biglam/cooper-hewitt-alt-text huggingface dataset:
Alpine Peaks
Frederic Edwin Church, American, 1826–1900, June - August 1868
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of alpine peaks in Germany, Austria, or Switzerland. At left, a triangular or conical wooded hill frames a view of a rocky, snowy massif in the distance. Made up of several rounded peaks, rocky slopes, and deep crevasses, this imposing mountain range forms the horizon and serves as the focus of the composition.
Two Brown Birds with Carnations and Butterflies
, ca. 1800–1830
Pen and ink, graphite on coated wove paper
Drawing

Two Brown Birds with Carnations and Butterflies
Wallpaper Design
, 1850–60
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, an entablature on top. The panel shows vertical rows of two intertwined waved bands which are formed by boughs with leaves. For these is alternatively suggested to color those at left of the bands white and those at right dark, or to color those of one band white and those of the other dark. Purple stripes are beneath the entablature.
Two Designs for Double Shields
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

Two designs for double oval shields, which are left blank. The design to the left is topped with a crown and decorated with a festoon of leaves, with ribbons. The design to the right is decorated with leafy sprigs and ribbons. The plate is numbered.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below is a variation of 1938-88-1302. A circular pedestal bears the inscription, whose beginning is carelessly written. Above it stands an angular base, with the central part of the front projecting. It is decorated with a festoon and upon it sits a variation of the figure in 1938-88-1307, with a cross isntead of the chalice, and with a putto kneeling beside the leg with the medallion. Behind rises a huge round shaft, with an entablature and a triangular cresting. On top is a motif similar to 1938-88-1307.
Profil et Elevation du dedans de la cour de l’Hostel du Commandeur du Gert du dessein de l’Architecte Mansart
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural exterior elevation and part section view of the interiors of a hôtel particulier (grand house). The interiors feature highly decorative walls with fireplaces and overmantel decorations, panels, coffered ceilings, pilasters, and friezes. The façade features rows of windows, with blind panels in between and dormer windows in the roof. There is a profile view of the portico entrance to the right with columns supporting the balcony above. A scale below. The plate is titled and signed.
Menuiserie du Lit à trois Dossiers
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for the joinery for a "Lit à trois dossiers" (1921-6-331-4). The plate is signed and numbered.
Sampler
Anne Hart, English, b.1725, 1740
silk embroidery on wool foundation Technique: cross, satin and eyelet stitches on plain weave

Vertical rectangular sampler in green and red on a cream ground. In the upper register, small floral borders and three alphabets. In the middle is a wide, symmetrical floral border with stylized carnations. Below, the Ten Commandments in rhyming couplets.  A linked octagon band at the bottom bears the inscription Anne Hart 1740, surmounted by three hearts. The two outer octagons contain dogs or lions facing a pine tree, which characterize Norfolk samplers.
Sketches of a King and Two Women
Daniel Huntington, American, 1816–1906, ca. 1845
Graphite, white chalk on green wove paper
Drawing

Man with crown seated, right, facing left, his right hand raised. Woman, lower right, and one at left, both looking up at him. Hand, upper left. Portion of scimitar, lower left.
Détails de la Menuiserie du Billard
Pierre Claude Delagardette, French, 1745 - 1792, 1775-1788
Etching on off-white laid paper
Print

Details and plan for the carpentry of the billiard table represented in 1921-6-331-50. The plate is signed and numbered.
Project for the Painted Background of an Altar
, 1750–1800
Black chalk, pen and ink, brush and various water and gouache colors. White heightening on gray rough paper.
Drawing

Right half of project shown. The mensa is outlined and a frame rising from a ledge is intended to contain a painting. The frame sits in front of a niche, with a scrollwork edge and shell with a rose garland on top. A flower vase on a short column stands beside the mensa and a manteling forms the rear.
Sketches, Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, graphite on paper
Drawing

Various sketches depicting the Virgin and Child.
James Lenox Seated
Daniel Huntington, American, 1816–1906, February 19, 1874
Graphite on buff wove paper
Drawing

Seated male figure with glasses. Three-quarter view, facing towards left. Verso: Arm studies.
View from the Aletsch Glacier, Switzerland, Part One
Frederic Edwin Church, American, 1826–1900, August 27, 1868
Graphite, brush and white gouache on beige wove paper
Drawing

Landscape sketch showing the first part of a panoramic view of the Pennine and Bernese Alps from the surface of the Aletsch Glacier near Belalp in Switzerland. This description refers to the entire view, comprising two leaves with 1917-4-464-b. Long piles of rocks and soil known as medial moraines are visible in the immediate foreground, with two rugged piles at left and right. The serrated surface of the glacier, highlighted in white gouache, extends from the foreground to the middle distance and is bounded at left and right by steep and heavily wooded mountainsides that ascend to the left and right corners. At upper right, a small alpine cabin is perched upon the ridge. In the background at center, three monumental, snow-capped mountains are prominently visible: the Dom at left, the Matterhorn at center, and the Weisshorn at right. They are viewed across several other mountainsides and ridges.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1887–1903
Brush and gouache on paper
Drawing

On light green ground, vertical registers containing green stars; upper center four overlapping circles with gold details inside. Verso: graphite sketches.
Hanging
, 19th century
silk, cotton, mirrored glass, glass beads Technique: surface, ladder, buttonhole and chain stitch embroidery on plain weave Label: surface, ladder, buttonhole and chain stitch silk embroidery on cotton ground with mirrored glass, glass beads

Hanging in the shape of a horizontal rectangle with eight tabs at the bottom. The rectangle is of blue cotton plain weave with embroidery in red and yellow silk in borders ornamented with discs of mirrored glass. Five tabs are of this type of embroidery and three are beadwork.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase decorated with two lions, drapery, leaves and a snake wrapped around the base. The plate is signed and numbered.
Three Border Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Three bands of border designs, stacked horizontally on the page. The top border, with cross-section on the right, is comprised of acanthus leaves; the middle border, a strand of roses; the bottom border, also with cross-section on the right, as a strand of bound leaves. The plate is signed and numbered.
Ceiling Design
Nicolas Pineau, French, 1684-1754, ca. 1730
Etching and engraving on laid paper
Print

A design for a rectangular ceiling with variations to the design in each corner and side. Only the cornice is ornamented with corner cartouches surrounded by rococo motifs, palmettes, c-scrolls, s-scrolls, fleurons, and gadrooning. Within the cartouches, different scenes with figures, putti, and profile portraits. Along the cornice between each corner is more ornament, incorporating rococo motifs, masks, animals, putti, c-scrolls, s-scrolls, fleurons, flowers, and trophies. The plate is numbered and signed.
Fountain and a mausoleum
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Top right: the mausoleum. Steps lead up to the portal of a circular structure wit ha dome. The portal has the shape of a triumphal arch. An urn, flanked by crouching figures, is shown on top. Small conical structures project laterally from the main structure. They are topped by rostral columns. Bottom: the fountain. It consists of a central circular pavilion of two stories which is flanked by basins with springing water. A platform with indistinct motifs at the corners serves as a base. Pen scratches. "No 66" is written vertically in the upper right corner.
Title Page
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Title page and ornament design featuring a standing nude woman with a basket of flowers on her head, she is draped, and holds a festoon of flowers and leaves, with a putto by her side, and reeds, foliate scrolls, and a small platform below. The plate is numbered and titled.
Children Playing Darts
Jean-Baptiste Pillement, French, 1728–1808, 1759
Etching on laid paper
Print

Print from a series of fourteen chinoiserie vignettes, depicting children playing a variety of games in different landscapes. One child stands to the right, holding a board on top of a rock. Two other children stand to the left of the scene. One child, stands in profile, blowing a dart through a long narrow tube or hallow stick, towards the board. The scene is framed by trees, branches, foliage and rocks.
Panel and Frieze Design
Philippe, I Caffieri, French, 1634 – 1716, 1670–1700
Etching on laid paper
Print

Designs for a vertical panel and a horizontal panel below featuring royal emblems including a French royal crown with fleurs-de-lys, head of Apollo surrounded by sun rays, scrolling acanthus leaves, rosettes, foliate branches, and a sunflower. The plate is signed.
Fishing for Tuna [above]; Crocodile Hunt with Pigs as Bait [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or before
Pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto, above: Men in open boats catch tuna in large nets.  
Recto, below: Along a shoreline, men trap alligators using pigs as bait.  
Verso, above: Pelicans in the foreground approach men, at left, presenting them with fish. Verso, below: Hunters hide behind bushes at left while firing at boars, to the right.
CHAPELLE DE SAINTE MARGUERITE.
Jacques Bourlet, French, 1663–1740, 1705-1742
Etching and engraving on laid paper
Print

Image depicting the altar and statue of Sainte Marguerite in the church of Saint-Germain des Prés in Paris. The statue is the work of Brother Jacques Bourlet.
Alice Little
Robert Frederick Blum, American, 1857–1903, 1882
Pastel crayon on wove paper
Drawing

Sketch of a female figure.
Dedication Page
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Dedication page of text, framed by an elaborate border at the top of which is a cartouche with a vignette of a construction site overseen by classical figures. The dedication was written by Emmanuel Héré de Corny (1705-1763), court architect, to Stanislaw Leszczynski (1677-1766), Duke of Lorraine and former king of Poland.
Fragment
, 1695–1700
silk, metallic thread Technique: damassé (8-harness satin plus plain weave) with floats of continuous and discontinuous supplementary wefts bound on the front in 1\3 twill; the continous supplementary weft is used only to reinforce the gold thread

Diagonal branches with an exotic bird and blossoms.
Cover for "The World’s Almaniac for 1879"
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black and red ink on paper
Ephemera

Top; left, tree trunk, with branch, upper right, three owls perched on branch, rightmost owl has head jutted out too look at giraffe. Right, giraffe's neck wrapped around tree trunk. Center right, waxing crescent. Bottom; Illustration for TheWorld's Almaniac for 1879, book cover. Various animals, top animals in the form of zodiac signs; bottom, monkey holding up sign with date; right crocodile or alligator
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on paper
Bound print

Design for upright symmetrical cartouche surrounded by scrollwork and vegetation. Within the frame, a female figure of a river goddess sitting upon a shell fountain, with putti figures at left and right.
Sécrétaire à la Chanceliére
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a writing desk with a drop leaf. The desk is carved with minimal ornament motifs including lamb tongue, bound leaf garland, and a scallop shell with scrolling acanthus leaves. The plate is signed.
Design for a Waistcoat
, 1780-1790
Black crayon and various gouaches on paper
Drawing

Design for the embroidery at the border of a man's waistcoat. Lower left corner. The outlines of the pocket are shown. Dark brown and lilac edges. Two bunches of flowers are beneath the pocket. A flower rinceau, upon which flower boughs are laid, starts from the bunch at left.
Pleated fan
, 19th century
Silk leaf with applied motifs in silk and spangles, mother-of-pearl sticks with piqué, silk cord and tassel

Pleated fan. Leaf of white gauze with applied white taffeta, gilt and green spangles. Sticks are mother-of-pearl with gilt and green piqué. White cord and tassel.
Band
, 10th–12th century
linen, silk Technique: embroidered on plain weave

Single band of embroidery in dark blue.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates. The plate on the left is a full-page cartouche, with the series title printed in the center. The plate on the right features three cartouches, featuring, from top to bottom: a cartouche held aloft by two winged putti; a cartouche on the ground between two figures, on the left a draped woman holding a hunting spear, and on the right, a nude male with a quiver; and a cartouche on the ground with a dog underneath it. Both plates are numbered, but only the plate on the right is signed.
Imaginary View of the Castle Vaux-le-Vicomte
Charles Nicolas Ransonnette, French, 1793 - 1877, 1850-1870
Red crayon, brush and sepia wash on paper
Drawing

A lake with a barge is in the foreground. Stairs lead up to a terrace, upon which trees and a corner view of a castle are shown. Some figures are shown.
Textile
, 18th century
silk Technique: woven plain weave moiré

Solid green fabric. Faded so that one side is bluer than the other.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cj: Aesthetic pattern with two columns of motifs alter...
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-bm: Aesthetic Japonesque all-over pattern of scattered...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...
Livre d’Etude d’après les Desseins Originaux de Blomart Gravé par François Boucher Peintre de l’Academie Royale
Abraham Bloemaert, Dutch, 1566 – 1651, 1735
Album

Album containing a series of prints by F. Boucher after sketches/ figure studies by Abraham Bloemart. Each plate features multiple figures and faces, from different angles with a variety of finish and detail. The series includes a title page, each plate is signed and numbered.
Creamer
Samuel Kirk & Son, Baltimore, Maryland, USA, 1815 - 1979, 1830–1832
silver
creamer

Part of repoussé and engraved tea set consisting of teapot (a), urn with lid (b, e), creamer (c), sugar bowl (d). Sloped gadroon runs.
Sampler
Elizabeth Sexton, 1660
silk, linen Technique: embroidered with brick, buttonhole, couching, double running, eyelet, long-armed cross, running, and satin stitches on plain weave Label: Brick, buttonhole, couching, double running, eyelet, long-armed cross, running, and satin stitches in silk on linen plain weave

A band sampler worked on linen in a variety of stiches in colored silk with decorative rows of flowers, including roses, carnations, acorns, and strawberries. The year 1660 in which Elizabeth Sexton embroidered her sampler, found England in a state of great excitement. Parliament had invited the exiled Charles II to return to England where a year later he was crowned King. The spreading loyalty for Charles and the desire for the restoration of the monarchy is revealed in this embroidery by the careful choice of the oak tree motif, the stately house, and rows of acorns.
RECEUIL DES Plans Profils et Elevations Des plusieurs Palais Chasteaux Eglises Sepultures Grotes et Hostels, Bâtis dans Paris, et aux environs, avec beaucoup de magnificence, par les meilleu Architects du Royaume, desseignez, mesurés, et gravez par Jean Marot Architecte Parisien
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Album

Album of architectural cross sections, elevations, and floorplans of French palaces, churches, Hôtel particulier (grand townhouses), grottos, and mausoleums. The plates are titled and signed. 
Binding: French red Morocco (goatskin) gilt. Covers decorated with a triple fillet, and gilt tooling on spine panels. Turn-ins are decorated with fillet, floral and leaf tools. Combed marbled endpapers.
Cuvette pour le Roy [Design for the King's Wash Basin], pl. 56 in Oeuvre de Juste-Aurele Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off-white laid paper
Print

1921-6-212-21-a: Only state. Table centerpiece in full-blown rococo...;     1921-6-212-21-b: Basin with central cartouche, surrounded by a shel...
Study of a Female Torso and Drapery
Raimundo de Madrazo, Spanish, 1841–1920, 
Drawing

Study of Victory made for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Four Studies of a Foot
, mid–late 16th century
Red crayon on paper
Drawing

Horizontal rectangle. A flexing foot shown from four different perspectives in various poses; the upper-right foot is shown walking.

Verso: part of the head of a young man, shown in profile; part of a statue, a grotesque head.
Portrait of Jacobus Boonan, Archbishop of Mechlin
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a beretta and short van dyck beard; he is fat. Below, his escutcheon and motto, and inscription.
Fragment
, 19th century
linen Technique: bobbin lace (Lille-style with heavy outlining thread)

Fragment of Lille type bobbin lace, with tiny branches and quatrefoils.
Fragment
, 18th century
silk Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Fragment has a pink ground, originally orange, with wide horizontal ribbing formed by extra warp. Heavy serpentine of feathers or fur in brown and tan silk and brown chenille brocading. Trefoil blossoms in pink chenille scattered over the ground. Second serpentine of white branches and flowers in white silk and white frisé silk.
Textile
, late 18th–mid-19th century
wool Technique: damask of alternating weft-faced 6&1 satin and warp-faced 4&1 satin

Red damask in a large scale floral design with a central motif of leaves flanked by branches and flowers. Two selvedges present.
Three Friezes and Ornamen
Gottfried Engelmann, 1788 – 1839, ca. 1825
Lithograph Support: white wove paper
Print

Three friezes and palmette of candelabra-form ornament. Rough right, bottom edges; creased; stained (RB '45) Previously titled: ''Plate 2 of a set of projects for ornaments. Devised by M[ichel?] Pourchet (1805-)''
Cap streamer
, early 19th century
linen Technique: bobbin lace, Brussels style

Cap streamer in floral pattern.  Brussels style but probably made in England.
Cup and Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, early 18th century
porcelain, vitreous enamel, gold
cup and saucer

a) Flaring cup without handle, on a small foot rim that is gilded. On one side a small sailing vessel with two men and cargo; opposite, a bird perching on branch. b) Plain saucer, painted with large sailing vessel, house-shaped cabin aft, and furled sails. On deck, three man and anchor.
Design for Embroidery or
Napoleon Bonaparte, French, 1769 – 1821, 1805–10
Gouache Support: glazed laid paper, laid down on light brown wove paper
Drawing

Vertical rectangle; scheme of a grotesque panel; half-figures of winged lions crouch at the bottom; from their heads rise candelabra, showing in their middles circles, in which a double-headed displayed eagle is shown at left, a star of the Légion d'honneur at right. The wing tips support a thyrsus, from which a cloth hangs showing bees, and upon which rinceaux lie; over them is the monogram N crowned by stars; on top is the Napoleonic eagle with a laurel bough. Festoons hang from the thunderbolt to the candelabra.
Frame, for Book Illustration
Charles Scribner's Sons, New York, New York, USA, ca. 1910
Pen and ink on illustration board
Drawing

Scroll work, with leaves above and below. Face and helmet, above, center.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Drapery on body, standing figure, turned slightly to the right. On verso, top part of drapery, a scarf blowing freely.
Peep-show, Vue Perspective de la Place Dauphine de Paris, du Côté de la Rue de Harlay, No. 162
, ca. 1750
Engraving in ink and washes on water color on paper, mounted on scrapbook page
Print

Peep-show print
Design for a Decorative Panel
John La Farge, American, 1835–1910, 1880–1900
Graphite and watercolor on paper
Drawing

In center, a tree-of-life motif, bordered by square panels at the sides and rectangular ones top and bottom, with wreaths at the corners. Below, an urn.
Optical TOy: "The London Mail Obstructed by a Snowdrift" (Spooner's Protean Views, no. 16)
William Spooner, England, active 1830 – 1854, ca. 1838
Lithograph, brush and watercolor on paper, mounted
Print

View of a stagecoach making its way up a hill through heavy snow. When held to the light the scene is in autumn with a fox hunt taking place in the distance. Below, title and: "Changing to a Scene in Autum with a Fox chase [sic] in the Distance". Below, publisher's name.
Trinity Church from Wall Street
Vaughan Trowbridge, American, 1869–1945, ca. 1896–1910
Etching and drypoint in sepia ink on paper
Print

Vertical rectangle.  Wall Street runs through the center of the composition, with tall buildings to the left and right.  Trinity Church (1846) looms up in the background, flanked on the right by the slender 22-story Gillender Building (built in 1896, demolished in 1910) and Federal Hall National Memorial (1833-1842).
Fragment
, late 18th century
silk, metal threads, some paint Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

White taffeta ground with vertical stripes of flat silver brocade. Meandering stripes of floral designs both painted and woven.
Sketch of an Angel
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Lone figure, arms outspread, flying to the right. Lower right, seated figure with right arm out straight.
Side chair
, 1850–55
wood, fabric, metal

Twirled turned stiles, rails and legs. Metal casters on feet.  Seat upholstered in green, red, pink fabric.
Ribbon
, 1805
silk Technique: jacquard woven

Black and white ribbon with portrait medallions alternating with a bow and quiver and a wreath with arrows and torch. Portrait medallions show the head and shoulders of a woman with dress, jewelry, and hairstyle inspired by Greco-Roman fashion.