biglam/cooper-hewitt-alt-text huggingface dataset:
Throne
Giuseppe Barberi, Italian, 1746–1809, ca. 1810
Pen and brown ink, brush and brown wash on blued-white paper, lined
Drawing

At left: a side view. Standing on a platform. The bottom part is formed like a pedestal, showing a medallion with two female figures, over a festoon; eagles stand at the corners. A panel recedes at left. A lion crouches on top. The top of the rear is to show fasces between two seated figures. At right: an elevation of the back. Women with cornucopias, seated upon crouching lions, are suggested on top of the curved back; they flank a medallion with a figure symbolizing the Republic. Broad dark brown stripes along the edges.
Three Stages of the Passion: The Mockery, Christ before Pilate, Flagellation
Francesco Coghetti, Italian, 1804 - 1875, ca. 1848
Pen and brown ink on paper
Drawing

The three stages of the Passion are sketched in three spaces defined by lobed archways. On the reverse, part of a sketch of an oval composition: Simeon and Anna with the infant Jesus in the temple and a sketch of an Oriental man.
Ornamental Vase Design
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Etching on laid paper
Print

Vase design with mascarons on its belly, surrounded by a guilloche of bound laurel leaf. The vase has upturned handles at the shoulder, and a tall neck with fluting. The plate is signed and numbered.
Two Roundels with Victories in Chariots
Felice Giani, Italian, 1758–1823, 1798–1800
Pen and brown ink over traces of graphite on light blue paper
Drawing

Chariot of Victory holding trophy is directed toward right. Janus temple shown at temple shown in background. At bottom chariot holding Victory and roman symbol directed toward left. Triumphal arch dedicated toward Caesar shown in background.
Design for a Cartouche Evoking the Continent of Asia
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Cartouche with symmetrical decoration: at top center, a crescent encircling two sprays of water; at left, a halberd (a 15th or 16th century weapon with an axe-like handle and steel blade); at right, a quiver. Entire composition framed with bouffant design, acanthus leaves and water.
Veuë et Perspective d’une grotte au bout de l’allée du grand jet d’eau a St. Clou
Israel Silvestre, French, 1621 – 1691, 1680–1695
Etching on laid paper
Print

View of a fountain in front of a building (grotto) with arched niches, balustrade, frostwork panels, and ramps on either side in the park/ garden at St. Cloud. In the foreground there are figures and trees. The plate is titled and signed.
Mt. Vesuvius with Smoke, Italy
Frederic Edwin Church, American, 1826–1900, April 1869
Pen and ink on gridded white laid paper
Drawing

Landscape sketch showing a solitary view of an erupting Mt. Vesuvius in Italy. At center, the conical mountain sends a plume of ash and smoke into the atmosphere, which drifts to the right.
Design for a Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The bowl is a quatrefoil, supported in the center by a shaft, and at the sides by cherubim. The base consists of a circular and a quatrefoil plinth and a wreath. Standing in a low basin. The lid has the shape of a dome, with a figure of the sitting St. John as boy with the cross staff on top. Below, at the front, is a broken pediment, with a mask inside. Usual background.
Vessel
, 2nd century
Glass

Tilted, squat, pear-shaped body; short neck with flaring mouth, flanged lip; pale green with iridescent surface.
Frame with Masks and Trees
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, topped by two masks facing each other at center. Trees at either side, with dragons at left and right edges above cornucopias. Leafy vegetal decoration throughout.
Fragment
, 18th century
silk Technique: cut supplementary warp pile (velvet)

Triangular fragment of red velvet.
Sampler
, 1600–1650
silk, linen and metal-wrapped silk embroidery, linen foundation Technique: tent, back, rococo, roumanian, half-cross, long-armed cross, eyelet, satin, stem, chain, running, plaited braid and looping stitches on plain weave

'Random Spot' sampler of geometric figures and isolated floral forms.
Selvage at top and bottom of piece. 
The unfinished floral motifs at the bottom reveal the outline drawn onto the foundation fabric.
Design for Three Iron Grates
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for three iron grates featuring ornament motifs including rosettes. The plate is signed.
Button
, ca. 1869
Brass

1931-59-114: Convex button ornamented with numerals "73" placed...
Standing frame
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Standing frame.
Designs After Architecture
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including altars, facades, and gates. Both plates are numbered, neither are signed.
Design for a Bank Note
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Pen and ink, brush and white and gray gouache on paper
Drawing

An incomplete bank note design, showing "Agriculture," "Electricity," and "Commerce."
LE LAVEMENT RENDU
Christophe Huet, French, 1695 – 1759, 1743
Etching on laid paper
Bound print

Plate 8 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an outdoor setting, three monkey figures in human costume. Following the delivery of an enema in 1921-6-319-9, a monkey at left sits upon a circular stand, excreting liquid diarrhea onto the ground. He rests his right foot on a pot of liquid at left and turns toward the viewer. At right, another monkey rushes with a blanket or towel. A third monkey squats on the ground with a concerned expression, facing right.
Design for a Pile Carpet (or Textile)
, 1805–10
Brush and gouache, graphite on paper
Drawing

A triangular ornament on black ground; one half is shown. A plant palmette in lozenge. Two blossom rosettes are shown beside, and nearer to the upper and lower points.
Spindle
, 1100–1400
wood shaft, ceramic whorl, paint

Spindle with slender wooden shaft tapered to ends. One end broken. Black pottery oval whorl in center, incised and painted with red, white and yellow in design of minute conventionalized faces. Traces of black, red and white rings painted on center of shaft.
Les Plans de Falquensloust
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on paper
Print

Plans for the ground floor and first floor of the Falkenlust Palace at Brühl, Germany, with three allegorical vignettes illustrating putti, architectural plans, paintings, sculptures, and coat of arms. The plate is titled, signed, dated, and numbered.
Chocorua Pond and Mountain, New Hampshire
Daniel Huntington, American, 1816–1906, September 28, 1854
Graphite on cream wove paper
Drawing

A tree-lined shore with rowboat and fishermen on the water, and a mountain beyond.
Band
, 19th century
silk Technique: uncut velvet pile in satin foundation

Band of foliate flowers in reddish-orange pile on a yellow satin background.
Circular Frame of Branches Fastened with Ribbon
Giuseppe Bernardino Bison, Italian, 1762 - 1844, late 18th century
Pen, ink, sepia, and brush on paper
Drawing

Two crossed branches, fastened together with a knotted ribbon, form circular aframe
Mt. Katahdin from Katahdin Lake, Maine
Frederic Edwin Church, American, 1826–1900, October–September 1877
Oil and graphite on paperboard
drawing

Landscape sketch showing a view of Mt. Katahdin from the south or southeastern shore of Katahdin Lake. The lake's rippling waters comprise the foreground before encountering  the rocky southern tip of the lake's island in the middle distance at right. A tall, dead tree stands prominently on the edge of the otherwise heavily-vegetated island. In the background, the lake's heavily wooded opposite shoreline stretches across the terrain in front of the eastern face of Mt. Katahdin. The sharp, rugged peak of Pamola is visible at left, crowned in a veil of dark, low-lying clouds, while Baxter is behind it, obscured. The mountain's ridge extends to the right, also wreathed in clouds.
Decorative Motifs
, 1580–1600
Black chalk, pen and ink, bistre on laid paper. On verso: brush and dark brown watercolor washes on laid paper.
Drawing

Vertical rectangle. A scrollwork escutcheon with a bearded mask. At bottom left a panel with two acanthus flowers, symmetrical to a disk motif. At center, an oblong with pointed plant motif over a drapery festoon of a hide. Below it are rampant lions on a grotesque frame motifs with their backs turned to a plint. At right, a painted plant motif with a tent circle with calices. On verso: a male and female satyr support with their heads baskets.
Textile
, 19th century
piña (pineapple) fiber, cotton Technique: plain weave

White pineapple fiber ground with a fine check of orange cotton.
Grotesque Ornament Designs
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

Three horizontal ornament designs, featuring grotesques motifs with strapwork, masks, acanthus leaves, scrolling foliage, fruit, and fleurons. The plate is signed and numbered.
A Royal French Galley Seen from the Stern
Pierre Puget, French, 1622 - 1694, 1668–1669
Pen and brush and black ink, wash on vellum
Drawing

Seen from the stern, a ship at anchor with sails lowered.  The stern is elaborately decorated with figures and scenes.  A royal coat of arms at top of the mast.  Figures shown seated or standing on the gun rails. Ladders lowered on two sides. Land visible in distance.
Proposed Arcade Railway Under Broadway, New York
August Will, ca. 1870
Colored lithograph on paper
Print

View looking North on Broadway from Wall Street, with cut-out section showing proposed railway under the street, approached by stairways either side.
Sidewall
Hobbs, Benton & Heath, Hoboken, New Jersey, 1900–1915
Machine-printed ingrain paper

A symmetrical large-scaled design, the central motif of which is a continuous repeat. A stylized balanced spray of flowers and foliage is centered in a medallion of curving lines from which spring scrolls ending in rosettes of flowers. The entire background is printed in narrow, parallel horizontal lines which shade from light to dark. Printed in shades of pink and red on red ingrain paper.
Cartoon for cotton printing: "Le Tombeau de Jean-Jacques Rousseau a Ermenonville."
Jean-Jacques Rousseau, French, 1712 - 1778, after 1780
Pen and ink with grey washes on cream-colored paper
Drawing

Three registers of vignettes including a chinois summer house, a windmill, a thatched cottage, ruins of a circular classical temple adorned with statuary, women hanging up laundry to dry, the tomb of the literateur, Jean-Jacques Rousseau (1712-1778), situated on a small island, children being instructed, barnyard animals and figures at a fountain.
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, has a strand of bound leaves. The plate is signed and numbered.
Three Putti with Tambourines and Trumpets, Design for Lunette of the Sala delle Muse, Museo Pio-Clementino, Vatican
Tommaso Maria Conca, Italian, 1734 – 1822, 1775–1800
Black chalk and black crayon on heavy cream paper, squared for enlargement
Drawing

Design for a lunette.  Two standing and one kneeling putti (to the right) with musical instruments (trumpets and tambourines), shown against the trapezoidal frame of an oculus
Sidewall
Jacquemart & Bénard, France, ca. 1785
Block printed on handmade paper

Square of paper printed with basketwork or basket weave pattern in grisaille. Vertical rods and the use of light and shadow create a strong sense of relief or trompe l'oeil.
Title Page
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Title page and design for a mantel clock in the form of a vase with a rotating ring of roman numerals with a snake in the center pointing to the time. Two scrolling leaf (rinceaux) handles supported by putto, with legs in the form of scrolling leaves and rosettes, and a festoon of flowers. The whole is decorated with neoclassical motifs and ornament including scrolling leaves, fluting, and running patterns with leaf motifs. The plate is titled, numbered, and signed.
Study for a group, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on tracing paper mounted to board
Drawing

Six sketches of figures posing with legs bent and arms raised. Left row: the group as in -a, shown twice with the first maenad being shown nearly in profile, top, and more from the front, bottom. The left arms of the second maenad covers parts of nude studies for -23. The rest of the woman is shown, but not her feet in the lower design. Top right; the top left design in a greater scale. Bottom right: a small sketch of a similarly posed foot maenad, directed toward left, and having seated woman below her feet.
Plan for new administration building for hospital Trinita de Pellegrini
Giuseppe Barberi, Italian, 1746–1809, 1800–1809
Pen and brown ink, graphite on off-white laid paper
Drawing

With measurements and inscribed letters, which are explained at right: "A nuovi refettor / B vestibolo osi ingreo / so precipale / C siti por oficire / e credenesse e disper / se (?) / D siti per vr(?) igestore / E vestiario / F vestiari p(er) il / medinali (?) e robbiti / G sito p(er) la predica / de Pellegrini". Accounts. Caption: "Idea p(er) la fabrica dell officio / della trinita de Pellegrini". Right top corner: "Baji 50"; top center: "abo" (both in graphite). ON verso: "1"; "Trinità de Pellegrini / Progetto".
Study of palm trees
Francis Hopkinson Smith, American, 1838–1915, ca. 1880
Brush and watercolor, graphite on paper
Drawing

View of a house in the distance surrounded by palm trees and a stream in the foreground.
Fragment
, 13th century
silk, metallic, linen Technique: 2/1 twill with complementary wefts

Staggered trefoils containing paired addorsed birds and animals.
Image of St. Blaise
Francesco Saverio Mergolo, Italian, 1746–1786, ca. 1775
Brush and gray watercolor, pen and black ink, graphite on paper
Drawing

St. Blaise kneeling and pointing at angels holding a tablet.  Near him on the ground two angels, one standing with the croizer, one sitting.  The mitre on the ground.
Handscreen
, 18th century
Embroidered silk leaf, carved wood handle with ivory ornaments, silk tassel

Cream-colored silk handscreen embroidered with flowering branches, birds and bees. Carved wood handle with ivory ornaments and two magenta silk tassels with a braided butterfly at the top.
Button
, 1801–50
Nickel

1931-59-135: Circular, slightly convex button with ornament of ...
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of chevrons in shades of red alternating with chevrons in yellow and white.
Les petits Maîtres
François-Thomas Mondon, French, 1709 – 1755, after 1736
Etching on laid paper
Print

A print from a series of seven designs for rococo ornament and vignettes. Two men sit within a garden landscape within a large rocaille shell and acanthus leaf bench, with two stairs to their right, leading along a garden wall and balustrade with a flowering vase. Trees and clouds in the background. The plate is titled, signed, and numbered.
Design for Ornament
Pierre Germain, French, 1703 - 1783, 1751
Engraving on laid paper
Print

Rocaille design of a spray of acanthus leaves. The plate is signed.
Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Black crayon, grey and black gouache on paper
Drawing

Two seated women. The right is crowned by a wreath and raises a pen with which she writes in a book. The masts of a sailing ship are shown in the right background.
Design for an Ornament
, 18th century
Black chalk, white heightening on paper
Drawing

Asymmetrical ornament with an entablature, scrolls and a shell.
Coeffure au Colisée Surmontée d'un Nouveau Pouf
Johann Jakob Haid, German, 1704 - 1767, ca. 1770
Mezzotint on paper
Print

Half-length figure of a woman in side view. Her hair is dressed high in front with side puffs, the back in loose curls. She wears a high headgear of lace and embroidery.
The Upper Stories of the Steeple of Saint James, Paris
Eugène Edouard Soulès, French, 1811–1876, 1830–1860
Graphite on brown paper
Drawing

Obliquely shown from the right front corner. Written in the lower right corner: E. St. Jacques
Landscape with Temple Ruins
Carlo Marchionni, Italian, 1702–1786, 1770–1786
Pen and ink, brush and bistre on paper
Drawing

Landscape view. The upper parts of the columns and the entablature of two sides are shown over the horizon. Mountainous country with a waterfall, beside which two men are shown, one on horseback.
Cartouche with Putti in Landscape
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on cream laid paper
Bound print

Design for upright symmetrical cartouche, topped by a winged mask and fantasy crown, scrollwork at left and right sides. Within the frame, a landscape scene depicting two putti figures holding staffs or long weapons, sheltered behind a rock. Mountains and a town or village in the background at left.
Design for Doors
Nicolas Guérard, French, ca.1648 – 1719, ca. 1715
Etching and engraving on paper
Print

Design for a set of double doors carved with paneling featuring c-scrolls, mascarons (masks), flowers, fleurons, clasps, and scrolling leaves (rinceaux). The plate is numbered. A scale below the design.
Wall Barometer Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching and engraving on paper
Print

Design for a wall barometer, before lettering, featuring scrolling leaves (rinceaux), fleurons, festoons of flowers, winged putti morphing into scrolling leaves, a dog's head, quiver of arrows, foliate branches, ribbons, and a herm bust of a woman with a crescent moon on her head (probably the Greek and Roman goddess and personification of the moon, Selene/Luna).
A Woman Leading a Child
Jean Baptiste Le Prince, French, 1734–1781, 1750–75
Red chalk on cream laid paper
Drawing

A woman in peasant garb is shown from behind leading a child who holds her right hand. She carries an object or bundle  in her left.
Excerpt from Mrs. Peter Piper's Pickle for St. Nicholas Magazine (V, No. 8, June 1878, p. 519)
Frederick Stuart Church, American, 1842–1924, June 1878
Printed in black ink on paper
Ephemera

Top, clipping from catalogue. Below, short story on two crows. On the top left of the excerpt, an illustration shows two crows perched on a branch. On the bottom left, a crow lies on its back, tangled in long grass.
Design for a Moorish Smoking Room [Tabagie]
Léon Feuchère, French, 1804 - 1857, ca. 1844
Brush and watercolor, gouache, graphite on wove paper
Drawing

Octagonal room of stone or painted stone with arched openings on four sides and a cupula of Moorish-inspired interlace.  The central rear arch leads to a receding colonnade while lateral niches display two large neoclassical urns with painted Moorish decoration.  Below the side niches are European versions of Turkish ottomans covered with French mid-century textiles.  A large pipe stand of Germanic origin occupies the center of the kiosk and an octagonal table sits to the right.  Barely noticeable amidst the room's richly patterned surfaces is a man reclining on a central ottoman smoking a hooka, attended by a male servant to his left.
Sampler
Jane Bedwin, 1815
silk, linen Technique: embroidery on plain weave

Large house with a field of sheep in front.  A church with steeple, a sailboat, a shepherd with his dog.  Floral border.
Textile
, 1800–1850
cotton Technique: printed by engraved roller on plain weave

Eight different scenes - two architectural, four with paired putti, one religious and one a contemporary youth - set within frames on an allover triangular background in red on white.
Textile
, 17th–19th century
Technique: block printed on plain weave

Four men and two dogs attacking a bear who has apparently killed a man who is lying underneath him. There is a small town in the distance. The design is repeated in a brick arrangement.
Sampler
Louisa Figgiss Perren, American, May 28, 1800
silk embroidery on wool foundation Technique: embroidered in cross stitch on plain weave foundation

Embroidered entirely in black on a white ground. Bands of alphabets and verses, and an inscription, are separated by floral cross borders. Isolated motifs of trees, urns of flowers, and birds are symmetrically arranged on either side. The composition is framed on four sides with a stylized strawberry vine border.
Design for Sideboard of Mahogany with Serpentine Front
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular sideboard on six straight tapering legs; serpentine front has two drawers - the top one narrower - at center, each has pair of C-shaped handles; low backsplash.
Border
, ca. 1870
Flocked

Olive green flock, violet neo-grec buckle-like motif, with gold beaded edge.
Midnight Sun
Herman A. Elsberg, American, 1869–1938, 1915
silk, metal wrapped cotton core Technique: cut and voided supplementary warp pile (velvet) in a plain compound foundation
Textile

Orange cloth ground with silver. Background has all-over design of minute voided vertical rectangles. Large-scale staggered horizontal repeat of circular medallion filled with small vertical rectangles alternately velvet and ground fabric.
Portrait of a Man
Raimundo de Madrazo, Spanish, 1841–1920, 
Drawing

Portrait of a man turned in profile, depicted from the neck upwards.
Fragment
, 18th century
linen Technique: bobbin lace made in Lille style with heavy outline thread

Delicate grape-vine pattern, pin ground.
Fragments
, ca. 1730
silk, metallic Technique: plain weave with supplementary weft

Fragments of a polychrome pattern that includes exotic plants and bands of lace.
Saishoin Temple at Hirosaki
Kawase Hasui, Japanese, 1883 – 1957, ca. 1920
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Woodland snow scene, with part of a high pagoda in the right foreground.  A figure, partially hidden under an umbrella leaves the temple.
Dress
, 1864–65
cotton Technique: printed on plain weave

Child's short-sleeved dress in a red printed floral cotton.
Figure of Hannah More
Minton Ceramics Manufactory, English, established 1796, 1830–1836
biscuit (parian)
figure

Figure of Hannah More seated on a chair and wearing a bonnet and shawl over her dress, in her right hand she holds a scent bottle, set on a scroll moulded base.
Fragments
, 18th century
silk, metallics Technique: woven

Palmette in green and metallic threads on a green ground.
Cape for an ecclesiastical figurine
, 1750–99
silk, metallic yarns, sequins Technique: embroidered on satin; lined with taffeta

Small cape for an ecclesiatic figure, the "Bambino". White satin embroidered with silk chenille and silk thread. All-over design of polychrome chenille dots with border design of a single flowering branch alternating chenille and silk. Lined with red taffeta.
Border
, 18th century
linen, silk Technique: plain weave embroidered using satin stitch

Cream-colored linen, plain cloth weave, worked in bright rose or magenta silk; the design arranged perpendicularly is of a symmetrical vine and flower, with confronted peacocks in the foliage, and above, framed by vines, a crowned eagle with spread wings. This section of design is set off by straight border stripe of embroidery, and at edges are borders of flower heads on curving stems. The stitch is a loose satin stitch. Parts of design characterized by a spiked outline, sometimes found in Spanish embroidery. Design ends at bottom but piece is cut at top indicating that panel was originally longer.