biglam/cooper-hewitt-alt-text huggingface dataset:
Town Prosperous with Tanabata Festival (Shichu han-ei, Tanabata matsuri) From the Series One hundred Views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

The bird's eye view overlooking rooftops in a district in Edo shows Tanabata Festivities. The tall branches of bamboo are decorated with colorful pieces of paper. Written on them are hopes and wishes for the upcoming year. The silhouette of Mt. Fuji accompanies these brilliant decorations. According to legend, two deities in love were only allowed to meet once a year on this day, July seventh.
PROJET D'UN BALDAQUIN PROPOSÉ POUR LE MAITRE AUTEL DE ST. SULPICE
Antoine Hénon, French, active 18th century, mid- 18th century
Engraving on laid paper
Print

Design for a baldachin for the high altar of St. Sulpice. The baldachin features undulating, spiraling columns, and an angel holding a small canopy from a rope in front of radiating clouds at the top. The design also features garlands, scroll, rinceaux, and a cartouche. The plate is signed.
Title Page and Alcove with Mercury Approaching Herse’s Bed
Jean Le Pautre, French, 1618–1682, 1658–1703
Etching on laid paper
Print

Title page for a series of alcoves in the ‘Roman style'. The title is lettered in a cartouche in the lower center framed by leaves, c-scrolls, and shells. The scene above includes several figures and winged putti within an alcove with ornately decorated paneling, moldings, and sculptures on plinths. The alcove is framed by hanging textiles and two telamons (atlantides).
Two Arabesque Panel Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Two vertical arabesque ornament panel designs featuring leafy branches, birds, masks (mascarons), cartouche with a seated figure, fleurons, scrolling leaves (rinceaux), foliate scrolls, a vase with snake handles, and flying putti. The plate is numbered.
Funeral Ceremony
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Funeral ceremony in a church. At the upper level are well-dressed bystanders; on the ground floor are bystanders as well as church officials. The back wall is decorated with baldachins above military scenes, flanked by skeletons. The plate is signed. This is the same plate as 1921-6-201-125, although from a different printing as Berain's signature is modified.
En Bourbonnais
Armand Queyroy, 1830 - 1893, ca. 1865
Etching on paper
Print

Under a large tree, near a pool, a young woman kneels and spins before a lad lying on his stomach. Inscribed, lower left: "A. Queyroy".
Decoration for the marriage of Prince Paluzzo Altieri
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

On top a variation of -1846, bottom left. Bearded hermae with capitals are the supports. The portrait of the Pope is to hang at the entablature. A torch is the support of the lower frames. Bottom partly drawn over the supports of the upper design: a variation of the scheme of 1901-39-1447. The top of the upper frame is flanked by tassels, hanging from the keys. The lower portraits are oblongs which are not separated. They are supported by two crossed cornucopias. Putti are shown behind the outer upper corners of the frames. Colored background.
Section of a Villa
Francois Soufflot, called Le Romain, French, 1802, ca. 1780s
Pen and black ink, brush and rose, blue, black and gray watercolor on paper
Drawing

Section of a villa with three rooms.  Steps lead to the front and rear entrances of the main floor.  The frame is in the rear of a portico and leads to a hall behind which a love room is attached.  A wall panel with a statue is shown there.  It is flanked by two doors from which stairways lead up and down where a room in trellis architecture is suggested.  There is an indication of the scale at lower margin, at the center.
Tile
, late 18th century
Lead glazed earthenware

Horizontal rectangle. Standing figure of peasant woman, head three-quarter to the left. Wears blue bodice, white scarf, white apron and full skirt, yellow shaded with brown. Palm tree at right.
Title Page
Pietro Metastasio, Italian, 1698 – 1782, 1769
Etching on laid paper
Print

Title page for the tenth of ten volumes of poetry by Metastasio. The title, address and date are lettered within an ornamental border, c-scrolls, shell, scale, acanthus leaf, and palm leaf ornament, fleurons, garlands of flowers, tasseled textiles, clouds, and central trophy including a helmet, crown, and tazza.
Mixed Sketches around Jaffa, Palestine (Tel Aviv, Israel)
Frederic Edwin Church, American, 1826–1900, possibly 1868
Graphite on white wove paper; verso: graphite
Drawing

Mixed sketches around Jaffa, Palestine (now Tel Aviv, Israel) showing multiple architectural details, as well as a sketch of a date palm and a figure riding camel, viewed from behind, at left. In upper left corner, a rectilinear building with an arched facade is shown from below. Throughout right half of leaf, sketches of a column capital with acanthus leaves, the facade of a building with a triangular gable, and a vaulted ceiling are visible.

Verso: Landscape sketch of a mountain known to Church as Jebel Sunim in present-day Israel or Jordan. Flat foreground extends to middle distance, where hills begin to rise. Three small structures are visible on the lower slopes. In background, the flat peak of a tall, rugged mountain looms over the landscape.
Grille d'Eglise pour les Coeurs
Richard de Lalonde, French, active 1780–96, 1789
Etching on off-white laid paper
Print

Design for an iron gate, decorated with a cross at top with a sphere encircled by a serpent, and with flaming urns on the side. The plate is signed and numbered.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

Scrollwork, axial vase with green foliage, red/white and blue/white flowers
Decorative Design
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Black and red crayon on grey paper
Drawing

A circular niche, framed by two hanging leaves, upon which two figures are shown playing musical instruments and two others sing from a book. Two putti crouch over the niche.
Haystack Mountain from Littleton, New Hampshire
Daniel Huntington, American, 1816–1906, September 15, 1879
Graphite on paper
Drawing

Haystack Mountain in center, towards the right, with mountains beyond and a ridge below.
The First Collection of Paintings by Frederick S. Church Ever Shown.
Frederick Stuart Church, American, 1842–1924, 1890
Printed on black ink on paper
Ephemera

Article clipping from Detroit Free Press on Frederick Stuart Church
Illustration for Hamlet: The Death of Hamlet (V,2)
Eugène Delacroix, French, 1798 - 1863, 1843
Lithograph on paper
Print

The Death of Hamlet (V,2)
Three vases
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Black chalk on paper.
Drawing

At left: a dish-like vase with two handles obliquely shown.  A fret band, interrupted by masks, two of which are visible, surrounds the body.  A bird picks food.  At right, above: in a smaller scale a vase shaped like a mortar obliquely shown.  Below, obliquely shown, a vase with two handles.  The lower part of the body is bossed.  The left one is apparently standing upon a wall, The other one upon raised walls.
Écuelle
Sèvres Porcelain Manufactory, French, established 1756, ca. 1766
soft paste porcelain, vitreous enamel, gold
Ã©cuelle

Circular dish (a) with two vertically set handles, interlaced and splayed in foliate form at join with wall of dish.  Cover (b) double domed, with handle in form of olive brance with leaves and olives.  Bowl and cover decorated with polychrome floral sprays; blue band and scalloped gilt band at mouth of bowl and edge of cover.
Flounce
, mid- 17th–early 18th century
linen Technique: needle lace (commonly called Rosaline)

Venetian Rose point in a design of tape-like scrolls with delicate palmettes and roselike forms.
Urn in front of a niche
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Black crayon on paper.
Drawing

With a cover above the projecting rim.  The lower part of the body is fluted.
Figure Studies
François Boucher, French, 1703–1770, 1735
Etching on paper
Print

Figure studies / sketches on a single plate. A Woman holding a wrapped baby or child in the foreground with a basket at her feet, three male figures standing barefoot in the background. The plate is signed and numbered.
Design for a Sofa
Brothers Santi, Rome, Italy, 1800–20
Graphite, pen and black ink, brush and gray watercolor on paper; verso: graphite, pen and ink
Drawing

At left, the elevation of a sofa divided into three sections, the arm shown at the left.  At right, the left end of the sofa shown in profile.  The sections are bordered below by the legs, at the back by tripods. Above the upholstery is a frieze, divided in panels with acanthus scrolls fastened by a wreath, and pilaster strips, above the tripods and the arms, with acanthus leaves. The arms are supported by half-figures of animals with acanthus scrolls. Their left legs lie upon a cup. Colored base strip scale at bottom. Verso: sketches referring to frames of looking glasses and mouldings with inscribed captions.
Design for a Domed Classical Temple with Portico
Unknown, Italian, ca. 1780
Pen and brush and black ink, black wash, blue and brown watercolor, black chalk on heavy cream laid paper, ruled border in brush and black ink
Drawing

Circular, domed temple in elevation and plan, with a portico and triangular pediment.  Portico supported by Corinthian columns which also decorate the temple exterior.  Frieze above door with siren whose double tail ends in rinceaux design; panels on either side of door with rinceaux or fish relief.
Sidewall
, 1920
Block-printed paper, embossed, hand-rubbed oil finish

Imitation leather. Geometric design of interlacing strap work studded bands in both curves and straight lines around a large voided central panel. Field is plain. Entire design is embossed and is antiqued by hand.
Fragment
, 19th century
silk, metallic thread Technique: plain compound weave

Border fragment with five disk motifs between narrow bands of floral ornament of white, blue and silver.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1882
Graphite on wove paper
Drawing

Sketch of street scene in Venice.
Button
, 19th century
silver, colored glass and turquoise

two buttons of silver filigree set with pieces of colored glass - b/: convex button; turquoise in top; red, blue, green and purple glass in sides - c/: flat button with red glass in center, a turquoise at each corner.
Sidewall
Jean-Baptiste Réveillon, French, 1725–1811, ca. 1780
Block-printed on handmade paper

Design simulating ribbon-like brocade, with vertical stripes of white line-work and vertical rows of pink flowers, singly and in sprays. Vertical rectangle.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for trophies incorporating leaves, flowers, scientific instruments, thermometer, armillary sphere, telescope, a cross, lilies, head of a deer, horn, arrow, bow, lyre, music, palette, paint brushes, arms and armor, quiver of arrows, basket, nets, and a banner. The plate is numbered.
Ring
, mid-19th century
Gold, rose diamonds

Gold ring separating into two bands on which is an ornament of a flower (made of gold) with petals of rose diamonds.  At the sides of the ring are small flowers with rose diamond centers.  Two small diamonds missing.
Design for the Embroidery of the Left Bottom Corner of a Man's Waistcoat of the "Fabrique de St. Ruf," "Gilet" Design, Unfinished
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Rectangular bottom corner. Four buttonholes and the lower part of a fifth one are shown, with feathery outlines. Lilac edge with a rose garland beside. Small flower boughts and dots decorate the pocket from the bottom edge of which three rings are suspended, carrying festoons. Ears of grain hang from the top of the ring, in the center.
LA POESIE
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Allegorical print representing the art of poetry with two winged putti in the clouds. The putto to the right is writing on a scroll of paper, while the other looks over him, holding a crown of laurels above his head and a lyre in his right hand. In the foreground, a book and two birds, and in the background to the right, a horn and crown. The plate is titled, signed, and numbered.
Title Page (recto)
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

On the recto, the title is printed in the center of the plate, surrounded by winged putti borne upon clouds. At the top, the clouds terminate in an architectural ledge with plants, flowers, and garlands, and on which rests more putti who also hold up a shield adorned with a massive ship and fleurs-de-lis. The verso of the page provides a description of the frontispiece (1921-6-207-2). The verso is signed at lower right with the name of the calligrapher.
Design for a salon wall
, 1770-1790
Pen and Chinese ink, brush and watercolor, graphite on paper
Drawing

The elevation section and the plan are show. A chimney piece with an arched mirror as an overmanel, flanked by two embedded comlumns, the pedestals are monogramed with CP and MD, respectively. Folding doors are placed laterally. The overdoors represent: painting, architecture, poetry, and music.
Design for a Hot Water Spout
, late 18th century
Graphite, pen and ink, brush and sepia wash, gray, yellow watercolor on paper
Drawing

Vertical rectangle. Design for a hot water spout, attached at a wall, intended to be executed in yellow and white metals. A flying angel in clouds supports with both arms the bowl. Vertical graphite lines at edges and on verso.
Sidewall
, ca. 1890
Machine-printed

Two joined widths of paper printed with a repeating design of scrollwork, printed in three shades of brown.
Design for the Embroidery of a Main's Waistcoat
, 1780–1790
Traced, graphite, brush and gouache on paper
Drawing

Unfinished design for the left bottom corner. Flower boughs and lace festoons uner the pocket. Waved garland and flower and fruit boughs along the left edge.
Tureen and cover
, ca. 1760
Tin-glazed earthenware, polychrome overglaze enamels

Oval tureen with domed lid. Scrolled feet and handles decorated with foliage edged in violet. Edge of tureen and lid decorated with pink bands and peigne scallops. Cover has finial in the form of a mushroom and turnip. Scattered floral bouquets painted on surface. Coarse craquelure.
Vase, Busts, and Arabesques Ornament Designs
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Ornament designs with neoclassical motifs. Upper center - a lidded vase decorated with the head of Apollo and fluting around the body, flanked by two portrait busts of young boys. The vases and the busts are on stone base decorated with two lions, snakes and scrolling acanthus leaf motifs. In the lower center, an arabesque ornament design featuring scrolling acanthus leaves, terminal heads, a vase, garlands of leaves, and incense burners. The plate is signed and numbered.
Suite du Jardin St. James
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating various garden vases, fountains, pavilions, and monuments with elevation and plan views, featuring Turkish, Empire, and Gothic motifs and ornament. The plate is titled, signed, and numbered.
Sailboat and Crashing Wave
Frederic Edwin Church, American, 1826–1900, June 1845
Graphite on white wove paper; verso: graphite
Drawing

Mixed, loosely-rendered sketches showing, at upper center, a single masted sailboat viewed in right profile, while, at lower center, a crashing ocean wave is show frontally as it stretches across the composition.

Verso: Figure sketch showing a group of men and women gathered in a semicircle and viewed from the rear. At center, three women are shown wearing bonnets and shawls, while the head of a man wearing a brimmed hat is visible between their shoulders at center. At left, another man lies on the ground on his side. At right, other figures, or perhaps plants, are loosely-rendered.
Glauco and Scylla, study after Agostino Carracci
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brush and brown wash, over black chalk on white heavy wove paper
Drawing

Upper left, Venus or Sea Nymph, embraced by Sea God, accompanied by nymph and two winged putti, one on dolphin. Upper right, airborne angel playing violin. Lower left, kneeling Satyr (or Pan?) struggling with Cupid, pan pipes on ground at lower left. Lower right, airborne cupid whipping satyr tied to tree.
Exterior, Teatro Filarmonico, Verona
Francesco Galli Bibiena, Italian, 1659–1739, 1731
Etching on paper
Print

Horizontal rectangle. The lower right part similar to that of 1938-57-1385. The structure is shown from the left corner of the front. At left: part of a door of the town, and part of a house. People and a carraige are in the street. Above, at right: "Tav: IV. /"
Gray Bird on Branch with Tulip, Snapdragons, and Forget-Me-Nots with Butterfly
, ca. 1800–1830
Pen and ink, graphite on coated wove paper
Drawing

Gray Bird on Branch with Tulip, Snapdragons, and Forget-Me-Nots with Butterfly
Piedestal en Balustre. Cassolette. Imposte et Archivolte composés.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

From left to right, designs for a pedestal in the shape of a baluster, and with bands of bead, egg and dart, acanthus, and bound leaf ornamentation; a cassolette for burning perfume or incense, with a thin, fluted shaft, drapery, and a foot of stylized acanthus leaves; and an impost and archivolt of a composite order with a scale bar of "2 Modules." The plate is signed and numbered.
Cup and saucer
, early 19th century
Tin-glazed earthenware with overglaze lustre and gilding

Circular cup and saucer bordered with an undulating vine in red showing leaves and fruit. Detailed in copper lustre.
Christ before Caiphas
, 1550–1600
Red crayon, brush and bistre wash on paper
Drawing

Horizontal rectangle. The high priest is seated upon a throne, at right, and apparently tears his clothes. At left is a group of Christ and his guards. A spectator stands at a door in the center. Signed on recto, (possibly authentic): "Johannes Stradano."
Banquette de Croisée à la Royale
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a long bench with striped fabric and pillows. The chair construction is carved with rosettes, fluting, acanthus leaves, lamb tongue, and bound rod ornamentation. The plate is signed.
Study for "The Common Law," "The Reign of the Law," Appellate Division Court House, New York, NY
Kenyon Cox, American, 1856–1919, 1898–1899
Graphite on paper
Drawing

A female figure is reclining with arms extended. The paper is squared for transferring the image.
Sidewall - fragment
, 1770–80
Block-printed on handmade paper

Portion of an urn with floral sprays. Printed in green, blue, black and faded pinks. The paper is not white, but a light brown, and has a coarse texture. Formerly used as a book cover.
Design for the Embroidery of the Top Part of a Man's Coat, Pattern No. 1410 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

A bunch of flowers apparently placed in a buttonhole. Part of it reaches to the lapel in which a buttonhole is shown.
Diagram of a painting by Gonzales Coques and others, "Interior with Figures in a Picture Gallery," 1672 (Mauritshuis)
Gonzales Coques, Flemish, 1614 - 1684, ca. 1700
Pen and sepia ink, brush and gray wash on paper
Drawing

Interior of a large gallery, the walls of which are lined with frames containing written inscriptions referring to the pictures to be contained therein. A view through a central arched opening reveals a corridor, and another gallery beyond it. In the foreground, the collector and his family are beside a table on which sculptured objects are displayed.
A Saint's Vision of the Cross
Francesco Saverio Mergolo, Italian, 1746–1786, ca. 1800–20
Pen and brown ink on paper
Drawing

Vertical rectangle. Figure of a saint at left, cherubim at his feet, guided by an angel to look up into the parting clouds to a vision of the Christ carrying the Cross accompanied by the Virgin Mary. Composition contained within ornamental outline with arch at top.
Trimming
, 18th century
silk

Yellow trimming fragment in a zigzag design with open flowers. Triangular spaces filled with lines meeting at right angles.
Repeating Pattern Designs for Borders
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching on laid paper
Print

Six horizontal designs for ornamental borders featuring arabesque motifs. The designs include repeating patterns of flowers, sunflowers, cornflowers, leaves, fluting, ribbons, wheat stalks, and beads. The plate is numbered and signed.
Oil lamp
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

A round plinth with bands of acanthus decoration supports a column upon which sits a semi-nude woman holding a aloft a flaming brazier in her left hand. At her side, Cupid with his quiver stands on one foot.
Elevation d’une Fontaine
Ennemond Alexandre Petitot, French, 1727 – 1801, 1755–1768
Etching on laid paper
Print

A design for a fountain within an arch, flanked by columns, with a colonnade in the background featuring columns, capitals, friezes, and a coffered arch, with figures sculpted in relief and free-standing sculptures on top of the colonnade. A seated female figure with a lion and anchor at her feet sit on a plinth at the top of the fountain. Below her two mermaids and a merman sit on the edge of the bow of a ship. The bow is decorated with a frieze of acanthus leaf ornament and a laurel leaf garland. Water pours out from the hawse holes onto rocks and reeds below. The title and dedication are lettered below. The plate is signed and dated.
Ironwork Gate Design
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Design for an ironwork screen with a gate for Wimpole Hall, Cambridgeshire, United Kingdom, featuring floral vase finials, scrolling leaves (rinceaux), foliate scrolls, fleurons, terminal animal heads, foliate branches, and a crown. The plate is signed and numbered.
Design for a Vase on an Octagonal Pedestal
Joseph Anton Seethaler II, German, 1799–1868, 1827–35
Pen and black ink, brush and wash on paper
Drawing

Sphinxes project from the oblique sides of the pedestal which shows farther up a palmette fringe. Satyr masks and a grapevine festoon decorate the concave top section of the vase.
Design for the Embroidery of a Man's Waistcoat of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, gouache on paper
Drawing

The borders show flower boughs along the insides of a moulding. The top of a forked tree grows into the pocket and the right fork beyond it.
Finishing the Toilet
Constantin Guys, French, 1802 – 1892, ca. 1858
Pen and brown ink, brush and blue and brown wash on paper
Drawing

Vertical rectangle, bevelled corners. A lady seated in a chair by a table on which is a lighted lamp.  She wears a full skirt, an apron, and a cap on her head.  To the left is a male hairdresser in a smock and behind her at right a maid, both arranging her hair.
Custard Cup (Pot à Crème)
Mennecy Porcelain Manufactory, French, active 1735 – 1773, ca. 1770
soft paste porcelain, vitreous enamel
cup

Full-bellied cup (a), with spiral ribbing and simple loop handle; domed cover (b), with twisted ray ribbing and knob in the form of an apple with leaves. Cup and lid decorated with polychrome floral sprays.
Designs for Gun Parts and Ornament
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Engraving on laid paper
Print

Designs for gun parts (flintlock and ornament) decorated with grotesque ornaments, mascarons (masks), fantastical animals, sphynx, angels, Royal French coat of arms, arms, and armor, scrolling leaves (rinceaux), rosettes, and fleurons. The plate is numbered.