biglam/cooper-hewitt-alt-text huggingface dataset:
Gateway and Partial View of Guaranda, Ecuador
Frederic Edwin Church, American, 1826–1900, June 3, 1857
Graphite on tan wove paper
Drawing

Architecture and landscape sketch showing the gateway and partial view of Guaranda in Ecuador. At upper right, a rustic masonry gateway with a tiled, gabled roof and a lath gate is shown flanked by bushes beside a road. At center left, a partial panoramic view of Guaranda is included. Numerous gabled buildings are shown around fields of crops, with what appears to be a church in the middle distance at left. A range of hills in the background forms a rolling horizon with one house perched on the ridge at upper center.
Medallion
, mid-19th century
plaster

angel w/ infant on it's back. infant is holding a torch.
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts; Z-spun linen, Z-spun wool Technique; slit tapestry with supplementary wrapping

Medallion containing a rider on a horse with a single narrow band at the top.
Design for a Woven Fabric
, 1775–1800
Brush and green, yellow, red, and brown watercolor on white paper
Drawing

A goldfinch is perched on a bough of green leaves and a red flower resembling a magnolia bloom.
Coupe d’un batiment de trois toises de face, prise sur la longueur
A. Le Canu, French, active 1746 – 1768, ca. 1762
Etching and engraving on paper
Print

An architectural section depicting an interior of a three-storey building with the attic and basement levels included. A smaller two-storey building is adjacent on the right side. The interior depicts a staircase, and five rooms decorated with panelling and fireplaces in each room. A scale is included below the section and the whole is framed in black. The title is lettered below along with the name of the artist and printmaker. The plate is numbered ‘2' in the lower right corner.
Fragments
, 14th century
silk, metal wrapped linen Technique: lampas (two interconnected twills)

Large palmette with parts of addorsed birds in blue and tan.
Title Page, from "L'Art Universel des Fortifications Françoises, Hollandoises, Espagnoles, Italiennes et Composées"
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching on paper
Print

Athena, seated beside a table and pointing at the plan of a fortress in a book. A group of officers stand at left. View of a sieged town in the rear. The title is shown in an escutcheon held by two putti before a curatin.
One of a set of twelve projects for the decoration of wall panels, to be placed at a height. Preceded by a title page
, 1675-1699
Pen, brush, sepia
Drawing

Right side with an angel
Stage Design, Bridge Crossing Water
, early 19th century
Pen and sepia ink, brush and wash on green paper
Drawing

Horizontal rectangle. Bridge crossing water, stairs and houses at right.
Design for a Chimneypiece
, ca. 1800
Pen and ink, brush and gray watercolor on paper
Drawing

Horizontal rectangle. Design for a chimneypiece intended to be executed in white marble. At the sides two female hermae, respectively with flower and grain wreaths upon their heads. In the central frieze, kneeling putti support a garland. Below, the plan and the scale. Very similar to 1938-88-641 with a few alterations of proportions.
Design for a Pavilion
Giuseppe Valadier, Italian, 1762–1839, 1815–1835
Pen and ink on paper
Drawing

Elevation of pavilion in the Pompeian style with thin columns. Plan below.
Design for a Sofa
, ca. 1800
Pen and ink, brush and watercolor, graphite on paper; verso: graphite
Drawing

Horizontal rectangle. Design for a sofa or chaise longue shown slightly obliquely in profile, with the head at left. Below are four knobs, the wooden parts of the framework are curved. A cloth with fringes at the lower end  and with framing bands at the sides is tightened across. A curtain lies upon the head of the sofa which is elevated. Bunches of feathers stand upon columns at the four corners, their shafts shaped like turnks of palm trees, the columns higher at the head of the sofa than at the foot. Two base lines; remnants of a framing line at the right and upper edges. Verso: vertically, parts of pencil drawings, above: of a leaf scroll, below of a winged half-figure ending with a leaf scroll.
Wigwam, Niagara Falls
Frederic Edwin Church, American, 1826–1900, 1858
Graphite on gray-green wove paper
Drawing

Detailed architecture sketch showing a view of a two wigwams near Niagara Falls. Made of tree bark, the foremost structure is roughly tent-like in shape and features a rectangular portal. Another wigwam is visible in the middle distance at left, while nearby trees are loosely rendered at right and left.
Two Altar (Communion) Rail Designs
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Two designs for church altar (communion) rails featuring geometric bands, scrolling leaves, diaper and fleurons patterns, arrows, pyramids, and crosses. The upper design includes two vase (incense burners) finials. The plate is signed and numbered.
The Tetons, Shown from the Plain
Thomas Moran, American, b. Britain, 1837–1926, August 28, 1879
Graphite on paper
Drawing

Recto: Horizontal view of Teton range seen from the plain.
Verso in opposite direction: Moutainous country with a bridge crossing the river in the backgournd and a town lying on left bank.
The Union Forever
, 1864
cotton Technique: printed by engraved roller on plain weave Label: cotton printed by engraved roller
Textile

Printed cotton with a repeating design of two clasped hands with the words "The Union Forever" surrounded by a wreath of flowers, on a ground sprinkled with stars. Printed in red on a white ground. "The Union Forever" was printed for Abraham Lincoln's second Presidential campaign in 1864.
Gerandoles
Thomas Chippendale, 1718 – 1779, 1755
Etching on off-white laid paper
Print

Page from "The Gentleman and Cabinet-Maker's Director" 2nd edition.
Fragment
, ca. 1850
cotton Technique: printed

Fragment with a pattern formed by horizontal stripes of brown and white, and vertical stripes of purple and white, alternating with white ornamented with purple curved drops.
Fragment
, 17th century
silk Technique: 4 and 1 harness satin damask

Irregularly shaped fragment with dense pattern of birds and trees in green and pale yellow.
Tree
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Sketch of a tree of with foliage
Sampler
Hannah Holland, American, 1755
silk embroidery on wool foundation Technique: embroidered in cross, eyelet, stem, and satin stitches on plain weave foundation

In the center are several bands of neatly worked alphabets, a verse, crowns, the initials HH and the inscription Hannah Holland My Work in the Year 1755.
At the top and bottom are very crudely embroidered elements: birds, flowering trees, and a leopard. It seems probable that the top and bottom were not worked by Hannah Holland, the embroiderer of the alphabets.
Sidewall
, ca. 1855
Block-printed

Vertical rectangle, with fuchsias in vertical serpentine arrangement. Printed in gray and blue on white paper.
Church on a Wooded Hill, Mexico
Frederic Edwin Church, American, 1826–1900, February 23, 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape and architecture sketch showing a view of a church on a heavily wooded hill in Mexico--likely in the city of Cuautla or Miraflores. Situated on a hill in the middle distance at upper center, a sprawling church with a tall belltower is flanked by billowing treetops. In the foreground, loosely rendered treetops blanket the ascending hillside.
Portrait Sketch
Giuseppe Barberi, Italian, 1746–1809, late 18th century
Pen and brown ink, graphite on off-white laid paper
Drawing

A seated figure with one hand on armrest. Drapery behind. Letter on verso showing visibly.
Design for a Wall Monument or Fountain
, 1775
Pen and Chinese ink, charcoal on black paper
Drawing

An oval painting, showing a half reclining girl and a putto, is supported by a mermaid. A merman blowing shell horn, at right. The lateral fiure3s are incompletely shown.
Ceiling Design
Carlo Maria Pozzi, 1708
Engraving on laid paper
Bound print

Design for a ceiling with stucco strapwork along the edges as well as putti and trophies with religious attributes in the corners. The plate is signed and numbered.
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), putti, fruit, scrolling leaves (rinceaux), rosettes, and fleurons. The plate is numbered and signed.
Tree Trunk, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Oil on paperboard
Drawing

Botanical sketch of a portion of a tree trunk amid jungle foliage in Jamaica. Branches and green leaves of nearby trees are included behind. A bright flower blooms on the bottom left portion of the trunk. Gray-green ground visible at various spots throughout.
Flambeau
Jacques III Roëttiers, French, 1707 – 1784, 1748
Etching on laid paper
Print

Design for a three-armed candelabra decorated with ornament motifs including a figure inspired by antiquity, garlands, crowns, rinceaux; the candelabra is raised on scroll feet. The plate is signed and numbered.
Balcony
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a balcony and exterior wall of a building from the street below.
The Immaculate Conception
Jusepe de Ribera, Spanish, active Italy, 1591 – 1652, ca. 1640
Pen and brown ink, brush and brown wash, red chalk on white laid paper
Drawing

Drawing of the Virgin Mary at center right looking up, surrounded by flying winged putti.
Working Peasant
Carlo Marchionni, Italian, 1702–1786, 1728–78
Brush and sepia on laid paper
Drawing

A peasant working reaching into a bag filled with produce.
Two Designs for Fireplaces in Plan and Elevation, Plate 5
Jean Mariette, French, 1660–1742, ca. 1660–1742
Engraving on paper
Print

Two designs for fireplaces shown in plan and elevation, plate 5.
Garden
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a tree and shrubbery in front of an exterior garden wall.
Galerie métallique des grands hommes français (Great Men of France)
Alexis Joseph Depaulis, French, 1792 - 1867, 1822
Cast bronze
Medal

Bust of Jean François Fernel (1497 - 1558), to the left.
Keyhole escutcheon
, early 19th century
Brass

Circular, Raised boss at center, with repoussé laurel leaves.
Scrapbook of textile swatches
, 1899–1901
paper, silk

Large book of samples of silk ribbons. Bound in gray cloth. Stickers marked with a "D" are domestic manufacture.
Design for a Small Table with Vases
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a small table with a vase on the tabletop and a censer at its base. The table is decorated with fluting, acanthus leaves, pinecone feet, and a band of bound leaf. The plate is signed.
Doorway in a Benedictince abbey
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

An inscription on top of the door frame reads "BADIA - D - S - BENEDOI". Triangular pediment with an escutcheon. Rustic wall. Colored background.
Flowers
Martin Engelbrecht, German, 1684–1756, 1725-1750
Engraving on paper
Print

Bilderbogen print depicting six nosegays, disposed in two rows.
La Pesche
François Boucher, French, 1703–1770, 1749-1761
Etching and engraving on white laid paper
Bound print

Scene of two young children, a boy and a girl. The young boy holds a fish up to the girl who pulls back. The setting is a rustic landscape framed by a rocaille border of scrolls and flowers. The plate is the pendant to "The Hunt" (1921-6-203-11).
Button
, 1853–70
Brass, gilt

Two buttons. Eagle with head to left and wings spread, resting on a bar with arrows, with the words "Ecole Imperiale Speciale Militaire".

Component -b is on card F
Sidewall
, 17th century
Leather, stamped, painted, silvered

Patched piece composed of four sections of leather in poor condition.
Portrait of Pierre Seguier (1588-1672)
Jacques Lubin, French, 1637 - 1695, 1696-1700
Engraving on paper
Print

Bust length portrait in three-quarter view toward left. The sitter wears his official robe. The frame stands on an oval frame with coat-of-arms in lower part.
Stage design for a Square with Fountain
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Two views of squares with richly decorated fountain on the left side, slight difference in the architecture between both.
Tomb Carving from the Museum at Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-25, 1869
Graphite on tan wove paper
Drawing

Object sketch of a carved marble tomb in the museum of Athens. At center, the tombstone-shaped object is topped with a triangular pediment with an inlaid medallion and two torch-like decorations at left and right. The central portion is decorated with a wreath, an amphora, and a palm frond. Indiscernable writing is shown below these relief carvings.
Sampler
W.C., 1864
wool embroidery, linen foundation Technique: tent, eyelet, and satin stitches on plain weave

Flowering plant in a vase; two peacocks; initials "W.C." and "1864" within border of scrolls with flowers.
Project for the Painted Decoration of a Dome
, ca. 1750
Black chalk, pen and ink, brush and watercolor on paper
Drawing

View of vaulted halls through an arch in which a stand supports and backs a moulded frame, the bottom of which is flanked by angels seated upon a scroll and cornice respectively. A cherub is beneath the bottom of the frame in the dado. Over the arch are wedges and an entablature shown from the underside.
Plan du Rez-de-Chaussés du Château Royal de Chanteheux.
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Plan of the ground floor of the castle of Chanteheux, The plate features a key to the lettered rooms at the bottom of the plate, below which is a scale bar of "7 Toises."
Button
, late 18th century
Paper, metal foil, thread, paillettes

Folding envelope of paper with tie closure; used as a case for ten circular buttons.

On card 14
Fragment
, 17th century
silk, metallic thread Technique: plain weave with supplementary weft

Fragment with a tan ground, originally orange, with a single stiffly symmetrical stylized floral group with a palmette in an urn.
Design for Cartouche Evoking the Chase
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Cartouche decorated with elements of the chase: a wounded stag, the head of a dog, a spear, and a dagger.
Obersee, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 17, 1868
Graphite and white gouache on tan laid paper
Drawing

Landscape sketch showing a northwestern view of the lake known as the Obersee in the Bavarian alps near Berchtesgaden, present day Germany. At left, a precipitous mountainside steeply descends to a wooded shore along the water's edge. The water itself stretches from the foreground at right to the middle distance at center, where it encounters the Saletalm--a spit of land that separates the Obersee from the Königssee. Completed on the lake's southern shore, the view features the towering peaks of the Hachelkopf, at left, and the dual peaks of the Watzmann, in the background at center arnd right.
Valley of the Yemen, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 20, 1868
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of the valley of the Nahal Hatira and Nahal Yamin, known to Church as the "Valley of El Yemen," in the Negev Desert of present-day Israel. Witnessed en route to Petra from Jerusalem, the canyon is made up of sheer rock walls that are comprised of layered bands of rock strata. The nearby rocky cliffs at left and right rapidly descends to the valley flooer at center, where a road highlighted in white gouache hosts several members of a caravan--articulated as dark dots on the lightly toned path. In the middle distance, a prominent cliff face bifurcates the canyon, with a deep portion jutting off into the background at right. The scene is backdropped by a range of low but rugged desert mountains.
The Artist's Wife Sophie
Daniel Huntington, American, 1816–1906, 1853
Black and white crayon on brown wove paper, laid down
Drawing

Portrait of Sophie Huntington showing the left profile of her lowered head.
Alps over Hinterer Gosausee, Austria
Frederic Edwin Church, American, 1826–1900, August 6, 1868
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of towering, craggy alps looking west from the eastern shore of Hinterer Gosausee, near the town of Gosau in Austria. The lake's placid surface extends from the immediate foreground to the middle distance, where it is bounded by a steep and heavily wooded shore at right. Another rounded and wooded prominence is visible behind it in the middle distance at center, while in the background, the sheer karst pinnacles of Vordere Kopfwand and Gabelkogel are visible at center and right, respectively. 

Verso: Landscape sketch showing a loose and unfinished view of a rugged mountainside in the Austrian Alps. Possibly viewed above a lake, the mountain has multiple sharp peaks and a wash or waterfall down the middle of its ridge.
The Electric Light, Study for Manufactures and Liberal Arts Building, World's Columbian Exposition, Chicago, IL
J. Carroll Beckwith, American, 1852–1917, 1891–92
Charcoal and graphite on cream wove paper
Drawing

Woman kneeling on right knee, drapery across thighs; head bent backward; left arm raised to hold framework for sphere, right arm extended across body.  Below, sketch of a cat. Squared for copying.
Fragment
, 14th–16th century
silk Technique: two integrated fabric structures; plain weave plus plain weave.

Ogival forms containing addorsed birds withinb a leafy vine. In tan on blue.
Communipaw, New Jersey
Thomas Moran, American, b. Britain, 1837–1926, 1884
Etching on paper
Print

Horizontal view of a factory and other buildings across the Jersey Flats.  In the middle ground is a loading dock at left and ships and locomotives at right.
Woman's mantle (chyrpy)
, 19th century
silk embroidery, wool appliqué, cotton foundation Technique: embroidered and appliquéd on plain weave foundation Label: cotton, appliquéd with wool and embroidered with silk

Woman's white cotton chyrpy embroidered with silk and wool felt appliqué in red, green, yellow, blue and magenta. Vertical stalks of highly stylized tulips rise from the hem, and a wide solidly worked geometric border forms the collar and comes about half-way down the front. False sleeves fall down the back and are joined at the wrist by a band of red cloth embroidered in black and white. The garment is lined in part with coarse white cotton cloth and is hand-sewn throughout; the lower edge has been cut.
Snuff bottle
, 19th century
stoneware, carnelian, amber, ivory

Flattened vase shaped body of buff-colored stoneware with rounded shoulder and tubular neck. The one side landscape scene painted in red slip, on reverse, incised design of flowering branch. Stopper knob of carnelian with amber washer, ivory spoon.
Feste Bacchique
Antoine Watteau, French, 1684–1721, before 1710
Graphite, red and black chalk on two sheets of grey-brown paper, joined
Drawing

On a platform within an arabesque enframement is a scene from Don Quixote, showing Sancho Panza on a donkey approaching three figures, while in the background is a herm. Below, a landscape with a bridge within a cartouche. The frame is composed of trellis-work, garlands, and vegetal arabesques decorated with birds. Composition continued on second sheet of paper, pieced horizontally at the lower edge of the first.
Three Studies of Wall Mirrors
Felice Giani, Italian, 1758–1823, 1822
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Obverse: Parts of a painted wall and of the ceiling, showing the tent motif; door. | A wall panel with the scheme for the decoration; bottom part of a frieze with genii holding festoons, on top. | Reverse: Two pendant trophies. At right: two left parts of the elevations of capitals with Renaissance decoration. The top one shows an eagle displayed over two books.
Fragment
, 17th century
linen Technique: bobbin lace (continuous braid-like)

Two deep pendulous rounded points edged with smaller points in a rosette design.
bourdalou
Joseph Hannong, 1734–early 19th century, ca. 1775
Tin-glazed earthenware

Oval boat-shaped vessel with handle at high back end. White ground with red tulip on once side of body, red rose on other. Small floral spray at front.
Embossed wool
, ca. 1800
a-f) wool; g-l) wool; camel's hair and silk Technique: a-f) stamped and glazed ("Camblet"); g-l) stamped, glazed, moire ("Watered worsted Camblet")

Vermilion woolen cloth, firmly woven, with medium-scale design giving all-over effect of vine leaves, curving stems, curling tendtrils on stamped glazed ground which gives slightly lighter effect. B-D appear to have been washed, lighter; glaze gone. Reverse side of F is emphatically moire. Piece of red and black patterned wool tape with two ball ornaments attached to D.
Case
, early 19th century
Steel, glass, leather-covered cardboard case

Steel-rimmed spectacles (a) in a case of cardboard covered with gold tooled leather
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Head of a woman looking up and slightly to the left.
The Wedding Procession: The Bride and Groom
Hans Sebald Beham, German, 1500–1550, ca. 1545
Engraving on laid paper
Print

Vertical rectangle. The bride walks between her husband, left, and her father, right. the father grasps the garment of the girl. the three figures are turned toward the left.
Border
, 17th century
silk, Technique; woven

Border with a repeating pattern of a scrolling vine. In red, yellow green and white.
Fragment
, late 19th century
silk and metal thread and sequins on vegetable fiber Technique: embroidered on plain weave

Corner piece with small-scale conventionalized flowering vine design in polychrome silk, silver and gold with silver sequins sewn to the edge.
Bacchus, Apollo and Mnemosine; Minerva with Trophies
Felice Giani, Italian, 1758–1823, 1798–1801
Pen and brown ink, brush and brown wash over cream laid paper
Drawing

For Casa Tassinori***, Faenza, Sala di bacecx***?) Horizontal Rectangle. At left: An octagonal representation, showing a figure pouring wine into a bowl held by a man who sits beside a woman upon a bench. A lyre lies at the feet of the woman. At right: Two representations of Minerva as the patron of human activities, top. She sits, painting at a drawing of a kneeling figure, which a winged genius is busy copying. Bottom: Minerva is shown enthroned and holding wreaths over a putto and a trophy of instruments and tools of peace, and over a putto wearing a helmet and a trophy of weapons.
The Triumph of Uncle Sam
Victor Wilbour, 1917
Brush and flat oil paint, pen and red ink, crayon or color pencil on board
Drawing

Egyptian painting: Uncle Sam in right profile seated on throne at left. Female figure at right in right profile, holding balls entitled: "CUBA" and "PORTO RICO". Eagle, upper left.
Sketch of a Man
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Man in a suit standing, facing frontally, and holding a tool or rod.  This is likely a study for the central figure in the railroad mural.
Fragment
, 19th century
linen Technique: bobbin lace (Brussels-style)

Fragment of a large-scale design too incomplete to be identified. Small floral group on top and bottom, and portions of oval frames for medallions in the center.
Drawing
Felice Giani, Italian, 1758–1823, 1800-1810
Pen and brown ink over traces of graphite on cream laid paper

Oval Kneeling, Iolaus drinks from the cup Hebe extends toward him. She sits together with Hercules upon an elevation of the earth. The horses are held in the rear by a winged genius. The chariot stands behind them.  Reverse: a part of the scheme of the ceiling with a few very roughly sketched decorations, pencil