biglam/cooper-hewitt-alt-text huggingface dataset:
Aestas (Summer)
Gérard de Lairesse, Dutch, 1641–1711, ca. 1680
Etching on paper
Print

Summer seated on a cloud, with 3 attendants, one with a basket of fruit, another, a crown of grain. Summer extends a syckle. Title & artist's name below.
Elevation de l’entrée du Palais d’Orleans à Paris
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of an exterior façade of a Parisian palace with a scale below. A central domed structure with statues and two flanking wings decorated with pilasters, balustrades, arches, and windows. The plate is titled.
The Loan
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Bistre pen and ink on paper
Drawing

Three figures of young men, shown half-length, within a lunette. Inscription below.
Grenadier à la Grecque
Ennemond Alexandre Petitot, French, 1727 – 1801, 1771
Etching on paper
Print

Print titled ‘Grenadier à la Grecque', from a series of 10 plates featuring fanciful costumes inspired by Greek and Roman antique ornament and architectural motifs. A standing male figure wears a costume and headdress made of architectural elements including Greek Key friezes, scrolls, rosettes, and laurel garlands. His arms and legs are adorned with a fish-scale pattern, with lion's heads on his shoulders. He has two quivers filled with arrows on his back and wears a headdress featuring feathers. The plate is titled, signed and numbered.
Virgin, with Putto Holding a Book
Giovanni Vitalba, Italian, 1783 - 1792, ca. 1765–1785
Engraving in brown ink on white paper
Print

The Virgin seated, facing frontally and turned slightly to the left. The putto is at her left knee, holding the open book up.
Petites Chiffonières
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two sets of drawers, decorated with ornament motifs including garland, floral relief, fluting, lamb tongue, ribbon twist, and rosette. The plate is signed.
Fountain Design
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Fountain design with anguipeds holding vases from which water pours; the top of the rondel has on it dolphins with their tails crossed in front of a shell. The plate is signed and numbered.
View of the Bernese Alps from Belalp, Switzerland, Part One
Frederic Edwin Church, American, 1826–1900, September 1, 1868
Graphite, brush and white gouache on gray-blue wove paper
Drawing

Landscape sketch showing the first part of a panoramic view of the Bernese Alps from near Belalp, Switzerland. In the foreground at left, the craggy mountain ridge upon which the artist is situated, partly frames the view at left. In the middle distance at right, a rocky ridge descends in an arch toward the lower left corner. Beyond it, similarly rugged mountain ridges overlap one another as they recede into the background, where numerous sharp and snow-capped peaks form a serrated horizon. The slender, pointed summit of the Matterhorn peeks above the other mountains in the background at upper center.
St. Anne, the Virgin and the Christ Child
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580
Engraving on paper
Print

Signed: "Joannes Stradanus inuen. Jeronimus Wierix fecit. / Phillupus Gallaeus excudit."
Cup
Wedgwood, English, established 1759, ca. 1780
Glazed earthenware (Queen's ware) with overglaze decoration

Cup that tapers toward lips. Short foot. Band of overglaze brown decoration at rim, with line at foot and handle.
Zeuxis painting Helen
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1605
Recto: pen and brown ink, brush and brown wash, with traces of black chalk on laid paper. Verso: pen and brown ink, brush and gray and brown wash over black chalk on laid paper.
Drawing

Recto: Zeuxis in his studio, painting an image of Helen of Troy. Several nude models pose nearby, one upon a platform. An assistant grinds pigments at right. Framing line at bottom margin.  
Verso: Christ being led to the cross. A crowd gathers below. A temple is visible in the background, left.
Design for a Table Clock
Pietro Belli, Italian, 1780–1828, early 19th century
Pen and ink, brush and watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a table clock intended to be executed in silver and bronze. On a base with a fluted foot, the figures of Saturnus and Vigilance are seated beside a pedestal on which two griffins support a dial. A short base on top carries a putto holding a wreath in his raised hands.
Sepulchral (Funerary) Monument Design
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

A design for a sepulchral (funerary) monument on a plinth featuring a broken pediment with a portrait bust framed in a shell niche, with incense burning finials, festoons of leaves, masks (mascarons), bat wings, flaming torches, and a cartouche. A scale below. The plate is numbered.
Rocaille Ornament Design
Alexis Peyrotte, French, 1699–1769, 1749–61
Etching on laid paper
Bound print

Second plate from a series of six designs for rococo ornament by Peyrotte. Possibly a section of a frieze, with acanthus leaves, strapwork, c-scrolls, fronds, branches with leaves, shell, and water motifs. The plate is trimmed and pasted onto the album page. It is signed, and numbered.
Fragment
, 14th century
Warp: linen. Weft: linen, silk Technique: plain weave

Plain cloth with stripes of varying width in grey silk weft.
Title Page and Design for a Staircase Balustrade
Laurent Desboeufs de Saint-Laurent, French, active 1763 – 1776, 1772–77
Etching and engraving on paper
Print

Title page and design for a wrought-iron staircase balustrade decorated with semi-circles, rosettes, fleurons, and festoons. The newel finial sculpture features two standing putti with a flaming vase above their heads and a garland of flowers. The title of the series is lettered in the upper right and the plate is numbered.
Man
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Recto: Sketch of a male figure wearing a coat and hat; Verso: Partial sketch of a male figure.
Fragment of paneling
, ca. 1785
wood (pine), carved and painted

Two lower motifs of pilasters, curved in plan, painted white and blue.  Vase on console carved in relief, crowned by a cornucopia containing various fruits.
Decoration d'une Porte double à placards.
Jean Mariette, French, 1660–1742, 1686-1742
Etching and engraving on laid paper
Print

Design for a double set of double doors, carved with rocaille molding. Above and between the doors is a panel depicting three putti and a dog in a hunting scene. The doorframe is topped by a trophy with attributes of the hunt. The Plan has a scale bar of ten French feet ("Echelle de 10 Pieds"). The plate is numbered but not signed.
Button
, 19th century
Steel

1931-59-260: Flat button with design of swirled leaves around c...
Cabinet on Stand
, 1675–1700
oak, walnut, softwood, bone, brass (alloy)
cabinet

Cabinet on stand with floral marquetry veneer. Cabinet fronted by two large doors with brass lock plates that open to reveal twelve small interior drawers, each with brass pull, and one cupboard door with brass lock plate, all veneered with floral marquetry. Long narrow drawer in cornice molding on top. Stand has long narrow drawer with two brass pulls and one lock plate, supported by six scrolled legs with curved stretchers and bun feet with metal casters.
Design for a Frame or Molding
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys and liturgical objects. A design for a frame or molding, decorated in relief with acanthus leaf fronds, flowers, foliage, scrolls, rosettes and shell ornament. With a section of the molding in the lower right corner. The plate is signed and numbered.
Title Page
Nicolas Guérard, French, ca.1648 – 1719, late 17th century
Etching on laid paper
Print

Title page for a series of bed designs. Designs for an embroidered bed headboard, backpiece, and valance featuring strapwork, fleurons, rosettes, foliate scrolls, and a basket of flowers. The plate is numbered, titled, and signed
Venus, design for a ceiling painting for the Teatro Argentina in Rome
Francesco Grandi, Italian, 1831 - 1891, 1860–1861
Crayon, carbon on blue paper.
Drawing

Recto: Circular composition.  The goddess is sitting upon clouds, breasts and lap covered with a cloth.  Beside her, at left, Cupid, addressing her, at right the two doves.  Written below, at right: "Soffitta teatro Argentina," and "F. Grandi"

Verso:  In opposite direction: at left, the upper act of the Deposition.  At right: The Virgin, turned toward left; the right leg not drawn.
Frame
, ca. 1850
Painted and gilt pine

In late 17th-century/early 18th-century Venetian style, central vertically ovoidal moulded frame surrounded by acanthus branches; row of scallops decorates edge of opening.
Jacob and Laban (Il Ponti)
William Woollett, English, 1735 - 1785, 1783
Engraving on white paper
Print

A broad landscape, with a river spanned by a seven-arched stone bridge. In the foreground, the schene of Jacob meeting Laban. Below, a coat of arms and engraver's, designer's and publisher's names and dates.
Project for an Oil Lamp with Alternative Suggestions
, ca. 1780
Graphite, brush and sepia, watercolor on paper
Drawing

High foot and plinth. The lamp is nearly in the middle of the shaft. Four spouts. Eye shield hanging on chains. Trimmer, pincer, wrench and snuffer. The more expensive suggestion provides for dolphins as supports of the base for human half-figures with Egyptian headdress.
ELEVATION DU MAITRE AUTEL DU CHOEUR DE N[OTR]E. D[AM]E. DE PARIS
Robert de Cotte, French, 1656–1735, 1714
Engraving on laid paper
Print

Design of an altar in front of a niche decorated with a relief of the deposition, scrolls, statues of angels, and a large sculptural group of Mary holding Christ at the base of a cross. Above the cross is a small baldachin held aloft by two angels in a radiating cloud.
Embroidery sample
, ca. 1790
silk, bobbin net and paper Technique: embroidered and appliqued on taffeta

White silk embroidery in a design of small-scale foliage and flowers with a border of appliqued net on a brown ground.
Portrait of Justus Sustermans, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, 1630–1641
Etching on paper
Print

Portrait of a man, facing the spectator, the figure turned slightly to the left. His hands are visible, the left one resting on his hip. Inscription below: "IVSTVS SVTTERMAN S ANTVERPIENSIS PICTOR MAGNI DVCIS FLORENTINI." At lower left: "Ant. van Dyck fecit aqua forti."
Project for a Theatrical Costume of a Classical Warrior
, 1700–1750
Black crayon on paper
Drawing

A warrior in full armor and a billowing cloak, though barefoot, is walking to the left, carrying a spear.
Pleated fan
, ca. 1815
Silk leaf embroidered with gold and silver sequins; pierced ivory sticks

Pleated fan with off-white silk leaf and pierced ivory sticks, embroidered with a fountain in gold and silver sequins.
Project: Sideview of the prayer stool, -2586
, 1725–1775
Pencil, pen, ink, and chinese black washes on paper
Drawing

Horizontal composition of a prayer stool. The parapet is on the right and the caption reads "profilo del med[esim]o."
Stage Design, Garden Pavilion
, late 18th century
Pen and brown ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. View into garden pavilion made from lattice work on the left side, leading backward, park and fountain at right.
Castle Garden
, 1830
Block-printed paper, pasteboard support
Bandbox

Lid only. View of Castle Garden in Battery Park, New York City. Across top of old fort is printed "Castle Garden." A portion of the surrounding park is shown with strolling figures on the walks. A view of the harbor is seen through the trees. Shades of green, tan and ivory on green field.
Ornamental Vase Design
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Etching on laid paper
Print

Vase design with lion heads holding rings in their mouths, and a garland of bound laurel leaf draped through those rings. The vase has a wide mouth, and is decorated with fluting at the neck, and a raised meander band at the shoulder. The body of the vase is plain and has a sharp edge above the foot. The plate is signed and numbered.
Design for an Embroidered or Woven Fabric
, 1825–1850
Brush and gouache on oily tracing paper
Drawing

The top of a flower bough crosses the upper part of a rising and undulated lace border.
Desert Landscape with Figure Sketches, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 1868
Graphite on white wove paper; verso: graphite
Drawing

Mixed studies around Palestine, showing a view of a rocky mountain in a desert, parts of a camel, and a figure. At center, a bulging, rugged prominence rises above rolling hills covered in brush. At left, two sketches of camel feet beside the head of a camel are visible. Next to these, two sketches of a human foot print and that of a camel are shown. A child walking in high winds is visible at lower right.

Verso: Landscape study showing a view of rolling terrain covered in low-lying bushes and brush, with a tall mountain range rising in the background. At lower left, a figure viewed from the rear is visible.
Designs for Friezes or Panels
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three designs for friezes or panels, with (from top to bottom): a mask with dragons interlaced around it; a Pegasus inside a winged cartouche, with flags; and a mascaron in a cartouche, with tambourine, grapes, vines, mask, thyrsus, and horn around it. The plate is signed and numbered.
Plan d’un Petit Batiment projete pour un des Bosquets du jardin de Nymphenbourg
François de Cuvilliés the younger, German, 1731 - 1777, 1771
Engraving and etching on paper
Print

An architectural plan and an exterior elevation for an octagonal garden building in gardens of the Palace of Nymphenburg, Munich, dedicated to the Electrice of Bavaria. In the lower corners are allegorical vignettes featuring putti within landscapes with ruins. To the left, a woman holds a sheet with columns illustrating the orders. To the right, a putto paints a portrait on an easel. Above the elevation is a crowned coat of arms, flanked by angels, and inscribed banners with festoons held by flying putti. The plate is titled, dated, and numbered.
Bracelet
, ca. 1850
Silver

Bracelet of silver filigree with clasp representing a snake's head.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design filled with symmetrical, grotesque ornaments, and a scene of banqueting. The frame is divided, suggesting alternate ornamental designs on each half. The plate is signed.
Design for an Embroidered Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1795–1815
Brush and gouache on glazed tracing paper pasted on paper
Drawing

A flower bough and a bow with a big blossom on top and flanked by two leaves are alternatingly rising from a chain. Two stripes are at the bottom.
Prospectus Templi Cathedralis S. Caroli Mediolanae (View of St. Charles Cathedral)
Georg Balthasar Probst, German, 1732 - 1801, 
Hand-colored etching on paper; verso: yellow paper
Bound print

Perpsective view of St. Charles Cathedral in Milan. The catherdral extends from right to left, viewed slightly obliquely. The structure features a prominent tower at center and two spires flanking the façade at right. A multitude of small, thin towers protrude along the length of the building. The windows of the cathedral are cut out, with yellow paper visible through the openings. Pedestrians, men on horseback, and artisans are scattered across the open space in front. A dark shadow is cast along the bottom edge of the image, and a blue sky fills the top margin. Printed along bottom margin: Prospectus Templi Cathedralis S. Caroli Mediolanae. / Prospetto della Chiesa Catedrale di S. Carlo, a Milano.

Verso: Sheet of yellow paper pasted across the page, cut in a roughly hexagonal shape. Printed label: Vüe de l'Eglise Cathedrale de S. Charles a Milan. / Prospect der Dom=Kirche zu S. Carl zu Meyland. / Med. Folo. No. 36. / Cum Gratia et Privilegio Sac: Caes: Majestatis. / Georg Balthsar Probst, excud. A.V.
Design for a Pendant
, 16th century
Graphite, pen and ink, brush and sepia on paper
Drawing

Architectural escutcheon flanked by term figures. Pair of volute at top. Hanging pearl at bottom.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache, graphite on glazed tracing paper
Drawing

Top row: six calyces are obliquely shown. Second row: five calyces are staggered and directed downwards. Third row: four hanging leaves. Bottom row: zigzag line.
Ode on the Death of a Favourite Cat, Drowned in a Tub of Gold Fishes.
Thomas Gray, British, 1716 – 1771, 1753
Letterpress and etching on laid paper
Bound print

Second page of the poem ‘Ode on the Death of a Favourite Cat', numbered 7. The text is printed with an etched tailpiece below that depicts a male figure on a small boat with a cat, and the three-headed dog Cerberus to the left. The scene is framed by rocks and oars.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

Diapered field of varnished silver; foliage and flowers.
Dossier du Sopha A, Tabouret Octogone, Moulure du Tabouret
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Carpentry design for the backrest of the sofa represented in 1921-6-279-37, as well as the design for an octagonal stool and details of the carving of the stool's legs and molding, decorated with ornament motifs including rosette, bead course, and fluting. The plate is signed and numbered.
Base of Abel's Mountain, Syria
Frederic Edwin Church, American, 1826–1900, May 4, 1868
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of the rocky, rugged cliffs at the base of Abel's mountain west of Souk Wadi Barada in Syria. Foreground is made up of loosely rendered rocks, gravel, and other debris. At center and right, the mountainside is shown in some detail, with its various bluffs, cliffs, and overhanging ledges made up of visible rock strata. Cliff continues off page at upper right while a mountain range shapes the horizon in the background at left.
Lower Fire Hole, Geyser Basin, Yellowstone
Thomas Moran, American, b. Britain, 1837–1926, 1892
Graphite on brown wove paper
Drawing

Horizontal view of geyser at back center, streaming toward the foreground.
View of the Sea from Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-19, 1869
Oil paint on paperboard
drawing

Landscape sketch showing a view of  the Aegean Sea and Greek coastline from an elevated point in Athens, Greece. A verdant, rolling landscape comprises the foreground with a strip of water visible across the middle distance. At right, a mountainous coastline is shown rendered in reddish purple. In the background, a sunset sky is rendered in a gradient from red-orange to yellow-green.
Buttons on Sales Card
India Rubber Comb Co., American, ca. 1851
Molded vulcanized rubber, printed cardboard

1940-106-1: White card holding 24 black, circular, two-holed b...
Altar Lamps, Censers, Incense Boat
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink on off-white laid paper
Drawing

Loose sketches. Censer with floral chains.
The Devil's Den, Yellowstone
Thomas Moran, American, b. Britain, 1837–1926, 1871
Recto and verso: Graphite on gray paper.
Drawing

Recto: Horizontal view of the gorge at Devil's Den, Yellowstone.
Verso, in opposite direrection: View of same gorge.
Table Garniture with Gold Palmettes
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1810
hard paste porcelain, gold
table garniture

1926-22-506-a,b: White, with stylized palmettes in gilt. A) circula...
Oriental
New Wharf Pottery Co., active 1878 – 1894, ca. 1878–85
Glazed earthenware
Plate

Circular form, the white crackled ground with blue Japanese-inspired transfer-printed decoration along the rim showing three birds among flowering plants interspersed with a medallion showing deer in landscape, a fan with crane (?) flying above a marsh, and a folding fan with waterscape, in foreground are rocks, plants and branch in handled jug.
Bowl
, 18th–mid-19th century
Stoneware

Footed bowl with copper luster decoration with foliage and square motifs on a yellow background; rim is copper luster.
Excelsior
Old Hall Earthenware Co., Ltd., English, ca. 1880
Glazed earthenware with transfer-printed decoration
Platter

Oval form, the white crackled ground decorated with blue Japanese-inspired tranfer-printed decoration: the rim with a wide band of abstract geometric design, with fine hatched lines, surrounding a narrow scalloped band; the well decorated with bands, medallions and panels of geometric motifs, a medallion showing a sailing vessel on water superimposed on a landscape within a rectangular frame.
"Title Plate," Plate 1 from "Goldsmith Ornament Designs"
Heinrich Raab, German, active Nuremberg 1640 – 1650, ca. 1648
Engraving on off-white laid paper
Print

A large white on black design for an upright pendant, richly ornamented with naturalistic tulips and roses surrounding a central monogram [IHS surmounted by a cross with three nails below].  A three looped bow with trailing ribbons is fastened to the top of the pendant.  Flanking  the pendant are two leaf-shaped ornamental designs. On the left, in a stylised leaf shape, tulips and other flowers are asymmetrically arranged around a quill- like stem.  On the right, tulips and poppies are clustered in an elongated bouquet.  The print bears an imprinted monogram signature and inscription, below.
Designs for Fountains; Verso: Blotter of a Black Crayon Drawing, the Lower Part of the Project for the Elevation of a Pavilion
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

(-1772): Top row left: a rostral column with a figure on top stands upon a rocky arch, the center motif in the basin. Altars upon rocks are suggested at its front corners. Center: the elevation of a pavilion as a base for a column, not entirely shown. Right: a rostral column, water pours from its base. Center: a variation of the design, top row left. The arch rises in the center of the basin; two persons stand below the arch; a bridge leading across the basin. Right: a plan of a fountain pavilion. Bottom row, left: a fountain pavilion similar to -1760. Right: a similar plan, colored background. (-1773): The scheme of the pavilion is similar to that of -2130. The architraves are higher. No niches. Framing lines.
Study of Squash or Pumpkin Plants
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor, graphite on paper
Drawing

Horizontal sheet illustrating upper portions of a squash or pumpkin plant, with yellow blossoms and green leaves.
Dado
Christopher Dresser, Scottish, 1834–1904, 1880
Block-printed paper

One repeat showing shaped panel enclosing a flowering branch with perching bird, against ground set with flowering branch and grass.  Bands of conventional ornament across bottom. Printed in red, browns, black and metallic gold on gray ground.
Drawing
Felice Giani, Italian, 1758–1823, Before 1797 probably 1780's
Pen and dark brown ink, brown wash over black chalk. Rough paper;

Vertical rectangle. Oval field ??? Miron??? A young man sits at right at the foot of a tree, Amor stands beside him pointing at something which astonishes the youth. A stream with a boat is in the middle plane. Cavina says: subject also in Pal-Di Spagna, Rome, 1806 + Pal. Conti, Bologna???
La gloria et l'honore de ponti tagliati, e ponti in aere
, 1884
paper and cardboard
Pattern book facsimile

1884 facsimile the lace pattern book "La gloria et l'honore de ponti tagliati, e ponti in aere," by Matheo Pagano, 1558.
Edge
, 1600–1650
linen Technique: bobbin made continuous tape with net added

Edging lace with wide scallops containing a scrolling leafy vine with flower heads.