biglam/cooper-hewitt-alt-text huggingface dataset:
Cape Ensumé on Cape Breton Island, Canada
Frederic Edwin Church, American, 1826–1900, July 21, 1859
Graphite on light brown wove paper
drawing

Landscape sketch showing a view of the point formerly known as Cape Ensumé (now Cape Smoky) on the east coast of Cape Breton Island in Nova Scotia, Canada. Visible in the middle distance across an expanse of open ocean, the various cliffs and rugged ridges of the island's coastline rise abruptly out of the water and extend out of frame to the right. Cape Ensumé itself is shown either at center or left. Scene viewed from the ocean waters northeast of the island.
The Four Continents: America, Asia, Africa, Europe
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink, brush and brown wash on light brown laid paper
Drawing

Female figure with head gear of feathers sits upon base of enormous column and writes: COLOMBO. View of sea and ships at right.  Inscribed in graphite: America.  At top right:  female figure seated upon couch. View of palms and pyramids at right.  Inscribed: Asia.  Bottom left: female figure seated at foot of castle, posed just after shooting arrow. Inscribed on wall of castle: Spog.  Bottom right: Europe. Female figure wearing helmet holding wreath lyre, seated among Roman monuments.
Designs for Decorative Ironwork, Plate 96 from Divers dessins de balcons a plusieurs usages (Variety of Balcony Designs)
Claude René Gabriel Poulleau, French, b.1749, 1757–1776
Engraving on paper
Print

A variety of designs for ironwork including railings, gates, door knockers, and keys.
Rugged Mountain Range, Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch from Mexico showing a view of an extremely rugged mountain range that stretches horizontally across the entire composition. A tall, sharp peak is visible at center.

Verso: Landscape and figure sketch showing a view of a rugged mountain range in Mexico, which appears to include a curving road at right, and a small child sketched in left profile in the lower left corner. They appear to wear tattered clothing.
Silver monstrance executed in 1727
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1730–50
Black ink on white paper
Print

A monstrance, shown frontally, in the rocaille style. Decorated with seraphs' heads and grapes. 

At top: "78" (right corner); lower right: "B. Audran sculp." and inscription: "Soliel Excute en argent pour les Religieuses Carmelites de Poitiers en 1727"
Tile
, late 18th–early 19th century
Earthenware, glazed, high fire decorated

1920-15-147/158: Standing man, en face, holding club (?) and shield...;     1920-15-147: Standing man, en face, holding club (?) and shield...;     1920-15-148: Standing man, en face, with long yellow cloak drap...;     1920-15-149: Standing man, pointing toward a basket of apples a...;     1920-15-150: Blacksmith with hammer and anvil.50;     1920-15-151: Standing man, clutching walking stick under left a...;     1920-15-152: Standing man in long yellow cap, with blue cloak o...;     1920-15-153: Standing man in blue coat and black hat, leaning o...;     1920-15-154: Woman in black hat, holding distaff.50;     1920-15-155: Standing man, en face, his right hand inside his j...;     1920-15-156: Man walking toward right, holding short stick with...;     1920-15-157: Man in blue coat, walking toward left, holding sho...;     1920-15-158: Female dwarf, with disproportionately large head, ...
Vase Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Design for a vase in a krater form with grotesque motifs and a frieze with putti around the body featuring mascarons (masks), putti/ fauns, cartouches, gadrooning and fluting around the base, c-scrolls, festoons of leaves, shells, and fleurons ornament. The plate is signed.
A Mountain Stream
Francis Hopkinson Smith, American, 1838–1915, 1875–80
Charcoal, black and white chalk on gray paper.
Drawing

Vertical vie of stream running over a rock ledge toward the foreground with boulders at right, and birch and hard wood trees beyond.
Study, Old Cypress Tres, Cypress Point
Samuel Colman, American, 1832–1920, April 11, 1898
Graphite, pen and brown ink on paper
Drawing

An old tree is shown standing at a hillside, with a wood in the background. Inscribed below in ink: "Old Cypress trunk, Cypress point". High bottom margin.
Overdoor
, early 18th century
Partially tinned and partially gilt wrought iron

Hemispherical open ironwork in c-shapes and s-curves with vegetal forms. To left and right, birds stand on a platform with a tasseled cloth hung over latticework punctuated with flowers. At the center, two cartouche, each with the initial H.
The Holy Family with John the Baptist
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580 – 1599
Recto: pen and brown ink over black chalk on laid paper Verso: pen and brown ink, brush and brown wash on laid paper
Drawing

Recto: The Virgin sits in the foreground of a domestic interior, holding the 
Christ Child. St. Joseph stands behind her at left. The young St. John stands at right. Verso: In a rocky landscape, a man in armor knees beside his horse. He clasps his hands to his breast to form the shape of the cross. He looks up beseechingly towards another man, above him at right, on horseback.
Design for the Elevation of a Wall With a Mantlepiece
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching on paper
Print

Two women decorate with garlands an urn stnading upon a pedestal, over the mantlepiece. Oblong panels with candelabra are laterally placed. Two seated women flank a medallion portrait of a woman, and putti support a garland in the cove of the ceiling.
Plan du Chasteau de Maison
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan for the castle of Maison with a scale below. The plate is titled and signed.
Waistcoat panel
, mid-18th century
silk Technique: embroidered on satin weave

Waistcoat panel with dark blue chenille embroidery in a pattern of  imbricated scales, each containing a single floral sprig. Dense floral embroidery with French knots surrounds buttonholes.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Asymmetrical rocaille cartouche topped by a palm tree. At lower left, seated male nude figure (Bacchus) holding a staff covered in grape vines. Birds at lower right.
Galerie métallique des grands hommes français (Great Men of France)
Jean-Auguste Barre, French, 1793 - 1855, 1818
Cast bronze
Medal

Bust of William Shakespeare (1564-1616).
Box, Jewelry, and Seal Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Fifth plate from a series of designs for jewelry, boxes, snuffboxes, rings, seals, cane handles and other small luxury objects. The plate includes nineteen designs for boxes, jewelry, earrings, and seals decorated with neoclassical motifs. The decoration includes repeating patterns and borders, fleurons, rosettes, rinceaux, scrolling leaves, beads, floral diaper pattern, leaves, and dots. The plate is numbered.
Saucières et Salières
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a scalloped sauce boat with a curved handle and decorated with branches and scrolls. The plate is signed and numbered.
Frontispiece with Portrait Medallion, Recueil d’Ornemens
Louis-Gustave Taraval, French, 1738 – 1794, 1777
Etching on paper
Print

Portrait of Monsieur in a medallion with an allegorical figure of architecture and a genius holding a tablet with the series title
Bronze Vase with the Sacrifice of Iphigenia (after the Medici Vase)
Luigi Righetti, Italian, 1780 - 1819, early 19th century
Pen and brown ink, brush and watercolor, graphite on white wove paper
Drawing

Vertical rectangle. Design for a vase intended to be produced in green bronze. Below is a pedestal, a cut-out relief with Iphigenia sacrificing to Diana in presence probably of Orestes and an old man; base line and scale at bottom.
Elevation of a Church for Monte Vergine
Giuseppe Barberi, Italian, 1746–1809, 1784
Pen and brown ink, brush and brown wash, red ink on lined off-white laid paper
Drawing

Cross scheme with dome. A structure is laid around the front cross arm. It shows a door at the front and a row of windows in the upper story.
Frieze
, 1890–1900
Machine-printed, mica

Daisy and rose vine design in white, pink, yellow and green on tan ground. Stripes and conventional border, mica finish.
Design for Drapery Over Door or Bed
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Below is the upper part of a doorframe. The drapery has above and below lambrequins and friezes near the upper edge. The doorframe is pointed in the middle; from there rises a kind of candelabrum with feathers below and on top. There is a suggestion to replace the candelabrum by a bottle-like vase from which the feathers on top rise. Overdrawn are architectural pen sketches, one of them with an arch; another is perhaps the plan of an alcove.
Study of a Woman at Her Bath
Pierre-Victor Galland, Swiss, active France, 1822 - 1892, late 19th century
charcoal, oil on canvas
Drawing

Vertical orientation. Scene of a bather at a basin in a small walled enclosure, with indication of three putti around her.
Designs for Incense Burners and Console Tables
Henri Sallembier, French, ca. 1753 - 1820, 1778
Etching on paper
Print

Designs for two incense burners flanking two console tables featuring neoclassical motifs including leaves, festoons of flowers, cartouches, frieze of scrolling foliate, ribbons, scrolling leaves (rinceaux), eagles, and wings. The plate is numbered.
Bavarian Alps at Sunset, Germany
Frederic Edwin Church, American, 1826–1900, July 1868
Oil on tan paperboard
drawing

Landscape sketch showing a view of hills and mountains in the Bavarian Alps, Germany. A lone conifer tree stands in the immediate foreground at left in a wheat-colored meadow on a hill that descends into a wooded valley in the middle distance. A house is visible at the base of the hill at center. At left, a steep, wooded slope rises out of view. In the distance, the rocky mountainsides of a soaring alpine range are tinged in a shade of pink. Above, hastily-rendered clouds fill the sky.
Fukagawa Hachiman yanabiraki from the Series One Hundred Famous Views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This scene of the open gardens at the Hachiman Shrine in Fukagawa contrasts with bright red azaleas and pink cherry blossoms. Typically these two species bloom about a month apart. While many visitors are admiring the splendors of nature, this scene is a figment of Hiroshige's imagination.
Band
, 8th–10th century
linen. silk Technique: plain weave and slit tapestry weave

Two bands; one striped, the other of undulating curves.
Two Putti
François Boucher, French, 1703–1770, 1775–84
Etching on laid paper
Print

Two winged putti sit together on a cloud, with a piece of fabric wrapped loosely around them. The one to the right holds two small flaming torches, while the other has some foliage in his hand. The plate is signed.
Design for a ceremonial decoration
Carlo Marchionni, Italian, 1702–1786, ca. 1760
Graphite, black crayon, brush and gray watercolor on laid paper
Drawing

In the center a big angel in clouds is supporting a branch, ending as a candlestick with three burning candles. Beside him, a small flying angel with a garland. A curved attic serves as architectural motif. Around its termination in the front are two branches on every side, each supporting the burning candles. Below a scale.
Section of a Circular Pavilion
, 1790
Pen and black ink, brush and watercolor on paper
Drawing

Pairs of pilasters separate the wall panels. The central one is nearly filled by a large folding door. The lateral panels contain rocky niches with fountains. Coffered and domed ceiling.
Pair of Mantel Figures
Chelsea Porcelain Manufactory, English, 1745 – 1784, mid- 18th–late 18th century
porcelain (possibly soft paste), vitreous enamel
figures

Trompe-l'œil bouquet of flowers, stems tied with a striped ribbon.
Panel
, 18th century
silk, wool Technique: back and satin stitch embroidery

Allover design of lozenges with conventional ornament within a border in similar designs. The design left in relief in black woolen ground is outlined in back stitch. The ground is worked in colored silks of red, green, yellow and white in satin stitch.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Military trophy design incorporating a festoon of leaves, foliate branches, armor, weapons, drums, a shield, sword, spears, and flags. The plate is numbered and signed.
Elévations et Profils de différens Lambris d'appui
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevations and profile designs. The panels are framed with ornament motifs including lamb tongue and rosettes. The plate is signed.
Figure
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper.
Drawing

Partial sketch of a figure.
Unfinished Design for a Waistcoat
, 1780-1790
Pencil and various gouaches on paper
Drawing

Unfinished design for  the embroidery of the left bottom part of a man's waistcoat. The floral design on the flap of the pocket is roughly traced. A plant with bell and other flowers and enormous calyx-leaves grows from the bottom point of the pocket; its right part is sketched. Boughs with a bell flower, buds, and a leaf are to grow from the edge of the waistcoat.
Sidewall
, 1920
Block-printed, flocked, embossed

Design derived from a French silk voided velvet of the Louis XVI period. Urns filled with bouquets of assorted flowers, connected with delicate festoons and slender scrolls of acanthus leaves, typical of the period. Silk flock design on an embossed field of fine horizontal lines.
Title Page
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron banister with decorative motifs of leaves and flowers scrolling into central rosettes. The plate features the title in the upper right, but is not signed or numbered.
Design for a Vertical Panel with Heraldic Devices
, 18th century
Etching on laid paper
Print

Design for a long rectangular panel with a coat of arms at center. At center of the coat of arms is three fleurs-de-lys, set within an oval cartouche, topped by a crown and surrounded by two rooster heads and sprays of leaves. The frame features a cartouche at bottom, a border of ribbon twist around bulbs, another crowned coat of arms at top with flags, and ribbon.
Fragment
, 17th century
silk on linen Technique: embroidered on plain weave Label: Silk embroidery on linen plain weave

White linen foundation forms the design. Ground of drawn work embroidered with red silk. Symmetrical conventionalized floral groups, with one central branch and two flanking branches.
Map sampler
Elizabeth Evenett, 1801
silk embroidery, wool foundation Technique: cross, satin, stem, split and knot stitches on plain weave foundation

Map of England and Wales within an oval frame. Butterflies and baskets at each corner.
Medallion with a Silhouetted Head of a Girl, Illustration for "Königl: Grosbrit [anische] Genealogischer Kalender auf das 1780 Jahr Lauenberg bey J.G. Berenberg"
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1779
Engraving and etching on paper
Print

A medallion with the silhouette-like head is bordered by boughs and suspended from a ring. The poem refers to a here not understandable joke by directing one to turn the page.
Sketches, The Child, Saint John, and the Cross Supported by Flying Angles (?)
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink on paper
Drawing

One side: the Child is standing in the lap of the Virgin who supports his extended left arm; he puts his right arm around her neck. Above, at right, is the cross motif. Other side, in opposite direction: Saint John as a boy, kneeling toward the left.
Rocaille Vignette with Gourds and Stump
Alexis Peyrotte, French, 1699–1769, mid- 18th–late 18th century
Etching on paper
Print

Choinserie Rocaille Vignette with Gourds and Stump.
Angel Crowning a Couple
, 1780–1800
Red crayon, white heightening on paper
Drawing

Recto: Ovoid frame with scene of angel extending arms above a kneeling couple. Verso: The angel is flying toward right. The feet, parts of the arms and of the chest are shown; the wings and the head are slightly sketched.
Fragment
, 19th century
silk Technique: chain stitch embroidery on satin weave

Yellow satin embroidered in chain stitch with a design of a peacock and a floral ornament.
Designs for Braziers and Trays, from Dessins d'orfèvrerie (Designs for Metalwork)
Léonard Thiry, Flemish, 1550, 1540–1560
Engraving on laid paper
Print

Fontainebleau school. Two designs for braziers and three designs for trays. The left brazier is decorated with Jupiter's eagles, ignudi and the flaming salamanders of François I; the right one is decorated with salamanders, a sun masks and amorous figures. The first tray is decorated with a mask and leaves; the second with a cherub head, fruits and vegetables and the last one with vine.
JARDIN DE L’HÔTEL DE CONDÉ
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the garden of the Hôtel de Condé. Garden pavilions including large triumphal gates in the background. In the center there is a basin with a fountain jet of water surrounded by parterre planting, and tress boxes and vases. Figures throughout. The plate is titled.
Mount
, ca. 1810
stamped, cast and chased gilt-bronze

a winged goddess holding two torches, between two hippocamps
Design for a Reliquary Monstrance
, 1740–70
Red, black chalk, brush and watercolors, white gouache on paper
Drawing

Vertical format design for a reliquary monstrance intended to be executed in white and gilded silver. The shaft is to be gilded. The upper part is drawn at left with less white, at right with less gilded silver. The elevation and decoration are symmetrically disposed but for the lack of symmetry in rocaille escutcheons. Below is a moulded base. A symmetrically disposed escutcheon is in the center of the foot. Around the ovoidal receptacle is a framing of rocaille scrolls like those at the edges of the outer frame. In the intervals are rocaille motifs and flower sprays. On top is a leaf palmette with a trefoil. A glory of rays is shown at right, slightly indicated at left.
Clavus band
, 6th–7th century
Warp; S-spun two ply Z-twist linen. Wefts: S-spun linen, S-spun wool. Technique: slit tapestry woven with supplementary weft wrapping.

The central scene is an Annunciation scene with Mary in a chair and an angel at her shoulder. Top and bottom scenes may be vases with foliage.
Simplon Pass, Switzerland
Frederic Edwin Church, American, 1826–1900, September 3-4, 1868
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the Simplon Pass in Switzerland and is sheer cliff walls. In foreground at center, a steep, craggy slope descends to the valley floor at lower right, where a stream curves around its embankment. Another rock wall in the middle distance at right frames a view of a far-off cliff face, visible at center.

Verso: Loose landscape sketches showing two oppositely-oriented views of mountains and valleys. At left, the peak of a snowcapped mountain is visible, while, at right, an unclear rocky landscape is sketched.
Profiles for Carved Stone or Wood and Paneling Designs
Gilles-Marie Oppenord, French, 1672–1742, 1737–38
Etching and engraving on laid paper
Print

Designs for moldings carved from stone or wood illustrated in profile details as sections, with a central design for carved paneling featuring rosettes, batwings, acanthus leaves, and fleurons. The plate is numbered and signed.
Earrings
, ca. 1830
Seed pearls, mother-of-pearl, gold, fiber

1946-50-47/51: Parure composed of seed pearl necklace, brooch, ha...;     1946-50-47: Necklace comprising eight sunburst-ornaments of se...;     1946-50-48-a,b: Brooch of woven seed pearls making a flower and th...;     1946-50-49: Hair ornament of woven pearls making flowers in a ...;     1946-50-50-a,b: Pair of earings of woven pearls making a flower. E...;     1946-50-51-a,b: Bracelet of woven pearls making a row of flowers; ...
Design for a Desk
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation and plan for a desk with a chest. The plate is signed and numbered.
Designs After Architecture Fragments
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) of architecture fragments including tombs, panels, pediments, and cartouches. The plates are numbered but not signed.
Sucrier
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a sugar shaker decorated with ornament motifs including a pinecone and branch finial, leaves, rinceaux, and bound reed. The plate is signed and numbered.
Figure
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Sketch of a figure in motion.
Design for Woven or Printed Textile
, ca. 1830
Brush and gouache with graphite on off-white laid paper
Drawing

Square sheet depicting large boughs of pale purple lilacs with smaller, thinner branches of yellow flowers and buds.  One repeat shown.  Framing lines are visible around the perimeter.
Two figures as crests of poles
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At left a winged mermaid raises with both arms curved branches. At right, in a greater scale, a merman bends the two branches which grow from the end of the pole, together with raised arms.
Stage Design, Group of Buildings in Ruins
, early 18th century
Pen and brown ink, brush and gray wash on laid paper; verso: pen and brown ink
Drawing

Horizontal rectangle. Ruins of antique buildings in center with broken obelisk and figural sculpture on plinth. Buildings at right and left with paths between leading toward the back.
Portrait of Abram Stevens Hewitt
J. Carroll Beckwith, American, 1852–1917, July 4, 1898
Graphite on paper
Drawing

Bust portrait of Abram S. Hewitt (1822-1903) seated in a chair, facing to the left, with his right hand raised to his head.
Clefs avec têtes pour servir a differentes portes
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for keystones. The top design is in the form of a helmeted mascaron with crossed cornucopia; the bottom design is of a mascaron draped with a lion skin with crossed clubs. The plate is signed.
Project for a Ceiling
, mid- 18th century
Black chalk, pen and ink on paper
Drawing

Slightly more than a quarter of the ceiling is shown, with alternative suggestions. Escutcheon with a mask in the corner. To the left, a sphinx.
Two Boats on Beach with Figures, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881–82
Graphite on off-white wove paper
Drawing

Recto:  Horizontal view of two boats drawn up on beach; a man and woman lean against the nearest boat and watch two men at work on the farthest boat.

Verso: Sketch of a seagull
Design for Clock
Unknown, early 19th century
Pen and black ink, brush and yellow, brown, and green wash on white laid paper
Drawing

Design for a large clock.  Intended to be executed in green and gilded bronze.  The dial is in the body of a vase which has a high foot and two female heads with horns as handles.  Inscriptions above and below.
weathervane
, ca. 1750
Gilt tôle

Chinese man astride a fantastic creature with a dragon's head and rooster's tail.