biglam/cooper-hewitt-alt-text huggingface dataset:
Sky over the Hudson River Valley, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1860 - 1870
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a loosely-rendered view of the sky over the rolling Hudson River Valley, looking southwest from the artist's property in Hudson, New York. In the background at right, a portion of the southern Catskill Escarpment is visible, with Overlook Mountain at left and Plattekill Mountain at right. Above, layers of hazy and wispy cirri clouds intermingle in a somewhat tumultuous sky.
Anatomical Sketches of Human and Animal Heads
Frederic Edwin Church, American, 1826–1900, 1877–80
Graphite on tan wove paper
Drawing

Figure sketches showing seventeen views of human and animal heads and skulls, with one representation of the male body viewed frontally at lower right. At upper right, a human skull is shown and left profile and assiduously labeled. At upper center, a human skill is shown frontally, while at upper right, another skull is shown in left profile without a jaw. At center and lower left, five human heads are shown in left profile, while at center, two heads of gorillas are also shown in left profile, one of which is seemingly laughing. At center right, a tiger head and skill are both included in left profile with an isolated jawbone beside them. At lower right, two representations of a chimpanzee skull are shown from above and in left profile, above a simplified rendering of a male body viewed frontally.
Inkwell stand and lid
, ca. 1780
Tin-glazed earthenware with cobalt

Heart shaped, horizontally placed on three small feet. Openings in two lobes, with two inkwells, each with cover. Slight depression on top, at point. Decoration of stylized flowers and foliage.
Stage Design: Temple of Ingratitude
Giuseppe Barberi, Italian, 1746–1809, ca. 1796-1801
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Circular subterranean vaulted hall, huge supporting column in the middle in the centre of which a kind of altar with temple statue lying on it.
Jerusalem from the South
Daniel Huntington, American, 1816–1906, ca, 1878
Graphite on paper
Drawing

Buildings outlined on high plateau, center, with mountains around and beyond. A road, at lower right. Color notes throughout.
Fragment
, late 18th century
silk, silver thread Technique: silk grosgrain brocaded with silver

Blue-green grosgrain with silver brocaded design of looping and interlacing serpentine ribbon and lace. Floral sprays caught in serpentine. Five complete and one incomplete width sewed together.
Design for a Casino
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash, graphite, red ink on lined off-white laid paper
Drawing

The building stands on a platform and has an aovoidal plan. Portico with four columns of Doric order, with a high attic; crouched figures flank an escutcheon on top. Two stories with great windows. Statues on an attic. Flights of stairs lead laterally at the front side to the platform. Fountains with water pouring from crouching lion flank their bottom parts. Obelisks rise at the landings. Two alternative suggestions are made for the elevation of the central section of the platform. More steps are suggested, leaving a panel in the center. One more fountain is shown at the left side. Colored background.
Two Views of the Sunset from Olana, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on light orange paperboard
Drawing

Landscape sketch showing two stacked views of the summer sunset from the artist's estate near Hudson, New York, known as Olana. At center left, a reddish-purple range--the Catskill Escarpment and specifically Blackhead Mountain--looms over hills and rolling terrain in the middle distance, articulated in shades of green and gray. Above, a low-lying bank of clouds blocks the light of the setting sun, which casts the sky in a tint of orange and brightly illuminates the lower edges of clouds with a golden lining. The clouds themselves are grayish blue. Below, along the lower margin, the same scene at a later time is visible. The same mountain range with Blackhead Mountain is visible along the lower margin, now green instead of red. The clouds have passed and the now deep red sun hovers over the rolling ridge within a gray, gradient sky.
Elevation d'un Bàtiment de 14 toises de face
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a building with a facade decorated with garlands and pediments. The building is 14 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed
Pleated fan
, mid- 18th century
Skin leaf painted with gouache; carved, gilded and painted sticks

Pleated fan. Obverse shows a King returning from war being greeted by a group of women dancing and playing musical instruments. Trophies of musical instruments to the right and left. On the reverse, two women in a landscape setting. Sticks are carved (à jour), gilded and painted. At center are two couples: the men are standing, the women are seated. Red jewels set in each end of the pin.
Study: A half-naked man with a crutch
, 1750–1800
Black and white crayon on brown paper
Drawing

Vertical composition of a half-naked man with a crutch, shown from the left back, kneeling on his right knee. Reverse: a part of a black crayon study showing a part of an arm.
Galerie métallique des grands hommes français (Great Men of France)
, 1822
Cast bronze
Medal

Bust of Olivier de Serres (1539 - 1619). Artist Donadis.
Excerpt from "An Artist Among Animals" from Scribner's Magazine (XIV, No. 6, December 1893, p. 759)
Frederick Stuart Church, American, 1842–1924, 1893
Printed in black ink on paper
Ephemera

Article clipping from Scribner's Magazine on Frederick Stuart Church and his creative process. Lower center, profile of elephant, with various sea horses swimming around him.
Plate 5 from a Set of Trophies of Weapons
Johann Ulrich Stapff, German, active 17th century, ca. 1665
Engraving on paper
Print

The numbers are in the right bottom corners. Framing line.
Pavillon Chinois construit au ci-devant Jardin d’Armainvilliers
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with three exterior elevations, a sectional view and two floor plans for a Chinese style garden pavilion and bridge. The plate is titled, signed, and numbered.
Ironwork Designs
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork screen and ornament designs decorated with festoons of leaves and flowers, owl, terminal figures, masks (mascarons), cornucopia, eagles, basket of flowers, foliate scrolls, rosettes, and scrolling leaves (rinceaux). The plate is signed and numbered.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design with anguipeds, scrolls, garland, meander, doves, and a baasket of flowers.
Sunset in the Hudson Valley, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–75
Brush and oil paint, graphite on bright green paperboard
Drawing

Landscape sketch showing a view of a winter sunset in the Hudson River Valley from the artist's property near Hudson, New York, known as Olana. In the foreground at lower right, a hilltop with a grove of trees frames a view of a wide portion of the Hudson River, visible in the middle distance at center. This section of the river, bounded by rolling and heavily wooded banks on either side, reflects the warm, purplish tones of the sunset above. In the background at right, the southern portion of the Catskill Escarpment is included in the view, with Overlook Mountain prominently visible at right in front of the more distant Shawangunk Mountains along the horizon at center. The sky above is filled with dramatic clouds, colored in tints of pink, orange, and purple by the setting sun which has dipped behind the Catskills.
Two Candelabra Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for a censer (left) and a candelabrum (right). The censer has a hexagonal base with concave sides decorated with festoons and rosettes. The censer has a shaft with three hooved feet, beading detail along its length, and grotesque heads at the top. The censer at the top is in the form of a shallow, lidded vase with handles. The four-armed candelabrum on the right has a tall base with decorative elements including gadrooning, bead course, snakes, rosettes, acanthus leaves, and grotesque beast heads from whose mouths emerge garlands of flowers and leaves that forms the arms of the candelabrum. At the center top of the form is an oval, lidded vase with geometric handles and a pinecone finial. The cross-sections of the bases of the censer and candelabrum are printed below, along with scale bars of two French feet ("2 Pieds") each. The plate is signed and numbered.
Lit a l’Impériale a Colonne
Pierre Ranson, French, 1736–1786, 1779-90
Etching and engraving on laid paper
Print

Design for a four-poster canopy bed (baldachin) (side view) with upholstered headboard. The canopy is topped with a crown and feather finials and the bed curtains are drawn back and tied to the front posts. The bed skirt is decorated with a striped pattern and hanging textiles with tassels and bows. The plate is titled, numbered, and signed.
Fringe
, 19th century
silk Technique: woven

Green fringe with a woven pattern in the heading and heavy green threads overlaid to form scalloped edge. Skirt of green twisted threads.
Vignette, The Pelican in the Crown of Thorns
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1740
Engraving with etching on paper
Print

Three little birds drink from the wound.
Gunmakers Workshop with Names of Parisian Gunmakers
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Engraving on laid paper
Print

Philippe de la Cousture, Thombie Le Tourneur (Thuraine), Jacques Renier Le Hollandois, Gosse Durier, François Mascon or Masson. (Names and biographical information listed by Herbert Houze, ‘Claude Roy: Graveur Sur Tous Metaux Au Chariot d'Or' Reprinted from the American Society of Arms Collectors Bulletin 2017,116:24-41)
Achilles Drags the Body of Hector around Walls of Troy, Priam Pleads for the Body of Hector, Ceiling Designs for the Galleria di Achille, Palazzo Milzetti, Faenza, Italy
Felice Giani, Italian, 1758–1823, 1802–05
Pen and brown ink, brush and gray-brown wash over traces of graphite on white laid paper
Drawing

Two lunette shaped drawings on one irregular sheet. In upper drawing, the figure of Achilles, driving a horse-drawn chariot, drags the body of Hector around city of Troy. In lower drawing, Priam, in the tent of Achilles, kneels before Achilles and kisses his right hand; some warriors watch the scene and others look at Priam's gifts.
Design for the Embroidery of a Lady's Overskirt of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1790–1800
Graphite, brush and gouache on paper
Drawing

Orange edge with a zigzag line with open angles beside it. A bunch of flowers is shown between the fifth and sixth rings of the bead chain. The interval between the edge and the ornament is dotted.
Dado
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Dado.
Chimney Piece Design
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

Design for a chimney piece (fireplace, mantel and overmantel) with classical motifs. The mantel is decorated with sculpted moldings, palm leaves and a cypher. The overmantel features a large rectangular painting of a landscape framed by c-scrolls, moldings, scrolling leaves, shells, and fluted pilasters. A scale below. The plate is numbered.
Cartouche with Chinoiserie Motifs
William Elliott, English, 1727 - 1766, ca. 1750
Engraving on paper
Print

Cartouche with Chinoiserie Motifs
Verso: mansion; Recto:entablature
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Verso: mansion; Recto:entablature.
Shepherdess Piping to a Shepherd
François Boucher, French, 1703–1770, ca. 1760
Red and black chalks on brownish paper, water-marked with a winged lion-like beast.
Drawing

A seated shepherdess, seen from the right back, plays on a pipe to a young shepherd, seen frontally, lying on the ground on his stomach, crook in his right hand. Inscribed, lower right: "Boucher."

On the reverse is a sticker inscribed "Estate of Robert W. Weir, No.1920."
Monument of 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

Intended for the same place as 1938-88-1292. Below is a pedestal, whose front is in the main part decorated with an escutcheon in front of a trophy of weapons, and which is covered by a fringed cloth, which is held up by two putti. Above stands a sarcophagus, whose body has the shape of a trapezium, with a relief framed by mouldings. Upon the cover sit two female allegories and support a medallion with a bust portrait, and a crown on top. The entablature is outlined.
Altar frontal
, 16th century
silk, metallic thread, garnets Technique: raised embroidery on cut velvet

Ruby-colored cut velvet ground embroidered with a depiction of the Virgin and child in the center with attributes and emblems of the Virgin filling the rest of the panel.
Commerce (Motif for Bank Note Design)
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on cream wove paper
Drawing

A group of three women seated on clouds. The two left figures are shown frontally, the right one is turned away. The head of the central figure is raised. She carries a caduceus in her right hand and leans her left hand upon a book.
Trimming
, early 19th century
White, black, blue, and yellow in uncut velvet weave.

Crowned shield showing spread eagle (black on yellow); ground of light blue with central stripe with horizontal bands of yellow and white.
Recto: A portal; Verso: Portrait of a young warrior
Filippo Marchionni, Italian, 1732–1805, 1750–75
Pen and sepia ink, graphite, brush and brown-gray watercolor on paper; verso: red crayon
Drawing

Recto: above the entablature is an attic with an eagle in front crowned by a wreath and standing above the console which forms the keystone. Two suggestions are made for the motif of the displayed and inverted wings of the eagle, addorsed at right. The eagle had first been projected bigger and the points of the wings being extended toward the corners of the entablature. In the opening of the archway is a pencil sketch of the upper part of a window and above it another of a console. Verso: the man is in classical armor and seen from the back with the head turned toward left. Above is a study of a part of the profile.
Design for a Frame
, late 18th century
Etching on paper
Album of frames

Design for an oval frame or medallion decorated with festoons of leaves and a tied ribbon above.
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, wings, foliate branches, and flowers. The plate is signed.
Bag
, 1800–1850
silk, birch bark, grass stems Technique: painted silk plain weave; birch bark embroidered with stem, satin and knot stitches using dyed grass stems

White silk bag with a panel of birch bark applied to one side, embroidered with a garland of flowers. The other side embroidered with a female figure churning butter?
Designs for Woven Paisley
, 1825–40
Brush and orange-pink, yellow gouache, graphite on brown oiled translucent paper
Drawing

Designs for paisley (four woven Persian cones). At upper left, a small cone resembling a plant sits inside a dotted larger cone bordered with circular beads. At upper right, the larger cone consists of dots and a leaf bough, and the smaller one is lined by leaves. At lower left, the larger cone consists of dots, and the smaller cone resembles the one at upper right. At lower right, the larger cone consits of a lace-like border, circular beads along the border, and dots, while the smaller one contains oblique bands with dots inside drawn in graphite.
Pomona
Francesco Bartolozzi, Italian, active England, 1727–1815, 1787
Stipple engraving in brown ink on white paper
Print

Pomona sits facing left, with a child at either side. She ha a ribboned hat on, and a basket of fuit in her left hand. The boy at right is stealing from it while the one at left, in a tree, hands her three cherries.
Crouching Dromedary
Frederic Edwin Church, American, 1826–1900, February–March 1868
Brush and oil, graphite on tan paperboard
Drawing

Figure sketch showing a detailed view of a kneeling dromedary (or one-humped camel) in left profile, recorded en route to or in Petra, Jordan. Situated prominently at center, the camel--which is possibly the artist's own, named Zraigan--is encumbered with a large, laden saddle on its hump and a harness around its snout, which is chained to its neck. Its fur is a dark brown shade with areas of gray, and its shadow stretches out before it.
Cuvettes et Sonnettes pour les Burettes
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Designs for a bell and two trays decorated with garland, gadrooning, shells, rinceaux, and branches. The bottom tray is represented holding two small pitchers and the bell. The plate is signed and numbered.
Figures
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Recto: Partial sketch of a young male figure and a donkey; Verso: Sketch of an window with curtains.
Galerie métallique des grands hommes français (Great Men of France)
Louis Michel Petit, French, 1790 - 1844, 1820
Cast bronze
Medal

Bust of Jean-François Marmontel (1723 - 1799), to the left.
Burner Designs for Pedestals
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

The plate is divided into two, with a burner on a pedestal in the upper and lower halves of the sheet. At top, the burner is ornamented with gadrooning and scrolling acanthus leaves. It sits on a wide, low pedestal that has at its center a medallion with a mascaron, edges with bead course. The pedestal also has fluting, is draped with garlands, has rosettes in its corners, and pinecone finials at the edges. The burner in the lower half of the page is draped with garland of flowers and decorated with gadrooning and fluting. It sits on a pedestal that has a frieze of bound oak leaf, rosettes at its edges, and floral garland. The plate is signed and numbered.
Design for an Earring
, ca. 1780
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. A disk above and three hanging drops below in the form of flowers, each framed by leaves, the drop at lower center the largest and in the shape of a palmette. Connecting the disk and drops is a knotted ribbon with two horizontal downward-curved stems, each with two leaves and a bud, from which hang the two surrounding drops at left and right.
Sugar Bowl
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1780
hard paste porcelain, vitreous enamel, gold
sugar bowl

Sugar bowl and cover part of a personal traveling tea-set. white porcelain with floral sprays and cover with flower handle.
Design for a Door Case
Carlo Marchionni, Italian, 1702–1786, 1725–50
Graphite on laid paper
Drawing

The left half is executed. The overdoor has a surbased pediment inscribed into a circular one with a papal escutcheon in front.
Textile
, 13th century
silk, metallic yarns (beaten gold on vellum, wrapped around silk core) Technique: plain compound weave

A fragment from a set of vestments found at the Cathedral of Lerida. A central band of eight-pointed stars enclosing rampant lions, separated by cross-shaped ornaments. Above, a band of pseudo-Kufic letters in white on gold ground. A narrow checked band below.  In blue, pink, and yellow silk and gold metallic threads.
Plate 6, from "Divers Ornemens"
Gabriel Huquier, French, 1695–1772, 1730-1740
Etching on paper
Print

Large rocaille cresting on which a winged dragon crouches. A branch with leaves is intertwined with them.
Paper Doll Costume in Blue and Gold
, 1876–80
Lithograph, brush and watercolor on cream heavy wove paper
Print

Blue and gold dress, blue has black striped pattern.  Dark brown sash comes down from the waist. Both sides of this paper doll outfit represented.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design grounded by a standing, classically draped woman supportin a basket on her head from which emerges scrolling foliage, portrait medallions, other female figures, and a pinecone-topped censer.
A Young Man in Meditation
Giovanni Vitalba, Italian, 1783 - 1792, ca. 1765–1785
Engraving in brown ink on white paper
Print

A young, unbearded man, rests his right elbow and left hand on a table to his right. He rests his head on his right palm, so that his head is turned facing left.
Moonlight over the Watzmann, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 27, 1868
Graphite and white gouache on blue laid paper
drawing

Landscape sketch showing a moonlit view of the mountain known as the Watzmann in the Bavarian alps near Berchtesgaden, present day Germany. In the foreground at left, a stand of conifer trees is shown atop a rounded prominence while a river runs through a deep gully at center. Across a dark, misty expanse, the sharp, twin peaks of the Watzmann are visible as darkened silhouettes beneath the veiled light of the moon, which also gently illuminates the clouds in the sky above.
Framework in three sections, possibly for an altar tablet
, 1750
Pen and black ink, brush and washes, graphite on paper
drawing

The decoration of the vertical stripes refers to the sacrament of the altar. Two angels carry the Ark of the Covenant before the tops of the trees. Attributes of the old dispensation, a cork, a snake, a key are represented in the bottom framing of the central section. The tops of the central sections show angels with attributes of virture: strength, justice, prudence, temperance respectively. Two angels and a crouching lion (Vigilance) are at the bottom at left, two angels and a spead eagle at left.
Study of Pansies
Sophia L. Crownfield, American, 1862–1929, late 19th century
Brush and watercolor, graphite on white paper
Drawing

Horizontal sheet depicting five pansies in brown, violet and yellow, and blue and yellow.  On verso, a pink tulip near center of the sheet and a portion of another at the left side of the page.
Autumn Vignettes, Vermont
Frederic Edwin Church, American, 1826–1900, October 1865
Oil and graphite on tan paperboard
Drawing

Five landscape sketches showing views of autumn foliage around the rolling terrain of Vermont. At upper left, a grove of trees--including a candy-red tree at center--is visible in front of a steep, grassy hillside. At upper center, a lone tree stands in a pasture at center, vibrantly cloaked in orange and red autumn hues, as a cow grazes at lower left and a stand of trees is included in the background. At upper right, two cows graze on a gently sloping pasture while two vivid, red trees are shown in the dense woods behind them. At lower left, a shady scene within the woods is included, looking downward at a stand of at least five trees with bright orange-red autumn hues at upper left. Finally, at lower right, a view overlooks a sloping hillside with a split rail fence in the foreground, as a diversely-colored hillside is visible in the distance below a light blue, open sky.
Textile
, 16th–17th century
silk Technique: 8-harness satin damask

Yellow-green damask with an allover pattern of asymmetrical leaf or floral form in rows repeated in offset rows with direction reversed.
Wall Decoration, Plate XIII from Le loggie di Rafaele nel Vaticano (Raphael's Loggia in the Vatican)
Giovanni Volpato, Italian, 1733 - 1803, 1772–1777
Brush and watercolor, gouache over etching on white wove paper
Print

Grotesque decoration.