biglam/cooper-hewitt-alt-text huggingface dataset:
Pour d’Autres Vases
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Six designs for vases decorated with neoclassical motifs and ornament featuring festoons of leaves, roundel portraits, figures, gadrooning, rosettes, shells, drapery, fluting, and Vitruvian wave and meandering patterns. The vases are in two rows of three with the bases decorated with a meander or Greek key motif. The plate is titled, numbered, and signed.
Fragment
, possibly 14th–15th century
silk Technique: block printed on plain weave

Crown, eagle and banderole saying "MARIA".
Portrait of Andrea Appiani the Elder (1754-1817)
Filippo Caporali, Italian, 1794 - after 1848, ca. 1840
Engraving on paper
Print

A shoulder-length portrait. The head in frontal view, the body in side view turned to right. The sitter is bareheaded; he wears a dark jacket with white shirt and tie.
Saint Francis Receiving the Stigmata
Donato Creti, Italian, 1671–1749, ca. 1720
Pen and ink on paper, mounted
Drawing

A friar in the gesture of kneeling down, raising both arms and looking upwards.
Fragment
, 3rd–4th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique; slit tapestry with supplementary weft wrapping

A leaf shape with geometric patterning in the center.
Design for the Decoration of a Panel
Giuseppe Barberi, Italian, 1746–1809, 1775-1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

In the scheme of a candelabrum. At left: below is a pedestal with sitting sphinces upon the foot and supporting flower pots upon their heads. Children are standing upon their backs, holding reins. The sides of the lower part of the angular shaft are decorated with half-figures. The upper part of the shaft is an oblong with a head. Above is a base with two griffins, supporting festoons and another wider base. Upon the latter stand two women, suppotying an oval frame with a landscape standing in the center upon a calix. Above are symmetrical scrolls with a horizontal bar below upon the sides of which stands a bird and a putto with one end of a festoon. The upper scrolls end with winged half-figures.; on top is an eagle, displayed as in a wraeth. At right, without a framing line, and at left below, because of lacking space, not entirely drawn. Below are two crouching lions; their reins are carried by putti standing near their tails. Upon the heads of the lions stands a column from which two scrolls with a winged armless female half-figure spring. Upon the column stands a capital in the shape of a calix and upports a base upon which two woman sit, laterally; an oval medallion with a landscape between scrolls. Lateral spirals of the scrolls support two tree-like stems. The scrolls support above the medallion a horizontal bar above which is a heart form composed of scrolls. Inside and at the end of the upper scrolls is a half-figure, on top an eagle.
Design for a Woven Fabric
, 1825–1850
Brush and gouache on oily tracing paper
Drawing

Two obliquely shown leaf boughs are of opposite directions in alternate horizontal rows. Rising undulated stems, which are fastened together by bowknots, connect the boughs in vertical rows. White stripes, laterally.
Sketches for Portraits
Daniel Huntington, American, 1816–1906, ca. 1880
Graphite on paper
Drawing

Man seated, facing frontally, with head and feet not shown. A table, at left. A book in his lap, held open by his right hand. Verso: A woman seated, holding a fan, turned to the right with her head facing frontally.
Developpement d'une Porte Cochere de l'ordonnance Corinthien
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Elevation of a porte-cochère decorated according to the principles of the Corinthian order and with Putti and cornucopia around an oval rondel above the doors, and with Corinthian capitals, rosettes, fluting, and reliefs of sphynxes. The plate is signed and numbered.
River Scene, Grand Canyon, Colorado
Thomas Moran, American, b. Britain, 1837–1926, 1870
Brush and ink wash on cream wove paper
Drawing

Horizontal view of hills on either side of a river in the middle ground, with a windmill topping the left hill.  A bridge crosses the water nearby and a group of three people stands near the lower left corner.
Band
, 19th century
linen Technique: bobbin lace, Binche style with Binche ground

Band of Valenciennes style lace has a symmetrical arrangement of delicate leaf sprays on a five-sided ground.
Designs for Obelisks
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. Each plate features designs for obelisks with variations on their bases and shaft shape and decoration. The left plate features five obelisks, two completed forms on the left, and three partially rendered forms on the right. They are topped with, from left to right: a crown, a vessel, lightning bolts, a faceted orb, and a vase. The three obelisks on the right plate are topped with, from left to right: mascarons with a pyramid of leaves, grapes, and fruits; a tower of leaves with a snake twisting upward; and a lidded vase with a snake wrapped around the lid. Both plates are signed and numbered.
Theatre des Italiens, Paris
, ca. 1790
Engraving on paper
Print

Circular. Like -1403. Straight view of the facade and oblique views of the neighboring houses. People are in front of two of the doors and on the square. Caption: "ITALIAN THEATRE".
Fragment
, 13th century
silk, linen, metallic Technique: compound weft twill (samite)

Horizontal band of small roundels enclosing addorsed rampant lions in gold outlined with green against cream. Ground of diamond latticework with palmettes.
Lunette with Escutcheons, No. 13 from "Raccolta di varii cappriccii et nove inventioni di cartelle et ornamenti"
Stefano della Bella, Italian, 1610–1664, 1646
Etching on paper
Print

No. 13 of the same set as -10, "Raccolta di varii cappriccii," etc.
Textile sample
American Print Works, founded 1835, 1870s
cotton Technique: printed on plain weave

White fabric in a design showing a repeating motif of a chick breaking through its shell which is marked "1776."
Imaginary Landscape with Palm Trees
Frederic Edwin Church, American, 1826–1900, 1870-75
Pen and dark brown ink on off-white laid paper
Drawing

Landscape sketch showing an imagined view of a tropical landscape with palm trees by a river, and mountains in the distance. A reflective river snakes from the foreground at lower right to the middle distance at center. In the immediate foreground at lower left, the nearby grassy bank is briefly visible. At right, a group of tall palm trees with full canopies frames a view of a distant mountain with a sharp peak in the background at center. Wispy clouds fill the sky at upper left.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for two rectangular decorative panels featuring arabesque motifs including scrolling acanthus leaves (rinceaux), fleurons, flowers, festoons of flowers, a medallion, ribbons, and leafy branches. The plate is numbered.
Design for a Hand Fan (Right Plate)
Bellay, French, active from 1734, ca.1734–37
Etching on laid paper
Print

A design for a hand fan or hand screen pasted to the right of another design. The design features rococo and chinoiserie (in the Chinese style) motifs, with two men seated in the foreground within a landscape with a faintly outlined building or garden structure in the background. The ornament framing the scene features a vase on a plinth, a bird, c-scrolls, shells, canopies, architectural details, bells, fleurons, rosettes, rinceaux, and leaves. The plate is numbered and signed.
Sketch of Hands for Portrait of Mrs. McCready
Daniel Huntington, American, 1816–1906, ca. 1880
Graphite on paper
Drawing

Studies of a woman's hands, hanging, with back of hands to viewer.
Jardin de la Maison de Mr. Michel Rue des Amandiers près la barriere, AParis
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with designs for a house and gardens with an exterior elevation, sectional view, floorplan, and general plan of the grounds. There is a legend describing the details in the lower left. The plate is titled, numbered, and signed.
Sketch for “The Shark and the Patriarch” in “Comic Fables, Out of The World”
Frederick Stuart Church, American, 1842–1924, ca. 1877
Graphite on paper
Ephemera

Sketch for Fables, The Shark and the Patriarch. Left, profile of shark; center, two camels, pelican and figure, examining shark, all necks outstretched. Right, boat.
Balcony Rail (Balustrade) Design
S. Vallée, French, 18th century, 18th century
Etching and engraving on paper
Print

Design for a wrought-iron ornamental balcony rail (balustrade) featuring scrolling and straight bands. The plate is signed.
Design for a Sepulchral Monument for Three Brothers
, 1590–1610
Graphite, pen and ink, brush and watercolor on paper
Drawing

Intended to be executed with white marble and marbles of many colors. Below is a base. One sarcophagus stands in the central panel of the dado. Above it is a lion skin serving as a tablet for the inscription. IT is laterally held by putti sitting upon moldings. Above is an order of three embedded Ionic columns. In the central inter-columniation is a niche with the statue of an ederly man in armor. Laterally are two niches with two elderly men each with a book. Above the lateral niches are escutcheons. A pediment is above the central one. Above the entablature are in the middle a pediment with an escutcheon with a crown and laterally pedestals with urns. They are connected with the pediment by scrolls.
Trophy Design
Jean-Baptiste Huet, French, 1745 – 1811, 1772
Crayon manner etching in red ink on laid paper
Print

Title page and first plate from a series of four ornament prints of designs for trophies. Hanging from tied ribbons - a dead chicken, hare, and bird, along with a dagger, powder flask and foliate branches. The title is lettered below, and the plate is signed and dated.
Two Ornamental Trophy Designs
Jacques Dumont, French, 1701 – 1781, 1729–61
Etching and engraving on paper
Print

Two designs for hanging ornamental trophies (side by side) with religious and military objects: books, crowns, flaming torches, ewers, axe, weapons, armor, chalice, caps, thurible, liturgical vestments, arrows, spears, palm leaves, flowers, and ribbons. The plate is numbered and signed.
Chimneypiece Design
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Chimneypiece design with a bird above the mirror draped in garland of flowers. In front of the hemicycle mirror hangs a four-arm chandelier. On either side of the mirror is a fluted column with a Corinthian capital, on top of which sits a vase with flowers emerging from its mouth. On the mantel, featuring a wave band, is a pair of burners. There is a scale bar of four French feet ("4 Pieds") at the bottom. The plate is signed and numbered.
Poele pour être placé dans un angle ou dans une niche, avec voussure ornée de caissons
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a corner pedestal decorated with a coffered arch, and corner scrolling acanthus leaf (rinceaux) motifs, and the top of the pedestal supported by corbels. A plan view and scale below.
Pleated fan
, ca. 1840
Paper leaf with gilded chromolithograph; carved and pierced wood sticks; blue silk tassel

Gilded paper fan leaf decorated with chromolithograph scenes of a musical gathering centered on a man with a hurdy-gurdy. Rococo-style gilding frames the scene; verso: a pastoral vignette with gilded strapwork border. Wood handle is carved and pierced with foliate scrolls.
Rocaille Scroll Designs
Emmanuel Eichel, German, 1717–1782, mid- 18th century
Etching on off-white paper
Print

Sheet filled with variations on rocaille scrolls and rinceaux. The plate is signed and numbered.
Draham Harbour
Matthew White Ridley, British, 1837 - 1888, ca. 1880
Etching on cream-colored paper
Print

Numerous large sailing vessels are tied up along a quay, broken by a gate in the center. Below, title, and lower left: "Ridley sculp." At top left, the number 247.
Embroidery sample
, ca. 1800
silk, paper Technique: embroidered on taffeta

Mutlicolored silk embroidery in a border design of s small-scale vine and flowers with two floral sprays extending from the border on a brown ground.
Two Furniture Leg Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two furniture leg designs arranged horizontally on the page. The leg at left has a top block with a rosette carved on top of an oval medallion. The top flat is comprised of bound laurel leaves, and the shaft of the leg is wavy and bound by cloth-looking x's. The leg at right has a top block with a ribbon-rosette pierced by arrows, a cove of vertical feathers, egg gadrooning at the shoulder, and spiral fluting and lancet lead ornamentation on the shaft. The plate is signed and numbered.
LE CHÂTEAU DE CHAUNES en Picardie
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Bird's eye view of the chateau of Chaulnes with its formal gardens and parkland/ landscape beyond. Courtyard and gate in the foreground with garden buildings/ pavilions, fountains, and trees. Formal parterre planting, fountains, avenues, and trees beyond. Figures throughout the grounds. The plate is titled.
Title Page
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Title page for a series of arabesque ornament designs. The title is lettered above a vertical arabesque design featuring a terminal figure - a torso of a man with a basket of flowers and leaves on his head, and his lower half forming into acanthus scrolling leaf motifs and rosettes. The design features festoons of flowers, birds, and textiles. Below a rectangular cartouche featuring two winged horses with bird heads and scrolling acanthus leaf and rosette tails with a vase in the center. The plate is signed.
Design for Doors
Jean Mariette, French, 1660–1742, 1686–1740
Etching and engraving on laid paper
Print

A design for a set of exterior double doors. Each door is decorated with four panels with an acanthus leaf frieze along the top. The central corbel and frame are decorated with acanthus leaves and a scrolling foliate running pattern. The upper panels are squared with a plain octagonal panel in the center framed by molding and leaf and acorn ornament in the corners. Below are rectangular panels featuring fleurons and festoons of flowers and leaves hanging from rosettes and ribbons. Below large plain vertical panels framed with molding. The right door has a knocker in the lower center of the plan vertical panel. The lower section of the doors features a trellis pattern. The plate is signed with a scale below the design.
Ornamental Vase Design
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Etching and engraving on laid paper
Print

Lidded vase design in the form of an incense burner, with smoke billowing out of its sides. The vase is decorated with a meander band around its shoulder, and gadrooning at its base. The vase is elevated on a tall plinth, on which is inscribed D.O.M. The plinth has a drapery pinned to it, with the title of the vase series, its author, and published printed on it. The plate is numbered but not signed.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates featuring designs for pedestals. The left plate also functions as the title page. Both plates are numbered; the plate on the right is signed.
Study for standing woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on grey paper
Drawing

Two sketches of a female figure. The standing woman is shown at left in transparent clothing of the classical style. At right is a similar cloth of modern style.
A Family in a Landscape
Jean-Baptiste Pillement, French, 1728–1808, 1760-1775
Etching on paper
Print

A chinoiserie-style design for a panel after Jean Pillement depicting a family of four in a landscape with a trellised structure in the background, surrounded by trees and stonework, including a wheel. The figures, dressed in Chinese-style clothing, include a man and woman holding a baby with a child standing by her right side. The male figure holds a parasol above their heads. Seperate rococo-style ornament, with fronds, leaves, branches and plants is below the scene. The plate is signed by the printmaker in the lower left corner.
Santa Maria della Salute, Venice, Italy
Francis Hopkinson Smith, American, 1838–1915, ca. 1880
Charcoal, brush and gouache on paper
Drawing

View of the church from the Grand Canal, silhouetted against an evening sky.
Orchestra Platform and Setting
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and ink, brush and gray and brown wash, black chalk on laid paper
Drawing

Design showing cross-section of hall decorated in the antique style with candelabra and stands for orchestra. Ruled borders.
Steamboat on the Hudson River, Hudson, New York
Frederic Edwin Church, American, 1826–1900, June 1874
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a steamboat on the Hudson River with rolling hills on the opposite bank, possibly viewed from the artist's property near Hudson, New York. In the immediate foreground at left, the top of a tree is visible. In the middle distance at center, the rectangular form of a steamboat leaving a wake in the river as waves crash against its bow. In the background, on the opposite side of the river, rugged hills are shown mostly in outline.

Verso: Landscape and atmosphere sketch showing part of a panoramic view of a rolling landscape with billowing clouds, likely the Hudson River Valley looking southwest from the artist's property near Hudson, New York. At center and right, loose outlines of mountains and hills expand off the page at right. Above, a dynamic mixture of loosely-rendered clouds crystallizes at upper right around a billowing cumulus formation.
Pocket
, ca. 1870
cotton Technique: printed on plain weave

Plain square calico pocket with drawstring top. Fabric has a hatched pink ground with white and rose flowers.
The Holy Family
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Pen and ink, brush and sepia on paper
Drawing

Open country. The Virgin kneels toward the left, the Child stands beside her at left. She intends to lift him up. Behind the child is Joseph. Trees are in the background.
Design for a door case
Filippo Marchionni, Italian, 1732–1805, ca. 1740
Graphite, pen and bistre ink, brush and gray watercolor on paper
Drawing

Door case with a circular pediment with straight lateral parts. Inside is a console, supporting festoons together with round plates in the frieze above the capitals.
Table à 4 Pupitres, pour un Concert
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation and plan for a design for a table with four lecterns for holding sheet music. The table has thin, curved, tapered legs, and is decorated with ornament motifs including a guilloche of branches and acanthus leaves. The plate is signed and numbered.
Print
Master of the Die, Italian or German, 1530 - 1560, ca. 1575
Engraving on paper

Four river gods are grouped about a fifth lying in the foreground. In the distance a departing woman, and Apollo in the sky. Below, an eight-line verse in Italian. Episode in the history of Apolllo and Daphne.
Tureen Design, from Dessins d'orfèvrerie (Designs for Metalwork)
Léonard Thiry, Flemish, 1550, 1540–1560
Engraving on laid paper
Print

Fontainebleau school. Design for a metalwork tureen heavily decorated with strapwork, pearls, cherub heads, putti and garlands of fruit. In the middle, a medallion showing Jupiter and Mercury with Philemon and Baucis.
Altar with Tabernacle and Two Priests in Conversation
Filippo Marchionni, Italian, 1732–1805, 1750–75
Pen and brown ink, brush and gray wash, graphite on white laid paper
Drawing

Altar shown within under an arch. Within the central niche is Christ. Above him, a segmented pediment with a wreath.
Ephraim Bonus, Jewish Physician
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1647
Etching on paper
Print

Three-quarter length figure of a man, standing, turned toward the right, the head in three-quarter view, looking to right. His right hand rests on the banister. He wears a cloak and broad-rimmed hat.
Design for a Tray for Hors D'oeuvres
Joseph Anton Seethaler II, German, 1799–1868, 1827–35
Pen and black ink on paper
Drawing

Elongated bowl with clawed feet with palmettes.
Bit of Stairway at Niagara Falls, New York
Frederic Edwin Church, American, 1826–1900, July 8, 1856
Graphite on light green wove paper
Drawing

Landscape sketch showing a portion of a staircase at Niagara Falls, New York. Possibly  leading to the Cave of the Winds, the stairway is precariously carved out of the cliffside. In the foreground, nearby vegetation is visible at lower center while at path at left leads to a handrail at the base of the stairway at center left. The stairs themselves curve to left around the cliff and out of view, as the cliffside overhangs this area at upper center. In the middle distance at lower right, the wide Niagara River is visible, as well as the steep and heavily wooded opposite bank.
Arch of Septimius Severus, Rome
Frederic Edwin Church, American, 1826–1900, February 1869
Brush and oil, graphite on off-white paperboard
Drawing

Architecture sketch showing an oblique view of the Arch of Septimius Severus in Rome, from the northwest. The base of the arch's southernmost section and side archway dominates the composition in the foreground at left and center. Relief carvings in the base of either column are clearly legible at center left and center right. The southern side archway, with its coffered ceiling, is prominently visible at center, while the lateral opening to the primary archway is partially cut off at left. In the background at right, a building overlooking the Roman Forum is visible. The sky above is blue and clear.
Design for an Acanthus Leaf Molding
Jean Joseph Balechou, French, 1719 – 1764, late 18th century
Etching and engraving on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys and liturgical objects. A large design for an acanthus leaf ornament and foliage, emanating from a stemmed daisy rosette. The plate is signed and numbered.
Fragments
, 1750–1800
silk Technique: compound satin weave

Rose satin ground with off-white weft patterning. Fragments show alternating vertical large-scale repeat vignettes of a horseman under attack by a leopard, a horseman with a raised scimitar fends off an attack by a lion, and a man standing before a large palm tree stabs a leopard. Men are dressed in a variety of Eastern costume.
Samples
, ca. 1850
cotton, paper Technique: warp-dyed velvet

Ten small manufacturer's samples of waistcoat velvets. Small conventionalized floral designs in chiné technique. Two have satin stripes.
Cartouche Topped by Laurel Wreath
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank symmetrical rocille cartouche topped with a laurel wreath and two wings. Masks at right, left, and bottom.
Design for Carriage from the Coronation of Louis XVI, June 11th, 1775
Jean Louis Prieur, French, 1732 - 1795, ca. 1783
Etching on paper
Print

Side view of the carriage, with the front end at left side of page. Framing line at bottom.
Unfinished Elevation of an Altar
Filippo Marchionni, Italian, 1732–1805, ca. 1750
Graphite, pen and ink on laid paper
Drawing

Pairs of Ionic columns or pilasters support laterally entablatures which are connected by the segment of an arch. A tripartite structure of two stories stands between the columns; two alternative suggestions for a molded horizontally oblong frame over the altar.  Bottom: a plan suggesting single columns standing before corners of the wall.