biglam/cooper-hewitt-alt-text huggingface dataset:
Figure Sketches with a Skunk, East Hampton, New York
Frederic Edwin Church, American, 1826–1900, July 1858 and February 1857
Graphite on off-white paper; verso: graphite
drawing

Figure sketches showing eight views of individuals likely at the beach in East Hampton, New York, with a skunk and the head of another. At center, four individuals--seemingly three women and one man--are viewed from behind as their clothes flutter in the wind. The smallest figure sketch at center right is a woman wearing a wide-brimmed hat and what appears to be a period swimsuit. At upper right and far right, four partial figure studies are also included. At lower left, a skunk is shown in right profile as it walks on grass; the outlined head of another skunk is beside it at right. 

Verso: Portion of a panoramic view showing, along the right margin, a slice of clouds in the sky over New York City, likely at sunset or sunrise. Majority of sketch on 1917-4-803.
Standing Peasant
, mid-19th century
Brush and watercolor on rice paper
Painting

A standing peasant, walking left, his gaze directed over his left shoulder, wears a long green tunic, and head shaved.
Box
, ca. 1800
Enameled tôle, brass

Oval, with vertical walls and hinged lid, depressed in center. Hinged brass handle on lid. At base, alternating flowers and triple leaves in gold on black ground. Sides buff, with village scenery and two fishermen painted in brown on front. Top of lid buff, sides black with gold leaves and flowers. Simple lock (key missing).
Botanical Sketches with an Alligator, Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray laid paper
Drawing

Botanical sketches showing views of trees along the Magdalena River in Colombia, with an alligator. At upper left and right, two sketches of what the artist deems a "monstrous tree" are shown. Its canopy is massive and its branches form a knotted matrix of spindly, organic tendrils. A sketchy depiction of a swimming alligator is included at center left. Its hinged mouth is open wide. At lower left, a sketch of a tagua palm is shown with a detail of one of its fronds, while at lower right, a deciduous tree with a thin trunk is visible.
Mountain Peaks and Wayside Shrine
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a rugged mountain ridge with rocky outcroppings and sheer cliffs along its crest. At lower left, a wayside shrine is hastily rendered.

Verso: Landscape study showing a view in Austria, Germany, or Switzerland of a castle built on a hill in a dramatic mountain valley through which a river runs. Steep, loosely-rendered mountainsides frame the scene in the foreground on either side. At center, the towers of a castle are visible upon a hill in the middle distance. A river winds its way through the wooded floor of the valley. In background, walls of massive, serrated mountain ranges envelope the scene.
Money Cove, Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, September 1851
Graphite on tan wove paper
drawing

Landscape sketch showing a view of Money Cove on the western coast of Grand Manan Island in Canada. A sandy beach strewn with rocks stretches horizontally across the foreground before curving, at left, into the middle distance, which is mostly comprised of the cove's calm waters. Three houses are built on the beach at center-the leftmost two constructed beside the outlet of stream known as Money Cove Brook, which creates a cleft in the otherwise steep cliffs and mountainsides that hem-in the beach. A particularly tall and rocky prominence with a rounded summit is visible at center, looming above the rightmost structure. Beside the structure at right, near the cape's point, what appear to be a bunch of semi-submerged branches or reeds are, in fact, the visible portions of an active fishing weir whose stone foundations still exist.
Interior Alcove
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Design for an interior alcove with a half-tester bed in the center framed by an arch and a balustrade. The tester is hung with bed curtains and a feather finial. The headboard is highly ornamented with male herm figures holding the curtains and a double s-scroll frame. The foot of the bed is decorated with scrolling foliage, and fluting. A festoon of flowers is hung across the tester with a central roundel. The room is highly ornate with sculpted paneling and friezes. Niches flank the arched alcove with sculpted figures within. Caryatids in between the windows on both sides of the room.
Ceiling Design
Jacques-François Blondel, French, 1705–1774, 1760–73
Etching and engraving on laid paper
Print

A ceiling design with highly ornamented cornice, with rococo and grotesque motifs, masks, putti, birds, c-scrolls, s-scrolls, gadrooning, fleurons, drapery, mythological figures. The center of the upper and lower cornice is decorated with a scene with putti in landscapes with trees, rockwork, plants, and animals. The corners include mythological figures with putti and trees. The plate is signed, numbered and with the address.
Jupiter, from Grotesques à fond noir, Divinités et Allégories (Grotesques on Black Ground, Divinities and Allegories)
Etienne Delaune, French, 1519 - 1583, ca. 1575
Engraving on off-white laid paper
Print

Oval print with grotesque design of scrolls, fantastic creatures, vases, fruits shown against a black ground. In the center, under a baldachino, a divinity stands. Attributes signify Jupiter.
Fragment
, ca. 1750
silk, metallic thread Technique: plain satin with supplementary weft

Green satin ground with large-scale horizontal groupings of musical instruments. Group also contains a vase-shape outline filled with a scene of a river, trees, and stone buildings. Alternate rows left and right facing.
Study of Pines, Borghese Villa, Rome
Daniel Huntington, American, 1816–1906, March 1844
Black crayon and white heightening (oxidized) on brown paper
Drawing

Group of pine trees, with a small bird on a branch.
Chambranle avec colonnes Corinthiens
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation of a doorframe design that has Corinthian columns on either side, and a top shelf with a frieze with a repeating design of c-scrolls and stylized flowers. Below the elevation is a scale bar of four French feet ("4 Pieds"). The profile of the column is provided on the left side of the plate, and a cross section of half of the shelf is on the right. The plate is signed and numbered.
America
Alexis Peyrotte, French, 1699–1769, ca. 1750
Hand-colored etching with watercolor on paper
Print

America, a woman with feather headdress, bow, arrow and quiver is seated on a crocodile, at left. At right is an Indian with a bow, kneeling and pointing at an animal resembling a monkey on a knoll behind which a man with a long moustache crouches. In the foreground is a man's head, pierced by an arrow.
Hunting Scene with a Dog and Ducks
Christophe Huet, French, 1695 – 1759, 1755–76
Etching and engraving (crayon manner) in red ink on paper
Print

A dog hunting in a landscape, with a duck fleeing from their nest with eggs, another duck attacks the dog from behind. Foliage and trees in the background. The plate is signed and numbered.
Windmill in East Hampton, New York
Frederic Edwin Church, American, 1826–1900, July 29, 1858
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch showing a view of a windmill near the coast of Long Island in East Hampton, New York. Situated in the middle distance at left, the windmill inhabits relatively flat terrain with low-lying vegetation. Above, hazy clouds hang in the sky.

Verso: One portion of a panorama showing billowing cirrus clouds off the coast of Long Island near East Hampton, New York.
Hewitt Family Crest and Motto
John Patterson and Co. New York, NY, late 19th century
Brass
Button

1938-58-935-a: 3 circular buttons with engraved crest and motto o...;     1938-58-936-a/c: 3 circular buttons with engraved crest and motto o...
Girl Seated on a Tree Trunk
Winslow Homer, American, 1836–1910, 1879
Graphite on paper
Drawing

Horizontal view of a girl wearing a sunbonnet seated on a fallen tree trunk; tree stumps and a plow are visible in the background.
Fragment
, mid-19th century
cotton Technique: printed in red on plain weave

Fragment shows a man seated in front of a small table with a dog and several cats. In red on white. Background is dark.
Grilles des angles d'entrée de la Place Royale de Nancy
Jean Lamour, French, 1698–1771, 1767–68
Etching and engraving on laid paper
Print

Folded plate with a detail from the wrought iron gate at the Place Royale in Nancy with an arched grill topped with the interlaced L's for the French King Louis XV and an ornamental vase with flowers to the left.  A lantern hangs off the end of the gate supported by a decorative rocaille arm. The ironwork is decorated with rococo ornament and motifs. The title is lettered below and the plate is signed.
Portrait of Girolamo Colonna, Cardinal
Antonio Pazzi, Italian, 1706 - after 1768, ca. 1750
Engraving on paper
Print

Half-length portrait in three-quarter view towards right. The Cardinal is bareheaded.
Thirteen Apollo Subjects for Ceiling
Felice Giani, Italian, 1758–1823, early 19th century
Pen and ink, brush with brown watercolor over red crayon on rough grey paper.
Drawing

Center, octagonal representation of Apollo and Muses. Captions written in red crayon: Apollo e le Muse/ Mercurio robo li bovi/ dapello/ e larco/ con la faratia. Octagon surrounded by eight circles, showing Latona visiting Jupiter, inscription above: giove latona; Latona with her children Diana and Apollo, inscription: Latona Diana e/ Apollo. Clymene kneeling before Apollo, inscription: apollo fetonte/ cliomene. Apollo standing besides drinking Pegasus, inscription: Apollo cavallo/ pegasso. At left, Apollo appears to two praying girls, probably Leucothoe and Cythera, inscription: Leucotea Apollo. Bottom: Apollo and Neptune shown seated beside Python, inscription: serpente pito/ ne.  Apollo pursuing Daphne, inscription at right, Apollo e Dafne. Rows of two circles shown at outmost left and right.  Apollo in sun chariot drawn by four horses, inscription: carro d'Apollo. Apollo as herdsman, inscription at left: apollo pastor. Woman shown seated and sacrificing, inscription: la pitaneza sacia/ Apollo. Apollo shown supporting Hyacinthus, inscription: Apollo e Giancinto.
Ornamental Vase Design
St. G..., active 18th century, 1772-1777
Engraving on paper
Print

Lidded vase with two leaves formed from acanthus leaves. Two garlands drape from the finial to the neck of the vase: one if floral, the other of leaves. There is an oval on the front of vase with three fleurs-de-lis, around which is a bouquet of flowers. The vase has a fluted and tapered foot and is elevated on a low socle. The plate is numbered.
Head of a Bearded Man
William Merritt Chase, American, 1849–1916, 1872–78
Pen and ink on white paper mounted on brown laid paper
Drawing

Sketch of a male figure with a beard and wearing a hat.
Pocket
, 19th century
linen, metallic thread and strips Technique: tent stitch embroidery

Embroidery for a pocket in dark red and metallic thread showing a design of conventionalized motifs arranged in a triangular shape. Two rows of metallic thread and strips with linen fringe at the edge.
Panel
, ca. 1600
linen Technique: grid of withdrawn element with needle lace, reticella style

Small oblong panel of needle lace (reticella). Designs arranged in squares in three rows depicting people, boats, etc. Probably Biblical and contains one episode of Judith and Holofernes.
Plate, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1821–1833
porcelain (feldspar), vitreous enamel, gold
plate

1959-155-1-i: Circular form with scalloped edge and shallow well...
Sidewall
Jean-Baptiste Réveillon, French, 1725–1811, ca. 1790
Block printed on handmade paper

Arabesque design. Central motif of large bouqet of flowers in urn. Below and in front of this sits a ewer on a lambrequin. Rope swags and tassles suspended from rod which supports lambrequin.  Rose swag around lambrequin. Above the bouquet sits a cameo, with an urn on a balustrade against a pink background. The cameo is surrounded by a beaded framework. Printed in polychrome on a light blue-green ground.
Design for Sideboard with Neo-Classical Ornament
A.N. Davenport Co., October 1900
Graphite on cream tracing paper
Drawing

Oblong sideboard with 6 straight tapering legs; flat front has three drawers arranged in two rows; neo-classical motifs of patera medallions, floral garlands, and tied ribbons decorate front corners; raised backsplash and 2 small columns with volutes support top shelf.
Textile
Bromley Hall, Middlesex, England, 1712–1763, 1790s
cotton Technique: discharge printed by engraved plate on indigo-dyed plain weave Label: indigo-dyed cotton, discharge printed by engraved plate

Length of printed cotton with a naturalistic design with nasturtiums, passion flower, and other flowers, foliage, and vines crossing and intertwining. The design appears in white on a rich indigo blue ground with etched details in blue.
Chasuble back
, 16th–17th century
silk and metal thread Technique: cut, voided supplementary warp pile in a satin foundation with discontinuous supplementary weft (brocaded)

Back panel of a chasuble has a central design of a large-scale pomegranate head in an ogival framework formed by stems and long scalloped leaves in profile. The tips of the leaves meet, forming the base of the next pomegranate. In crimson satin and silver metal thread brocading tied down in twill weave on a yellow-green cut velvet ground.
Fragment
, late 18th–early 19th century
linen Technique: bobbin lace (Brussels style)

Fragment showing small floral sprays and portion of a border. Vrai droschel ground.
Cap streamer or tie
, 19th century
linen Technique: bobbin lace

Narrow length with a design of pointed leaves parting symmetrically down the center.
Scarf pin with duck
, ca. 1900
Gold, enamel, glass
Stick pin

In form of duck, four rose diamonds
Holy Family
Guillaume Château, French, 1635 - 1683, ca. 1650-1670
Engraving on paper
Print

In a mountainous wooded landscape, with classical buildings in the background are seated the Virgin with the Child on her lap, who reaches for a fig held aloft by the Mother. At the left, Joseph is seated against a bank reading.
Textile
, mid–late 18th century
silk Technique: satin weave with supplementary weft (brocaded)

Ground of white satin ornamented with small vine pattern. Brocaded pattern in colored silks of a basket with flowers between serpentine floral bands.
Button
, 19th century
Glass, rhinestone, copper, brass

1931-59-752-a: Button is circular and flat on top, domed on under...
Fragment
, ca. 1850
silk Technique: machine made

Black Spanish blonde guipure lace; pattern of flowers and leaves and no ground.
Initial Frame
Homer Wayland Colby, American, 1874–1950, ca. 1910
Black ink on paper
Drawing

A symmetrical design of a wreath and scrolls. Blank frame for initial, center.
Chasuble fragments
, mid-18th century
silk, metallic thread Technique: compound cloth with supplementary weft

Fragments of  chasuble, brocaded with silver lace trimming with serpentining form with lacy filling and leaves, in white on coral ground.  Flowers and buds in silver wound on white silk core, outlined in green. Silver trimming down each seam.
Chasuble
, 16th–17th century
linen, wool Technique: embroidered on plain weave

Design of lozenges enclosing palmettes and arabesques arranged in wide horizontal rows. Green and reddish-brown on off-white background. With gold trim and lined with reddish-colored linen.
Border
, 18th century
linen Technique: bobbin lace (early Valenciennes ground)

Valenciennes type consisting of a leaf border with carnations and sprays.
Suite of Cavalry Officers: Soldiers
Georg Philip Rugendas, German, 1666–1742, ca. 1730
Mezzotint engraving in dark brown ink on paper
Print

Two mounted soldiers are seen in the foreground. The one is turned in left profile; he looks over his left shoulder. The other is seen frontally. Other mounted soldiers in the background.
Portrait of Beatrice Cenci
Pietro Bettelini, Italian, 1763–1829, ca. 1800-1820
Engraving in green ink on white silk
Print

Within an enframement the bust length portrait of a young girl, wearing a turban, alleged to be Beatrice Cenci (1577-1599), is shown facing left, looking over her left shoulder.
Fringe
, 18th century
silk Technique: woven

Pink and white fringe with a plain-woven heading. Pink and white skirt threads are arranged to form stripes.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. A flower bough.
Le Retour d'Ulysse, plate 7 from the Histoire Ancienne
Honore Daumier, French, 1808 – 1879, 1842
hand colored lithograph in black and sienna inks on white paper
Print

Vertical rectangle. Depicted as a carving in relief on a rounded piece of stone, Ulysses, playing flute, walks toward right preceded by his dog.
Tile from a stove
, 18th century
glazed red earthenware, tin-enamelled

Vertical rectangle with outcurve base. Blue and white landscape with tall ruined buildings, walled garden at left. Butterfly and birds in air. Base has drapery festoon.
Cabinet
, 1880–1900
Ebony, ebonized wood; ivory

Rectangular cabinet with slightly projecting central section consisting of four-shelved cupboard concealed by vertical double doors over shallow horizontal drawer. Side section consists of open upper shelf with fluted corner colonette over four small drawers over single door. Stepped cornice, molded base, six ball feet. Extensive ivory inlay on doors, drawers, framing, sides with most important motif being a female figure with attributes on each center door. Ivory drawer pulls; drawers lined with dark red velvet; key. On each center door, inside top, ivory plaque with name: "Soubrier."

A- base
B- back panel
C-right cabinet 
D-left cabinet 
E- right door
F- left door
G- drawer 
H- top 
I - key 
Also two small panels on 5th fl. 11-B
Pleated fan
, ca. 1815
Silk net leaf embroidered with gilt spangles and steel pieces, pierced horn sticks with gilt piqués

Pleated fan. Leaf is a single layer of white net, obverse appliquéd with gilt spangles and mirror-like steel in varied shapes. Guards and sticks of amber colored horn, pierced and decorated with gilt piqués.
Design for a Mass-Operational House Designed by Hector Guimard, Support Base Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of the base of a support
Study of a Man
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a man seen from the front with his head turned to right, seen in profile. He wears a cap with his short hair visible from underneath. He wears an open loose shirt with his bare chest visible. The plate is signed and numbered.
Vase
Tiffany Glass and Decorating Company, American, 1892 - 1900, ca. 1900
mold-blown favrile glass
vase

Green-gold irridescent body; gentle taper from rounded sholder to flaring foot; large mouth. red combed leaf-like pattern encircling body with five terminal points on shoulder and five at base. Incised marks under base: L.C.T. N 3190
Le Meunier, Son Fils, et l’Ane
Jean-Baptiste Huët, French, 1745–1811, late 18th–early 19th century
cotton Technique: printed by engraved plate on plain weave
Textile

Pastoral scenes including men and women tending goats, sheep and chickens; a man and his son in various scenes with a donkey, and stone building with a river in front. Printed in red on a white ground.
Design for a Mass-Operational House Designed by Hector Guimard, Cross Section of Chimneys
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing a cross section of the chimneys.
Bag
, 1830–60
silk Technique: knotted net

Netted reticule with gathering string and tassel ornamentation.
Bands
, early 19th century
linen, horsehair Technique: needle lace with ground of loop and twist with twist return

Point d'Alençon style with a design of detached buds and borders of sprays of leaves and flowers within scallops of picot cordonnet.
Tile panel composed of six square tiles
, 18th century
Tin-enamelled earthenware

Vertical rectangle with urn and flowers in manganese violet on white ground. Shoulder of urn with pendant drapery and band of ellipses enclosing diagonal lines. Continuous vine-and-leaf border with oviform figures in the center.
Vase Mounted as Ewer
, mid-19th century
porcelain, vitreous enamel, gold
ewer

Baluster-shaped vase with ormolu mounts in shape of ewer. Interior scene with figures, animals, porcelains and flowers in overglaze enamel in "famille rose" colors.
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape

Lace fragment showing a ribbon-like serpentine floral design. No ground.
Ceiling paper
Henry Gledhill & Co., 1889 – 1900, 1905–1915
Machine-printed paper, liquid mica

Trellis or grid pattern with rods and rails wrapped in scrolls and floral sprigs. Larger sprig at every second intersection. Printed on off-white ground.
Fragment
, 18th–19th century
silk, metallic threads Technique: embroidered in satin and knot stitch

Design of figures and flowers, embroidered in polychrome silks in satin and knot stitch, all spaces solidly filled in with couched gold wound on thread
Landscape
William Trost Richards, American, 1833–1905, 1865–70
Graphite, brush and gouache on paper
Drawing

Sketch of a woodland landscape with trees along a riverbank.
Fragment
, 17th century
linen, silk Technique: needlework on gauze weave (buratto)

Gauze weave embroidered in yellow, green and brown silks in a variety of stitches. Pattern is scrolling forms with leaves and flowers.
Sidewall
, 1880–90
Machine-printed

Rectangles and diagonal squares are placed in alternating rows with smaller circular medallions between. Each medallion is filled with figures in classic garb similar to Wedgwood's Jasperware. Probably inspired from designs of Robert Adam. Each medallion is framed with an ornamental border. Fine floral scrolls cover the entire background. Tiny birds are perched on the twigs. Printed on margin: "Lisieres Fleuries." Background is striped. Entire paper is embossed in fine parallel vertical lines.
Sidewall
, 1830–31
Block-printed

Bold foliate design, possibly palm fronds.
Iris motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Stencil

Irise (shobu) clusters paired in groups of three are alternating between positive and negative silhouettes. Stylized leaves and stems form an abstract striated ground.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper, liquid mica

Plaid pattern alternating between wide bands and narrow stripes. Small floral motif at intersection of wide bands.
birdcage
, 19th century
Silver
Miniature

Four-footed scrolled tray supports barred cage between four finialed corner posts. Hinged false door. Scrolled cresting around top to which is fixed a ring handle. Contains parrot in ring perch. Dutch standard mark on base and door. Export mark on door.
Sidewall - sample
, 1907–08
Machine-printed

Stripe design, band of moire design alternating with band of solid yellow.
White-Bodied Sunbird, Plate 17 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

A gray bird with speckled white underside on a tree branch over a tropical meadow. Title and artists' names below.
Fragment
, 16th or 17th century
silk on linen Technique: embroidered

Border fragment showing entwined and pointed leaves in reserve on a red embroidered ground.
Knife
, ca. 1650–1700
ivory, steel

Blade straight-sided, the upper edge curving towards the point. Carved ivory handle, a man in Charles II period costume holding a walking stick in one hand and a pair of gloves in the other hand behind his back.