biglam/cooper-hewitt-alt-text huggingface dataset:
Architectural Detail with Masks
D. Antoine Pierretz, French, active 1647, 1648
Etching on laid paper
Print

An architectural or ornamental fragment featuring two masks (mascarons) with horn beards and scrolling acanthus leaves for ears and hair. The plate is numbered.
Ceiling of a Bedroom
Felice Giani, Italian, 1758–1823, 1820–23
Pen and dark brown ink, brush and watercolors with black, red, violet and blue washes over traces of graphite on paper.
Drawing

Vertical rectangle. Above and below bands with ornament in middle.  Remainder divided into lozenge, four triangles. Inside trophies of objects. In center of lozenges two flying female genii, seen in profile, raising their outside arms with wreath, supporting their inside hands caduceus. They are framed by circle formed by garlands connected by bowknots. In lower corner of lozenges, pencil sketch for band cresting border. Center right edge, inscription by Giani horizontally: "camera da letto."
Designs for Tables
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for various types of tables: a large table, a table to serve as a mantel, for a buffet, and for a dresser. The pieces of furniture are decorated with ornament motifs including terms, wave pattern, garland, Ionic capitals, rosettes, trophies, and urns. The plate is signed and numbered.
Chama Below the Summit
Thomas Moran, American, b. Britain, 1837–1926, 1892
Brush and gray wash, watercolor, graphite on off-white wove paper
Drawing

Landscape with railroad track in lower right foreground; view across ravine, with evergreen tree thicket, to Rocky Mountain range. Glimpse of train with smoke-belching engine, right of center, traversing mountain ridge.
A Covered Wagon
Samuel Colman, American, 1832–1920, 1870–80
Graphite, brush and gouache on rough gray paper.
Drawing

Horizontal view of a covered wagon shown slightly obliquely from the right front corner.  The canvas cover is raised in the front part.  It is supported by four arches.  The body is low and oblong.  The driver's seat resting on springs rises from it.  Grass and sky are indicatec.
Old Man of the Mountain, New Hampshire
Francis Hopkinson Smith, American, 1838–1915, August 30, 1876
Charcoal, crayon on paper
Drawing

View of the granite face in profile to the left on the mountain with trees in foreground and a lake below at center.
Capelet
, mid- 19th century
cotton Technique: printed by engraved roller on plain weave

Woman's capelet with jewel neck and squared tabs in front. White cotton with small-scale all-over pattern of circles and three-lobed forms in brown; with dark brown binding on all edges.
Sampler
, 19th century
cotton embroidery, silk ribbon, glazed green paper Technique: embroidery on net

Net embroidered in twenty-four different patterns, edged with pink silk ribbon and backed with glazed green paper
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of a zigzag between straight borders; picot edges.
Design for a Woven Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1810
Brush and white gouache on glazed tracing paper pasted on paper
Drawing

The right part is shown. An eagle with a laurel bough stands on top of a circular medallion with the monogram J[osephine] N[apoleon]. Which is supported by a shaft over the center of the rinceaux from which a fantastical plant rises. Framed at the bottom and at right by a waved line. A star is shown over each wave top, in the hollows is a calyx over a lace panel and a bee.
Ceiling Design
Carlo Maria Pozzi, 1708
Engraving on laid paper
Bound print

Design for a ceiling with architectural recesses and trompe l'oeil clouds moving up the walls toward the ceiling. Along the cornice are sculpted grotesques, putti, vases, flowers, and scrolls. The plate is signed and numbered.
Figures
, 19th century
Glazed and gilt porcelain

A man dressed in white with gold accents. He wears a tall hat with a long gold feather.
Design for a Main Altar
Giuseppe Barberi, Italian, 1746–1809, 1780-1783
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

In the center of the retable is a niche with a group of the Deposition of Christ, laterally framed by a projecting column and a strip with two panels and a pilaster outside; above is a triangular pediment supported by a pedestal with an inscription in a wreath at the front and two angels sitting laterally upon its base. In front of the socle stands the mensa. In the panels below the pilasters are panels with a prelat's escutcheons. The socle is elongated and two groups of a saint with angles stand upon the pedestals at the outsides. The apsis is outlined.
Textile
, early 18th century
silk Technique: plain compound cloth

Blue ground fabric with all-over diaper pattern produced by floats of the secondary blue warps. Pattern of polychrome floral serpentines and plumes in white. Details of the pattern are in dark brown.
Bacchantes
Jacob de Wit, 1695 – 1754, ca. 1750
Black chalk, pen and ink, brush and white wash on paper
Drawing

Bacchantes, a satyr in a group, at the light of torches. Two children, a money in the right foreground.
First Pastoral
Jean Baptiste Le Prince, French, 1734–1781, 1769
Aquatint and etching in sepia on ivory laid paper
Print

The Holy Family is shown at rest, with a cow, some sheep and a dog in the background. Inscribed, lower left: "Le Prince, 1769". Title below.
The Rest on the Flight into Egypt: A Night Piece
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1644
Etching and drypoint on laid paper
Print

A night scene illuminated by the light of the lantern which is suspended from the branch of a tree, left. The Holy Family is seated in the foreground, the Virgin holding the Child in Her lap. At right, the head of an ass is introduced into the composition.
Effendi Gentleman
Frederic Edwin Church, American, 1826–1900, 1868
Graphite with pen and ink on gray-green wove paper
Drawing

Figure sketch showing a frontal view of a faceless man who is dressed in a draped robe, cloth headress, vest, and sash--clothing typical of the "Effendi," or gentleman of the Ottoman Empire. Each garment is individuallly labeled in England and Arabic.
Capital
Giuseppe Barberi, Italian, 1746–1809, 1775–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The left half: the projecting abacus is supported by the head and the wings of an eagle. The center motif are two leaves with a blossom stem between them, and a rosette above. In front of the cornices below hangs a festoon. Usual background.
Champignons d'Angleterre
Charles-Germain de Saint-Aubin, French, 1721–1786, 1755-68
Etching on laid paper
Print

A bouquet of English mushrooms with roots. The root system also has small flowers and leaves growing from it. The plate is signed but not numbered.
Fragment
, 17th century
silk Technique: supplementary warp forming raised pile in twill (?) foundation (velvet)

Clusters of carnations and leaves on mounds on blue background.
Fender
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Fender.
Designs for Furniture
André-Charles Boulle, French, 1642 – 1732, ca. 1715
Etching and engraving on laid paper
Print

Designs for six pieces of furniture including two tables, a leg and corner of a table, a cabinet, a console table, and a table or toilette mirror. The furniture is decorated with gilt bronze mounts and marquetry featuring grotesque motifs including mascarons (masks), figures, cartouches, shells, scrolling leaves, acanthus leaves, c-scrolls, s-scrolls, flames, and gadrooning. The designs are titled, the plate is numbered, and signed by the publisher.
Fragment
, 17th–18th century
silk, metallic thread Technique: damask weave with supplementary weft

Fragment of dark red silk damask brocaded in gold with a design of a central palmette flanked by slender serpentine leaves and flowers.
Outside Fireplace, North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, August 1854
Graphite and black crayon on paper
Drawing

Stone fireplace with a wooden frame above, for hanging a kettle. Trees sketched in background.
Plan pour la Décoration d'une Salle de Bal
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Plan for a ballroom. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters). The plate is signed and numbered.
Designs of Bolts and a Hinge
Richard de Lalonde, French, active 1780–96, ca. 1790
Pen and ink, brush and wash on paper
Drawing

Upper bolt in shape of an octagonal escutcheon with rinceaux decor; lower bolt, same except for curved escutcheon; center, hinge has six holes.
Belt Slide
, late 19th–early 20th century
Gold, iron, silver, copper
slide

Rectangular belt slide with decoration of two deer among plants.
Fall of Reichenbach
Daniel Huntington, American, 1816–1906, June 12, 1844
Brush and gouache, graphite on brown paper
Drawing

Cascade of water between rock cliffs, seen through a narrow valley. Trees above, and in distance beyond.
Paper Doll in Petticoats
, 1840–60
Etching with graphite, brush and gouache and watercolor, pen and black ink on off-white wove paper.
Paper doll

Black haired paper doll in white petticoats and camisole (corset?) with arms folded in front of her.
Embroidery sample
, 1790–1800
silk, paper Technique: embroidered and appliqued on cut supplementary warp pile in a compound foundation (velvet) Label: Satin, stem, and knot stitches embroidered in silk with appliquéd plain weave on silk cut voided supplementary warp pile (velvet); paper enclosure

Multicolored silk embroidery in a floral design on a dark blue ground with vertical purple stripes.
The Charity of Saint Nicholas
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1585 - 1588
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: View of an interior by a hearth. Three girls sit nearby, carrying out household tasks. In the background at left, their father, an impoverished nobleman, sits resting his head on his hand. A winged devil appears over his head. Saint Nicholas, wearing a miter, appears at a window in the background at right, offering three golden balls to the girls.
Verso: Fragment of inscription.
Fragment
, early 18th century
silk Technique: compound twill weave

Rose and white silk with wefts tied town in twill forming a floral design.
Flower Branch, from "Fleures Persannes"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1765
Etching on paper
Print

A flower branch, the larger blossoms of which have scaly, pear-shaped petals.
Botanical Sketches, Vermont
Frederic Edwin Church, American, 1826–1900, October 6, 1865
Graphite on gray-green wove paper
Drawing

Botanical sketches showing at least seven views of plants and trees in Vermont. At left, a large tree is shown whose trunk is covered with an ivy known as Virginia Creeper. Another tree, a willow, is included beside it at left. At upper center, several plants with budding tops grow together in bunches. At upper right, two plants that resemble corn are sketched beside a pair of plants with soft, wooly buds in the upper right corner. At lower right, some indistinct plants grow beside water.
Fulham
Francis Seymour Haden, English, 1818–1910, ca. 1864
Etching on white mulberry paper
Print

River scene at Fulham, with a bridge at right. Houses in mid-distance. At lower left foreground, four trees flank a road running from right to left.
Buttons
, late 18th century
copper

1931-59-223-a,b: buttons

On card 4750
Button
, 1870–71
Brass

1931-59-58: dotted circle in center, words "Garde Nat. Mobilis...
Study for a procession, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on tracing paper
Drawing

Sketch of male and female figures in procession through an arcade with columns and pedestals. Similar, but still with the group 1904-16-27. The detailed architectural setting is shown. Squares are shown above, oblongs under the picture.
Heur et Malheur (Happiness and Woe)
Raymond Gayrard, French, 1777 - 1858, early 19th century
Cast silver
Token

Octagonal gambling token. Obverse shows the double bust of young Janus. Inscription: HEUR ET MALHEUR (happiness and woe) / GAYRARD-F. Reverse: Standing Cupid.
Fragments
, 1750–1800
silk Technique: cut and uncut voided supplementary warp pile in a satin foundation (velvet)

Small-patterned or "miniature" velvet fragments with the ground divided into roughly lozenge-shaped areas by serpentine bands of taupe and black cut velvet, with clover leaf at intersections. Floral spray in each lozenge, in taupe, black and yellow cut and uncut pile and the beige satin of the ground.
Mountainside
Frederic Edwin Church, American, 1826–1900, July 1868
drawing

Verso: Wheel and Brake
Ornament Designs for a Coach
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Ornament designs for a coach with panels featuring strapwork, seated figures, seated putti, medallions of mythological motif, and putti riding grotesque panthers and unicorns. The plate is signed.
Africa, Design for a Pendentive in the Baptismal Vestibule of St. Peter’s, Rome
Francesco Trevisani, Italian, 1656 - 1746, 1713–26
Pen and brown ink, brush and brown wash, white gouache, traces of black chalk on white laid paper
Drawing

A seated figure with an elephant headdress holds a scorpion. A lion at the right.
Design for a Salon Wall
, 1790
Pen and ink, brush and watercolor, black crayon on paper
drawing

In Pompeian manner, covered with painting from left to right into a narrow band panel, a pilaster, a wall panel with a window, a vertically oblong wall panel.
Design for a Fountain in a Park
De Crenice, French, ca. 1780
Pen and black ink on paper
Drawing

Square with trees and figures represented out of scale with the gigantic fountain. It has a hexagonal basin. The water pours from an obelisk in the center and from the jars of pairs of stream gods and goddesses who crouch upon obliquely disposed pedestal rising from a circle of boulders.
Button
, late 18th century
Stoneware

1925-2-22: Circular medallion in the style of Wedgewood Jaspe...
Ornamental Vase Design
P. Moithey, French, active 18th century, 1767
Etching on laid paper
Print

Lidded vase with a ring on top. The vase has two upright meandering geometrical handles. The belly of the vase has a large oval medallion, on which the title is carved; a laurel garland and ribbon are draped over the medallion. The vase is elevated on a platform that extends to the edge of the image. The plate is signed and numbered.
A Landscape
Charles Nicolas Ransonnette, French, 1793 - 1877, 1856
Graphite, brush and sepia wash on paper
Drawing

A stream winds through hilly country. Groups of trees are at the right bank; a building in the left middle plane. A sailing boat is shown. Dark clouds.
Unfinished View of a City
Frederic Edwin Church, American, 1826–1900, 1853 or 1868
Oil and graphite on thin paperboard
Drawing

Unfinished landscape and architecture sketch showing a view of a city, likely in South America or the European Alps. In the foreground, a rocky stream extends obliquely into the middle distance and beneath a bridge with a pointed arch. A building's exterior wall frames the view at left, while at right, nearby buildings on the stream bank are visible, with the square belltower of church looming above all. It is constructed out of red and beige stone while other buildings have terra cotta roof tiles. Outside of a bank of pinkish clouds at center left, the sky above is clear and blue. Only the sky, the belltower, and the space under the bridge's arch are rendered in oil.
Garniture de Commode, Buffets et autre
Clément Pierre Marillier, French, 1740 – 1808, 1763
Print

Three designs for ornamental bronze mounts - escutcheons (keyhole plates) featuring busts of figures in armor, putti holding snakes, an eagle, arms, axe, spear, sword, leaves, coral, shell, c-scrolls, drapery, festoons of leaves and flowers, and fluting. The plate is titled and signed.
Rank badge
, mid- 19th century
silk and metallic embroidery on silk foundation Technique: embroidered with couching stitches

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. Seam down the center.
Ruins of the Praetorium of Phaena, al-Masmiyah, Syria
Frederic Edwin Church, American, 1826–1900, April 28, 1868
Graphite and white gouache on tan laid paperboard
Drawing

Architectural and landscape study showing a view of the facade of the ancient praetorium of the Roman colonial town known as Phaena, located in present-day al-Masmiyah, Syria. At center, the facade's three remaining columns stand tall as they support an elaborate entablature. The temple's massvie doorway is shown at center, flanked by niches with pediements broken by scalloped designs. The finely-hewn stone of the structure is clearly discernable throughout. Two figures--one with a headdress and another with a parasol--rest in the shade of the porch. Foreground is strewn with fallen stones and ruined walls. In the upper right corner, two details of a column capital and base, respectively, are included.
Project for Decorative Escutcheon
Flaminio Innocenzi Minozzi, Italian, 1735 – 1817, 1760–80
Pen and ink, brush and grey water color on paper
Drawing

At left: left half of an escutcheon on top of an arch, a cherub peeks from behind a scrollwork frame, a garland emerges from behind him. At right: left half of a palmette of acanthus beside a scroll. Above the latter: sketch for part of the escutcheon at left, sketch of acanthus leaves. Below: an unfinished design similar to the on above it. Pen scribbles above at left.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs with carved figures, putti, garlands, portrait medallions, rondels with scenes of antiquity, mascarons, and candelabra. Between the chimneypieces is a console table topped with vases, a mirror with a grotesque figure, and a rondel of a female figure in classical drapery. The plate is signed and numbered.
Fragment
, 16th–17th century
silk Technique: 4/1 satin damask Label: Silk satin damask

Fragment of yellow silk with a symmetrical design of pomegranates and organic scrolls, with a border along the two sides.
Mill by a Stream
Frederic Edwin Church, American, 1826–1900, June 1845
Graphite on white wove paper; verso: graphite
Drawing

Landscape and architecture sketch showing a mill building nestled on a wooded bank by a stream. Visible at center, the multi-storied building is shown with a subsidiary structure attached at right. Two trees obscure the view of the building, while others surround it at left and right. At left, a wood bridge spans a stream that flows into the foreground. 

Verso: Botanical sketch showing a view of two deciduous trees in or near Catskill, New York. Shown at center, the trunks of the two trees deviate from one another, creating a "V." Branches with lush canopies are interspersed through the lengths of their trunks.
Portique de treillage a la teste de l’isle du Dragon
Nicolas Langlois, French, 1640 - 1703, 1670–95
Etching on laid paper
Print

Two plates printed on a single sheet. Both proofs are before lettering with their titles inscribed in ink below each image, within the plates. Upper plate: an island in a water basin within a garden, with a trellis arch in the center, decorated with an ornamental tympanum, panels, and pilasters, flanked by a large hedge, figures sit on benches on the island and walk around. Ducks and a small boat in the water around the island. Rows of trees and hedges and figures in the background. Lower plate: A fountain in the center, with a large jet of water, framed by an arched trellis, decorated with panels, pilasters, and finials. Rows of trees to the left, alongside a narrow water basin, with trees in the background and hedges to the right. Several figures walking and standing around the garden.
belt
, probably 19th century
wool Technique: double cloth

Belt with geometrical motifs and large diamond shapes. Tan on dark brown background. Warp ends are braided.
Circle and Star Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Circles with fringe at the end have four divots carved out, each in an equal and geometric style. The negative space between the circles forms a star-shaped motif. Silk thread has been added to support the stencil structure.
Darning sampler
Mary Elsden, 1809
silk on wool Technique: embroidery stitches are stem, herringbone, satin and darning stitches on plain weave foundation. Squares of the foundation fabric have been cut away at the center of each darning cross. The four corner crosses are plain weave, the others are basket, twill and plain weave.

A white rose on a stem with leaves and buds in the center and surrounded by eight crosses of darning stitches. Hemmed on four sides.
Dish
, ca. 1835
glass

Small, octagonal dish with low, flaring sides. All-over crossent diamond pattern. Scalloped rim. Glass is heavy and white.
Fruit Knife with Mother-of-Pearl Handle
François Nicoud, French, active Paris ca. 1875-1890, ca. 1890
gold plated, silver, mother-of-pearl
knife

Scimtar or saber-shaped blade with curved shape with swirling pointed tip. Surface gold plated and adorned with engraved foliate decoration. With perched bird and fox among swirling decoration and vine motif deocrating base of blade. Banded gold plated ferrule leads to mother of pearl handle, decorated with carved diagonal fluting, slightly widenning to rounded terminal.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

Trails of naturalistic red roses, green leaves and thorns decorate this sidewall. The use of dark red and dark green creates dimensionality on the flower petals and leaves. There is a secondary pattern of scrollwork printed in mica. Printed in red, green and liquid mica on an off-white ground.
Asian Motifs
George W. Shiebler & Co., American, 1876 - 1910, ca. 1885
Silver
Matchsafe

Oblong, with rounded corners and hammered surface. Front features applied sprig of  foliage on body, above which are initials (F. L.?) incised in stylized, Asian inspired font, applied butterfly on lid. Reverse features applied palm fronds on body, applied crab on lid. Chain attached to lid. Lid hinged on side. Striker incised on bottom.
Design for Berlin Wool Work
L. W. Wittich, Berlin, Germany, ca. 1860
Brush and gouache on pre-printed squared paper
Drawing

Design for wool-work on squared paper.  Acanthus leaf scroll in yellow, blue, rose.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Two sketches of faces.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a valley with mountains in the background.
Ignudo from Sistine Chapel ceiling
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Ignudo (nude figure) with head covering, located between the Creation of Adam and God dividing water from earth on the ceiling of the Sistine Chapel, painted by Michelangelo.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on cream paper
Drawing

Five branches all facing outward in all directions. From left: light brown branch with foliage, brown branch with green foliage and clusters of blooms, light brown branch with foliage, last two branches are the same green and maroon but the bottom one is half the length of the one above it.
Sewing case
, late 18th century
cotton Technique: sewn from block-printed plain weave

Rectangular piece with a pocket at one end and a pouch at the other, made from many small pieces of at least four different 18th century block-printed floral cottons on brown grounds.