biglam/cooper-hewitt-alt-text huggingface dataset:
Ornamental Vase Design
L.N. Percenet, French, born 1736, 1761-1762
Etching on laid paper
Print

Vase with two upturned handles made of stylized acanthus leaves. There is a female mascaron at the center of the vase. Two festoons of banded laurel leaves cross under the mascaron. The neck of the vase has fluting, and the base has a repeating leaf design. The vase has a tall, tapered foot with fluting. The vase is elevated on a stepped platform that extends to the edge of the image. The plate is signed and numbered.
New Fuji, Meguro (meguro, Shin-Fuji) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

The foreground contains blooming cherry blossoms trees that festooned along the Mita Aqueduct. Above shows, a pathway lingering up the summit of a replicated Mount Fuji. This mound was built in 1829 as well as other mini mounds to worship the real Fuji. Since Mount Fuji had ruptured 18 times by this time, these mini summits were a safer climb for the adventurous folks. Women were not permitted to climb Fuji because it was believed that the woman's presence would violate the mountain's sanctity. Elders and children were also dissuaded from climbing due to their fragile bodies. This picturesque landscape shows three successful people on the top of the mound admiring the real Fuji. Other figures are shown climbing and leisurely meandering below the meadow.
Architecture seen from below, design for plate 55 in Andrea Pozzo's "Perspectiva pictorum et architectorum"
Andrea Pozzo, Italian, 1642–1709, 1685–1700
Pencil, pen and bistre ink, brush and brown wash, gray water colors
Drawing

View from below of a colonnade, having a niche in the middle. On top of the lateral parts is an entablature; on top of the central one is a circular pediment. The plan of the architecture is shown in the right half. Framing black stripe, except above. Verso: Some geometrical perspective drawings in red and black crayon.
East River from Deck of Steamboat
Daniel Huntington, American, 1816–1906, 1840-50
Graphite on paper
Drawing

Three views showing landscapes on the shore.  From top to bottom: house at left, and clumps of trees, center and right; islands, left, with bluffs on opposite shore; center, rise with tall smokestacks.
Fantastic Flower Motif from Nouvelle Suitte de Cahiers de Fleurs Idéales
Jean-Baptiste Pillement, French, 1728–1808, ca. 1760
Etching a la poupée and colored inks on paper
Print

A floral arrangement, with two crossed stems. At bottom, rounded blossoms colored in purple and ochre with rounded light green leaves. Above, daisy-like formations in purple, pink, and blue, with variously colored, fern-like leaves: blue-green, teal, and orange. Upper blossoms contain bulbous botanical elements at center in colors to match the leaves.
Button
, 19th century
Foil on wood

Components -a,-c are on card C
Elevation of a church
Giuseppe Barberi, Italian, 1746–1809, 1796
Pen and brown ink, brush and brown wash (bistre) on lined off-white laid paper
Drawing

A variation of 1938-88-1229. The main differences are: the wall beside the attic of the pediment is the receding straight wall of the nave with semicircular windows in the lateral sections. A dome similar to 1938-88-1220 rises above the roof.
Portrait of Joe Wilkes
George Clint, British, 1770 - 1854, 1803
Mezzotint in brown ink on paper
Print

Half-length portrait of an elderly man in frontal view, facing downward. The sitter wears a dark coat and vest.
Project for a Fountain
, ca. 1780
Pen and brown ink, brush and watercolor, gouache on off-white laid paper
Drawing

A fountain whose central basin stands upon a high shaft expels water through a pinecone finial. Lions sit upon a lobed lower basin, with water flowing from their mouths. Figure groups surround the fountain. At front, a ruined obelisk with the suggestion of hieroglyphs.
Design for a Clock, plate 4, from Nouveaux livre de boites de pendulles de coqs et etuys de montres et autres necessaire au Orlogeurs
Daniel Marot, French, active in the Netherlands and England, 1661–1752, 1705–12
Etching printed in red ink on paper
Print

Ornate clock mounted on a pedestal ledge. Ornamental medallions, as well as variations of trim surround.
Two Sailing Ships
Frederic Edwin Church, American, 1826–1900, 1846–60
Graphite on dark gray-green paper
Drawing

Sketches of two sailing ships, left and right, at sea. The ship at left is shown in left profile, while that right is shown in right profile. Both ships have their sails fully unfurled. The ship at right is darker than that at left. Dark pencil scratches are visible in the upper left corner.
Fountain
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of three male figures and a female figure next to a fountain.
In Front of Mount Chocorua, New Hampshire
Daniel Huntington, American, 1816–1906, August 3, 1855
Graphite, white and black crayon on pale green paper
Drawing

Rocks and small bushes, below. Sketch of mountain, above.
Design for a Royal Palace in the Style of Borromini
Giuseppe Barberi, Italian, 1746–1809, 1796
Pen and brown ink, brush and brown wash on lined off-white paper
Drawing

Variant design of 1938-88-1231.
Plate from the IVe Cahier de Vases Boettes de Pendules Tombeaux &c.
Henri Sallembier, French, ca. 1753 - 1820, 1777
Engraving on paper
Print

Vases and chandeliers.
The Story of Telemachus
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and brown wash on cream laid paper
Drawing

Top: Telemachus seated beside Calypso upon a bench tells her about his travels.  The setting shows a rocky valley; Mentor leans against slope at the left.  Caption to the right: 
"3 Talemaco raonta li suoi/ viaggi a Calipso dea."  [3 Telemachus tells his / trip to the goddess Calypso]

In the left margin: sketch: enthroned Calypso listens to Telemachus, standing with Mentor before her at left.  Written in right margin:
 "Felice/chi/termina la sua/ vita in eta/ vechia come / fece Timoleone/ ad corinto". 

Bottom: a bearded priest of Apollo, who is seated upon a stone step having beside him a lyre and a roll of paper, gives a book to Telemachus, who stands at left.  A part of the temple is shown.  Caption:

 "4 Talemaco riceve un libro dall/ sacerdote di Apollo" [4 Talemaco receives a book from / priest of Apollo]
The Assumption
Giovanni Benedetto Castiglione, Italian, 1609–1664, 1660–70
Pen and brown ink on paper
Drawing

Assumption of the Virgin. At top, the figure of the Virgin Mary supported by a crowd of angels, clouds at either side. Verso: adoration of the Christ child.
Suzanna and the Elders
Laurent Cars, French, 1699–1771, ca. 1750
Engraving on paper
Print

The nude Suzanna, seated on a stone bench at a fountain, is taunted by the two elders. A terrace, left. Two-line Latin explanatory inscription, below and artist's, engraver's, and publisher's names. After painting from the Musee Rouen.
Street Scene in Popayan, Colombia
Frederic Edwin Church, American, 1826–1900, August 9, 1853
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing a street scene in the Colombian city of Popayan at sunset. In the foreground, at right, the balcony and second story of an adjacent building is visible. A wide street extends from foreground to middle distance with a line of houses at left. Mountains rise in the background, beneath a vibrant, partly cloudy sunset.

Verso: Landscape sketch of rugged, mountainous terrain devoid of trees that extends to the horizon. A large prominence rises in foreground at right.
Hot Springs, Yellowstone
Thomas Moran, American, b. Britain, 1837–1926, 1892
Brush and light blue and red wash, graphite on gray wove paper
Drawing

Recto:  Horizontal view of valley, bordered at back, at left and in the foreground by mountains.
Verso:  Unfinished sketch.
Canoe Rider on the Millinocket River, Maine
Frederic Edwin Church, American, 1826–1900, October 4, 1878
Graphite on white wove paper
Drawing

Figure sketch showing two rear views of a figure piloting a canoe on the Millinocket River in Maine. At center left, the figure wears a brimmed hat and crossed suspenders as he paddles on the left side of the canoe. He leaves a rippling wake in the water behind him. At upper right, a nearly identical drawing of the canoe rider is included, but with slightly more detail.
Lambris du dessein de Mr. Le Roux Architecte
André Basset, French, active 1749 – 1787, ca. 1765
Etching and engraving on laid paper
Print

Two sections of an interior wall elevation with rococo paneling. To the left, a section of a wall with a mirror framed by two narrow panels. The panels are decorated with rosettes, strapwork, shell, acanthus leaf, and c-scroll motifs with a trophy of arms and armor above the mirror along with palm leaves and a hanging garland of flowers. A dado level below with plain panels with molding. The elevation to the right includes large windows with a horizontal panel above, a narrow panel to the side decorated with a rosette and molding, and a mirror with an over-mirror painting to the left. The paneling features strapwork, floral, palm leaves, fleurons and acanthus leaf motifs. A plain dado level below with molding. The plate is titled, labelled, with an accompanying scale below the two elevations. The address is lettered below.
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: MON REGNE AST CELUI DES LOIS. Justitia (Justice) to right.
Ornament
, 3rd–4th century
warp: S-spun linen; wefts: S-spun linen, S-spun wool Technique: plain weave with discontinuous weft (slit tapestry) with supplementary weft wrapping Label: plain woven linen inwoven with wool slit tapestry

leaf with stem rising out of the top and thebottom
Ornements à graver sur les Boette a poudre et autres ouvrages d’orfeverie
Masson, French, active late 17th and early 18th century, late 17th–early 18th century
Etching and engraving on paper
Print

Ornament for use on boxes and other works made by goldsmiths, including designs for circular lids, friezes or borders of repeated patterns, along with box designs outlined in profile featuring strapwork, meander patterns, fleurons, flowers, scrolling leaves, acanthus leaves, rosettes, diaper patterns, mascarons (masks), and gadrooning. The designs are identified with lettered inscriptions. The plate is titled and numbered.
Ritual Performance
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This elaborately decorated structure, built on top of a restaurant, supports a man dressed in religious attire and a gold ornamented mask. The mask, adorned with a green dragon with its purple wings spread out. Each layer of the structure of this platform consists of different designs of traditional Japanese motifs. Nestled into the background is a parade filled with men in a formal procession. Men in the march support one particular figure that sits in a highly ornate structure. The neighboring rooftops are hidden by clouds to prevent the viewer's eyes from being distracted by the first performance.
Portrait of Bernard Knipperdolling, A Chief of the Anabaptists of Münster
Heinrich Aldegrever, German, 1502 - ca. 1561, 1536
Engraving on paper
Print

Half-length portrait, turned toward the right, the head shown in three-quarters view. His hands are visible, clasped before him, resting on the sill formed by the tablet below. At upper right, enclosed in a laurel wreath, a hand graspgin a sword. Monogram of Aldegrever over subject's shoulder, right. In margin, above, two lines: "WAERHAFTICH GEKONTERFET BERNT KNIPPERDOLLICK..." In tablet below: "IGNOTVS NVLLIS KNIPPERDOLLINGIVS... VITA FORET HINRICVS ALDEGREVER.... 1536"
Mixed Sketches, Syria
Frederic Edwin Church, American, 1826–1900, April 27, 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Mixed sketches from Syria showing views of rocks and boulders at center, a flat-roofed house at upper right, and a partial sketch of a mill at lower right.

Verso: Landscape sketch showing second half of a panoramic view overlooking the ruins at a village in southern Syria called Burak (also spelled Burraq). Loose stones and rocks are visible in an otherwise empty foreground. In middle distance, structures and perhaps ruins stretch across the landscape, with columns and an arch visible. The mountains of Lebanon form the horizon in the background, visible across a span of relatively flat terrain.
Soldiers of New Granada
Frederic Edwin Church, American, 1826–1900, August 17, 1853
Graphite on white wove paper
drawing

Figure studies showing six different views of soldiers in New Granada (now Colombia, in part). At left, a seated soldier is viewed frontally, with the upper halves of two soldiers in profile beside him at right. At center, a standing solider is shown frontally, with his musket resting vertically against his body. At right, the upper half of a soldier, a hat, and a soldier's head in profile are visible.
Design for a Woven Fabric
, 1840–1870
Brush and blue, cream, brown, and white gouache on oily tracing paper
Drawing

Undulated, rising fantastical acanthus stem and boughs.
Fragment of the Parthenon, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 1869
Brush and oil, graphite on tan paperboard
Drawing

Architecture and landscape sketch showing a column fragment from the Parthenon on the Acropolis in Athens, Greece. Prominently situated at center and dominating the composition, the upturned capital of a doric column or, perhaps, the base of a fluted column is shown resting upon a rock below it. It is shaded at right in some detail. The surrounding terrain is loosely rendered in broad strokes of green, brown and gray.
Sunbeams above the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, July 1867
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of sunbeams and vibrant clouds at sunset over the Catskills, as seen from a point on or near the artist's property in Hudson, New York. Along the lower margin, succeeding mountain ranges overlap one another as they extend obliquely into the distance. A bank of puffy clouds gathers just above these ridges. Above, two large beams of sunlight radiate into the sky at center left, like two spokes of a wheel. The sun itself is obscured behind a long, horizontal bank of clouds, while other wispy clouds hang above.
Bullfight, Spain
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Center, Sketch of a bullfight; Below, Partial sketches of a male figure and a bull.
Shuttle
, 19th century
wood with metal fixtures, lined with fur

Shuttle of light colored fine grained wood. Ends tipped with metal. Metal rod for holding bobbin. Opening for bobbin lined with grey fur.
Decoration in a church
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Decoration in a church.
Two Arabesque Panel Designs
Juste-François Boucher, French, 1736 – 1782, 1768–75
Etching on paper
Print

Two vertical arabesque panel designs printed on two separate plates featuring vases, incense burners, flowers, cornucopia, female figures, scrolling leaves (rinceaux), festoons of leaves, fluting, gadrooning, rosettes, a lyre, medallion with a seated woman, fleurons, sphynx, and mascarons (masks). The panel design to the left is the title page for the series. The plates are numbered.
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1581
Engraving on paper
Print

A pendant suspended from a ribbon with a bow knot. Strapwork forms a cartouche with three drop pearls. At center stands Ceres with wheat, flanked by seated male nudes with trophies. The plate is numbered.
The Royal Tombs at Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 25-27, 1868
Graphite, brush and white gouache on gray-green wove paper; verso: graphite
Drawing

Landscape and architecture sketch showing a view of the Royal Tombs in Petra, Jordan. Viewed across rocky and rolling terrain the foreground, the tombs are carved into a red rock mountainside in the middle distance at center and center right. Four ornate, classic tombs are shown, known collectively as the Royal Tombs. From left to right, they are the Palace Tomb (at center), the Corinthian Tomb, the Silk Tomb, and the Urn Tomb (at far right). The Palace and Urn Tombs especially are carved in an ornate fashion. Another group of ruins are visible around a prominence in the middle distance at far left. In the background, a rugged mountain range backdrops the scene.

Verso: Landscape sketch showing a small, unfinished view of rocky, rugged terrain with a ruin in or near Petra, Jordan.
Set Design for Scene 3, "La Vita Humana overo," from "Il Trionfo della Pieta"
Giovanni Battista Galestruzzi, Italian, 1615 – 1669, 1658
Etching on off-white laid paper
Print

A set design for an opera.  Three individuals stand at the center of a statue garden.  Along the sides are walls with vines and trees and pairs of statues on pedestals in front.  AT center a fountain behind the individuals and in the foreground a wall that wraps around and meets at the center of a two tiered monument with central arches, columns on either side and a pediment sitting on top.
Plate 3, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1662
Engraving on laid paper
Print

Vertical rectangle completely filled with swirling arabesques and acanthus leaves. Tangled at center is a nude, seen from behind.
Petite Table [et] Vuide-Poche
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a small three-legged table with a round tabletop and a wide set of drawers with stowage space. The pieces of furniture are decorated with ornament motifs including fluting, garland, rosettes, wave pattern, lam tongue, and bead and bar. The plate is signed.
Obverse: A seated young Moor (?)
Howard Russell Butler, American, 1856 - 1934, 1887
Black crayon and pencil on paper
Drawing

Vertical rectangle. Obverse: The body is turned right, the head toward the spectator. The hands are crossed under the right knee. The lower part of the right leg with the foot wearing a slipper is drawn separately above, at right. Reverse: Interior study, with desk and chair in foreground.
Frieze
York Wall Paper Company, 1895, 1890–1900
Machine-printed

Narrown green band top and bottom. Design: "Rose of Sharon". Flowers alternate, one facing top of border, the following one the bottom. Occasional leaf touched with silver. The entire paper, design and field, is slightly embossed with a woven linen effect. The entire colored printing too is printed in coarse textured linen. Printed in selvedge: "York Wall".
A Standing Man
Luigi Vanvitelli, Italian, 1700 – 1773, 1700–1773
Black crayon on paper, lined
Drawing

A man wearing a hat seen in profile, facing left, with crossed arms.
Pleated fan
, ca. 1875
Needle-lace leaf lined with silk net, ivory sticks

Pleated fan with needle lace leaf showing royal procession, lined with net. Ivory sticks. Guards have raised bumps in imitation of bamboo.
Embroidered picture
, 1800
silk embroidery on silk foundation Technique: embroidered in stem and satin stitches on plain weave foundation

Rural scene of a cottage in a landscape, with figures of two adults and one child. The embroidery completely covers the foundation fabric. In shades of cream and brown.
Stevengraph, "The Final Spurt"
Thomas Stevens, English, 1828–1888, 1885–1895
Machine-woven silk, mounted
woven silk

Two rowing shells are seen in a race. A bridge in the left distance. Trees along the distant shore. Title on mount. Verso: manufacturer's name and list of available subjects.
Cartoon for cotton printing: Les Quatre Élements
B. M. Lebert, 1759–1836, 1810–1820
Graphite on cream-colored paper, mounted
Drawing

The design is composed of four vignettes separated by wreaths, showing: upper left, Apollo and Daphne (personifying Ai); lower left, Jupiter and an eagle (personifying Fire); upper right, a river god (personifying Water); lower right, Deucalion and Pyrrha (personifying Earth). Vertical strips separate the scenes in pairs, and include trophies symbolizing the elements. Wreaths encircle the vignettes showing Air and Earth.
Plate Illustrating Front Entrance of a Standard House (“Entrée de la Maison ‘Standardisée’”)
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the front entrance.
Design for a Mass-Operational House Designed by Hector Guimard, Cross Section from the Side
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard. Design shows transversal cross section of the house
Chef de piece
Torcat & Long, c1787, 1787–90
linen warp, cotton weft Technique: block printed on plain weave

Exotic flowers and palm trees in black, two reds, blue and dull yellow. From the shape it appears that this fabric was used as upholstery on a chair. Both selvedges present. Piece seamed together horizontally near the bottom. Pattern is a sophisticated concept for this period of block printing in northern France. The design does not repeat across the width of the fabric but if lengths of fabric were sewn together correctly they would form a half-drop repeat. Height of repeat not present.
A cabinet-maker's workshop from Diderot's Encyclopedie
J.R. Lucotte, French, 1733 – 1784, 1755
Pen and ink, brush and watercolor, graphite on paper
Drawing

Paper margins. ''1'' written in ink, top right. Engraved in the same direction but with slight alterations, especially showing less of the corners, by de Fehrt; compare: Recueil des planches sur les sciences etc. vol. 4. (1765), plate 1.
Vüe de Merenbourg de Coté du Jardin
, 1730-1750
Engraving on paper
Print

Horizontal rectangle. A broad walk, bordered by topiary leads through an arch. In the center a sun -dial. Figures stroll in the foreground.
Page Six from "Toisieme Livre Contenant Des Frises ou Paneaux en Longueur Inventés Par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three ornamental compositions in sequence characterized by: First, a stork-like bird on a console; second, a putto with two dolphins on an upright shell; third, books, writing material on a console. Inscribed, upper left: "C"; upper right: "6"; lower left: "Oppenort inv."; center: "Avec privilege du Roi"; lower right: "Huquier scul. et ex."
Square
, 1876
Material: cotton Technique: roller printed on plain weave

Handkerchief printed in black and red showing as design the memorial Hall Art Gallery at the time of the Centennial, 1876, at Philadelphia Fairmont Park.
pilaster
, ca. 1730
wood (oak)

Figure in a gaine. Head turned to left.
Drawing
Felice Giani, Italian, 1758–1823, 1795-1800
Black chalk. Pen, brown ink, brown wash

Actaeon is shown de face with horns and having attacked by his dogs. Diana and her companions are beyond a brook in the left middle plane. Diana points at Actaeon. A river god holds his jar in the extreme right middle plane. Reverse: outlined oblong, pencil
Joseph's Coat Brought to Jacob
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1633
Etching on laid paper
Print

Jacob is seated, left, before the open door of his house. He holds up his hands in grief at seeing the cloak of his son, brought to him by two other sons. One of them points towards the distance with his left hand.
Fragment
, 18th century
silk Technique: plain weave with supplementary warp floats

Flowers, birds and vines on blue and white striped fabroc.
Gralin Place, Nantes
Antoine Henón, ca. 1790
Aquatint engraving on paper
Print

Horizontal rectangle.
Scene of Warfare from "Mémoires de Réfugies, etc." by Mons. Erman
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1790
Engraving on paper
Print

Scene of cavalry battle. A horseman plunges into the scene from the left foreground.