biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Wall
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for Wall.
Fragment
, 17th century
silk Technique: plain compound satin weave

Large scale symmetrical pattern of red leaves on gold background.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Asymmetrical oblong rocaille cartouche topped with a portrait bust and surrounded by armorial trophies; a dragon at left. Within cartouche, printed inscription, landscape scene of a town with small figures.
Study of Angels
, late 18th century
Black and white chalk on blue paper
Drawing

Five angels in clouds. At center, one clasps hands and looks heavenward.
Decoration d'une Cheminee sans glace, a l'usage d'une Antichambre
Jacques-François Blondel, French, 1705–1774, 1737-1742
Etching and engraving on laid paper
Print

Chimneypiece design with an over-mantle panel depicting a mythological figure seated above a slain dragon, approached through the air by a winged cupid aiming an arrow at him. The side panels are linear with little ornamentation. The top of the central panel has some scrolling acanthus leaves, flowers, and a cartouche. At the bottom is a cross-section with, from left to right, "Plan du dessus de la Tablette" and "Plan du Foyer et d'un des / Jambages du Chambranle". The plate is numbered and signed with the publisher's name.
Plan D’Amalienbourg Batie sur la gauche dans le jardin de Nimphenbourg
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1771
Engraving and etching on paper
Print

An architectural plan for Amalienburg, a building in the gardens of the Nymphenburg Palace, Munich. The rooms are lettered with the descriptions below. The plate is titled, signed, and dated.
Button
, 19th century
Brass, gold-plated

X-cross shown on breast pocket of double-headed eagle; cloak mantling with crown above and ribbon with "Pour l'avenir" below. Brass back and shank. On reverse, "F Debacker 36 bis Avenue de l'Opera".

On card 45
Interior Wall Elevation with a Bath
Pierre Ranson, French, 1736–1786, 1779-84
Etching and engraving on laid paper
Print

A design for an interior wall featuring ornately painted panels and a bath with two wall-mounted fountains in a central niche, decorated with ‘turquerie' (Turkish style) motifs. The panels are decorated with netting, flowers, scrolling leaves (rinceaux), spears, crescent moons, fish, baskets, coral, and pearls. The frieze above features two repeating patterns with leaves and wave motifs. The bathtub is decorated with leaves, chains, crescent moons, and water motifs. The fountains in the corners, with water spilling into the tub are in the shape of leaves and shells. Draped above is a scalloped curtain with festoons of flowers and crescent moons, topped with feathers and held up by ropes with tassels. The plate is numbered.
Elevation of an Altar
Leonardo Scaglia, French, active Italy, 1640 – 1650, ca. 1640–50
Pen and bistre, brush and wash on paper
Drawing

An altar is set within the framing parts of a bay. The predella shows a scene of mourning over the dead Christ. The retable shows the ascension of the Virgin. In the lateral compartments are niches with the statues of female saints. Above is a representation of the Annunciation. In the center of the broken pediment is the Virgin with Child.
Plan et Elevation d'un Buffet de marbre avec ornements de bronze et dont le Tableau et plafond sont peints à Paris chez Monsieur le Normant
Jean Mariette, French, 1660–1742, 1686-1710
Etching and engraving on paper
Print

The plate situates the plan of a marble buffet on the left side of the plate, with a scale below of "6 Pieds." The elevation of the inset sideboard on the right features a table topped by five vases in front of a large still-life panel. The engaged columns on either side have mounted candelabra. The panels on either side feature bronze ornamentation with grotesque masks and scalloped bowls. The plate is numbered but not signed.
Cap crown
, 18th century
linen Technique: lace of early premade tape with needle work fillings, edged on three sides with bobbin lace

Design of cap crown with premade tape forming loops and filled in with needle work stitches. The tape loops are held together with needle stitches and the cap crown is edged on three sides with bobbin lace.
Study for a standing woman, “Moods to Music,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1893–1895
Pastel and graphite on wove paper
Drawing

Recto: Female figure standing with gown draped around her legs and holding a musical instrument; Verso: Sketch of female figure.
Elevation of the Garden Facade of a Public Building
, ca. 1790
Graphite, pen, green and brown water color washes on paper
Drawing

Central section and two wings ending with pavilions.  The basement includes two staircases and three fountain sections.  The terrace before the villa is oval, bordered in front by steps with unfinished figures and by ramps leading to the ground floor.  Ornamental columns bordered by statues and boskettes in the upper parts rise from the ramps.
Square
, 1850–1900
cotton Technique: plain weave; twist not known

Yarn-dyed woven pattern in brown, green and white.
Design for a Tureen
Joseph Anton Seethaler II, German, 1799–1868, 1825-1835
Pen and ink, brush and washes
drawing

The circular vessel is supported by two caryatides and in the center by a man shoeing a winged horse. The base rests on seated sphinxes. The vessel is banded by motifs of gryphons, and the handle is in the form of three-faced Janus with a ring through its mouth.The finial is in the form of a kneeling putto giving a swan of drink from a cup.
Landscape with Mountain Town
Carlo Marchionni, Italian, 1702–1786, 1760–80
Pen and ink, brush and bistre wash on paper
Drawing

Landscape drawing of an aquaduct and building with a tower, possibly a church. Two men walk along a path leading to the town.
Project for an Altar
, 1725–1750
Black chalk, pen and ink, brush and watercolor on paper
Drawing

Above, a rainbow with cherubim and clouds. Below, the elevation of an altar. Below the mensa is a medallion with the portrait of a bishop. This is flanked by putti with cornucopia.
Design for the Embroidery of a Man's Waistcoat
, 1780–1790
Graphite, brush and watercolor on paper
Drawing

Lower left section of a waistcoat. Below the pocket short flower sprays, and leaf motifs. Flower and alternating leaf motif along border. Flower design on pocket indicated in outline.
Glen Eyrie, Colorado
Thomas Moran, American, b. Britain, 1837–1926, 1892
Brush and watercolor, graphite on cream-colored paper
Drawing

Horizontal view of sandstone cliffs from an elevated point, with mountain range across plain in background.
Temples at Baalbek from the Roman Quarry, Lebanon, Part Two
Frederic Edwin Church, American, 1826–1900, May 12, 1868
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape and architecture sketch showing the second part of a panoramic view of the temple complex at Baalbek, Lebanon, from the city's Roman Quarry. This description refers to the entire view, comprising two leaves with 1917-4-518. The Quarry ascends a gentle slope in the foreground from lower center to center right. Numerous stone-cut blocks rest in a pile at lower center, while several others are shown closer at right. In the middle distance at center, across flat terrain with numerous trees, the Roman temple complex is sketched at center, with the extant colonnade of the Temple of Jupiter prominently visible at center left. In the background at left and right, two low mountains are shown along an otherwise flat horizon.
Clubhouse and Golf Club, Newport, Rhode Island
Whitney Warren Jr., American, 1864–1943, ca. 1896
Graphite, brush and watercolor on paper
Drawing

Two-story building with pointed roof, balustrades, and greenery. The central part is projecting with a pair of stairs leading up to the main floor, where a loggia with gaines is shown. In brown ink, lower margin: Field View.; Scale, one inch = 10 ft [numbers below].
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1581
Engraving on paper
Print

A pendant suspended with chains from a small ornament tied to a bow knot. Strapwork forms a cartouche with three drop pearls. At top, Jupiter on his eagle holds a thunderbolt. He is flanked by two seated nudes. The plate is numbered.
Tables
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Three pillars, at left, with lion's feet, standing upon a base, support the top. They have masks instead of capitals, connected below by moldings, above by festoons. Topped by a column with a high pedestal. It is partly overdrawn by the plan of a console table for a corner. Above, at right: design for a console table for a corner supported by a winged chimera. Below, in the center, is a design for a round table, supported by a column, with a garland around it. In the lower right corner is a sketch of a round table, supported by four - three are visible - chimerae. Usual background.
Alcove à Colonne
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for an alcove with a daybed and surrounded by fluted columns with Corinthian capitals. The plate is signed and numbered.
Shinagawa from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, ca. 1856-58
Woodblock print in colored ink on paper
Print

A view in the foreground contains three figures and blooming cherry blossom trees, that overlook a river, travelling towards a tiny forest and rooftops of a small town. The middle ground shows various sailboats and ships sailing out to sea. There is a small mountain silhouette in the horizon just below the blue skyline,and next to the purple sunset are both shown in a gradation. Identical to the print 1941-31-200 except the horizon is purple rather than red.
Drawing for a Cameo or Gem
, 16th–17th century
Graphite, pen and ink on paper
Drawing

Portrait head of a bearded man facing right. Thick double framing lines.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1779–90
Etching on paper
Print

Six designs for trophies incorporating flowers, festoons of flowers and leaves, foliate branches, scythe, spears, net, horns, baskets, jug, target with a heart, flaming torch, feathered helmet, quiver of arrows and a bow. The plate is numbered.
Plan et Elevation d'une porte d'Hotel
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Plan and elevation of doors decorated with crossed flags and a coat of arms, garlands, and pinecones. The plate is signed.
Fragment
, 16th–17th century
silk Technique; 4&1 satin damask

Broken ogives with central palmettes in green damask. 
Selvage both sides.
Design for a Waistcoat
, 1780-1790
Pancil and various gouaches on paper
Drawing

Design for the embroidery of the left bottom part of a man's waistcoat. Edges lilac. A double handled vase stands at the bottom of a perspectively shown V having a lambrequin at the outer side. Boughs fill the remaining part of the inside, grow from the intervals of the scallops and from two festoons. Triangles with a row of leaves are shown along the edge of the waistcoat. Boughs of two different designs alternate in the obliquely rising part of the field.
Design for a Painted Porcelain Scalloped Salad Bowl
Jacques-François Micaud, French, ca.1732–1811, ca. 1775
Brush and watercolor, black chalk on cream laid paper
Drawing

Salad bowl in elevation (above) and plan (below) with scalloped body and rim.  The rim is bordered with blue and gold; the shallow base in blue.  Exterior and interior of bowl is decorated with sprays of roses, ranuculusses, and colored daisies.
Rank badge
, mid- 19th century
silk embroidery on silk foundation Technique: embroidered with counted stitches on gauze weave

Rank badge for a civil official. Embroidered silk showing a bird facing a sun disk surrounded by auspicious symbols. Ground of clouds with diagonal lines at bottom and meandering key border. Lined with blue silk.
Ceiling in Hadrian's Villa, near Tivoli
Luigi Rossini, Italian, 1790 – 1857, 1820–40
Pen and black ink, brush and watercolor, gold paint, black chalk on paper
Drawing

Design of a ceiling.  One quarter of the design is shown.  In the center is a tent cupola shown from below.  It is supported at four corners by bucrania and in the middle of the curved sides by winged female half-figures, who are on top of an arch which is supported by two satyr gaines.  In the center of the cupola is a panel with a sphere supported by four children.  A few grotesque motifs are in the remaining panels.  From the bucrania hang festoons, the other ends of which are held by women who stand near the geines.  Below the bucrania are sitting figures of gods; shown are Zeus and Ares.  Outside are framing panels of different shapes.
Deuxieme Etage
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–50
etching and engraving on paper
Print

1921-6-212-4-a: Architectural plan with alphabetical notations ide...;     1921-6-212-4-b: Architectural plan with alphabetical notations ide...;     1921-6-212-4-c: Architectural plan with alphabetical notations ide...;     1921-6-212-4-d: Architectural plan with alphabetical notations ide...;     1921-6-212-4-e: Architectural plan with alphabetical notations ide...
Sidewall
, 18th–early 19th century

Fragments of black and turquois geometric pattern.
Designs for Armchair Covers (Back and Seat)
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for upholstered armchair covers (for the back and seat) featuring floral motifs, festoons of flowers, fruit, wheat, shovel, scythe, and scrolling acanthus leaves (rinceaux). Each design is labelled, the plate is numbered and signed.
Textile
, 19th century
silk Technique: compound satin weave

Pattern of alternating stripes in plain and fancy satin weave with leaf forms superimposed. Both warps and wefts of same off-white color. Pattern achieved only by variation on weave.
Picture
Gaspard Grégoire, French, 1751–1846, ca. 1800
silk Technique: warp-dyed velvet

Picture in velvet of a young woman in profile.
Drawing
Felice Giani, Italian, 1758–1823, 1799
Pen, ink. Grayish blue paper.

Giani raises himself in the bed before which four policemen stand, one of whom holds a lantern. A woman stands near the door of the room.
Box
, 1701–50
leather, tooled and gilded

Leather box with brass handle and hasps.
Fragment
, 16th–17th century
silk Technique: supplementary warp forming raised pile (velvet); then embossed

Embossed pattern of interlaced straps on red velvet.
The cab stand
Félix Hilaire Buhot, French, 1847–1898, 1876
Etching and drypoint in black ink on paper
Print

Horizontal rectangle. The panorama of a street scene on a rainy evening. A row of buildings with a group of four horse-and-carriages halted before them. Pedestrians near a street-lamp, right.
Fragments
, 13th century
silk, linen Technique: plain weave

Bands and stripes.
Frieze and Ornamental Bor
Gottfried Engelmann, 1788 – 1839, 1822
Lithograph Support: white wove paper
Print

Distribution of designs as in -185: at top, four friezes; motif for a fifth one, at bottom three friezes. Rough right, bottom edges, creased, stained. (RB '45) Previously titled ''Plate 3 of a set of projects for ornaments devised by [Jean Joseph?] Dubois''
Study for Christ, Chancel of St. Bartholomew, New York
Francis Augustus Lathrop, American, 1849–1909, ca. 1893
Brush and purple watercolor, graphite on brown paper
Drawing

Sketch for Christ in the painting in the chancel of St. Bartholomew, New York City. Clothed in a wrapper, leaving uncovered the lower part of the left leg, the right part of the breast, the raised arms.
Sketch of Kneeling Angel
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on paper
Drawing

Sketch of angel kneeling, facing right. Verso: right wing of an eagle, open to the left.
Telemaque Rendu a la Vertu
Honore Daumier, French, 1808 – 1879, 1842
Hand-colored lithograph
Print

Vertical rectangle. Confronting figures, Telemachus at right, in armor and holding spear. Temple in left background. For Le Charivari, 28 octobre 1842; second state.
Coverlet fragment
, early 19th century
wool, linen or cotton Technique: plain weave with supplementary weft patterning (overshot)

Traditional coverlet design with blocks of geometric pattern and a deep chevron border, in dark blue, indigo-dyed wool with undyed linen (or cotton).
Portrait of Josephi Bergaigne, Bishop of Sylva
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a beretta and short cropped beard. Below, his escutcheon and motto, and inscription.
Textile
, ca. 1875
cotton Technique: block and roller printed on plain weave

Liberty with shield and spear topped by Liberty cap, appears beside a huge eagle crouching with spread wings. Background of clouds or waves. Heavy foliage at sides and large flowers in strong shades of rose. Leaves and clouds are gray.
Textile
, 1850–63
cotton Technique: printed by engraved roller and block printed

Ground printed in grey in alternate stripe pattern; one stripe, molette printed in moire effect, is over-printed with scattered rose clusters in pinks and greens. Alternate stripe, probably roller printed, consists of symmetrical pattern of stylized floral motifs and diamond shapes.
Fragment
, 18th century
silk, metallic yarns Technique: compound weave with discontinuous supplementary weft patterning (brocaded)

Piece of woven silk with a symmetrical design of a bouquet of roses tied with a blue and gold ribbon; festoons of ribbon and tassels surround the bouquet in a diamond lattice. In blue, green, pinks, red, tan and gold metallic on an ivory ground. Secondary ribbed pattern in the ground.
Textile
, mid-18th century
crewel wool on cotton Technique: embriodered on tabby weave

Narrow valance. Closely woven cotton (tabby weave) embroidered in polychrome wool. Design shows alternating clsuters of roses and carnations arranged under symmetrically curving floral branches. Lower edge scalloped. Colors, shades of red, rose, blue, violet, yellow, green. Stitches mostly chain and stem stitches.
Peasants Behind the Hedge
Hans Sebald Beham, German, 1500–1550, 1547
Engraving on off-white laid paper
Print

10 in a series of 10 plates
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, About 1650
Black crayon, pen, ink, brush, grey water color. Paper

Vertical rectangle. Below are the defeated devils. Angels, flying.
Study for a Duplicate of "Repitition of Christiana"
Daniel Huntington, American, 1816–1906, 1850
Graphite, White Chalk Support: Brown Wove Paper
Drawing

Vertical rectangle. Child facing right, with arms upraised, hands overhead.
bird cage
, ca. 1800
silver
Miniature

Circular dome shape, with four cylindrical posts serving as feet. Inside, a bird on wire hoop. Hinged door with key-shape mark. Underside with three marks: ship in rectangle, monogram '' A & W'', and three stars in pentagon surmounted by crown. B/ violet and green.
Shawl
, 19th century
yak wool Technique: bobbin lace

Black triangular shaped shawl with a design of flower sprays, curving motifs and a scalloped border.
Fragment
, ca. 1850
silk Technique: bobbin lace

Black Spanish-style blonde lace with pattern of large and small flowers and leaves and hexagonal reseau.
Sewing sample
, late 19th century
Linen

Two samples of bobbin lace. A: A border made up of four-petaled flower heads, joined, and with scalloped edge. B: Border of three elements, of simple flower-like design with scalloped edge.
Chasuble fragments
, 18th century
silk Technique: satin weave with discontinuous supplementary weft patterning (brocaded)

Chasuble fragments. Blue satin ground with polychrome brocading in a design of buildings at edge of water and great ship. Trimmed with coral and yellow silk ribbon.
Lamp shades
Tiffany & Company, American, established 1853, 1907
Favrile glass

(a/e) Bell-shaped iridescent glass shade for sconce. Predominantly orange-gold. Diamond pattern formed in bulging part of bell shape. Plain round lip.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

green warp with gold color weft
Double cap streamer
, 1850–1900
linen Technique: needle lace with ground of loop and twist with loop and twist return

Double cap streamer in Point de Gaze has an allover design of floral clusters and sprays. Elaborate star at both ends of cap streamer with radiating sections ending in leaves.
Floral Tailpiece
Jean-Jacques Bachelier, French, 1724 - 1806, 1760
Etching and engraving on laid paper
Print

Sixth plate from a series of six tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine. A large fleurons or tailpiece made up of a snake intertwined with flowers and leaves on branches. The plate is numbered and signed.
Table cover
, 1880–1890
wool, silk Technique: embroidered on twill foundation; satin lining

Table cover of olive-drab woolen cloth embroidered in color silks in design of scrolling stems with flowers; lined with pink silk satin.
Paris Exposition of 1855
, 1855
Block-printed paper
Sidewall

Wallpaper commemorating the Paris Exposition of 1855. Two repeats of main building and a smaller building, alternating. Flanking them, the Marly Horse sculptures at the entrance to the Champs Elyseés, and two city statues on pedestals on the Place de la Concorde. Printed in beige and brown on drab ground.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Four floral motifs attached to central wreath set within circle formed by vining floral swags. Small floral motif in circle where circles connect. Pinrted in terra cotta on pale yellow ground.
Lakeside Landscape
Arnold William Brunner, American, 1857–1925, ca. 1890
Brush and watercolor, three borders ruled in graphite on off-white wove paper.
Drawing

View, from grassy shore in the foreground, of a lake with trees and dense foliage on far shore, and  low hills in the background.  Partly cloudy blue sky above.
Darning sampler
, 1801
silk embroidery on cotton foundation Technique: embroidered in running and four-sided cross stitch with overcasting over withdrawn element work on plain weave foundation

Twenty-one darning squares.  Decorative insert patch in the center.  The letters I C L H C F and the date under a crown.
Sampler
Mary Emiston, American, 1803
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation Label: linen embroidered with silk in cross stitch

Within a strawberry vine border, a text:
In Christ Jesus there is neither bond nor free that He came to let the oppressed
go free and to break every yoke All who fear god and work righteous
of whatever naion (sic) color or clime shall be accepted of him May God reward 
the Benefactors and forgive the enemies of Africa's children.  Many
daughters have done virtuously but may we remembering our peculiar obligations excel them all.  
Blest be the grace which moved the feeling heart 
To plead the cause of man and break his chains
Blest be the men who taught the heavenly art
To banish slav'ry's bonds from freedoms plains
Let Afric's (sic) daughters feel the grateful ties
Which bind then to reward their Patrons care 
By striving to obtain the noble prize 
Of praise on earth and heav'n's bright crown to wear
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Alternating floral motifs connected by beading, scrolls, and beaded swag, forming a treillage pattern. Ground is beige. Printed in green, white, white mica, and tans. 
Printed in selvedge: "Carey Bros. W. P. Mfg. Co 1"
Sidewall
, 1875–99

On patterned orange and metallic gold ground, dark brown stencil technique delineates all-over patterns stylized floral and foliage.
Rough Sketch of Waves, Rocks, and Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Graphite, pen and black ink on off-white wove paper
Sketchbook folio

Quick sketch of waves crashing, with cliffs at right.