blue and white cotton.
Sampler
Agnes Luxi, 1802
silk embroidery on wool foundation Technique: tent stitch on plain weave

Within a chain border are detached motifs including the silhouette of a woman, tree, horse, urn, lamp, dog and peacock.
Design for a Lighthouse
A. Le Canu, French, active 1746 – 1768, 1760–75
Etching and engraving on laid paper
Print

Design for a Neoclassical lighthouse with a smooth-faced rusticated façade and large vermiculated panels. The French royal coat of arms above the door, with oval and round windows on the tower, with laurel leaf festoons framing the central oval windows. Topped with a flaming / smoking urn or vase on the domed roof. Clouds in the background and steps leading up to the lighthouse. A scale below the design and the price. The plate is titled and numbered.
Design for a Frontispiece
Pierre Edme Babel, French, 1720–1775, ca. 1749
Pen and black ink, brush and black ink wash on paper
Drawing

In the scheme of an entablature and a pediment. Putti decorate an escutcheon with a device. An obelisk is depicted with a garland wound around it. Two stairs are shown as well. Depicts coat of arms of architect Carl Harlernan, friend of Meissonnier.
Project for the Elevation of a Monstrance
Luigi Righetti, Italian, 1780 - 1819, 1801
Pen and ink, brush and watercolor on paper
Drawing

The sunburst with seraphs is supported by a column issuing from an urn which rests on a spreading fluted base.
Vessels and Roundels with Attributes of Bacchus, Flora, Apollo, and Ceres
Richard de Lalonde, French, active 1780–96, ca. 1778–1782
Engraving on paper
Print

Vessels and roundels with attributes of Bacchus, Flora, Apollo, and Ceres.
LE GRAND PARTERRE D’EAU ET LE CANAL de Chantilli
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the gardens at Chantilly, with the large canal, fountains, basins, sailboat, parterre planting, trees, and buildings in the background. Double staircases leading down in the foreground. Figures, and horseman throughout the grounds. The plate is titled.
Design for a Chimneypiece with Borghese Dancers
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

The fireplace is framed as by the upper part of a molded frame, whose upper end is somewhat projecting. Below is a base. Upon the upper edge stands a relief with nine dancers like those in 1938-88-8200. Laterally stand caryatids shown in profile. An antablature is above. A strip of paper has been pasted over one of its ornamented moldings. Shadow, baseline, plans, scale similar to 1901-039-8194. Figures and feet are added in ordinary ink. At right are rough graphite outlines of an entablature and of the right side of a mantelpiece. Below framing as in 1901-38-8200.
Vase
, 1736–95
glazed soft-paste porcelain, blue and white

club shape cylindrical vase, with peony, rocks and butterflies in underglaze blue on a greyish white, fine-crackled, soft- past ground
Pleated fan
, 1720–30
Painted parchment leaf, carved and pierced ivory sticks inlaid with mother-of-pearl, mother-of-pearl thumb guard, metal rivet

Pleated fan with leaf of parchment painted on both sides. An allegorical wedding scene in classical imagery. By the altar of Hymen (the Greek god of marriage), the couple are tethered to cupid's chariot. At left, a river god. Sticks of carved and pierced ivory, showing a man and woman, inlaid with mother-of-pearl thumb guard, and metal rivet head.
Trees on a Rock, near the Obersee, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, September 1868
Graphite on beige wove paper
Drawing

Botanical and landscape sketch showing a view of trees growing out of/near a rock by the Obersee in Bavaria, present-day Germany. Situated at center, a leafless tree with upward-reaching branches grows out of a large boulder at center. Beside it at left, two walnut trees with lush canopies rise into the sky as they are loosely rendered. Some grass around the base of the trees is included.
Sheet of Studies: Self-portrait, a Beggar Couple, Heads of an Old Man and Old Woman, etc.
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1632
Etching on laid paper
Print

Sheet of studies: above, head of Rembrandt, facing the spectator; below, left to right, head of old woman, two beggars, head of old man (all facing in another direction).
Grotesque Design
, early 17th century
Charcoal, pen and ink on paper
Drawing

A strapwork escutcheon decorated with scrolling acanthus leaves and military trophies. Below, a winged mask and groups of bearded soldiers.
Pitcher
, ca. 1800
Enameled tôle, wood

a) Urn-shaped coffee pot, on cabriole legs with flat, turned feet, faucet, ring handles held in lion-masks. B) flat lid with steeple finial. C) triangular stand with concave sides, with circular holder for heating arrangement, Black with landscape and other decorations in gilt and colors.
Trial Proof for a Printed Textile
, 1790–1800
Woodblock, handcolored with brush and gouache on paper
Drawing

Pink, yellow and green sword-shaped leaves on two stalks, one with spines, the other with roots.
Pleated fan
, ca. 1805
Gilded paper leaf with hand-colored engraving, painted wood sticks with ivory on guards

Pleated fan. Gilded paper leaf with hand-colored engraving showing a scene with two women and an infant learning to walk. Sticks are painted wood with ivory on guards.
Frame with Cartouche
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting, rectangular form, topped with a cartouche with a cipher within. At left and right, two figures of putti blow trumpets.
Rocky Hillside, North Carolina
Frederic Edwin Church, American, 1826–1900, September–October 1880
Graphite, brush and white gouache on beige wove paper
Drawing

Landscape sketch showing a view of a rocky cliff in the mountains of North Carolina, near Hot Springs. Highlighted in white gouache, the cliffside has many fissures and cracks in its rocks, as well as two evergreen trees on top of it. Other trees behind are loosely rendered at upper right. At lower left, nearby foliage is visible in the foreground. In the background at left, a steep wooded hillside is faintly visible.
Entering Guayaquil, Ecuador
Frederic Edwin Church, American, 1826–1900, May 23, 1857
Graphite on white wove paper; verso: graphite
Drawing

Landscape study showing a view of mountain ranges near Guayaquil, Ecuador, as seen from the Rio Guayas. The river water extends from the foreground to the middle distance, where it meets sharp, wooded hills. Taller mountains loom in the background.

Verso: Botanical and landscape studies organized into three registers. Upper register shows view of a riverbank with diverse vegetation. Middle register includes a hut, at left, a tree bough with vines at center, and a bush at right. Voluminous bushes visible in lower register.
Design for an Embroidered Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and white, yellow, lateritious gouache on glazed tracing paper
Drawing

The bottom scrolls of rinceaux are connected by blossom and fringed drapery festoons. Slightly more than two repeats are shown.
Stage Design, Antique Buildings
, late 18th century
Pen and brown ink on paper
Drawing

Horizontal rectangle. Conglomeration of antique buildings, fountain in foreground, two figures at left.
Carved Decoration for a Wall Panel
P. Ludovik, French?, active mid 18th century, ca. 1740
Graphite, pen and ink, brush and grey-brown wash on paper
Drawing

The right half is shown. Rocaille framing, with a standing swan.  Water springs from swan's beak and pours at right.
Neptune
Claude Gillot, French, 1673–1722, 1729–37
Etching on laid paper
Print

An arabesque design for tapestries (door curtains) featuring the Classical Greek and Roman god Neptune seated on clouds in the center, framed by a canopy, with foliage, sails, nets, grotto, wave, and shell motifs, with a male figure blowing a shell below, and rococo ornament featuring rosettes, fleurons, rinceaux, masks, dolphins, and reeds. This is an incomplete earlier state of the fifth plate of the series before lettering.
Owl and Figure in Landscape
, 17th–19th century
Pen and ink, brush and gray wash on paper, brush and white gouache on paper
Drawing

Owl with outstretched wings atop a tree stump in left foreground; figure with gun on wood bridge walking leftward at center right. In the background, town scene.
Design for a Brooch
, 1850–75
Pen and ink on paper
Drawing

An escutcheon formed of floral volutes frames an oval diamond. A garland of flowers draped above and a hanging teardrop-shaped gem below.
Baccus
Claude Gillot, French, 1673–1722, 1729–37
Etching and engraving on laid paper
Print

An arabesque design for tapestries (door curtains) featuring the standing Classical Greek and Roman god Bacchus standing on a plinth in the center, framed by a canopy, with a satyr and a woman on either side below. Surrounded by fruit, vine leaves, grapes, ewers, wine jugs, and rococo ornament, featuring rosettes, fleurons, rinceaux, festoons of flowers and leaves. The plate is signed, numbered, and titled with the publisher's address below.
Design for a Wrought-Iron Balcony
Jean François Forty, active 1775 – 1790, ca. 1775
Pen and black ink, graphite-ruled borders in pen and black ink on white laid paper
drawing

Horizontal rectangle. Frontal elevation of a wrought-iron balcony supported on carved stone brackets. The central motif consists of a rosette within a studded circle, and vegetal arabesques at either side. At the ends, two vertical panels with similar motifs.
Stage Design, Interior of Prison Court
, 18th century
Pen and brown ink, brush and gray ink wash on paper
Drawing

Horizontal rectangle. Prison court with many barred openings toward left side and background, open gallery around court beneath roof.
Design for a printed framing, pattern no. 4 of the Fabrique de St. Ruf
Fabrique de Saint Ruf, Lyon, France, 1795–1810
Graphite, brush and gouache, black on paper
Drawing

Lower left corner, short flower stems are obliquely shown. They form horizontal and vertical borders together with leaves and blossoms.
Design for a Watchcase Lid or Medallion
Jacques Vauquer, French, 1621–1686, 17th century
Engraving on laid paper
Print

A small ornament print - the upper half of a design for a medallion or lid of a circular watchcase, with a central roundel left blank. The dense design features a bird, vase, flowers, a basket of fruit, strapwork, and scrolling leaves
Teapot with Urn Pattern
Fürstenberg Porcelain Manufactory, German, established 1747, 1780–1800
hard paste porcelain, vitreous enamel, gold
teapot

Cylindrical, slightly outcurved spout, rectangular strap handle, slightly domed cover with pineapple finial. Decoration, in pale colors, of an urn with foliate rinceaux, and bands of foliage in color and gilding. Bottom unglazed.
Ceiling Design
Jean Lemoyne, French, 1638 – 1715, 1700–15
Etching on laid paper
Print

Plate from a series of seven ceiling designs, showing half of an ornately decorated ceiling cornice with roundels with figures, masks, friezes, putti, arabesque, grotesque and classical motifs, shells, c-and s-scrolls, garlands of flowers, laurel wreaths and fleurons. The ceiling is blank. The plate is signed.
A Papal escutcheon
Filippo Marchionni, Italian, 1732–1805, 1740–70
Charcoal, pen and ink, brush and black watercolor on paper
Drawing

Most of the right half is roughly sketched. Grotesque birds form the upper part of the outside framing, dolphins the lower part. A mast is at the bottom.
COQUETIERS DE SERVICE
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Six designs for egg cups (one with a lid) with Empire style motifs including chickens, feathers, florets, palmettes, rosettes, and foliate scrolls. The plate is titled, signed, and numbered.
Design for an embroidered "gilet" of the Fabrique de St. Ruf
, ca. 1785
Brush and gouache on glazed tracing paper
Drawing

Rectangular corner, lilac edges from which plants grow, high ones beneath the pocket and an undulated thorny stem with leaves decorating the field over the pocket. A net, with birds awaiting the parent bird, on a very high plant at the left side of the pocket.
Design for a Sarcophagus
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Something more than the left half is shown. Below is a base with a crouching lion and a moulding having a festoon in front, serving as supports. The sarcophagus has the general shape of an entablature. The lower part of the body is decorated with a row of leaves and with a female mask. A tablet is in the middle. In the middle of the corner is a colute pediment with a mask inside. A figure sits laterally upon it, whose head is not shown. Colored background.
SOUPIÈRES ET CULLIÈRES
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Two designs for soup tureens and four spoons with Empire style motifs. The upper design features a winged putti finial with storks as handles, stars, a cartouche, and fleurons ornament. The lower design includes a fox and stork (crane) drinking from a long-necked vessel (from Aesop's fables) as a finial, with sakes, winged female torsos, foliate branches, and a frieze with figures. The plate is titled, numbered, and signed.
Arabesque Ornament Design
Etienne de Lavallée-Poussin, French, 1735–1802, 1788
Aquatint and etching on laid paper
Print

Arabesque ornament design featuring a classical roundel with figures, festoons of flowers, foliage, vases, a basin with intertwined snakes as the foot, fleurons, winged mermaids. Below a Greek-key ornament, with festoons, the winged head of Apollo and a lidded vase with gadrooning and snake handles. The plate is numbered.
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 1938-88-748. Above a disk, below three drops, at center a studded ribbon and blossoming flowers at left and right. The disk and drops each surrounded by small, round diamonds. Bevelled corners.
Portrait of Charles J. F. Henault (1685-1770)
Charles-Etienne Gaucher, French, 1741 - 1804, ca. 1770
Engraving on paper
Print

The bust-length portrait is in side view to left and is in a medallion attached with a bow to a panelled rectangular board. The sitter is wearing a wig, a dark jacket with a white tie. Below the portrait is a plaquette with the artists' names inscribed thereon.
Sidewall
, 1840s
Block-printed

Vertical rectangle, the end of a roll, giving a scene vignetted in framework of trees. A lake, with bridge across middle distance and castles beyond; house in foreground, at right, and boat full of red-coated soldiers being drawn to shore.
Collar
, late 19th century
cotton Technique: cutwork with needle-made fillings

Scalloped collar of white cotton has a design of large cutwork flowers decorated with needle-made filling stitches.
The Blacksmith
Eugène Delacroix, French, 1798 - 1863, 1833
Aquatint on paper
Print

A blacksmith works on te anvil; a journeyman before the fire.
Design for the Embroidery of the Left Bottom Corner of a Man's Waistcoat of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Brush and gouache on glazed tracing paper
Drawing

Strips and rows of pierced ovoidal seeds and beads are shown at the lateral and bottom edges of the flap of the pocket and at the edges of the waistcoat. Sprays composed of flowers and gems decorate the flap and the field beneath the pocket. Written in ink, top center: "P1053".
Border
, 1100–1400
cotton, wool Technique (2 sections): 1. complementary wefts; one continuous and one discontinuous; weft floats to pattern 2a. weft-faced plain weave, warp single; 2b. weft-faced plain weave, warp double Sides: one intact Ends: warp loops at both ends; weft-looped fringe attached

Horizontal band probably used originally as lower border of a poncho. Black wool looped fringe sewed on lower edge. Band of conventionalized bird design, running in diagonals in rose, yellow, brown wools and white cotton wefts. Warps of brown cotton. Wefts used several at a time and floated out on back of fabric for width of diagonal. One section on fringe missing.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-34: Part of a set of Italian Minchiate playing cards.50
Standing Cleric Holding a Book
Giovanni Bernardino Azzolino, Italian, 1572 - 1645, 1625–75
Red chalk, pen and black ink on cream paper, lined
Drawing

A youngish man, wearing clerical robes and skull cap, faces right with a book against his chest.
Horseshoe Falls from the Canadian Bank, Niagara Falls, Canada
Frederic Edwin Church, American, 1826–1900, July 1856
Graphite on tan wove paper
drawing

Landscape sketch showing a view of Horseshoe Falls from the Canadian bank in Niagara Falls, Canada. In the foreground at right, the edge of a nearby tree is visible, which gives way to a view of the nearby cliffside, strewn with large boulders at the water's edge. The river's churning waters at the base of the falls comprises the middle distance at center. A column of mist is also propelled upwards by the force of the falling water, which wraps around the mist and stretches horizontally across the composition. The Terrapin Tower is visible at left above a pile of large boulders at the base of the falls. Table Rock is possibly included at far right. In the background, the heavily wooded Canadian bank of the Niagara River extends across the horizon.
Project for a Painted Panel
, ca. 1805
Pen and ink, brush and watercolor, sepia, graphite on paper
Drawing

Two vertical bands with candelabrum. At the center of each of a pink oval with figures.
Rendering of the Crossing of the Cathedral of St. John the Divine, New York, NY
Leon Dabo, American, 1868–1960, 1903
Brush and watercolor, pen and black ink, color chalk, graphite on brown paper
Drawing

Perspective rendering of the crossing of the Cathedral of St. John the Divine in New York, during the course of erection, with indication of the outlines of the lower portion of the tower, according to La Farge's plans.
Pitcher
Tiffany & Company, American, established 1853, 1877–1885
silver
pitcher

Globular body with tall straight neck ending in smooth rim with short spout.  Rounded handle.  The entire pitcher covered with repousse flowers on stippled ground.
Pillow cover
, 19th century
cotton Technique: printed

Pillow cover made from two pieces of cotton. For the top and ruffle, multicolored roses, other flowers and vase are on a light brown ground of wavy zigzags. For the back, hexagonal compartments are filled with flowers, red on a brown ground.
Street view
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a doorway.