biglam/cooper-hewitt-alt-text huggingface dataset:
Fantastic Landscape with Scenes from the Old and New Testaments
Remigio Cantagallina, Italian, ca. 1582–1656, ca. 1600
Pen and ink, brush and sepia wash, graphite on white paper
Drawing

Overhead aerial view of a fantastic landscape distinguished by three rocky mountains, the leftmost mountain topped with a large crucifix. Groups of figures camping in tents, traveling with camels, and surrounding sculptures. Views of various architectural buildings including tiny walled cities and domed structures. Each of these groups illustrating episodes from the Bible's Old and New Testaments, including Mount Sinai, Nazareth, Behtlehem, Jerusalem, etc. At upper left, partial view of sun with rays extending across the sky. In the background, a wooded forest. Framing lines in pen and ink.
Three sketches of cartouches
Carlo Marchionni, Italian, 1702–1786, before 1775
Pen and ink on laid paper
Drawing

Two sketches show two boys, respectively, with two fauns and trees. One with a mask on top and scrolls.
Design for a Lighthouse
A. Le Canu, French, active 1746 – 1768, 1760–75
Etching and engraving on laid paper
Print

Design for a Neoclassical lighthouse with a smooth-faced rusticated façade. A central door with a panel and pediment above. At the base of the tower, on each of the four sides, a sculpted hull of a boat projecting outwards. Above round windows on each side, framed by laurel leaf festoons. On the roof, a smoking / flaming vase or urn within a trellised structure. Clouds in the background and steps leading up to the lighthouse. A scale below the design. The plate is titled, numbered, and signed.
Geography
Francesco Bartolozzi, Italian, active England, 1727–1815, 1788
Etching and crayon engraving in brownish-black ink on paper
Print

Half-figure of a girl gazing at a globe.
Textile
, late 18th century
material: plain satin embroidered with silks Technique: embroidered

Ivory (originally pink) satin ground. Horizontal rectangular panel. Central symmetrical basket of flowers. Border of serpentine interlacing lines enclosing dots. Floral sprays springing from serpentines. All embroidery in chain stitch-originally probably white. Both selvages present.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of red and yellow diagonal lines arranged to form chevrons; picot edges.
Lit à la Militaire
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on paper
Print

Two designs for beds. Above, a four-poster canopy bed topped with feather and feathered helmet finials, with hanging bed curtains and linen decorated with floral and leaf motifs, passementeries, and tassels. The headboard and footboard are the same height, with the outer board decorated with stripes, corner rosettes, and a floral garland. The lower design is a bed without a canopy. The headboard and footboard are the same height, view from the front. The boards feature central feathered helmet finials. The bed linen is decorated with flowers and festoons of laurel leaves. The bed skirt features swags of hanging textiles, tassels, and bows. Scales below each design. The plate is titled, numbered, and signed.
Trellis architecture
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Trellis architecture.
Panels for a bag
, late 16th or early 17th century
silk, metallic thread Technique: tapestry weave

Two identical panels with birds, crowned birds, and floral motifs in diamond grid in gold and black on a silver ground. One piece is trimmed on three sides with gold metallic fringe.
Corniche pour Cabinet et Entresol
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for three cornices. The plate is signed.
Sidewall
, ca. 1725
Leather, stamped, painted, silvered

Large-scale red and blue flower, on background embossed with triangles.
Woman
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Partial sketch of a female figure crossed out with a diagonal line.
Whiteface Mountain, New York, Part One
Frederic Edwin Church, American, 1826–1900, July 1856
Graphite on gray-green wove paper
Drawing

Landscape sketch showing the first part of a panoramic view of Whiteface Mountain in the Adirondacks of upstate New York, and other nearby peaks and ridges. A large peak is visible in the background at center right, while other ridges and hills are layered in front of it in the middle distance and foreground. Whiteface Mountain itself is shown in the second part of this panorama.

Verso: Architecture sketch showing an oblique view of a log cabin in or near the Adirondack Mountains of upstate New York. With walls composed of at least seven stacked logs, the cabin includes a covered porch, at right, protected by the structure's gabled roof.
Carl Schurz Seated
Daniel Huntington, American, 1816–1906, 1899
Graphite on grey wove paper
Drawing

Portrait of a seated man with a beard and pince nez glasses, holding a paper in his right hand. Verso: Portrait of a seated man.
Elevation d'une Porte entre deux Pilastres
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a door between two pilasters. The door has at the top of the frame a band of bound leaf and a pediment with bands of egg and dart. An overdoor panel features a draped cloth. The plate is signed.
Feu à l'Italienne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an andiron decorated with ornament motifs including rosette, wave pattern, portrait medallion, pinecone, and lamb tongue. The plate is signed.
Iceberg, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Graphite on gray-green wove paper
Drawing

Seascape sketch showing a view of an enormous iceberg with multiple peaks and furrows, witnessed somewhere off the coast of Newfoundland and Labrador, Canada. At center, the berg has a kind of craggy valley complete with a ribbed spire that leads upward to a flatter plane with a sharp edge at right. Above, the berg's tall central peak is flanked by rugged and serrated ridges that lead down to other sharp prominences. Ocean surface comprises foreground.

Verso: Figure sketch a direct, frontal view of an individual's face, seemingly with large, flush cheeks and their hair tucked behind their ears. Likely a portrait of an Inuit individual.
Jeune Moine a la Grecque
Ennemond Alexandre Petitot, French, 1727 – 1801, 1771
Etching on paper
Print

Print titled ‘Jeune Moine a la Grecque', from a series of 10 plates featuring fanciful costumes inspired by Ancient Greek and Roman ornament and architectural motifs. A male figure wears a costume and headdress in the shape of a pyramid, featuring wave, gadroon, rosette and Greek key motifs and friezes. His arms are in the form of laurel leaf garlands. Below his knees, there is a plaque or textile with Hebrew script. The plate is titled, signed and numbered.
POELE circulaire couronné d’un draperie, orné de médaillons et guirlandes, d’un genre neuf et très-galant
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching and hand colored watercolor on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a pedestal decorated with oval cameos with figures, and festoons of flowers and leaves tied with ribbon, running pattern moldings above and below featuring fluting and leaf motifs. A textile draped over the pedestal. A plan view and scale below. The plate is signed, and hand colored with watercolor.
Trimming
, ca. 1830
silk

Trimming fragment with an incomplete design of a single yellow flower on a red ground.
Fragment
, 17th century
linen, cotton Technique: plain weave with supplementary weft

Supplementary blue weft floating alternatively face to face creating a design of birds flanking a rosette.
Sampler
Betsy Adams, American, 1805
silk embroidery on linen foundation Technique: embroidered in cross, satin, stem, buttonhole and eyelet stitches on plain weave foundation

The center field contains an alphabet, a verse, trees and a large house. With a wide floral border on three sides, and an inscription at the bottom.
The verse reads:
Time has Wings and swiftly flies 
Youth and beauty fade away
Virtue is the only prize
Whose sacred joys will ne'er decay

Inscribed: Betsy Adams work wrought in the ninth year of her age
Bras de Cheminée à l'Antique
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a two-arm engaged candelabra decorated with an anguiped, wave pattern, and a censer. The plate is signed.
Pleated fan
, late 18th century
Silk leaf painted with gouache, with painted parchment medallions, gold and silver embroidery and spangles, ivory sticks with silver and gilt

Pleated fan with painted silk leaf showing background of flowers and displays of musical instruments. Three painted parchment inserts show winter scenes of provincial life. Central one is in full color with the outer ones in blue and white. Carved ivory sticks with silver and gilding.
Portrait of Gilles-Marie Oppenord
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Architectural cartouche with an oval portrait medallion of Gilles-Marie Oppenord. At the top of the oval is an eagle with a laurel wreath in its beak, and a scepter and a horn in its claws. The sides of the frame have scrolls and mascarons, as well as putti with attributes of the arts. At the bottom of the oval is a winged mascaron with garland; below this is a frame for the title. The plate is signed.
Terrace garden
Robert Frederick Blum, American, 1857–1903, 1882
Graphite on wove paper
Drawing

Recto: Sketch of a terrace garden; Verso: Sketch of a female figure.
Dickie, Illustration for Scribner's Monthly (XVIII, No. 5, September 1879, p. 653)
Frederick Stuart Church, American, 1842–1924, September 1879
Printed in black ink on paper
Ephemera

Article clipping from Scribner's Monthly on the history on Sandy Hook. Scene within a scene. In the outer scene, a bird and bush. Interior scene, ocean with figure in small row boat and larger ship in distance.
Africa
Giovanni Volpato, Italian, 1740 - 1803, 1740–1803
Etching and brush and watercolor on paper
Print

Allegory of Africa
River and Trees
Walter Shirlaw, American, b. Scotland, 1838–1909, 1880–90
Graphite on white laid paper
Drawing

A river, flowing swiftly from right to left, rolls down short waterfall at the left.  Tall trees border the river's far side with a partial fence and a possible figure at center. Framing line.
Sense of Sound, plate from Quinque sensum typi in usum aurifabroru exarati (Images of the Five Senses Engraved for the Benefit of the Goldsmith)
Crispijn de Passe the Elder, Dutch, ca. 1565 - 1637, ca. 1580
Blackwork, engraving on laid paper
Print

Horizontal oval within horizontal rectangle. In an animal-grotesque field the medallion depicts a seat woman playing a lute in a landscape.
Kneeling Woman
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on paper
Drawing

The female figure is shown obliquely from the front, sitting. Her face is not shown.
Title Page
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) depicting architecture fragments, including a doorway, facade, rondel, aedicule, and capital. The left side of the upper plate functions as the title page. Both plates are numbered, neither are signed.
Ornamented Clock, Vase, and Console Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for clocks, vases, and consoles, featuring ornamental motifs such as scrolls, garlands, portrait medallions, masks, and terms. The plate is numbered but not signed.
Vignette, A Blessed Sword and Hat
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Etching on paper
Print

Lying on a cushion. With the coat of arms of Pope Clement XI (1700-1721).
Design for a Horizontal Panel of Ornament
Jean-Louis Prieur the Younger, French, 1759 – 1795, late 18th century
Etching and engraving on white laid paper
Print

Design for a panel of horizontal ornament with a central winged mascaron and wound snakes, guilloche of grape vine, and birds.
The Holy Family, from "Etchings of Pictures in the Metropolitan Museum, New York"
Jules Ferdinand Jacquemart, French, 1837 - 1880, 1871
Etching on paper
Print

Shown with saints Anne, Joachim, Elizabeth, John the Baptist, and an angel.
Button
, 19th century
Brass

Convex buttons showing crossed laurel sprays tied with ribbon.
Project for a Canopy
, ca. 1785
Pen and ink, brush and gouache water color, graphite on paper
drawing

Two out of eight sides are shown form the inside.  Supported by poles, of which the top of one is shown.  Their capitals are connected by a frieze with a crest border from which lambrequins are suspended.  The left one of the upper triangles shows a girl carrying a flower basket upon a pedestal.  A candelabrum decorates the right one, including swans, a peacock, and other birds, and a putto holding a garland.
Sampler
Sarah Dunsworth, 1771
silk and wool embroidery on linen foundation Technique: cross and tent stitches on plain weave

Sampler is divided into three horizontal bands; upper with alphabet, trees, flowering plants, birds and verse; second with animals, birds and baskets of fruit; third, large basket of flowers and signature. Solid embroidery, both pattern and ground.
Hilltop at Sunset, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Oil paint and graphite on off-white paperboard
Drawing

Landscape and atmosphere sketch showing a view of the sun's luminous glow over the Blue Mountains of Jamaica. A nearby treetop is visible in the immediate foreground at lower right, while a round and heavily wooded hilltop is shown just beyond it at lower center. Succeeding mountain ridges overlap one another as they recede toward the background, growing more and more faint due to atmospheric/aerial perspective. Above, the orb of the sun is faintly visible through a thick veil of clouds, which are brightly illuminated in a hue of creamy white while other gray clouds hang at upper left. A patch of blue sky is visible at upper right.
Sunshine After Rain
Théodore Rousseau, French, 1812 - 1867, 1845
Soft-ground etching in dark brown ink on paper
Print

River landscape with a road going from right to left. A woman walking along the road. At right of river, a tree; other trees in the far distance. Inscribed, in center: "Th. Rosseau - Louis Marvy".
Console table
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The upper part of the right side is omitted. The supports are two cornucopias, above, and two laurel branchces fastened below to them by a ribbon. A festoon connects the legs. The support is partly in front of the cornices of an entablature. A panel with a figure, recumbent, in their center, below. Usual background.
A Roman sarcophagus in the Vatican Museum
Felice Giani, Italian, 1758–1823, ca. 1820
Pencil, pen, ink and sepia wash on paper
Drawing

Horizontal composition of a Roman sarcophagus in the Vatican museum. The couple and the child at left have no heads.
Embroidery sample
, 1790–1800
silk, paper Technique: embroidered on taffeta

Black taffeta embroidered with a border or lapel design in a pattern of small naturalistic flowers sprays in white, blue, pink and green.
Design for a Keyhole Escutcheon
Antoine Jacquard, French, active ca. 1616 – d. 1652, 1615
Engraving on paper
Print

Design for a keyhole escutcheon featuring grotesque motifs including hybrid creatures which are part-male, part-female, and part-animal, with surrounding scrolling leaves, baskets of fruit and flowers, flaming torches, and mascarons (masks). The plate is numbered.
Design for a Candlestick
Johann Nepomuk, 1825–35
Pen and black ink, brush and wash on paper
Drawing

Fluted shaft is topped by a bowl with a flame. From fantastic heads underneath grow two branches. High pedestal shows lion heads with stripes of the hides and two crossed clubs. Feet and a plinth which is flanked by boxes.
Keyhole Plate Latch
, 18th century
Wrought and gilded iron

Keyhole plate latch with central oval and seven holes for screw attachment.
Three Floral Tailpieces or Fleurons
Jean-Jacques Bachelier, French, 1724 - 1806, 1760
Etching and engraving on laid paper
Print

Fourth 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.  Three fleurons one above the other in the center of the plate, made up of flowers and leaves. The middle motif has flowers and leaves wrapped around a bow. The lower motif has flowers and leaves wrapped around an arrow. The plate is numbered and signed.
Standing Bishop
Belisario Corenzio, Italian, active 1590–1646, ca. 1620
Pen and black-brown ink, graphite on cream laid paper
Drawing

Bishop standing, facing the viewer, pitiful expression on face.
Venus Admonishing Cupid
, ca. 1820
Block-printed on handmade paper
Ornament

Venus admonishing a putto, against a background of granary.
Ornamental Vase Design
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Etching on laid paper
Print

Vase design with two triton putti sitting on the shoulder of the vase, holding a bucranium. The vase is decorated with egg-and-dart ornamentation at its lip, a pointed leaf pattern at its base, and fluting at the foot. the vase is elevated on a low plinth. The plate is not signed or numbered.
L’Amant Aimé
François-Thomas Mondon, French, 1709 – 1755, after 1736
Etching on laid paper
Print

A print from a series of seven designs for rococo ornament and vignettes. Within a garden landscape a man and woman seated in a large shell and acanthus leaf rocaille bench above a fountain, featuring rocaille ornament, c-scrolls, shell, and acanthus leaf motifs. Trees in the background with foliage and streaming water from the fountain in the foreground. The plate is titled, signed, and numbered.
Designs for a Sofa, Chairs, and Vanity Table
, mid- 19th century
Pen and black ink, brush and gray and yellow wash, graphite on off-white wove paper
Drawing

Horizontal rectangle. Furniture design elevations in Neo-Greek style. At left is the right half of the sofa, supported by two legs. The chairs are seen from the front, the right one with curved legs. All three seats have the same upholstery. Above the two chairs is a rough outline of an armchair, seen from the side turned toward left. At right is the vanity table, whose left half is outlined in graphite as an alternative suggestion. No drawer is suggested. The two legs stand immediately on the floor at left and upon a base at right. A mirror is at the back.
Design for a Candlestick
, 1775–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

Candlestick. Baluster form with acanthus leaves. Pedestal base with two nude figures and swags.
Fragment
, 15th century
silk, linen, metal Technique: complementary weft 2/1 twill

Ornamental band with a pattern of interlaced strapwork containing indistinct image of bird with spread wings.
Design for a Window Frame
Filippo Marchionni, Italian, 1732–1805, 1740–50
Graphite, pen and black ink on laid paper
Drawing

Wall panel, balustrade between pedestals is beneath the opening. A circular pediment with a crown and two palm branches in the field. Scale below.
Design for Sculpture, Angel in Adoration
Leonardo Scaglia, French, active Italy, 1640 – 1650, mid- 17th–late 17th century
Pen and brown ink, brush and gray wash, black chalk on white laid paper laid down on white laid paper
Drawing

Vertical rectangle. Design for a sculpture of a female angel shown from the front, standing upon a base, hands clasped together at left shoulder.
Design for an Earring
, 1820–30
Pen and ink, brush and watercolor on paper
Drawing

The ring has two slopes. On the larger, a disk is fastened, intended to be enameled like the drop and the drapery. The disk and the drop are framed by a row of beads. Both are connected by a floral motif and a drapery festoon.
Drawing: A hanging left hand
Carlo Maratti, Italian, 1625 - 1713, 1650–1700
Black crayon on light gray paper
Drawing

Vertical composition of a hanging left hand. Shown from the inner side in profile, above at left are the outlines of the sleeve.
Design for an Embroidered or Woven Fabric of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and blue, white gouache on glazed tracing paper pasted on paper
Drawing

A start of the Légion d'honneur is suspended by a chain on a bowknot from behind which laurel boughs rise.
Fragment
, early 18th century
silk and metallic embroidery on silk foundation Technique: embroidered on satin weave

Fragment showing an urn on a bracket under a canopy surrounded by flowers and leaves with ribbons.
ART DU BRODEUR
Charles-Germain de Saint-Aubin, French, 1721–1786, 1770
Etching and engraving on laid paper
Print

The seventh plate from a series of ten illustrating the tools and art of embroidery. Two details from an embroidered textile showing the finished ornament along with a detail of a leaf and a set of plyers. The large, embroidered textile in the lower half features a crowned coat of arms with rocaille motifs, acanthus leaves, foliage, flowers, c-scrolls, and fleurons. The section above, features tassels, ribbons, and flowers. Each illustration is numbered with some further details lettered, on a plain background within a double-lined border. The numbers and letters are referred to in the accompanying text, which is not included in this album. The plate is titled, signed, and numbered.
Moonlight over an Alpine Village
Frederic Edwin Church, American, 1826–1900, June - September, 1868
Oil and graphite on paperboard
Drawing

Landscape study showing a nocturnal view of a village in the European Alps under a full moon. In the middle distance at left, a church and its belltower rise above a faintly discernable collection of trees and houses in the foreground at right. In the background, the silhouette of a jagged and towering mountain range forms the distant horizon. Clouds hang low over their peaks. Above, the bright and brillant full moon radiates an orange and yellow halo, casting an green light over the landscape.
Textile
, 17th century
silk, metallic thread Technique: plain compound cloth, brocaded

Allover pattern of small-scale, stylized floral forms brocaded in white silk and silver thread on a ground of blue satin. Satin ground originally shot through with extra silver (flat metal strips) threads; now almost entirely worn away.
Sampler
Laura Bowker, American, 1805 - 1843, 1817
silk and metallic (metal-wrapped silk core) embroidery, linen foundation, painted paper, kid leather Technique: embroidered in stem, satin, knot and couching stitches on plain weave foundation Label: linen embroidered with silk and metallic yarns in stem, satin, knot and couching stitches, painted paper

Embroidered sampler with two alphabets, a set of numerals, a verse and a landscape within a deep vine border of flowers and grapes. The landscape includes a woman standing by a tree, sheep, and a large basket of flowers.

The verse reads: 
Jesus permit thy name to stand
As the first efforts of an infants hand
And while her fingers o'er this canvass move
Engage her tender heart to seek thy love
Project for a Tablet
, 1825–1830
Pen and brush with black ink on off-white laid paper
Drawing

Vertical rectangle showing left half of a tablet with inscription. In the center below is an escutcheon of an archbishop.
Designs for Firearms Ornament
de La Collombe, French, active 1702 – 1739, 1730
Etching and engraving on laid paper
Print

Designs for firearms ornament and details featuring mascarons, dragons, animals, leaves, fronds, sprigs, strapwork, fleurs-de-lys, crowns, heraldry, the arms of the Dauphin of France and a design for a butt of a stock. The plate is signed and dated.
Galerie métallique des grands hommes français (Great Men of France)
Armand-Auguste Caqué, French, 1793 - 1881, 1822
Cast bronze
Medal

Bust of Évariste Desiré de Forges, vicomte de Parny (1753 -1814) facing right; reverse: legend in 7 lines.