biglam/cooper-hewitt-alt-text huggingface dataset:
Pope Receiving Visitor
Belisario Corenzio, Italian, active 1590–1646, 1590–1646
Pen and brown ink, brush and brown wash, graphite on cream laid paper, lined
Drawing

Interior, striped wall, framed picture hanging; a pope, seated on a low pedestal under a rectangular canopy, speaks to a kneeling visitor. The visitor is entreating him with a document, while two cardinals flanking the pope and two courtiers at some distance to the right look on. Graphite marks of initial drawing, including sketched head of third courtier, remain throughout.
Designs for Firearms Ornament
Gilles Demarteau, Flemish, 1722 – 1776, 1749
Etching and engraving on laid paper
Print

Designs for flintlock components, center and lower right alongside various designs for firearms ornament, including trophies, musical instruments, figures and animals, armor, a globe, birds, scrolls, cartouches, shells, an urn, a crown, columns, fronds, sprigs and acanthus leaves. The sheet is signed and dated. There is damage to the lower right corner of the sheet, with part of the printed image missing.
Designs for Vertical Friezes or Pilasters
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three designs for vertical friezes or pilasters, decorated with, from left to right: Diana the Huntress; a rooster; and a grotesque with a mythological scene in a cartouche. The plate is signed and numbered.
Box and lid with portrait miniature
, ca. 1770
Watercolor painted on ivory, carved ivory, red fabric backing, gold

Round patch box with portrait miniature of a man with white wig; under glass, gold rim.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on beige laid paper
Drawing

Above: The lower part and the disposition of the pedestal upon the steps are similar to 1938-88-1315. The scheme of the upper part is similar to that of 1938-88-1297, but he lateral figures sit immediately upon the lower part of the pedestal, in the heigh of the upper edge of the body of the sarcophagus. The medallion is at right of the standing figure, probably supported by a kneeling angel, as another possibly is at left. Beside is a plan, drawn into a square. The steps are between squares at the corners and inside is anew a square. Below at left and with the uppermost parts over the upper project, is a slightly variation similar sketch. It is partly drawn over another, only begun, intending to dispose the sitting figures upon parapets, flanking the steps, and having a mere pedestal below in the center. At right is a plan, inscribed into a circle, providing for a central square, with the arms of a cross. Outside, only partly sketched is a square. Scratching. Some sepia wash at the edges.
Button
, 19th century
bronze

imperial crown over eagle with thunderbolts - missing shank - button for office of the Imperial Guard [of 1804-1815].

On card 57
Design for Brooch with Woman in Broken Pedimet
, 16th century
Pen and ink, brush and wash on paper
Drawing

A woman is seated within a broken pediment, flanked by a pair of volutes and two upright faceted gems. Three pearls hanging below.
Lit à l'Angloise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bed with a canopy decorated at the top with a bouquet of flowers, bound leaves, and rosettes. The drapery is striped, and the bedding is decorated with rosettes. The plate is signed.
Old Olive Tree and Entablature, as-Samu, Palestine
Frederic Edwin Church, American, 1826–1900, February 17, 1868
Graphite on white wove paper; verso: graphite
Drawing

Architectural and botanical studies in as-Samu, Palestine, showing a view of the cornerpiece of an entablature, supported by a partially-rendered column, with a scalloped shell set into an arch, at left. At right, a sketch of an old olive tree with a thick trunk and several boughs is included.

Verso: Architectural and landscape study of a fragment of an entablature, carved with a line of leaves above an circular medallion, at left, and at right, a view of goats dotting a sloping hillside, with taller mountains in the background.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-31: Part of a set of Italian Minchiate playing cards.50
Braziers and Ornament Designs
Alexis Loir, French, 1640 - 1713, ca.1660–1713
Engraving on paper
Print

Designs for braziers and details of ornament featuring masks (mascarons), terminal figures, male torso's, winged putto, griffins, dragon, goat, shield, eagle, festoon of leaves, foliate scrolls, scrolling leaves (rinceaux), and fish scale pattern.
Sampler
Mary Greene, American, 1766
silk embroidery on linen foundation Technique: embroidered in cross, satin, stem and back stitches on plain weave foundation

A wide floral border with a dark blue ground divides the sampler in two. Above, alphabets, numerals and an inscription:

Mary Green Her Sampler Made in the Eleventh Year of Her Age 1766 

Below, a verse: 

Beauty and Pride We Often Find
Betrays the weakness of the Mind
He hansom [sic] is and merist prais [sic]
That Handsom dos the proverb Says

The loss of a father is great
But the loss of a Mother is more
But the loss of Christ is such a loss
As no man can restore.

Surrounded on four sides by a stylized strawberry vine border.
Border
, 19th century
cotton Technique: needle lace

Pattern of flowering stem with conventionalized forms forming a scalloped border.
F.S. Church and His Work
Frederick Stuart Church, American, 1842–1924, 1894
Printed in black ink on paper
Ephemera

Clipping of article and photograph of Frederick Stuart Church for Munsey's Magazine.
La Peinture
François-Thomas Mondon, French, 1709 – 1755, 1743–48
Etching on laid paper
Print

Fifth plate form a series of seven designs representing the arts in rocaille ornament vignettes. Within a garden landscape putti sit in the foreground painting at an easel and drawing with books, a palette and paintbrushes, bottle and a sculpted portrait bust and arm in the foreground. Behind them a fantastical rococo wall, featuring rocaille, acanthus leave and shell motifs, with brick and garlands of flowers, topped with a portrait bust. Trees in the background with foliage in the foreground. The plate is titled, signed, and numbered.
The Dance of St. Mary Magdalene
Lucas van Leyden, Netherlandish, ca. 1494–1533, 1519
Engraving on laid paper
Print

In center foreground, Mary Magdalen, accompanied by a man, walks from left to right. In right mid-distance, two musicians. Numerous figures in foreground. In distance a hunting scene in mountains.
Designs for Gun Parts and Ornament
François Marcou, French, 1595 – 1660, 1657
Engraving on laid paper
Print

Designs for gun parts (flintlock and ornament) decorated with grotesque ornament, figures, mascarons (masks), fantastical animals and birds, foliate scrolls, scrolling leaves (rinceaux), fleurons, flowers, rosette, and a military trophy with a figure in armor. The plate is signed and numbered.
Rock Ledge at Stowe
Daniel Huntington, American, 1816–1906, September 1864
Graphite on cream paper
Drawing

Ledge jutting from left. Valley and mountains in distance, right.
Effect of Shadows over Cliffs, Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, September 2, 1851
Graphite and oxidized white gouache on tan wove paper
drawing

Landscape sketch showing the effects of shadows from clouds over cliffs along the coast of Grand Manan Island in Canada, possibly near Southwest Head or Dark Harbour. Ocean water comprises the foreground, with three semi-submerged rocks visible at right. In the middle distance, a rugged and stone-strewn shoreline is engulfed in shadow by clouds overhead, before abruptly ascending to sheer, rocky cliffs. Seemingly made up of basalt columns, these cliffs are defined by vertical pillars of rock. Trees and other vegetation are visible along their flat crests, while birds fly nearby. In the background at left, distant clouds are rendered in oxidized white gouache, which appears black.
Design for an Iron Banister
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron banister with decorative motifs including rosettes, lozenges, garlands, and a central crowned oval draped with leaves. The plate is numbered but not signed.
Aedicule with Coat-of-arms
, 1750–1775
Graphite, pen and ink, brush and wash on paper
Drawing

A pair of pilasters and columns with Corinthian capitals frame a window with coat-of-arms.
Portrait of an Old Man with a Beard, with Naked Shoulders
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

The man's face turned to the left, in profile, his left shoulder bare, a robe around his chest and over his right shoulder.
Man
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Recto: Sketch of a male figure wearing a hat; Verso: Sketch of a gondola on a canal in Venice.
One set of trophies of weapons of war as a decoration for horizontal panels. Intended to be engraved
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

The drawing has two borderlines, the background bearing horizontal lines. Intended to be engraved
Study for a Painting on Theme of Callisto
Filippo Falciatore, Italian, active 1737 - 1768, ca. 1750
Pen and brown ink, black charcoal on cream laid paper; verso: pen and brown ink
Drawing

Three figures of putti flying: one carrying a fish, one a goose, and the other shooting with bow and arrow at a bird; separate study of a hand and floating drapery in upper left.
Plate from 12 Stick Zum Verzaighnen Stechen Ver Fertigt (Set of Twelve Designs for Engraved Vessels)
Bernhard Zan, Germany, active ca. 1580, 1580
Punched engraving, pen and black ink, graphite on off-white laid paper
Print

Scrollwork frames a mask and clusters of flowers protrude from the sides at top. Below, two masks (a lion on the left and a man on the right) are presented above grapes and flowers.
Fragment
, ca. 1850
cotton Technique: printed

Fragment with conventionalized floral ornament on a brown ground with border; in red, blue, green and white.
Two Studies of Women Standing behind Railing, Looking at the Launching of Dories, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881
Pen and brown ink on off-white wove paper
Drawing

In upper half of composition, figures of women stand at a railing and watch the fishermen and the sea; at left is a house with a hipped roof and porch; beyond the railing, four dories are drawn up on beach.  Framing lines.  In lower half: details of three women [in a grouping similar to the one on the verso], and one dory with color notations. Verso: drawn in opposite direction: three women and a child stand behind a railing; in background are dories, heads of fishermen, sea.
Garden of Monsieur de Ste. James at Neuilly, France
François-Joseph Bélanger, French, 1744–1818, ca. 1785
Pen and black ink, brush and watercolor and gouache, ruled black border in pen and ink on white laid paper.
Drawing

View of an enclosed green garden with high clipped hedges at either side above trellis walls before which stand herms in shallow niches.  A small fountain stands at center and an architectural facade composed of trellis work surmounted by groups of putti is behind. Figure groups at left and right.
Catskill Mountains at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1860–1880
Graphite on gray wove paper
drawing

Landscape sketch showing a view of the Catskill Mountains and the Hudson River Valley looking southwest from the artist's property in Hudson, New York. A portion of the Hudson River is visible at lower left, while Overlook Mountain is prominently visible at center as the tallest and sharpest peak in the ridge. Above, numerous puffy clouds are variously lit by the setting sun.
Nakagawaguchi (Mouth of Nakagawa River) from the Series One Hundred Views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This is a lively depiction of daily life on the traditional highway of Edo. In the foreground are two thatched-rowboats near the banks of the canal, most likely carrying precious cargo such as salt, which was a commodity that was produced not too far from this location. Above are three raftsmen transporting loads of timber, which was the primary building material of Japan during this time. Just above the horizon are two boats transporting passengers. Way off in the distance are fishermen, hoping for a good catch.
Scene Inspired by Antiquity
Thomas Christian Winck, German, 1738–1797, 18th century
Etching and engraving on off-white laid paper
Print

Scene inspired by antiquity, with philosophers in the left, figures around a sculpted bust on a pedestal, and a rotunda and dancing figures at right.
Putto Ornament Design
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching in red ink on paper
Print

Ornament design featuring a winged putto (baby) holding a horn and laurel leaf crown, seated on a bunch of wrapped palm leaves, foliate branches, with fleurons motif below, and a bird. The plate is numbered.
View of the Palisadoes near Kingston, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing expansive view of the Palisadoes near Kingston, Jamaica. In foreground, dark, wooded ridgeline descends from right to left. In middle distance, the narrow tombolo of sand known as the Palisadoes extends into the horizon, with the Kingston harbor at right. Coastline west of Kingston visible in the background at right. Sky and water alike rendered in delicate, hazy tones of orange and green.
Elevation d une Porte entre deux Pilastres
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a door between two pilasters. The door features a garland of bound leaves and a rosette above the entryway. The overdoor panel is decorated with an oval medallion with script inside and a frame of beading; below the oval are crossed branches with ribbons; above the oval is a garland of leaves tied with ribbon. The plate is signed.
Title Page and Hunting Scene
Charles Dagomer, French, active 1750 – d.1766, 1755–76
Etching and engraving (crayon manner) in red ink on paper
Print

Title page with a hunting scene featuring a dog next to dead birds and a hare tied to a rifle which is leaning against a tree, next to a powder flask and a helmet or cap. Trees and foliage surrounding them. The plate is titled, numbered, and signed.
Frieze with Playing Children
, 1600–1625
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Horizontal rectangle with ten playing children. At the center, four dance. Framing lines.
Plate
, late 17th century
Glazed and lustered earthenware

Shallow bowl with slightly flared rim; central impression at inside bottom of the bowl, not visible from reverse; circular foot ring. Decorated in copper red; small animal and two stylized birds to the left and right above, amid profusion of intricate, stylized palmette and fern motifs, set off by a circle. Five-pointed pattern, vaguely reminiscent of a star, encircles the center. Reverse decorated with concentric circles.
Study for leader of the procession, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on grey paper
Drawing

A  female figure standing with left arm raised. The figure shown in the pose as in -1. The lowest part is slightly sketched.
Arabesque Panel Design
Juste-François Boucher, French, 1736 – 1782, 1775–88
Etching on paper
Print

An arabesque panel design featuring a female figure in classical dress with a basket of flowers on her head and standing on a plinth, framed by scrolling leaves, fleurons, festoons of leaves, vases, flowers, and a winged mascaron (mask). The plate is numbered and signed.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornament design of a hanging trophy framed by a garland of ribbons and sprigs of flowers and leaves. The trophy hangs from a ribbon and includes a bird, quivers of arrows, a net, a horn, powder flask, and hunting purse.
Cheminée avec son Lambris
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation of a fireplace with paneling around it and a vase set atop the mantle. The plate is not signed or numbered.
Porte-Cochère (Doors) Design
Nicolas Guérard, French, ca.1648 – 1719, ca. 1715
Etching and engraving on paper
Print

Design for a set of arched double doors carved with paneling featuring c-scrolls, mascarons (masks), flowers, fleurons, rosettes, clasps, and scrolling leaves (rinceaux). The plate is numbered. A scale below the design.
Two Galleys at Sea
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1587 – 1590
Recto: pen and brown ink over black chalk on laid paper Verso: pen and brown ink, brush and brown wash, with corrections by the artist in white opaque paint, over black chalk on laid paper
Drawing

Recto: Two galleys shown obliquely from the stern. Wind inflates the sails, one of which is decorated with an image of the sun.
Verso: A man on horseback thrusts his sword into the flank of a stag. The stage is held in place by an attendant, who grasps its antlers.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for pastoral trophies incorporating leaves, flowers, fruit, baskets, birds, birdcage, eggs, flaming torch, wheat, sickle, jug, tambourine, horn, grapes, bow, quiver of arrows, and a bagpipe or musette. The plate is numbered.
Cane
, 18th century
Malacca (rattan), burlwood, gilded brass, iron

Ridged stick with broken handle. Mounting decorated with design of palmette and ornament in bands. Brass chord loop, iron ferule and tip.
Timepiece
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Design for a timepiece.
Sketches of Figures at Ships' Railings
Winslow Homer, American, 1836–1910, ca. 1895
Graphite on paper
Drawing

Recto: Vertical sketch of a portion of a ship showing an open deck with two seamen standing at a rail and a companionway leading to a lower deck.  Two sketches of a ship's bell, and rope with block and tackle are also visible.

Verso: Two heads.
Designs for Ornamental Arabesque Motifs
Etienne de Lavallée-Poussin, French, 1735–1802, 1770
Pen and brown ink, brush and brown watercolor, graphite on paper
drawing

Top left, a mask of a human figure with horns from which are suspended tassels. Under it, a nude female figure seen frontally, seated on a sheet held in both hands, arms extended. Upper right, a motif showing a nude trumpeter standing on a rinceau, and beside him a putto astride a unicorn, and below, another putto carrying a banner. Center left, a winged herm supporting a shelf. Center, a winged terminal figure seen frontally. Lower left, two vases, one in the form of a pitcher whose handle terminates in a human figure who pours liquid into the vase over his shoulder. Lower right, two winged genii flank a medallion showing a putto seated by an urn, and below, two putti embrace over paired volutes flanking a medallion but portrait.
A Peasant's House in a Valley
Eugène Edouard Soulès, French, 1811–1876, ca. 1840
Graphite on paper
Drawing

The house is at left. Framing lines.
Design for a Frieze
Carlo Marchionni, Italian, 1702–1786, ca. 1770
Black crayon, pen and sepia ink, brush and gray watercolor on laid paper
Drawing

Three panels framed by oblongs with masks above and below, supporting festoons, whose other ends are supported in the lateral panels by masks above and below, and in the central panel by rinceaux. Inside the panels are smaller ones framed by bands, with an oval containing a shell, at left and right, and a motif of four shells in the center; rinceaux; half-figures of winged animals at left and right.
Overdoor
, 1800–1810
Block-printed on handmade paper

Goddess of classical antiquity, holding cattails in left hand, seated in a shell drawn by two dolphins which spout water. Above, a cupid with a double horn, heralding the approach of the goddess. The figures are most likely Venus in the shell-carriage and her son Cupid. Printed in golden yellow and white on a dark blue ground. Horizontal rectangle.
Design for a Cartouche
Alexis Peyrotte, French, 1699–1769, 1738–49
Etching on paper
Print

Design for a cartouche formed by scrolling and undulating acanthus leaves, feathers, shells, and flowers, with ewers, and a plate in the lower section on a plinth at the base of the cartouche. Fruit, shells, and coral to the left. Trees in the background to the left. A naked female figure is seated atop the cartouche with a putto (child), and a dolphin, framed by a large shell. The plate is signed and numbered.
Study for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined white laid paper
Drawing

Man with a beard, facing left, his left hand gesturing upwards. The lower half of his coat outlined.
Study for a seated woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on wove paper
Drawing

Nude female figure seated with her head resting on her arm.
Study of a Bowing Man (Christopher Columbus)
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite on paper
Drawing

Study of Christopher Columbus for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Study of Love-in-a-mist
Sophia L. Crownfield, American, 1862–1929, late 19th century
Brush and watercolor on white paper
Drawing

Vertical sheet depicting six stalks of love-in-a-mist with in blue blossoms.
Button
, late 19th century
pear shell and brass

Flat buttons ornamented with carving in design of many-petalled daisy - brass shanks.

On card 30
Textile
, 15th–18th century
cotton Technique: resist printed on plain weave

Fragment of a panel with a squared grid field and three-part vine border with pendant edge. White design on blue ground.
Vase
Tiffany Glass and Decorating Company, American, 1892 - 1900, ca. 1895
mouth-blown favrile glass
Vase

Urn shaped vase, with abstract striated multi-colored iridescent glaze decoration. White background. Glaze is blue, purple, apricot, green and gold.
Windows and Bookcase, Entrance Hall and Study, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite on gray-white tracing paper
Drawing

Measured drawing of windows and bookcase, variously inscribed.
Photograph of a Clock Designed by Hector Guimard within His House, 22 Rue Mozart
Hector Guimard, French, 1867–1942, ca. 1910
Photographic print on sensitized paper
Photograph

Photograph of a clock designed by Hector Guimard within his house. His signature abstracted floral motif style is present within the design of the clock.
Two Shepherds in the Campagna
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

A shepherd leaning against a tree plays the flute. Another seated upon a boulder listens. Their flocks are shown in the distance between them.
Embroidered slip
, 17th century
silk embroidery on linen foundation Technique: embroidered in counted stitches

Embroidered flowers in blue with green stems and leaves have been cut from a larger piece of canvas. Intended for applique.
Drawing
Felice Giani, Italian, 1758–1823, About 1810
Pen and brown ink brown wash over traces of graphite on cream laid paper

Colatinus together with two sons of King Tarquini enter the room from right. Lucretia is seated at left and raises her left hand in a gesture of surprise. Four maidens are with her, two of them spinning. A lamp stands in the left foreground. Reverse: Pencil lines. ???