biglam/cooper-hewitt-alt-text huggingface dataset:
Portrait of Blaise Pascal (1623-1662)
Gerard Edelinck, Flemish, active in France, 1640/41 - 1707, 1696-1700
Engraving on paper
Print

Bust length portrait in three-quarter view toward left. The sitter has his coat wrapped around him. In an oval frame with coat-of-arms in lower part. The frame stands on an inscribed moulding.
Portrait of Gustave Guillaumet
Paul-Edme Lerat, French, 1849 - 1892, ca. 1880
Etching in black ink on china paper, pasted down
Print

Half length portrait of the painter, Gustav Achille Guillaumet (1840-1887), shown seated, facing half left. Inscribed beloe: "Portrait de Guillaumet" and signed (in pencil): "Le Rat".
Woman Seated
William Merritt Chase, American, 1849–1916, ca. 1885
Brush and black ink on off-white wove paper
Drawing

Back of a female figure, head turned slightly right, seated in wooden chair.
Fragment
, early 19th century
cotton Technique: printed on plain weave

Fragment shows several dancing figures in Classical dress in front of temple ruins. A satyr playing a pan flute is on the left. A large urn is set on the ground in front. In purple on white.
Stage Design: Gothic Hall
Antonio Giuseppe Basoli, Italian, 1774–1843, ca. 1830
Pen and black ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of Gothic church, very elaborately decorated, sculptures fixed to pillars. Many later corrections and additions.
Figure
Robert Frederick Blum, American, 1857–1903, 1879–1880
Graphite on wove paper
Drawing

Two sketches of a figure wearing a crown.
Design for a Painted Panel
Jean-Guillaume Moitte, French, 1746–1810, 1763
Pen and Chinese ink, brush and sepia on paper
Drawing

The candelabrum schemes have details with different alternative suggestions. Main motifs include a statue in a pavillion, a circular medallion with a sacrifice, a shield form with a satyress.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decorated

Man dressed in white trousers, yellow knee long jacket and pointed blue hat; walking to the right. Chinoiserie type decoration.
Study of a Fountain, Italy
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1872
Black crayon on paper
Drawing

Water pours from a crowned lion mask into a basin, which is supported by scrolls with lion feet. The right half of the basin is shown, framed by volutes. Left center: part of a shell basin with a cat's head. Bottom left: corners of mouldings.
Figures in a Landscape
François Boucher, French, 1703–1770, 1751
Etching on laid paper
Print

A man standing in the middle of a landscape, wearing a hat and with a sword at his waist. Just behind him, a woman lays on the ground with a child. To the right part of a building is visible and to the left, a stone half-wall. Trees and clouds in the background. The plate is numbered and signed.
Design for a Ewer
Jan Lutma, Dutch, ca. 1584 - 1669, 1620–1627
Black and white chalk on brown paper
Drawing

Vertical rectangle showing ewer In auricular style shown in profile.The handle at right includes a dolphin biting into another head. On the body is a panel framed by scrolls. It shows Neptune and Amphitrite riding upon dolphins. The shaft consists of a nude woman sitting upon the sea.
La Fonteine de Venus de la Vigne Pamphile
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of a large garden wall with a central fountain and basin featuring a statue of the goddess Venus standing within a large shell. The wall/ fountain features a balustrade above with statues and planted vases. A hedge-lined path in the foreground with figures walking, sitting, and running. The plate is titled and lettered.
Ornamental Vase Design
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Vase with two swans. The swans sit on the shoulder of the vase: their wings extend upward past the lip of the vase, their heads attach to a decorative band at the body, and their necks form small handles. The vase is decorated with a swirling acanthus leaf pattern on the neck, and leaf-shaped gadrooning on the body. The vase has a short, tapered foot, and is elevated on a platform that extends to the edge of the image. The plate is signed and numbered.
Violinist Seated in the Inn
Cornelis Dusart, Netherlandish, 1660–1704, 1685
Engraving on off-white laid paper
Print

A crowd gathers in the lower right, with a seated man  playing a violin at left. The group to his right is boisterous, some sitting, others standing: with beer steins and pipes in hand, some appear to be singing. They are before a fireplace in a wood-walled and -ceilinged room, with a stone floor.
Project for the Knob of a Processional Knot
, 1750–1775
Pen and ink, brush and wash on paper
Drawing

Bottom of the knob covered in lobes and leaves. Two cherubs.
Three Women, with a Boy Lying Down
Francesco Bartolozzi, Italian, active England, 1727–1815, 1764
Engraving in brown ink on beige paper
Print

The boy lying on a table or bed before a curtain. One woman is moving his covering, two others, to the right, look on. Below, the artists' names and place and date.
Elevation and Plan of a Carriage Entrance
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for the doors of a carriage entrance. The doors are decorated with ornament motifs including trophies of the hunt with a rocaille clasp at the top. The plate is numbered but not signed.
Designs for Carved Trophies
François Roumier, French, 16..–1748, 1740-1748
Etching and engraving on laid paper
Bound print

Page printed with two narrow plates of trophies set within frames with acanthus leaves, scrolls, and shells at the top and the bottom. The trophy of the left plate features a cartouche with an Old Testament scene of Christ being scourged, an angel holding a cat-o-nine tails, a flag with the Roman SPQR on it, a thorny branch, and an executioner's ax and glove. The trophy on the right plate features a cartouche with an Old Testament scene of Christ on the cross, a helmet and a snake with an apple in its mouth. Neither plate is signed; both are numbered.
Panneau avec son lambris
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for paneling with wainscoting, decorated with ornament motifs including rosettes, leaf garland and ribbon, and crossed branches. The plate is signed.
Panel Design
Jean-François-Antoine Boulanger, French?, active mid 18th century, mid- 18th century
Etching on paper
Print

Design for an ornamental panel, possibly an overdoor panel featuring cartouches with treillage (trellis), c-scrolls, a balustrade, festoons of leaves, flowers, foliate branches, trees, and a basket of flowers supported between the backs of two putti. The plate is numbered and signed.
Fountain Designs
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates of fountain designs with rondels for inscriptions. The fountain design of the left plate has anguipeds holding vases from which water pours; the top of the rondel has on it dolphins with their tails crossed in front of a shell. The fountain design of the right plate is in the form of a cartouche with a relief of Pan and Syrinx carved at the bottom. The rondel is framed by grotesque putti who hold aloft vases that pour out water. Both plates are signed and numbered.
Prospectus Propylaei Sedis Mediolanensis Ducis (View of the Entrance to the Ducal Residence in Milan)
Georg Balthasar Probst, German, 1732 - 1801, 
Hand-colored etching on paper; verso: fabric adhered with thread
Bound print

Perspective view of the ducal residence, possibly the Royal Palace, in Milan. The left side of the structure is cast in shadow, and a red, pointed tower protrudes from the central building. The windows of the palace are cut out, with fabric and thread visible through the openings. The three sides of the complex frame a courtyard at center, where four horse-drawn carriages form a rough square. Several groups of figures roam the rest of the courtyard, and a blue sky fills the top margin. Printed along borrom margin: Prospectus Propylaei Sedis Mediolanensis Ducis / Prospetto della entrata Residenza Ducale à Milano.

Verso: Patches of colored fabric, visibly attached with thread. Printed label: Vüe de l'entrée de la Residence Ducal a Milan. / Prospect des ersteren Hofes, der Herzogl: Residenz zu Meyland. / Med. Folo. No. 36. / Cum Gratia et Privilegio Sac: Caes: Majestatis / Georg Balthsar Probst, excud. A.V.
Tabouret à la Dauphine [et] Flamande [et] Tabouret
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two stools and a Flemish style chair with a high, narrow back. The plate is signed.
Man
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a male figure wearing a hat.
Dress ornament
, 19th century
silk, silver thread Technique: embroidered

Velvet panel completely covered in silver thread embroidery and pailettes in a stylized floral design.
Sampler
Sarah Cook, 1744
silk embroidery on wool Technique: embroidery on plain weave

Four cross borders; one containing verse; two showing floral patterns and squirrels; the inscription "Sarah Cook, her sampler 1744" surrounded by angular floral border with stags in the corners.
Ceiling paper
M.H. Birge & Sons Co., 1834, 1890–1900
Machine-printed paper

Oat meal colored ground with gilt circle forming leaves and flowers. Self-colored flowers, silver sprays.
Sketches of a Building and Mountains, Mexico
Frederic Edwin Church, American, 1826–1900, 1892-93
Graphite on beige wove paper
Drawing

Landscape and architecture sketches showing views of a building and mountains in Mexico. At upper left, a rectangular building is viewed obliquely and rendered in minimal detail. A group of figures possibly gathers at its foremost corner. At center, two dark and pointed peaks are loosely rendered before the faint contour of a distant and rugged mountain range.
Sampler
Anna Warfel, American, 1826
cotton embroidery on linen foundation Technique: embroidered in cross stitch and withdrawn element work on plain weave foundation

Long, narrow panel divided into four sections by three bands of withdrawn element work. In the top section, five rows of embroidery in red and blue threads show detached motifs of stars, flowering trees, chairs, hearts, etc., along with the name and date; the other three sections are unadorned.
Cornice (Ceiling) Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Detail of a cornice design for decorative ceilings featuring grotesque motifs including herms, roosters, baskets of flowers, mascarons (masks), draped textiles, birds, a cartouche, putto, rosettes, shells, foliate scrolls, scrolling leaves (rinceaux), and fleurons. The plate is signed.
Studies of a Seated Nude
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on brown paper
Drawing

The figure is shown in three-quarter profile turned towards the right. The outstretched hands hold something. The head is turned toward the right shoulder. Above the figure are studies of both hands, the left foot, the left hand. At left, studies of the right foot, the right knee. At right, studies of the forepart of the left foot, the left knee.
Les Portiques d'Athenes
Dufour et Leroy, ca. 1820
Block-printed on machine made paper, applied border
Scenic panel

One of series: "Les Portiques d'Athenes Bay" with volcanic mountain in background. On shore in foreground three figures and a column supporting statue of a woman. Architectural border in yellow and blue.
L’ORDRE IONIQUE
Louis-Gustave Taraval, French, 1738 – 1794, 1768–75
Etching on paper
Print

Design for a portico featuring Neoclassical motifs associated with the classical architectural orders of ancient Greece and Rome. A large rectangular portico, with stairs leading up to the doors. The entablature is supported by ionic columns with a frieze above made up of pilasters, cartouches, and sun rays in the center. The doorway is flanked by statues in arched niches with a wave pattern motif and an architrave featuring a frieze of figures above the door. The whole is topped by a sculpture of the French coat of arms flanked by angels. The plate is titled, signed, and numbered.
Stage Design, View into Apse
, early 18th century
Pen and sepia ink, brush and wash on laid paper
Drawing

Vertical rectangle. View into apse with chapels, in one of which is a tomb, richly decorated.
Design for a Fireplace Wall, Plan and Elevation, Plate 4
Jean Mariette, French, 1660–1742, ca. 1660–1742
Engraving on paper
Print

Design for a fireplace wall shown in plan and elevation. Plate 4.
Seascape
Walter Clark, American, 1848–1917, ca. 1885
Pastel on grey paper
pastel

Distant view of a shore across water with many moored boats. Margins all around, especially high bottom margin.
Fragment
, 1000–1450
wool Technique: plain weave with continuous supplementary weft patterning

Fragment of a loosely-woven plain crepe cloth with borders in brown and blue. Piece was found near Ancayama, Chancay Valley.
Artist sketching outside
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a male figure seated and drawing or sketching under an umbrella.
Shawl
, 1883
silk Technique: plain weave

Broad sash of vertically ribbed silk plain cloth. Broad horizontal stripes of brilliant red, blue, green, black, and white. Narrow horizontal stripes of the same colors with the addition of yellow. Long knotted red silk fringe at ends formed by warp ends.
Overdoor
, ca. 1825
Block-printed on handmade paper

Horizontal rectangle for overdoor, or fireboard. Scene showing domestic fowl in a barnyard, with a well-head, printed in colors on blue ground.
Elevation of a Kaffeehaus
Giuseppe Barberi, Italian, 1746–1809, 1788-1789
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

From a domed circular central section project diagonally two wings with three windows in each of two stories. A low colonnade of six columns with a triangular pediment is in the interval. A statue on top of the low dome. Colored background.
Virgin Ascending with Concert of Angels
Felice Giani, Italian, 1758–1823, 1818
Pen and ink, brush and brown ink, on paper
Drawing

On verso: view of city with wall and classical edifices; edifice and portico
Trimming
, early 19th century
silk Technique: uncut velvet weave

A shield under a crown showing bands of checkerboard (red and yellow) within a red band with yellow crosses.  White ground with green and yellow border stripes.
Knob
, ca. 1795
brass
knob

Repousse head with simple mouldings. Threaded bolt on back.
Mexican Landscape
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the sun setting over the mountainous landscape of Mexico, likely near Toluca. In the foreground, nearby wooded mountainsides converge at lower center and descend toward the middle distance. One tree is prominently visible in the lower right corner. The middle distance is comprised of an expansive, relatively flat valley. In the background, a distant and rugged mountain range forms a serrated horizon. The sharp peaks at center may be those of Nevado de Toluca. The setting sun hangs just above the ridge and radiates visible sunbeams into the sky.

Verso: Mixed sketches from Mexico showing views of a male figure and a large, rugged mountain, possibly the Nevado de Toluca. At upper left, a man with curly hair and a mustache is shown wearing a short with rolled sleeves as he looks to his left. At center and right, an abrupt hill is shown in front of a sharp mountain with three pointed peaks--possibly Cerro Tlacotepec in front of Nevado de Toluca.
Paper Doll Costume with Floral and Blue Vertical Stripes
, 1876–80
Lithograph on heavy white wove paper
Print

Paper doll outfit with lace shawl with pink flowered trim, and dress with alternating stripes of blue and floral patterns.
The Pious Carter
Robert Cruikshank, 1789 - 1856, ca. 1820
Graphite, brush and watercolor on paper
Drawing

Illustration, interior with three figures. Man holding whip threatens a Black figure, standing right. Woman at left, holding a tankard, placers her hand on shoulder of man with whip.
Continence of Scipio
Felice Giani, Italian, 1758–1823, 1811
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Sitting at left in his tent, he dismisses Spanish girl and her fiancé Allucius, who had been held hostages at Carthage. Marching Roman soldiers shown in background.
Christ Crucified Between the Two Thieves: An Oval Plate
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1641
Etching on paper
Print

Enclosed in an oval, the central figure of Christ on the cross is flanked by two crucified thieves, the one of the left seen from the back. A group of figures in the foreground, shown in shadow.
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 sprigs of flowers and leaves and a hanging festoon of flowers and leaves. The musical trophy is made of a lute, flute or clarinet, triangle, tambourine, and an open book of sheet music.
Half Dome, Yosemite
Thomas Moran, American, b. Britain, 1837–1926, 1872
Brush and black wash, graphite on tan wove paper
Drawing

Vertical view of large boulders in foreground with tall pine tree in middle ground followed by mountains leading to large mountain dome in background.
Design for a Comb
, early 19th century
Pen and sepia ink, brush and gray watercolor on paper; verso: graphite
Drawing

Jewelry design for a hair comb. An oblong with a trellis in lozenge shape, the crossing points being alternatively shaped as circles with round diamonds as squares with correspondent diamonds. The latter are the center of a rosette, formed by leaves. Nine tines, the upper parts of which are sketched. Verso: part of an architectural design of which only the windows of the uppermost story were executed.
Study for The Making of Glass, The Treasure Hid in the Sand, Plate 363, Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and grey, black wash, pen and brown, black ink on cream laid paper
Drawing

Two men are shown making glass on the right inside a small building with a large furnace inside emitting a large amount of smoke. On the left three men appear with heavy loads on their backs. A landscape with a mountain on the left and a winding path that leads to a body of water appears in the background. A couple small houses and a few boats appear in the distance. Figures are dispersed throughout the landscape. The picture is surrounded by an elaborately ornamented frame.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Black pastel crayon on paper
Drawing

A female figure leaning over a pedestal. After a slim model.
Sampler
Maria Flodor, 1836
cotton, glass beads, paper backing Technique: knitting

Twenty four designs, twenty-four bands of beadwork.
Plate from 12 Stick Zum Verzaighnen Stechen Ver Fertigt (Set of Twelve Designs for Engraved Vessels)
Bernhard Zan, Germany, active ca. 1580, 1580
Punch engraving, pen and black ink, graphite on off-white laid paper
Print

Scrollwork frieze on top and two masks over drapery festoons below.
Cippes pour porter des Bustes
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two pedestals to support sculpted busts. The pedestal on the left is decorated with ornament motifs including a meander, rosette, crossed bound leaves, fluting, and lamb tongue. The pedestal on the right is decorated with bands of lamb tongue, guilloche of rosettes, and ribbon twist at the top, and bound leaves at the bottom. The plate is signed.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Cross section of a building next to a garden. The interior features a large mirror over a mantle with two figural candelabra on top, and floor to ceiling double-doors with windows. The garden features a tiered fountain decorated with satyr heads, a vase, dragons, mascarons, and nude female figures. A graphite inscription at the top of the plate indicates that this design was for a reconstruction project at the Palais Royal. The plate is signed and numbered.
Ironwork Designs
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork screen and key head designs decorated with crowns, arms, ribbons, terminal figures, masks (mascarons), eagles, wings, fleurons, festoons, cyphers, foliate scrolls, and scrolling leaves (rinceaux). The plate is signed and numbered.
Pleated fan
, 1850–1900
Silk leaf painted with tempera, carved ivory sticks, silk tassel

Pleated fan. Silk leaf painted in tempera. Obverse: three figure groups, medallions showing landscapes and bunches of flowers. Reverse: painted textiles in design of central medallion showing a group of people, surrounded by twelve smaller ones with people, animals, birds and flowers. Ivory sticks carved in lace-design. Silk tassel.
Fragment
, possibly 16th century
silk Technique: plain weave with supplementary warp floats

Multicolor stripes with geometric motifs on red background.
Le Plan de l’Eglise de nostre Dame des Andilieres les Saumur Que fait bastir Monseigneur le Comte de Servien
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan for a church with a rotunda. A scale below. The plate is titled and signed.
Ornamental Vase Design
A. Panier, French, active 18th century, 1767-1793
Crayon-manner engraving with red ink on paper
Print

Vase in the shape of a pitcher with a looped handle formed from an elongated, stylized dolphin. The vase has a spiraling pattern on the neck and a band of acanthus and oak leaves at the shoulder. The belly of the vase has a plain band, on which one can just make out a horse and rider. Below this band is a deep relief of a helmet surrounded by shields and flags. The bottom of the vase has fluting with and a tapered foot. There is some indication of a ground with grasses. The print is engraved in red ink (sanguine) crayon manner. The plate is not signed or lettered.
View from Powell's Plateau, Grand Canyon, Colorado
Thomas Moran, American, b. Britain, 1837–1926, 1873
Recto: Brush and watercolor, white gouache, graphite on tan wove paper Verso: Graphite on paper
Drawing

Recto: View of the Grand Canyon from the rim of Powell's Plateau, one of the most scenic vistas of the Grand Canyon and Colorado River, named after the explorer and geologist John Wesley Powell, leader of the Colorado River Expedition.
Verso: Barely decipherable landscape (?) in ruled graphite border.
Smoke on the Hudson River, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1860 - 1880
Graphite on blue wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a plume of smoke on the shore of the Hudson River, looking southwest from Church's property near Hudson, New York. At center, a rising column of dark smoke is loosely rendered while, at right, two dark, overlapping silhouettes of mountain ridges are shown. The low-lying sun is visible behind these ridges, illuminating several puffy clouds that hang above.

Verso: Landscape sketch showing a closer, more detailed view of the fire on the Hudson River illustrated on the recto. At center, a plume of smoke billows up into the sky and is carried to the right with wind as it dissipates. A house or other structure is minimally rendered at left. In the background, the dark, rugged silhouette of the Catskill mountain range is visible.
Sketch for a Portrait of Bella Worsham
Daniel Huntington, American, 1816–1906, 1878
Graphite on cream paper
Drawing

Standing woman, her left hand on a table; her right arm repeated, upper left. She looks toward the left. Verso: horizontal rectangle with two sketches of a left hand holding paper, right. Lower right, notes: Judge Blatchford/ shadows…/ thumb and fingers cold…/ general warmth/ in lights/ shadows neutrals/ warmed/ June 1, 78.