biglam/cooper-hewitt-alt-text huggingface dataset:
Bridge Over a Brook
Frederic Edwin Church, American, 1826–1900, 1855–70
Graphite, brush, white gouache, and oxidized white gouache on light brown wove paper
Drawing

Landscape and architecture sketch showing a view of stone arched bridge over a brook in an unknown location. In the foreground at left, the road begins to ascend the bridge's arch and is flanked by wooden rails on either side. Viewed obliquely, the arch is sturdily made of stone and its shaded span grows darker the deeper it gets. The road extends out of view in the middle distance at center right. In the foreground at right, the trunk and bough of two separate trees are visible beside the bank of the brook.
Design for Sculpture: Angel Blowing Trumpet
Leonardo Scaglia, French, active Italy, 1640 – 1650, mid- 17th–late 17th century
Pen and brown ink, brown wash, black chalk on white laid paper, laid down on white laid paper
Drawing

Angel is shown at the right front, turned towards the right, and stepping down stairs; he raises his right hand whichsupports a trumpet; the lowered left hand holds a palm branch.
Design for a Sofa
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Design for an upholstered three-sectioned sofa with a carved frame featuring scrolling leaves, cartouches, birds, and flowers. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and pastoral themed trophy design incorporating festoons of flowers, foliate branches, flowers, a bird, basket of eggs, bird cage, bucket, and a scythe. The plate is signed, titled, and numbered.
Frontispiece
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
etching and engraving on paper
Print

Title page for the Oeuvres de Juste-Aurèle Meissonnier.
Textile
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Textile, probably a breast cloth (kemben) or a shoulder cloth (selendang), with pattern of birds in "lokcan" style (reflecting Chinese influence), insects, leaves, and flowers printed in black and light brown on green ground. Black fringe at either end.
In a Country Place
Charles Nicolas Ransonnette, French, 1793 - 1877, 1793-1877
Graphite, brush and brown watercolor on paper
Drawing

A man and a woman are shown speaking together, standing upon a road in front of a garden wall. Another man walks in the right middle distance on a road between this and the wall of another estate.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornamental trophy design of a hanging basket of fruit and flowers, framed by a cartouche of scrolling leaves (rinceaux), fleurons, flowers, and fruit. Possibly a design for a fire screen or hand fan.
Hebe Offering a Drink to Zeus
Felice Giani, Italian, 1758–1823, 1810–23
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Sitting god extends his right hand with bowl towards Hebe, who stands pouring ambrosia with both hands from pitcher. Juno appears beside Zeus. Putti with trumpets standing around. Above are flying putti with flowers, below two putti support dish with fruit. Below in right corner, sketch of part of young man extending his right arm.
Project for a Fountain
, ca. 1800
Pen and brown ink with gray wash on cream laid paper, lined
Drawing

Upon a base, partially executed stands a basin upon a foot composed of dolphins with uplifted tails. In the basin kneels a boy with fishtail legs, supporting a vase from which water springs.
Design for a Monument for Pope Pius VI
Flaminio Innocenzi Minozzi, Italian, 1735 – 1817, 1799
Pen and brown ink, brush and brown wash over black chalk on off white laid paper
Drawing

A platform, reached by a stair, supports a tall monument that has a blank tablet. Above, a vase-like sarcophagus with a portrait of the pope in a medallion, is surrounded by papal attributes: cross-staff, crozier, mitre and two angels. Lit candles in a candelabra rests on the floor.
Sampler
, early 19th century
silk embroidery on linen foundation Technique: embroidered

Alphabets and numerals with one cross border in rose pattern and another incomplete border in an ornamental fret.
Coin chest
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink on off-white laid paper
Drawing

View of a stepped coin table with many drawers. At top, a bust and writing. 
Below, a plan and more writing.
Lit à la Turque
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a canopy bed with small crown (baldachin) mounted above on the wall along the side of the bed. The bed linen and drapery are decorated with flowers, scrolling leaves (rinceaux), fleurons, and festoons of flowers. The hanging bed curtain from the canopy is scalloped. Feather finials top the baldachin (canopy). The curtains are drawn to the side and tied with ropes. The plate is titled, numbered, and signed. A scale below.
Sunset, Bar Harbor, Maine
Frederic Edwin Church, American, 1826–1900, September 1856
Graphite on light green wove paper
Drawing

Landscape sketch showing a view of the sunset over the coastline of Maine, just north of Bar Harbor on Mt. Desert Island. In the foreground, a rocky shoreline extends obliquely into the middle distance and features a pair of houses, visible at lower center. The small spit of land that extends out of frame at lower right is likely the beginning of the Bar Island land bridge. Across a calm cove in the middle distance, two overlapping points of hilly and heavily wooded land form a rolling horizon made rough by treetops. Above, layered bands of puffy and wispy clouds are brightly and diversely illuminated by the light of the setting sun.
Pichincha from the Chillo Valley, Ecuador
Frederic Edwin Church, American, 1826–1900, June 26, 1857
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of the Ecuadorian stratovolcano known as Pichincha from the Chillo Valley, near the Hacienda Chillo. A steep and heavily wooded ravine snakes its way through the rolling landscape in the middle distance at center, while treetops and bushes are visible in the immediate foreground at lower center and left. In the background, the rugged ridge of Pichincha is visible across a hilly, wooded landscape with ravines. The mountain's numerous sharp peaks form a serrated horizon in the background.
Trompe-l'Oeil Étui
, mid- 18th– late 18th century
porcelain, vitreous enamel, gold, metal
Ã©tui

Etui in the shape of an asparagus stalk.
Temples at Baalbek from the Roman Quarry, Lebanon, Part One
Frederic Edwin Church, American, 1826–1900, May 12, 1868
Graphite, brush and white gouache on green-gray paper
Drawing

Landscape and architecture sketch showing the first part of a panoramic view of the temple complex at Baalbek, Lebanon, from the city's Roman Quarry. This description refers to the entire view, comprising two leaves with 1917-4-1333. The Quarry ascends a gentle slope in the foreground from lower center to center right. Numerous stone-cut blocks rest in a pile at lower center, while several others are shown closer at right. In the middle distance at center, across flat terrain with numerous trees, the Roman temple complex is sketched at center, with the extant colonnade of the Temple of Jupiter prominently visible at center left. In the background at left and right, two low mountains are shown along an otherwise flat horizon.
Buttons
, 1870–71
f/: brass. p/: brass. q/: brass.

convex buttons with ornament showing facses with spear placed on crossed flags and the words "Republique francaise."

Component "f" is found on card 57
Desseins de Cartouches et D'Agraffes
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Second state of designs for cartouches with vignettes of putti within, as well as for sconces with candelabra and brackets with vases on top. See 1921-6-285-96.
Arabesque Panel Design
Juste-François Boucher, French, 1736 – 1782, 1775–88
Etching on paper
Print

An arabesque panel design featuring a central female figure in classical dress holding a basket of flowers above her head, with a winged putto by her side, standing on a plinth with cornucopia, festoons of leaves, scrolling leaves, fluting and a winged mask (mascaron) below. The plate is numbered and signed.
Blinding of the Cyclops Polyphemus [above]; The Fidelity of a Roman Dog [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1600
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink, brush and black wash over black chalk, with corrections by the artist in white opaque paint on laid paper
Drawing

Recto, above: In the cave of the Cyclops, the giant Polyphemus reclines in the foreground. A group of Odysseus's men lower a spear into the Polyphemus's eye to blind him. The men will use the sheep in the background to escape.

Recto, below: In the center of a piazza, a group of figures stand around a stone platform upon which lies the body of a woman. Her faithful dog stands alert beside her.

Verso: Odysseus enters a cave, at right. His ship is seen at left. The King of the winds, Aeolus, appears in the background at center.
Les plaisirs de l'Isle enchantée
, 1664
Black ink on rolled paper
Print

Horizontal rectangle:  In the foreground a frieze of the back of an audience.  Musicians, a horse, an elephant, a camel and a bear on the stage.  A banquet table in the background.
Mausoleum
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Scene of the mausoleum and funeral ceremony for the Duc d'Orléans erected and held in the church of Saint Denis. The monument is placed under a baldachin and is flanked on either side by rows of sitting funereal attendees. The plate is signed.
Decoration of a Wall as a Picture Gallery
Unknown, Italian, ca. 1810
Pen and black ink, brush and watercolor, graphite on paper
Drawing

Design for a wall.  The door is located near the left edge.  It has a molded frame in marble color.  Below, the wall has a dado, above an entablature with a frieze which is decorated with festoons supported by knots, palmettes, and at the most prominent parts by displayed eagles.  A line indicates the corner formed by the entrance wall and the one adjoining at right.  The wall is covered with panels, which hold pictures.  One and a half panels with pictures is visible (cut off on the right hand side).  On both panels, the pictures are arranged in similar fashion.   The three paintings in the middle row depict, from top to bottom, a scene of sacrifice, landscape, and dance.  Corner pictures are in oval shape and they depict architectural structures.  Four small panels between them show figures in costumes.  Above the door is a landscape.
Autumn in the Hills of Vermont
Frederic Edwin Church, American, 1826–1900, possibly 1873-74
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of autumn foliage in the hills of Vermont. The foreground consists of a grassy field covered in shadow with a group of loosely rendered trees at left. In the middle distance at center, a yellow-orange tree is brightly illuminated at the base of a hill, which is heavily wooded with brown and orange trees. At left, beyond another, smaller red-orange tree, a distant hill range covered in dark trees forms a rolling horizon in the background. A hazy and cloudy sky is briefly visible above. Dark color palette overall, characterized by browns and muted oranges.
Sangay Erupting, Ecuador
Frederic Edwin Church, American, 1826–1900, July 1857
Brush and oil, graphite on tan paperboard
Drawing

Landscape sketch showing a distant view of the Ecuadorian volcano, Sangay, erupting. The foreground consists of dark brown, rugged terrain that ascends steeply nearly the left and right margins. A similarly dark, rocky, and rugged landscape extends through the middle distance to the base of the conical volcano. The volcano itself is somewhat truncated in form with a serrated crater rim and dark furrows running down its slope. Simultaneously dark and light plumes of smoke billow out the crater and drift to the left as they ascend. The dark smoke plumes catch the orange-red light of the setting sun while the whitish-gray plume behind it resembles a cumulonimbus cloud. The sky is clear and blue, aside from the dispersed brown ash that darkens it.
The Head of an Old Monk and the Head of a Child
Donato Creti, Italian, 1671–1749, ca. 1710
Pen and ink on paper, mounted
Drawing

The monk is at left, shown in profile, turned toward the left. The child was probably intended for a cherub.
Fragments
, 16th–17th century
mohair wool Technique: supplementary warp pile (velvet) in plain weave foundation, embossed

Blue-green wool velvet, stamped with a repeating symmetrical pattern of plant forms.
Wounded Soldier
Winslow Homer, American, 1836–1910, 1862
Graphite on wove paper, laid down
Drawing

Horizontal view of a wounded soldier, half-reclining with his arm in a sling while a nurse leans over him from the left, and an officer stands to the right, apparently on a ship's deck with distant view of buildings.
Achilles Yields Briseis
Felice Giani, Italian, 1758–1823, ca. 1790
Pen and brown ink over traces of graphite on light blue laid paper
Drawing

Achilles shown sitting before his tent, filled with anger. Patroclus delivers maiden to two messengers of Agamemnon. Part of sailing ship shown in right middle plane.
Design of a Vase
Joseph Anton Seethaler II, German, 1799–1868, 1827-1835
Pen and ink, brush and watercolor, graphite on paper
drawing

A vase is supported by the bottom parts of the birds. Sea sphinxes crouch upon it and support another base shaped as a capital upside down. The shape of a column with a capital is supported by pairs of human feet.
The Watzmann from the Grounds of the Château in Aigen, near Salzburg, Austria
Frederic Edwin Church, American, 1826–1900, June - August 1868
Graphite and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of the Watzmann from the grounds of the chateau in Aigen near Salzburg, Austria, looking southwest at the sharp peaks of the Watzmann, near Berchtesgaden, Bavaria. A grass knoll stretches across the immediate foreground before giving way to a flat expanse in the middle distance--possibly a meadow or body of water. An island of vegetation is visible at center. In the background, looming mountain ranges increase in size as they extend away from the viewer, culminating in a dramatic view of the sharp, snow-strewn peaks of the Watzmann at center.
Elevation for a Public Building
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A portico with eights columns, standing upon a basement and supporting a triangular pediment, is in the center. Two flights of stairs lead to it. They have behind them short curved sides of the two wings. These show at the front three stories of five bays. Doorways are in the centers of the ground floor. A dome rises behind the pediment of the portico. Top left: Section of the central domed hall.
Mountains in Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of rugged mountains in Mexico. In the foreground, a house is visible on a nearby summit at lower right. In the middle distance at center, the various sharp peaks, rugged ridges, and craggy fissures of a barren mountain range dominate the composition. Two tall, sharp summits are visible at center.

Verso: Landscape sketch showing a view of mountainous terrain in Mexico. In the foreground at center left, a water feature is visible at the base of a craggy prominence. A flat valley extends through the middle distance, bounded by sharp and rugged mountain ranges on either side. In the background, a different sharp mountain range forms a serrated horizon.
Elevation d'une porte à placard à deux vanteaux
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a double door closet decorated with ornament motifs including lamb tongue along the upper cornice. The plate is signed.
Design for the Embroidery of a Man's Waistcoat of the "Fabrique de St. Ruf"
, 1790-1795
Graphite, brush and gouache on paper
Drawing

Left bottom corner, crenellated bands along the inner edge, beneath and beside the pocket. The fields are decorated with bunches of flowers and shells. The motifs are connected by festoons, bordering cross-hatched grounds. Cord festoons are suspended from the bottom of the pocket. Plants are included in the pattern.
Frieze
M.H. Birge & Sons Co., 1834, 1890–1900
Machine-printed

Delicate sprays of roses and leaves in light blue partly outlined in dark blue, highlights in silver. Between floral sprays are conventionalized scrolls in shaded cinnamon color. Background of frieze in shaded ivory. Narrow cinnamon colored lines top and bottom. "No. 848, M.H. Birge & Sons" printed in selvedge.
Fantasy of an Architectural Ruin
Jean-Henry-Alexandre Pernet, French, ca.1763 – ca.1790, ca. 1770
Pen and black ink, brush and black, brown wash, watercolor, white gouache graphite on off-white laid paper
Drawing

Antique sepulchers and ruins with figures in the foreground are presented in an oval format. A stairway leads to a triumphal arch at right, adjacent to a column.  In the distance at left, architectural forms incorporating arches balance the composition. Ruled lines in pen and ink.
Border
, 1800–1810
Block-printed and flocked on handmade paper

Repeating single serrated leaf, with straight bar between. Black bands along edges. Printed in black flock on blue ground, on joined sheets of paper.
View from the Acropolis, Athens, Greece, Part Two
Frederic Edwin Church, American, 1826–1900, April 20, 1869
Graphite on gray-green wove paper
Drawing

Landscape and architecture sketch showing the first part of a panoramic view of Athens, Greece, and the Acropolis from the southern slope of the hill. This description refers to the entire view, comprising two leaves with 1917-4-595-b. The top of a stone wall in the foreground at lower right extends directly toward the middle distance. The southwest corner of the Parthenon is visible atop a rise in the terrain in the upper right corner. Immediately to the left of the foreground wall, the arched rear wall of the Odeon of Herodes Atticus is briefly visible, situated at the base of the southern flank of the Acropolis. In the middle distance at center, the Hill of Muses, also known as Philopappou Hill, gently rises across the terrain to its rounded summit at left, crowned with the prominent Philopappos Monument. At the base of the hill at center, three dark, rock-cut openings in a cliffside indicate the so-called Prison of Socrates (erroneously labeled by the artist as the Tomb of Cimon, which is not visible from the Acropolis). Relatively flat terrain dotted with olive trees extends to the background, where the peaks of the Egaleo range and those on the island of Salamis form a rugged horizon at center and right. At left, distant mountains visible across the Saronic Gulf also constitute a sharp horizon.
Printing plate
, ca. 1870
Brass

A brass printing plate for the letter B with a serpent wrapping around the center of the letter. Around the outside of the letter is detailed abstract pattern. Scene of Adam and Eve on the right.
Virgin and Child with Saints
Charles Mellin, French, 1600 - 1649, 1620–49
Pen and brown ink, brush and sepia wash over sanguine traces on laid paper
Drawing

The Virgin sits with Child behind her, standing on a pedestal upon steps.  Beside the group are two angels one of them carrying a cardinal's hat.  Beside the pedestal stand at left a bishop with a book and crozier, at right St. Cecilia.  In front of the pedestal are St. John the Baptist standing, St. Jerome sitting and visiting St. Thomas Aquinas kneeling in the background, above.
Study of Figure for "In the Mountains"
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on cream paper
Drawing

The figure of the woman and several studies for the hands are shown.
Study for "Snap the Whip"
Winslow Homer, American, 1836–1910, 1872
Recto: Black and white chalk, touches of light orange chalk on green wove paper Verso: Graphite, and black and white chalk on green wove paper
Drawing

Recto: Horizontal view of six young boys playing snap the whip outdoors.

Verso:  Young girl in sunbonnet with pail.
Chimney Piece Design
D. Antoine Pierretz, French, active 1647, 1647
Etching on laid paper
Print

Design for a chimneypiece and overmantel decorated with classical baroque motifs including atlantes (sculpted male figures as supportive structures or columns), friezes, sphynx, putti, flaming torches, a flaming vase or urn, sculpted moldings, wave, scale, and leaf patterns, rosettes, and a festoon of leaves. The plate is numbered.
Fragment
, 17th–18th century
silk Technique: supplementary warp forming raised pile (velvet)

Yellow and brown floral and scroll motifs on blue background. Selvage at both side but piece is seamed in the center.
Cliffs of Green River
Thomas Moran, American, b. Britain, 1837–1926, 1874
Wood engraving on cream wove paper
Print

Sun shines over view of river; quail can be seen by bushes and rocks on right. Canyons in the distance.
Fragments
, late 17th century
silks and gold metal thread on linen foundation Technique: embroidered

Component a: large roughly rectangular panel composed of a number of small fragments - on right a double border - rest of piece divided, by gold galloon, into rectangles, each rectangle enclosing a symmetrical arrangement of straight stems with foliage and various types of blossoms - birds perch here and there on the stems and branches - in two bottom rectangles a shield with pale blue field has crest of skull and cross bones - the double border on right is formed of motifs similar to those in rectangles but running at right angles to body of piece - on left two long triangular shaped pieces have been sewed to the edge - upper center looks like the back of a chasuble - upper right the border continues well beyond body of piece.
Cheminée, Plate 14 from Set
, 1650-1675
Etching on paper
Print

Mantelpiece with a gable, decorated with masks and garlands, topped by a bust of a helmeted man surrounded by arms, shields and banners. Two high-necked lamps on either side.
Red Light
Winslow Homer, American, 1836–1910, ca. 1883
Graphite on gray paper
Drawing

Recto: Horizontal view of a man in oilskins standing at the edge of a stormy ocean and holding a flare in his upraised right arm.
Verso:  Lines from a larger sketch.
Vignette, The Pelican
Maximilian Joseph Limpach, Czech, active the 1st half of 18th century, ca. 1730
Engraving on paper
Print

The Pelican upon palm and laurel boughs shown agains rays and the sky.
Fragments
, 1750–1800
silk Technique: uncut voided supplementary warp pile (velvet) with supplementary weft

Two coat or waistcoat pocket flaps (components b/c) are lined with ivory silk plain twill. Left top waistband of breeches (component a) are lined with linen plain weave. Purple uncut pile has background floats in a secondary purple silk weft. Purple uncut pile forms a small allover design of hexagons, each enclosing a round dot. Waistband has pocket attached with button closure and three buttonholes at the left edge.
Rosette Design for a Ceiling
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Rosette design for a ceiling with, from back edge to sight edge, lancet leaf, leaf and lamb tongue, bound oak lead, bead course, garland guilloche, bound roses, and bead course decoration. The profile of the rosette is printed below. The plate is signed and numbered.