biglam/cooper-hewitt-alt-text huggingface dataset:
Unfinished design for a memorial sheet referring to erection of a papal factory (Magazins of Annona)
Filippo Marchionni, Italian, 1732–1805, 1760–69
Graphite, pen and ink, brush and sepia wash on laid paper
Drawing

In the center is sketched an obliquely shown section of two halls in two stories. Contemplation with a wheel is shown in the bottom center. Two putti hold a laurel medallion in the top center. The framing suggests an opening in a wall. Laterally, are paper scrolls, showing at left: a house beside agateway, which is shown underneath in detail. It is topped by the coat of arms of Pope Clement XII; at right: a gateway flanked by an outhouse and a loggia, a plan. On verso: bird's eye view of a bridge over the Savio in Cesena. Top is the scale: "Scala di Canne venti di Cesena." On a paper scroll and partially covered by laurel garlands: "Ind(i)ce del presente diseg(no)." this explanation, which is turned at right, refers to a lost part of the design. The garlands form a wreath in which is written: "Dimotrazione / della painta el alzato del ponte / da erigersi sul. Fiume savior suoea gia / destinata paltea coll' aggiu'a dell' / ale offine di far o corer I'acgua / ad angolo retto." Underneath: "Corso d(e) l fiume."
Fragment
, 10th–12th century
linen, silk Technique: plain weave with counted and double running stitches

Natural linen ground embroidered in small-scale geometric forms with red, tan, rose and blue silk.
A Family in a Landscape
Jean-Baptiste Pillement, French, 1728–1808, 1773
Etching on laid paper
Print

Plate from a series of chinoiserie scenes with figures in a landscape. A family stand together in the middle of a landscape, a woman and man hold a small child with two other small children at their feet. To their right, an arched structure with a hanging embroidered banner with a woman standing within, looking out at the family. The scene is in a landscape with trees, rocks, foliage, and agricultural tools. The plate is signed and dated.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

Flower boughs, forming a row, are to be connected by two segments.
Madder
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of madder stalks with flower petals, buds, and leaves.
Desseins 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 cane handles as well as wall sconces with candles. See 1921-6-285-98.
Sketches from Narragensett, Rhode Island.
Samuel Colman, American, 1832–1920, 1871
Brush and watercolor, white gouache, pen and brown ink, graphite on grey paper
Drawing

Vertical rectangle.  Obverse: A standing man shown in profile turned toward right and raising a filled hay fork.  Place, year are written in pen bottom left.  High bottom margin.  Reverse, top: two lower parts of forelegs of a cow.  Center: a hind leg and neck and head with a yoke.  Bottom:  upper part of the left hind leg with a part of the udder.
Embroidery sample
, 1780–95
silk, paper Technique: embroidered on a cut voided supplementary warp pile (velvet)

Multicolored silk embroidery with a border design of flower sprays on a black dotted ground.
Designs for a Watchcase Lid or Medallion and Flowers
Jacques Vauquer, French, 1621–1686, ca. 1660-70
Engraving on laid paper
Print

An ornament print with a central design for a medallion or the lid of a circular watchcase depicting the New Testament Biblical scene of the Adoration of the Magi - three kings bring gifts to the newborn baby Jesus. Mary holds the baby Jesus in the foreground with the three kings to the left, with three other male figures and a dog. One of the kings is black and wears a turban, and two of the other male figures to the left are also black men. Joseph stands to the far right. In the background are fluted columns and a stone wall, camels, figures, and two winged putti above in clouds, with rays of light shining down. The roundel is flanked by two floral designs. The plate is numbered and signed.
Alcove ceintré Antique
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for an alcove in which is situated a daybed, and surrounded by panels with ornament motifs including vases, scrolls, garland, and rosettes. The plate is signed and numbered.
Fragments
, mid–late 18th century
silk Technique: cut supplementary warp pile (velvet) with supplementary weft

Two fragments of green cut velvet with an allover design of small circles in purple silk.
Design for a Sarcophagus
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The upper rim is supported by the half-figure of a woman with rinceaux. The body is covered with curtains. Colored background.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a lidded vase. The body of the vase is fluted, with handles in the form of intertwined snakes, with leaf ornament. The plate is signed and numbered.
Stage Design, Portico with Buildings
, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. Ogival portico, view of buildings in background through archways.
Design for Monstrance
Unknown, 1820–40
Graphite on cream paper
Drawing

The foot consists of a pedestal showing the animals of the Evangelists, and a cherub over an inscription "EVANGELUS." A capital stands on the pedestal, beside the foot of which two angels sit, holding three nails and the Sudarium, respectively. The shaft consists of a balaster, around part of which is wound a vine garland. Two flying angels, on top, hold the cloud glory which with cherubim surrounds the circular frame of the receptacle, which shows a row of stars. God the father stands in the top center. A cherub is at the bottom of the receptacle. A glory of rays forms the background. Some slight sketches are near the right edge.
Figural Sketches
Carlo Marchionni, Italian, 1702–1786, 1775
Graphite on laid paper
Drawing

Group of women seated speaking to a man; bust of man in the left center. It is surrounded from top center to lower left by a cherub, a girl's head, two caricatural men's heads, a lozenge ornament, a head of Dionysos.
Palastre à Cul de Lampe à deux entrées
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Lock casing design with a border of bound leaves and bead course. On the left side of the case is a rosette; on the right side are two key port entries, set within cul-de-lampe ornamentation. On the upper left side of the plate is a schematic profile of the rosette. The plate is signed and numbered.
Designs for Gun Parts and Ornament
François Marcou, French, 1595 – 1660, 1657
Engraving on laid paper
Print

Designs for gun parts (flintlock, trigger, and ornament) decorated with grotesque ornament, flowers, fantastical animals, hippocamp (seahorse) with a putto on his back, mascarons (masks), scrolling leaves (rinceaux), foliate scrolls, and fleurons. The plate is signed and dated.
Hudson Valley Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, July 6, 1863
Graphite on gray-green wove paper; verso: graphite
Drawing

Landsacpe sketch showing a view of the sunset in the Hudson River Valley, as seen from or near the artist's property in Hudson, New York. Mixed vegetation fills the foreground, with two prominent stands of trees framing the view at left and right. Rolling, wooded terrain stretches across the middle distance toward a mountain range, which is almost certainly the Catskill Escarpment. In the background at left, a prominent peak is visible. Above, the bottom of the sun is visible as it peaks out from beneath a long, hazy cloud bank.

Verso: Same sunset scene as recto, but later in the evening, so the sun is closer to the horizon. A rugged mountain ridge forms an undulating horizon with two sharp peaks at left. At center right, the setting sun is nestled in a dip in the mountain range, just before it sinks below the horizon. The sky and landscape is richly colored around it. Above, layers of mixed clouds hang in the sky, variously illuminated by the setting sun. In the lower right corner, another indistinct drawing is contained within a round, dotted line.
Sidewall
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1890–1900
Machine-printed on paper

Modified rococo design of green and gold scrolls, sprays of roses are festooned over scrolls. The background is composed of two wide stripes, one gray and the other ivory. Printed on margin: "14, Janeway & Co., 810". Printed in rose, green, mauve and gold on gray and ivory.
Stage Design, Mountain with Town on Slopes
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Mountain with buildings on hillside.
Handscreen
, ca. 1770
Engraved, hand-colored and painted paper leaf, turned wood handle

Handscreen with engraved and hand-colored design. Obverse: an oval medallion with three couples talking in front of a garden gate with a fountain behind, surrounded by hand-painted motifs of flowers, musical instruments, etc. Reverse: short dialogues from the play "Julia," numbered sequentially.
Potpourri Vase with Figurine of a Boy
Frankenthal Porcelain Factory, German, active mid- to late 18th century, mid- 18th century
hard paste porcelain, vitreous enamel, gold
potpourri vase

White vase and lid with pink abstract flower painted on the sides and lid. On the top, a boy leans over the abstract flowers.
Band
, 17th century
silk, linen Technique: plain compound weave Label: Silk, linen plain compound weave

Band with a reversible design of lions flanking a fountain.
Camels Hump from Stowe, Vermont
Daniel Huntington, American, 1816–1906, September 2, 1864
Graphite on cream paper
Drawing

Rock ledge at left. Wooded ridges and valleys, below, with high mountain in distance, center.
Miser's purse
, 19th century
silk, steel beads Technique: crocheted

Miser's purse, crocheted of black silk with pattern of crosses and tassels of steel beads.
Sketch, Allegory in Architectural Setting with Sculpted Bust
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Sketch, Allegory in Architectural Setting with Sculpted Bust
A Forest Glen
Thomas Moran, American, b. Britain, 1837–1926, 1868
Lithograph on paper
Print

Vertical view of a forest clearing with sheer outcropping of rock and tall hemlocks.
Man
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Sketch of a male figure leaning against a wall.
Competitive Design for a Mural in the United States Court House, New York
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Gouache, pen and blue ink, black crayon, gold on cardboard
Drawing

Elevation for a wall with three painted panels, labeled on tablets below: "CRIME," "JUSTICE-TRUTH," and "LAW." A cherub is shown above the central tablet. Above, the central panel is higher than the lateral ones and half-circular on top. In the central panel, Justice appeared with a swrod, seated upon a chair, and converses with Truth, who stands at right behind the chair. At left, in the panel representing Crime, three anxious-looking women lay on a sea shore. At right, in the panel representing Law, three women study from a book.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase in a landscape, surrounded by trees and foliage. The vase is decorated with seated satyr or faun, holding a ring and stick. The handles of the vase are in a shell motif and the foot is decorated with acanthus leaves. The plate is signed and numbered.
Panel
, 19th century
wool, cotton backing Technique: twill tapestry weave

Rectangular panel of fine twill tapestry has a tight arrangement of small-scale quatrefoils and ogives enclosing flowers with interspaces filled with floral and foliate motifs. Colors are dark red, blue, green, purple, yellow, and white. Bordered and piped with different bands of imitation tapestry, one floral, one geometric. Backed with red cotton twill.
Two Designs for Ecclesiastical Ironwork
Jean Lamour, French, 1698–1771, ca. 1764
Etching and engraving on laid paper
Print

Two designs for ecclesiastical ironwork ornamented with rococo motifs, acanthus leaves, flowers, c-scrolls, palmettes, cartouches, tassels and fleurons. The upper design features a central cartouche, surrounded by three dogs with military trophies on either end. The lower design features a central coat of arms, surrounded by three dogs, with two thin pyramids on either end, decorated with trophies associated with ironwork, topped with flames. The lower design is titled and signed. The plate is numbered.
La Place Royalle avec le Jardin Comme il doit estre
Michel Lebouteux, French, 1648 – 17.., late 17th century
Etching on laid paper
Print

Bird's-eye view of the exterior elevation of the façade of the Place Royale in Paris with inner garden square. A statue in the center on a plinth framed by four fountains (jets of water in basins) and parterre planting, enclosed within a gate. Small figures throughout the garden and a horse drawn carriage. In the lower foreground, trees, and bushes with figures. The plate is titled and signed.
Winter Scene
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This winter day shows three women finely dressed, holding a bouquet with a beautiful butterfly — the youngest, nestled in between the older women. Surrounding them are two pairs of men and one lone man off in the distance. A snow-covered Mount Fuji framed off in the background.
Title Page (Upper Plate)
Adam Perelle, French, 1638 – 1695, 1680–1703
Etching on laid paper
Print

Two plates printed on a single sheet, one above the other. The upper plate is a title page for a series of prints. The title is lettered in the center on a large fountain wall within a basin, topped with a pediment featuring the French royal coat of arms. Trees along the sides and figures (courtiers) along the paths. The lower plate illustrates the entrance to the Chateau of Chantilly, with an equestrian statue in the center and the chateau to the left. Figures, horseman, and horse drawn carriages arriving and leaving. The lower plate is titled.
Landscape at Hastings, New York
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on paper
Drawing

A view at the enclosure of a hollow.
Candlestick Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for a candlestick decorated with fluting, scrolling leaves (rinceaux), flowers, gadrooning, and hooves. The plate is titled and numbered.
Design for a Woven Border
, 1815–1840
Brush and gouache on oily tracing paper
Drawing

A bunch of flowers with a very big fantastical blossom is shown top right; a flower bough extends from it toward left, ending with a calyx from which a plant grows. Leaves are sketched top left. Bottom center: a border of lace canopies which are connected by double fans. One unit and parts of the adjoining ones are shown. A lilac strip is beneath top center.
Design for a Sepulchral Monument to King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The flames burn in urns. The inscription is in the band above the entablature. The figure with the scross is a variation of 1938-88-1300. Beside her are the symbols of the Evangelists.
Cabinet de treillage du Jardin de Presle (Left Plate)
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Two plates printed on the same sheet, side by side with views of garden details at Presle. Both depict trellised / lattice garden structures within groves (bosquets). The left plate features a circular domed structure with arches and a table underneath, with figures walking on the paths and trellis walls and trees beyond. A bench in the foreground. The right plate features a circular basin with a large jet of water, surrounded by arched trellis walls with trees beyond. Figures walking throughout the paths. The plates are titled.
Cartouche Design
Borch, active mid 18th century, 1729–68
Etching and engraving on paper
Print

Design for an asymmetrical cartouche framed by c-scrolls, s-scrolls, and three dragons. The plate is signed.
Sketches from Newfoundland and Labrador, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Graphite and white gouache on brown paper; verso: graphite
Drawing

Mixed sketches showing three views around Newfoundland and Labrador, Canada. At upper left, a view of a distant iceberg highlighted in white gouache is shown; visible at upper right are three sketches of sailboats--one shown obliquely, one in left profile without sails, and another shown from the stern; and finally, a faint view of a rugged, mountainous coastline stretches across the composition at center.

Verso: Loose, unfinished sketch of a pyramidal iceberg with rough, craggy edges.
Title Page
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Title page and design for a two-light candelabra (griandoles) decorated with scrolling leaves (rinceaux), foliate branches, fleurons, fluting, wave, and gadrooning motifs, with a flame in the center and intertwined snakes. The plate is numbered and titled.
Medallion
Jean-Baptiste Nini, Italian, active Italy and France, 1717 - 1786, 1777
Molded terracotta

Profile portrait facing left. Franklin wears a fur hat and a neck tie. Molded frame. Text along perimeter of inner circle reads: B. FRANKLIN / AMERICAIN
Design for Cartouche
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for an asymmetrical cartouche surrounded by various motifs including a crown, a trumpeting angel, a lion, sprays of leaves, flags, and cornucopia.
Design for Stage Curtain: Apollo and Marsyas, Palazzo Conti-Sinibaldi, Faenza
Felice Giani, Italian, 1758–1823, 1800–1801
Pen and brown ink, brush and brown wash over black chalk on wove paper
Drawing

Horizontal rectangle. Curtains frame scene, stage frame shown. Middle-ground shown sitting at foot of enormous tree, in center Marsyas and Apollo plays flute.  Muse character (?) holds wreath over head. At right, Listerners shown behind main audience at left in foreground. Middleground, at left Dionysos with procession. Caption written in ink over graphite: "Teatro della V musica."
Two Floral Tailpieces or Fleurons
Jean-Jacques Bachelier, French, 1724 - 1806, 1760
Etching on laid paper
Print

Second plate from a series of six of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine.  Two fleurons or tailpieces, one above the other, made of flowers, leaves and branches. The plate is numbered and signed
Plan d’un batiment de trois toises de face
A. Le Canu, French, active 1746 – 1768, ca. 1762
Engraving on paper
Print

An architectural plan for the ground floor and first floor of a building. The building is two rooms deep, with a staircase and inner courtyard with the service area behind. The ground floor rooms include a shop and dining room and the first floor includes a bedroom and sitting room. The plan is framed in black with the title lettered below. The print is signed by the designer in the lower left corner with the plate mark in the lower right corner.
Ceiling Design
Carlo Maria Pozzi, 1708
Engraving on laid paper
Bound print

Design for a ceiling with stucco molding forming a quatrefoil around the center. The corners of the ceiling have carved circles with garlands piercing them, and with sphinxes and trophies surrounding them. Two sides within the quatrefoil form have cartouches held by winged putti; the other two sides have putti holding columns and scales, and putti holding snakes and mirrors. The plate is signed and numbered.
Ornamental Frame Design
Louis Crépy, French, 1680?–1760, mid- 18th–late 18th century
Etching on laid paper
Print

Design for an oval frame decorated with ornament motifs including flowers, scrolls, rosettes, rinceaux.
Three Border Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Three bands of border designs, stacked horizontally on the page. The top border, with cross-section on the right, is comprised of a rotating pattern of oak leaves and acorns, above beading and planar details; the middle border features a guilloche of leaves on a thin branch; the bottom border, alsowith cross-section on the right, has a row of acanthus leaves over rows of deep fluting. The plate is signed and numbered.
Comb
, ca. 1870
Tortoiseshell

Tall comb with intricate pierced carvings in floral motif.
Design for a Book Illustration
, 1625–1650
Pen and ink on paper
Drawing

Two putti, each holding a trumpet, sit with a plumed mask between them. Behind a quiver and a landscape.
Drawing: A) Rhea and the infant Jupiter. B) St. Francis of Assisi
, 1590–1620
A) Black chalk and pen with grayish brown water color on paper. B) Red and black chalk on paper
Drawing

Obverse: A) Jupiter is shown suckling the goat Amalthea. Rhea stands at left, holding her diadem with both hands. Reverse: B) St. Francis is holding a staff and kneeling, shown obliquely from his right side with his right hand raised.
Design for a Frame
C. C., French, active 19th c., 1811
Graphite, pen and ink, brush and grey watercolor, black on light creamy paper
drawing

The upper right corner is shown. Between plain or decorated mouldings is a frieze with a palmette band. The section is shown at the lower end. The background is colored grey, above and at right black.
Design for a Vignette
, 1825–1850
Graphite, pen and ink on paper
Drawing

Horizontal rectangle showing two angels in flight holding laurel wreathes punctuated by a sword.
Plate 22, from Grotteßco in diverßche manieren (Various Grotesques)
Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, 1564
Etching on laid paper
Print

Grotesque panel. In center, a classical warrior facing the rear holding his shield, a standard, and a branch.
Fountain Supported by Three Harpies and Three Groups of People in Garden in Villa Albani, Rome
Felice Giani, Italian, 1758–1823, 1780–1820
Black chalk on off white wove paper
Drawing

Large fountain with two bowls, lower basin supported by central post and three winged Harpies. Three groups of people nearby on platform.
Door of a Tabernacle Intended To Be Executed In Bronze
, 1700-1750
Pencil, pen, brush, sepia, and grey water color.
Drawing

Work in the shape of a vertical rectangle. The statue of an angel supporting a tabernacle in the shape of a circular building with a cupola. Written at right, above" "IL TEMPIO SI PUOL FARE TRAFORATO SCOPRIRE MEGLIO TUTTA LA FIGURA DELL' ANGIOLO;" below: "NO. 50."
LE CHASTEAU DE ST. MAUR
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of a castle and surrounding buildings, with its entrance courtyard with wrought-iron gates, and two fountains. Figures and horseman in the grounds and gardens in the background. The plate is titled with a short description and history of the castle.
Design for a Lunette
Giacomo Casa, Italian, 1835 – 1887, 1855–1860
Pencil, pen and ink, brush and sepia, watercolor on paper
Drawing

Horizontal rectangle showing design for a lunette with a mother, child and angel.
Handscreen
, late 18th–early 19th century
Engraved paper leaf with applied chromolithograph, turned wood handle

Handscreen with an ogee-shaped leaf with a deep border of intertwinted laurel, and a round center medallion with a classical scene of three women bringing fruit to Cupid, seated on a pedestal. Reverse: a cow with a suckling calf.