biglam/cooper-hewitt-alt-text huggingface dataset:
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738–45
Engraving on off-white laid paper
Bound print

Folio 7, plate 6 of series 6. Both designs for decorative rocaille panels cconsist of ornamental scrollwork. At the center of the left panel, a mountain landscape scene with two putti holding flowers in the clouds above. At the center of the right panel, a landscape scene with a seated female figure wearing a crown and holding a large obelisk. A putto holding a banner and another carrying a branch surround her.
The Trinity and the Apostles, St. Peter and St. Paul
Gaetano Gandolfi, Italian, 1734–1802, 1770–80
Black chalk, pen and ink, brush and bistre wash on paper
Drawing

Sketch of the kneeling St. Peter revering St. Paul standing and leaning upon his sword with left hand upon a book which a seated child holds, as he looks up to the Trinity appearing upon clouds. An angel stands behind St. Peter and raises the keys with his left hand. At left stands Faith or Religion, a woman with the Cross and with chalice and the Host.
Design for a Sofa
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Design for an upholstered sofa with a carved frame featuring a cartouche, shells, scrolling leaves, festoon of laurel leaves, laurel leaf molding and flowers. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Engraving
, 18th century
Black ink and watercolors on paper

Horizontal strip: deer hunt. In center, a deer holds two hounds at bay while a horseman and hound approach from the left. In brown and various shades of green.
Man on Deck with Ship's Bell
Winslow Homer, American, 1836–1910, February 5, 1895
Charcoal on paper
Drawing

Horizontal view of a man on a deck, at the bow of a boat, with a ship's bell.
Trophy Design
Jean-Baptiste Huet, French, 1745 – 1811, 1772
Crayon manner etching in red ink on laid paper
Print

Second plate from a series of four ornament prints of designs for trophies. Hanging from tied ribbons - foliate branches, flowers, wings, flaming torch, quiver with arrows and four bows through small hearts. The plate is numbered, dated, and signed.
Three capitals of pillars, with alternative suggestions
Filippo Marchionni, Italian, 1732–1805, 1780–1800
Pen and black ink, brush and brown wash, graphite on off-white laid paper
Drawing

Above: in the center, the head of a girl, with a bowknot above it, the ends of the ribbon being supported in the manner of festoons by a ram, at left, a dog, at right. center: in the center, above, a head with horns above a bowknot. Springing from it a drapery supported by the half figure of a dragon, at left. A festoon supported by a volute, at right. below: in the center, a woman's head supporting festoons, the opposite ends of which are supported at left by a griffin, at right by a head. Sections of the pillar below. Verso: acanthus leaf in green gray washes. In the upper right corner remnants of numbers.
Three Frieze Designs
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

A larger ornamental frieze above with two smaller designs below with scrolling leaves (rinceaux), flowers, foliate branches, mascarons (masks), fleurs-de-lys, putti, sphynx, and the French royal cipher with the interlaced L's topped with a crown.
Panel Designs of Grotesque Ornaments
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two panel designs of grotesque ornamentation. The upper panel has a central oval rondel with Venus disarming Cupid. It features motifs such as birds, masks, garlands, trophies, scrolls, snails, and monkeys (singeries). The lower panel is divided into three sections, and is comprised of motifs of: sphinxes, scrolls, masks, birds, baskets of flowers, and putti. Both plates are unsigned but feature the letter "L" at the bottom.
Design for a Ceiling Decoration
Gravelot, French, 1699 - 1773, active in England, ca. 1750-1770
pen and ink, brush and watercolor on white paper
drawing

In the center, within an arabesque of vine tendrils, Diana on a cloud, running. At either end, on stages supported by arabesques, Minerva, left, and Apollo, right, accompanied by other figures. At the bottom and top center, smoke emerges from urns atop altarpieces. Music-making figures disposed about the composition.
The Canadian Bank, Niagara Falls, Canada
Frederic Edwin Church, American, 1826–1900, August 1858
Graphite and oxidizing white gouache on tan wove paper
Drawing

Landscape and botanical sketches showing views of the Niagara River from the Canadian bank, a fallen tree stump, a pinecone, and a bird. The view of the river dominates the composition, with the nearby bank visible in the immediate foreground, strewn with rocks and small vegetation--excepting for the rightmost portion, in which a group of spindly and twisting trees with largely barren branches hangs over the water's edge. Reflections and foam in the water are rendered with white gouache. At lower left, a detail of a pinecone on a branch is shown in some detail. Above it, a rotten tree stump lies on its side while, beside it, a small bird is shown in left profile.
Ornamented Gueridon Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two ornamented gueridon designs. The tripod table at left has a tasseled top, putti carrying crowns, military trophy, mask, garland, and standing figures. The table at right features censers, winged masks, sphinxes, and dolphins. The plate is signed.
Ornamental Vase Designs
Théodore Bertren, active in France, 18th century, 1772
Engraving on paper
Print

Two vases, one above the other. The vase on top has a bouquet of flowers spilling from its mouth. The neck has spiraled fluting and a stylized acanthus leaf pattern at its base. 2 double looping snakes form the handles. The vase on the bottom is in the shape of a pitcher with a scalloped mouth and a single handle. The vase has a ring handle on either side and gadrooning at the bottom. The plate is signed and lettered.
Mt. Katahdin from Katahdin Lake, Maine
Frederic Edwin Church, American, 1826–1900, probably 1876–1881
Oil on paperboard
Drawing

Landscape sketch showing a loosely rendered view of Mt. Katahdin from the eastern shore of Katahdin Lake. The light blue surface of the lake comprises the foreground and extends through the middle distance until it encounters various island and the heavily wooded opposite shore. Rendered in a tone of purple-gray, Mt. Katahdin and its associated ridge are crowned in a low-lying bank of puffy clouds. A variety of clouds hang in the otherwise blue-green sky above.
Project for the Decoration of an Oblong Panel
Etienne de Lavallée-Poussin, French, 1735–1802, ca. 1780
Brush and watercolor, graphite on white laid paper
Drawing

A lyre form is composed of two cornucopias from which below stems rise.  They are connected above by a vase. The vase contains flower stems and spikes around which is a wreath with blue flowers. From the upper spirals hangs a ribbon with two entwined wreaths. The poins of the cornucopias are fastened together and connected with a caduceus by a ribbon.
Croisée en plate bande
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for casement windows with an awning projected by fluted brackets, and a balustrade at the base. At upper left is the profile of the awning. The plate is signed.
Teapot and cover
John Turner, Lane End, Staffordshire, England, 1759 - 1780, ca. 1785
Enameled stoneware

Silversmith's shape: oblong with four bowed panels alternating with four rectangular panels containing niches; long ogee spout, rectangular flat handle. Oblong domed cover with strap handle, sliding in grooves in top of pot. Relief decoration in polychrome showing classical figures in the bow panels; vines in niches; lotus and anthemion band about cavetto shoulder, leaves on handle, spout and cover.
L'Ouye (Hearing) from the series Les Cinq Senses (The Five Senses)
François Boucher, French, 1703–1770, 1720–1770
Etching and engraving on paper
Print

Two allegorical figures, one standing (left), one seated (right), surrounded by instruments demonstrate the sense Hearing. The standing, robed figure is poised to strike a gong with two mallets. The seated figure plucks a stringed instrument, and another stringed, lute-like object rests at their feet.
Projects for a pedestal and a console
, 1700–1750
Black chalk, pen, ink, sepia wash, paper
Drawing

At left: the pedestal: slighly obliquely shown. A narrower section is in front of a wider one. They have volutes at the bottoms and are supported by claw feet. A mark between scrolls and in the center of festoon is in the top center. At right: front view of a festoon showing a harpy with fish tail and legs before a pedestal. The harpy is shown in profile as a detail in the center.
The Kangaroo and the Camelopard
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Short story about a kangaroo in love. Left, giraffe with neck lowered. Lower center, kangaroo with head turned to face giraffe.
Console Table
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Elevation of a console table supported by two columns with lion feet. A frieze with two birds and rinceaux.
Fragment
, ca. 1890
cotton Technique: machine made

Machine net ornamented with small embroidered wheels scattered over field between two borders of overlapping ovals containing wheels.
Decoration of an Oblong Panel and an Escutcheon
Filippo Marchionni, Italian, 1732–1805, ca. 1725
Red crayon, brush and brown watercolor and wash on laid paper
Drawing

Vertical rectangle. Top center: first section of an acanthus rinceau. Bottom left, horizontally: the right half is shown. Two acanthus rinceaux originating from the scrollwork frame of an ovoidal medallion. Bottom right: the left half of a scrollwork escutcheon with a lion mask on top, a fans mark at the bottom. Framing red lines.
Landscape Sketch, Walker Pond, New Hampshire
Daniel Huntington, American, 1816–1906, September 10, 1862
Graphite on grey paper
Drawing

Shore in foreground, with pond and mountain beyond.
Girl Holding a Shell
Winslow Homer, American, 1836–1910, 1879
Charcoal on white wove paper
Drawing

Vertical view of a girl, shown in right profile, holding up a shell
Sketches, The Virgin Enthroned and the Virgin and Child Enthroned
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Sketches. Above, the Virgin Enthroned, below, Virgin and Child Enthroned with classical elements and angels.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-17: Part of a set of Italian Minchiate playing cards.50
Un Uhlan
Edouard Detaille, French, 1848–1912, ca. 1874
Etching in dark brown ink on white paper
Print

A cavalry officer is seen riding his steed from the right, front. His head is turned to the left and he carries a long spear in his right hand.
Gaines et Pieds de table
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for pedestals and table legs. The design at left has fluted legs with capitals of acanthus leaves, and a table top design with ribbon twist and branches, and a pinecone at the base. The design at right features ornament motifs including ribbon twist, egg and dart, and rosettes. The plate is signed.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a conventionalized design in yellow on green ground between green and white borders.
Project for a Chimneypiece
, ca. 1790
Graphite, pen and ink, brush and watercolor in paper
Drawing

Elevation if mantelpiece. At center, a tablet with four dancing women. On either side, swags and bucranium. Above this, a ceramic vessel. At left, profile view.
Design for Ceramic Stove
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1731–68
Engraving on paper
Bound print

Design for an interior wall with a curved niche containing a ceramic stove. The central panel of the stove's decoration contains a scene of three winged putti amongst clouds, two of which hold flaming torches.
Design for a Sedan Chair
, 1770–75
Pen and ink, brush and various water colors on paper
Drawing

Shown in profile turned right is a window with a curtain.  In the panel beside hands a garland from a bow-knot and rises a scroll obliquely from the lower right corner.  The panels above and below the bar, which is decorated like 2 with festoons hanging from a horizontal rope.  At the upper corners of the central panel are cornucopias.  The roof is triangular and has on top and the lower corners royal crowns.  Tassels hang down.
Sidewall
, 1885–95
embossed, mica ground

Full widths, (A) giving one and one-half repeats, (B) one-half repeat. Drop-repeating pattern of floral sprays surrounded by wreaths, with vertical bands composed of wide and narrow stripes and axial foliate bands. Paper embossed with horizontal ribbing. Printed in grays and white, on shiny mica ground.
Sidewall - fragment
, 1825–30
Block-printed

Vertical rectangle with repeating pattern of foliate scrolls and conventionalized floral motif. Printed in yellow, blue, black and white on red ground.
Design for a Domed Ceiling
, ca. 1680
Pen and ink on paper
Drawing

One half is shown. A double arch with brackets, a wedge of a pilaster with a balustrade represent the architectural structure. Putti upon it busy themselves with garlands. Two escutcheons upon the arches.
Design for the decoration of a panel
, 1760–1780
Black chalk, brush and watercolor on paper
Drawing

The upper corners are curved. A censer stands in the center; a dog is at left, musical instruments lie at right. Festoons have above.
Vernal Falls, Yosemite
Thomas Moran, American, b. Britain, 1837–1926, 1904
Brush and gray wash, white goauche, graphite on gray wove paper
Drawing

Vertical view of rocky crag with two cascades in right foreground; South Dome rises in center of background.
Study for the Fifth Avenue Elevation of the New York Public Library
Whitney Warren Jr., American, 1864–1943, 1897
Graphite, brush and ink, pen and ink on tan paper
Drawing

Horizontal building with rows of windows and cornices. No lions are shown, but the word: Lion, is written at right in the steps.
Devices
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Page of sixteen devices, or emblems, set within leafy oval frames and with a banner filled with Latin inscription. There is also Latin writing below each device. The plate is signed.
Church of San Salvatore, Venice
Jules Guerin, American, 1866 - 1946, ca. 1900–1910
Chromolithograph on paper
Print

View looking across a canal at the Palladian façade of the church. Fishing boats with colorful sails drawn up near the entrance to the church.
The American Falls in Snow, Niagara Falls, New York
Frederic Edwin Church, American, 1826–1900, March 20, 1856
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of American Falls from the northwest, on the opposite bank of the Niagara River. The river's swift waters flow from right to left through the foreground. Frontally viewed, the American Falls spans horizontally across the middle distance at it drops ribbons of flowing over its craggy edge. The immense boulders and rocks at its base are covered in snow and ice, highlighted in white gouache. At left and right, cliffs topped with trees hem in the falls. The cliff at right belongs to Goat Island. Throughout the scene, hazy mist is rendered in white gouache. 

Verso: Unfinished landscape sketch showing a view of the southern end of the American Falls with the edge of Goat Island at right, which hosts several leafless trees.
Ornament and Panel Designs
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

Two plates of ornament designs featuring arabesques and grotesques motifs printed on a single page. Plate 7 to the left, includes two pairs of panels. The upper panels are framed by a running egg pattern, strapwork masks, acanthus leaves and shell motifs, with the crowned head of apollo in the center above a lyre, with quivers of arrows, ribbons, and a globe. The designs in each panel vary slightly but are similar. The lower panels are framed with similar motifs and feature a crowned twisted snake surrounded by sun rays, above incense stands with cornucopias. Plate 8, to the right, features two ornamental helmet designs, a grotesque cartouche, with a mask, and scrolling foliage. And to the right a vertical ornament design featuring scrolling foliage, masks, rosettes, and animal legs. The plates are numbered and plate 8 is signed.
Project for a Herm
Domenico Peruzzini, Italian, 1602 - 1673, 1725-50
Pen and ink, brush and grey-brown watercolor on laid paper.
Drawing

Vertical rectangle. Half-figure of a bearded man with an Ionic capital turned toward right. Base is a volute.
Overdoor Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two overdoor designs. The overdoor on top has a lidded censer with ram's head handles, and crosses thyrses behind it. Below the tall legs of the censer are two cymbals, and on either side of the vessel are ewers filled with flowers. The overdoor below has an octagonal medallion with a mascaron inside, a lidded, shallow vase at top, and crosses laurel branches below. The plate is signed and numbered.
Bacchanalian Scene
Johann Sebastian Bach, German, 1685 - 1750, 1772–74
Pen and grey ink, brush and grey, green, and pink watercolor washes on off-white laid paper, with watermark of Fleur-de-lis in a shield surmounted by a crown. (Probably Dutch paper similar to Briquet No. 7165.)
Drawing

Vertical rectangle. A group of nymphs and satyrs are seen reveling in the foreground before a statue of a seated Pan on a high plinth. In the background, figures are trampling grapes in a large barrel.
Man on a Deck Striking a Ship's Bell
Winslow Homer, American, 1836–1910, ca. 1895
Charcoal on paper
Drawing

Horizontal view of a man, on a deck, striking a ship's bell.
Peace, Vaulted Panel, Sala d' Onore and the Appartmento Napoleonico, Palazzo Quirinale, Rome
Felice Giani, Italian, 1758–1823, 1812
Pen and dark gray ink, brush and gray wash over black chalk ruled lines on light greenish-beige wove paper
Drawing

Panel of trapezoidal ceiling vault with horizontal octagon of Peace sitting between putto with trumpet and shield and another who crowns her, flanked by tondi of Victories in chariots.
Funeral Ceremony
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Funeral ceremony in a large church, filled with attendees, held for the Grand Condé. The plate is not signed.
Tables
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Left row: a plan of a round table, designs for two console tables. The upper one supported by two wingless chimerae, connected above by a festoon and standing in profile upon a base. The lower one is supported by two obliquely outward turned columns upon a base, iupon which stands inside an acanthus plant, probably containing a bowl. Center row: above a sketch of a console table partly overdrawn by the project of the left side of a console table, like the one upper left. Below: a console table supported upon a base by three pillars with lion's feet. They are fluted and foliated, the lateral ones higher than the central one. They have masks and a drapery festoon below the Ionic capitals which are connected by festoons. They are connected above the feet by moldings and above by a small moulding. The top is like cornices of an entablature with entwinced waved bands. Right row: above one leg and the left side of the top of a table. Below: a table leg consisting of a bird's foot, a calyx, a twiosted column and an eagle's head. Usual background.
Evening Rain over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, August 1871
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape and atmosphere sketch showing a view of rain over the Catskills on a summer evening, viewed from the artist's property near Hudson, New York. At upper left, rain showers fall from a large, puffy cloud and are illuminated by the sun, which is behind a billowing tower that is brightly backlit at center left. Other puffy and hazy clouds extend to the right, over the northern portion of the Catskill Escarpment. Acra Point and Windham High Peak are shown beside each other at lower center.

Verso: Landscape and atmosphere sketch showing a view of large, billowing cloud banks above the Catskill Mountains, viewed from the artist's property near Hudson, New York. At upper center, a long, dark bank of clouds extends horizontally across the sky, above another puffy cloud that hangs just over a loosely rendered mountain range at lower center. The largest prominence may be Overlook Mountain.
Design for the Frame of a Tablet
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Frame.
Design for a Tureen
Joseph Anton Seethaler II, German, 1799–1868, 1825–1835
Pen and ink, brush and wash on paper
Drawing

The vessel is banded with a grapevine meander. The finial is in the form of a crouching lion, and coiled snakes, form the handles. The base rests on paw feet and is encircled iwth a similar grapevine meander band. Lower right (in red ink): "No. 21."
Designs for two doorknockers
Richard de Lalonde, French, active 1780–96, ca. 1780
Pen and black ink, brush and watecolor on white laid paper
Drawing

Knocker seen in right profile in the form of an arabesque decorated with acanthus leaf motifs. Rosette button fills center of S-curve.
Textile
, 18th century
wool Technique: warp-faced plain weave; complementary warps in plain weave with inner wefts

Plain repeating stripes of cotton alternating with double-faced warp pattern stripes with figures and animals. Single wool warps (2-ply, S-spun). Dull pink, black, blue, cream.
Clouds over Catskill, New York
Frederic Edwin Church, American, 1826–1900, May 1845 and August 1844
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch overlooking clouds that stretch across wooded terrain in or near Catskill, New York. Large, misty clouds in the foreground at left and right frame an elevated view of layers of puffy clouds in the middle distance and background. The cloud banks stack on top of each other in a somewhat unclear composition. At center, a dark patch of the landscape below is visible through the clouds. 

Verso: Sketch showing a detailed, magnified view of a mosquito larva. Resembling a caterpillar or centipede, the larva's body is comprised of a wormlike abdomen made up of rounded sections, at rear, a large, round thorax, seemingly with hairs or small wings attached, and a rounded head that features a prominent pair of antennae that resemble pincers.

Recto: Pencil sketch showing a somewhat unclear view of layered puffy and misty clouds that stretch across the landscape, seen from an elevated perspective. 
Verso: Pencil sketch of a mosquito larva, comprised of a wormlike abdomen of rounded sections, a large, round middle section, and a head with large antennae that resemble pincers.
Plan de l'Eglise de Bonsecours
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving
Bound print

Plan of a church with a scale bar of "10 Toises de France."
Stage Design: Garden Architecture with Fountain and Sculptures
, ca. 1700
Pen and bistre, sepia wash on laid paper
Drawing

Vertical rectangle showing a nearly semi-circular section of a ‘Rond-Point' in a park, decorated with a fountain in the center. At right, sculptures of warriors carrying away women are connected by garlands.