biglam/cooper-hewitt-alt-text huggingface dataset:
Arabesque Design for a Panel
, ca. 1775
Pen and ink, brush and wash on paper
drawing

Gaine with the bust of Dionysus supporting a bowl full of bunches of grapes and leaves from which a faun with a thyrsus and two acanthus scrolls rise.  A disk with roses and a trophy are suspended from the scroll at right.  A flower basket standing upon the head of the half-figure of a lion, below.  The left half shows the half-figure of a lion supporting a flower basket over which a thyrsus rises and to which a trophy of pastoral musical instruments is fastened.  Framing strip.
Design for a Sofa
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Design for an upholstered sofa with a carved frame featuring flowers, scrolling leaves, acanthus leaves, c-scrolls, crescent moons, egg and laurel leaf molding, mascaron (mask), and a flaming. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Plan of the Fortification of Honnefleur
Jacques Gomboust, French, 1619 - 1663 or 1664, ca. 1661
Engraving on paper
Print

Plan of the fortification of Honnefleur
North Mountain, New Hampshire
Daniel Huntington, American, 1816–1906, September 17, 1855
Graphite and black crayon on pale green paper
Drawing

Pasture in foreground, with woods at far side. Mountain, center, in distance.
Ribbon
, early 19th century
silk Technique: plain weave

Rose, white, green and ivory plaid taffeta ribbon with rose and white loops along edges.
View from Belalp, Switzerland, Part Two
Frederic Edwin Church, American, 1826–1900, August 28, 1868
Graphite, brush and white gouache on gray-green wove paper; verso: Graphite, brush and white gouache
Drawing

Landscape sketch showing the second part of a panoramic view of the Swiss Alps from the hamlet of Bel Alp. This description refers to the entire view, comprising two leaves with 1917-4-892-a. A rough, rocky outcropping is visible in the foreground at lower right, while an extremely rugged ridge in the middle distance at left descends toward the center of the composition. Beyond it, at center, a large, bulging mountain ridge is prominently visible. In the background at left, the Aletsch Glacier snakes through a rugged valley bounded by serrated peaks--its dark medial moraines plainly visible. In the background at right, the sharp, snow-capped summits of the Pennine Alps stretch across the horizon.

Verso: Landscape sketch showing the unfinished third part of a panoramic view of the Swiss Alps from the hamlet of Bel Alp. Intended as the final component of a three-part panorama, with 1917-4-892-a and 1917-4-892-b recto, this composition only includes a fraction of a view, which doesn't easily align with the previous two parts. Situated at upper center, a serrated range of snow-capped peaks is visible beyond a loosely rendered and heavily wooded mountaintop nearby.
Portrait of a Peasant Girl
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1875
Graphite and black crayon on paper
Drawing

Bust portrait of a small peasant girl. The girl is seated in a chair and turned toward the right. Her head is covered by a kerchief.
Two Quarters of a Ceiling
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Design for two quarters of a rocaille ceiling with alternate suggestions divided by a central rosette; the corner of the right variant is round.
Center of the Madison Avenue Façade, Madison Square Garden
August-Florian Jaccaci, American, 1856–1930, 1892
Pen and ink on paper
Drawing

Center of the Madison Avenue facade of the Madison Square Garden.
Design for a Sofa
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Design for an upholstered sofa with a carved frame featuring festoons of flowers, scrolling leaves, acanthus leaves, ribbons, and a cartouche, with cabriole legs. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Silenus Riding on an Ass
Giulio Bonasone, Italian, 1500 /10 - 1574, ca. 1550
Engraving on paper
Print

In foreground, Silenus riding on a donkey from left to right. He is supported on both sides by a faun and followed by a little faun. In mid-distance, right, three figures under a tree. In background, houses and mountains. Inscribed, lower left: "J. Bonahso F."
Border
, 19th century
linen Technique: bobbin lace, Brussels style

Border with a repeating design of open flowers, leaves and stems all connnected with delicate brides. Brussels technique but Honiton style.
Project for an Alcove or Mantelpiece
, 1725–1775
Graphite, pen and ink, brush and watercolor on paper
Drawing

Wide paneled pilasters flank a recess hung with tasseled lambrequins. Egg and dart molding above.
Fragment
, 15th century
silk Technique: two connected structures; twill and plain weave (lampas)

Small fragment from a larger piece showing interlacings and bands.
Pot à Oille. Sucrier.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a tureen and sugar bowl in metal. The tureen on the left is lidded with a pinecone finial and acanthus leaf ornamentation on the top. The bowl of the tureen has three goat heads between which is a garland of flowers. The lower art of the bowl has gadrooning. The sugar bowl on the right has a tall dome ornamented with a lozenge pattern, a band of flowers, spiral fluting, acanthus leaves, and a tapered foot. The plate is signed and numbered.
Stage Design, Court of Antique Building
, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. Court of antique building opening up to various halls by door and archways.
Design for a Ceiling
, 1780-1795
Pen and Chinese ink, graphite on paper
Drawing

The zodiac with the twins are at the center of the composition. In the right corner, Auora and a puti are seated on clouds with an overflowing urn.
Elevation of Interior with Mirror, Console Tables, and Sofas
Johann Michael Hoppenhaupt II, German, 1709–ca. 1778, 1753
Etching and engraving on white laid paper
Print

Elevation of an interior with a large central mirror and a console table with rococo candelabra. On either side of the mirror are panels of pastoral subject matter, sofas, and clocks. The panels, frames, and overdoors are richly decorated with rocaille ornamentation. The plate is signed.
Design for Overmirror Decoration, Blank Roundel with Grotesques, for the Noble Cabinet of the Palazzo Altieri
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The scheme of 1901-39-1371; no representation in the circle. The festoons are supported by four bowknots, the outer ones are crossed by a wreath. Below, at left, is a base supporting a lamp and two vases with a flower stem. At right is a base with a statue upon a circular pedestal, between two lamps, supported by flower stems rising from a vase.

Blank roundel, flanked by grotesques, for decoration above mirror for the noble cabinet, Palazzo Altieri. (PDM '91)
Design for a Buckle
Giovanni Sebastiano Meyandi, Italian, active 1762 - 1794, ca. 1780
Pen and black ink, brush and gray watercolor on paper
Drawing

Jewelry design for a buckle. An interlaced ribbon is springing from a central rosette.
Figure
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Partial sketch of a female figure.
Elevation of an organ loft
Giuseppe Barberi, Italian, 1746–1809, 1785-1800
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Four columns support the loft, which is bordered by a balustrade. The organ tapers off toward a three-fold niche. A bay of a church is the setting. Fragments of design, top left.
Arabesque Panel Design
Juste-François Boucher, French, 1736 – 1782, 1775–88
Etching on paper
Print

An arabesque panel design featuring a lyre topped with a shell and framed by laurel leaves, with a mascaron (mask), festoons of leaves, rosettes above, and cornucopia, an oval medallion with a profile portrait below and more scrolling leaves and festoons. The plate is signed and numbered.
Llamas near Chimborazo, Ecuador
Frederic Edwin Church, American, 1826–1900, September 1853
Graphite on gray-green wove paper
drawing

Figure sketches of llamas in the region of Ecuador near Chimborazo. Upper half of composition includes six studies of llamas (or one llama) in various positions grazing and turning their heads. Below, four smaller drawings of llamas are visible--two of which depict pairs of the animal.
Mirror
, ca. 1790
Japanned wood, mirrored plate glass

Oval form with easle type support on back.
Mountainous Lanscape, Mexico
Frederic Edwin Church, American, 1826–1900, February 24, 1890
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view, likely in the vicinity of Mexico City, Mexico, of mountains seen across rolling terrain. In the foreground, a group of buildings are loosely rendered in a small prominence at lower left. Indistinct rolling terrain extends through the middle distance to a rugged mountain range in the background. An undulating ridge stretches across the horizon, with the outline of a sharp, triangular mountain looming above it at upper center.

Verso: Landscape sketch showing a view of succeeding mountain ridges in Mexico, with a sketch of a tree. Situated at right, three rugged ridges recede into the distance and grow fainter as they go. At left, a tree resembling a pine is loosely sketched.
Stage Design, Group of Buildings
, late 18th century
Pen and brown ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. From vast buildings surrounding court, view out toward circular building. Stairs with obelisks lead toward background to the right. Equestrian monument to the left.
Portrait of Sophie Huntington
Seth Wells Cheney, American, 1810 - 1856, 1844
Black pastel crayon, white chalk on grey wove paper
Drawing

Portrait of Sophie Huntington, shown in right profile with her hair in a bun.
Profil du dedans de l’Eglise des Peres de l’Oratoire de Paris
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

An architectural section of the interior of a church in Paris, featuring pilasters, capitals, windows, niches, vases, arches, and balustrades. A scale to the lower right. The plate is titled.
Design after 13th Century Arcade, Bologna; Verso, Anatomical Study
Felice Giani, Italian, 1758–1823, 1811–14
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Double sided sheet from sketchbook. Recto, courtyard shown through double arcade in room. At right, column detail; group of columns.  Inscription: Fabrica del due cento Bologna. Verso, left hand and top part of left leg.
Design for an Ornamental Decoration
Jacques de Lajoüe, French, 1687–1761, 1740–60
Pen and black ink, brush and gray wash on paper
Drawing

Fountain in full width of the middle distance is surrounded by trellis and rocaille colonnades. Verso: small parts of an abstract plant and sketch of a pavilion.
Andiron (Firedog) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for an andiron (firedog) in the form of a seated faun, with scrolling leaves (rinceaux), festoon of laurel leaves, acanthus leaves, rosette, and an acorn. The plate is numbered and signed.
Forest Scene
Frederic Edwin Church, American, 1826–1900, 1865–1875
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view within a forest, likely in New England or New York. Moss-covered rocks and debris stretch across the forest floor from the foreground to the middle distance, while the trunks of what appear to be conifer trees are visible throughout. Being beneath the forest canopy, the scene is generally in shadow. Indistinct foliage backdrops the scene, with one red or blooming plant standing out at left.
Escutcheon, No. 17 from "Raccolta di varii cappriccii et nove inventioni di cartelle et ornamenti"
Stefano della Bella, Italian, 1610–1664, 1646
Etching on paper
Print

No. 17 of the same set as -10, "Raccolta di varii cappriccii," etc.
Frame or Cartouche Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Design for a cartouche or framing device featuring festoons of flowers, foliate branches, flaming torches, ribbons, bows, and scrolling acanthus leaves (rinceaux). The plate is numbered and signed.
The Sun and Sky
Frederic Edwin Church, American, 1826–1900, 1860 - 1880
Graphite on gray-green wove paper; verso: graphite
Drawing

Atmosphere sketch showing a view of the sun and a variety of clouds that it illuminates. At center, the orb of the sun is veiled by hazy clouds. Above a column of light is reflected off of the layered clouds, which are a dynamic mix of wispy and puffy. 

Verso: Atmosphere sketch showing a loosely-rendered view of a long bank of puffy clouds in a dark sky. The landscape below is not rendered.
Mountains in Mexico
Frederic Edwin Church, American, 1826–1900, February–April 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a rugged mountain range in Mexico cast in shadow. The mountain range stretches horizontally across the middle distance and features several sharp peaks and rugged ridges. A hill at lower right is cast in dark shadow by cloud above, while the rest of the range is slightly less dark with a bright spot at center left. In the background at center, a particularly pointed peak is visible.

Verso: Figure sketch from Mexico outlining an individual's head, in left profile. Situated at left, the individual has their mouth agape, and their curly hair cropped closely. Other facial features are not rendered.
Pitcher
, 18th–mid-19th century
Stoneware

Yellow pitcher with embossed with pink lustre decoration, curved spout and loop handle with feathered treatment. Depiction of house in a landscape surrounded embossed floral diamond pattern.
The Drawing Room at Middleton Park, Oxfordshire
William Alfred Delamotte, 1775 – 1863, 1839
Brush and watercolor, gouache, gold paint, graphite on white wove paper
Drawing

This interior displays a combination of flamboyant chinoiserie motifs and mundane English Regency chairs and case furniture. Bamboo is used in additional furniture, as well as in door panels, shutter panels and the fretwork frame of the overmantel mirror. The ceiling frieze painted blue with gold Chinese characters and the hanging birdcage compliment the Chinese wallpaper and porcelains.  Books and baskets are casually scattered on the floor; flowers and plants, in true Victorian style, decorate the room. The elaborate drapery treatment is very much of the period.
The Red Room, Schloss Fischbach
Friedrich Wilhelm Klose, German, 1804 – after 1863, ca. 1846
Brush and watercolor, graphite on white wove paper
Drawing

Displaying a combination of Neo-Gothic and Jacobean styles, this red room reflects the influence of Karl-Friedrich Schinkel's design books that were available from the 1820's onward. Chairs, cabinets-on-stand, tables and a harpsichord are late Renaissance in style. Chandeliers are Neo-Gothic in the manner of A. W. Pugin. The upper panes of the windows are inset with heraldic motifs, and tasselled pelmets create a valance across the top. A central medallion and floral-and-leaf pattern comprise a carpet in the Neo-Classical style.
Design for Round Dining Table on Octagonal Base
A.N. Davenport Co., 1900–05
Graphite, yellow color pencil on thin cream paper
Drawing

Round molded top raised on hexagonal base with molded double band at bottom terminating in 4 [3 shown] splayed legs with brass sabots on casters; double framing line in graphite.
NOUVEAUX TROPHÉES OU CARTOUCHES Représentant Les Arts et Les Sciences Composée avec les Artributs qui-les caractérisent INVENTÉS ET DÉDIÉS A MR MORLOT PEINTRE par Son Elève et Son Ami MARILLIER
Clément Pierre Marillier, French, 1740 – 1808, 1759–80
Album

An Album of thirteen allegorical vignettes representing the arts and sciences.
Ornamental Panel Surmounted by a Medallion with a Sacrifice, plate 5 from the Livre de Diverses Grotesques Peintes dans le Cabinet et Bains de La Reyne Regente, au Palais Royal
Michel Dorigny, 1617 – 1665, 1647
Etching with engraving on white laid paper
Print

Vertical rectangle: two images (-1 and -2) on one sheet. -1: Grotesque panel with a medallion as centerpiece, carried by two figures, surmounted by two zephyrs; the grotesque design composed predominantly of wreath and floral scroll motifs. SKB 4004 (2), 316;
Fragment
, late 18th century
linen Technique: bobbin lace (Valenciennes ground)

Fragment of Valenciennes lace has a floral design with round mesh.
The Wedding Procession: Three Musicians
Hans Sebald Beham, German, 1500–1550, ca. 1545
Engraving on laid paper
Print

Vertical rectangle. Three men walking toward left: one at left blows a horn; man beside him holds a bagpipe; man at right carries a sword and an axe.
Fragment
, 18th century
warp: silk, weft: silk, metallic Technique: plain compound weave with brocade

Floral design on white ground with vertical blue stripes.
Band
, 18th century
linen Technique: bobbin lace

Provincial-style lace with scroll motif.
Border fragment
, 1700–1750
crewel wool on linen Technique: stem, roman, speckling, knots, chain, surface satin, buttonhole embroidery on plain weave

Linen embroidered in polychrome wool, in branch leaf and flower design. Linen warp and weft.
Band
, 600–300 BC
wool Technique: plain weave embroidered with flat stitches

Narrow horizontal band of dark blue wool plain cloth, tightly woven. Two horizontal bands embroidered in red, dark blue, yellow, green, brown and buff wool yarn, in flat stitches. Design in each band of series of rectangles, each enclosing a small bird, alternate birds facing up and down. Left selvage present.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Black crayon. Pen, ink. Bistre, grey, black wash. Paper.

A priest stands beside an altar at right. From left approach: a goat guided by a young man with vine branches and a woman carrying a basket upon her head and holding a goat by one foreleg.
Fortuna
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Charcoal, red chalk, brush and white gouache on paper, laid down on grey board
Drawing

Octagonal composition. The goddess Fortuna rests her left hand on a wheel. An angel heralds her at left. Putti and other figures below.
Sleeve fragments
, 18th–19th century
wool, linen, cotton Technique: embroidered

Fragments of embroidered sleeve in coarse linen worked in dark blue wool. Design shows bird with leaf spray in its beak and stylized floral forms. Pieces applied on coarse cotton.
Irish Immigrant's Flax-Wheel
W. J. Fenn, American, 1862–1961, 1885
Pen and ink on illustration board
Drawing

Illustration of a wooden flax-wheel.
Possible Study for "Marth
Daniel Huntington, American, 1816–1906, 1860
Graphite, White Chalk Support: Gray Wove Paper
Drawing

Vertical rectangle. Woman seated, the skirt, only, outlined. Her body turned slightly to the right, her face toward the front. Her left hand near her chin. She looks down to the left.
Pewter-Mounted Tankard
Johann Gregorius Höroldt, German, 1696 - 1775, 1732-1735
hard paste porcelain, vitreous enamel, pewter
tankard

Oviform body with straight neck and flange, and strap handle.  Polychrome and gilt chinoiserie: man holding parasol over a smoking dignitary, and two men and two childern.  On neck, kakiemon flowers.  The hinged cover is of pewter.
Trimming
, 17th century
silk, metallic thread Technique: woven

Design of half leaves and open flowers.
The Madonna della Sedia
Raphael Morghen, 1758 – 1833, ca. 1800-1820
Engraving on paper
Print

Within a tondo appears Raphael's well-known "Madonna of the Chair" in the Pitti Palace, Florence.
Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and gray and yellow wash, pen and brown ink on cream laid paper
Drawing

Vertical rectangle. The outer ornamention of the moulded frame is shown in the left half.
Study of Nude Figure
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on cream paper
Drawing

The boy is shown lying on his left side and leaning on his left arm on a couch. The right hand and the left leg hang downward. Verso: vertically, scheme of an oblong with arched top.
Tile
, ca. 1880
Glass

Blue-green. Design in nine panels: central panel of lily-of-the-valley; flanking panels of raised hobnails; corner panels of one daisy each.
Fragments
, 18th century
silk, linen Technique: embroidered

Export-style embroidered fragments with a design of scattered floral sprays and birds.
Sewing sample
, late 19th century
Silk

Square of white moiré, with flower spray embroidered in brilliant colors in silk; satin and stem stitch. Applied edging of scalloped design with fringe.
Trimming
, 18th century
silk, silver metallic thread Technique: woven

Design of curving band with leaf motif placed alternately up and down. Two scalloped borders forming serpentine band. In white and silver metallic thread.
Head of a Woman
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman's face shown in right profile.
Flounce fragment
, early 18th century
linen Technique: bobbin lace, Brussels style

Flounce fragment worked with a design of large-scale scrolls forming a symmetrical motif in a ground of small foliate forms.
Fringe
, 18th century
silk, metallic thread (gold strips on silk core) Technique: plain weave

Fringe of red and gold threads with a patterned heading. Scalloped skirt threads in an alternating group of gold and red threads, each suppporting a red tuft.
La Noblesse
Jacques Callot, French, 1592–1635, 1622–1623
Etching on laid paper
print

Vertical rectangle. Full-length figure, seen in profile, facing right. Her hands are enclosed in a fur muff, She wears a long mourning veil. In the background, to the left, is a funeral cortege moving toward a chapel.
Fireworks in Meudon
Charles-Nicolas Cochin the younger, French, 1715–1790, 1735
Etching with engraving Support: white laid paper
Print

Vertical rectangle; Hercules killing the Hydra, in center; in the background, trees; in foreground, onlookers. Marginal tears, soiled. (OPB '59) Portalis-Beraldo, vol. II, p. 554, no. 58. Second state of two with letters. The 1735 fête presented tableaux of the Garden of the Hesperides, designed by the brothers Slodtz for Louis (1729-65) son of Louis XV. (MLS 92)
Textile
, late 18th century
cotton Technique: resist printed, indigo dyed

Hanging or large panel in two shades of indigo. Design shows a large-scale tree or vine with stylized pineapple, flowers, leaves and a large long-tailed bird.
Walking stick with gilded handle
Henry Rado, American, 1859–1921, late 19th century
God, bakelite
stick

Thin, tapering polished black stick with gold handle bent at right angle and worked in repoussé floral motives.
Ornament & vases, pl. 1
William Darling, 1773
Printed black, white oxydized heightening, blue paper
Print

(Berlin 271) Acanthus scroll. Top: ORNAMENTS AND VASE BY I. EDWARDS I; Bottom: Published as the Art Directs by Wm. Darling Engraver in Great Newport Street February 10, 1773
Skippet and cover with seal of Leopold II
, 1790–92
Brass and seal wax

a) Circular box with four holes on sides for cards. On bottom, engraved shield with LII , crowned. Inside the Great Seal of the Austro-Hungarian Empire, surrounded by legends. 
b) Cover, with four indentations on sides. Top engraved with Leopold II's arms.
Cup
, 19th century
glass

Rose, peach glass cup with clear glass handle
Panel
, early 17th century
linen, silk. Technique: embroidery on plain weave. Stitches include: chain, satin, button hole,detached button hole, "figure 8" and others.

Embroidered cover, yellow silk on natural linen.  Double headed eagle in center plus same in four corners. The eagles are incorporated into a pattern which can be quartered containing a European horse and rider holding a sword, hunter on foot with gun, exotic beasts, domestic and wild animals, fish, crabs and trees.  At top and bottom on the center line is a vase with flowers. Border: symmetrical repeat of a bird and flowering plant with double headed eagle in a square in each corner. Guard stripe: symmetrical repeat of a curving vine hooked into an oval ring. Fringe attached all around.