biglam/cooper-hewitt-alt-text huggingface dataset:
Sunbeams above a Mountain Valley, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of the sun's light bursting through the clouds and cascading over the lush mountains of Jamaica. At left, a steep hillside slopes from left to right in the foreground. In the middle distance, a large, rounded prominence rises at left and descends into a valley at right. Beyond, taller mountains are visible in the background. Above, the sun shines through a partly cloudy sky, resulting in dramatic crepuscular rays that fall from the sky.
Lake View near Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, September 1876
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a loosely-rendered view of a small lake and its heavily wooded shoreline, somewhere near Mt. Katahdin in Maine. In the immediate foreground at left, a bush or small tree stretches horizontally over the water's surface, which extends across the middle distance. At center, the lake's heavily wooded opposite bank, or possibly an island, is prominently visible. Other treetops are shown behind at left and right.
Bird with Tulip, Carnation, Butterflies, and Insect
, 18th century
Pen and ink, traces of graphite on coated wove paper
Drawing

Bouquet of two carnations and a tulip bound by a blue ribbon; bird perched on tulip; butterflies and insect fly above.
Cartouche with Wine Leaves and Drums
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank cartouche in Rococo style framed by wine leaves and military weapons; a suit of armor and helmet at lower left. Two drums and a shield at the base.
Fragment
, 19th century
wool Technique: polychrome printed

Pattern circles printed in polychrome (principally blue and yellow) in geometric patterns on white ground.
Design for a Cartouche
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with a design for a cartouche. The design features an exedra in a landscape, supporting an urn and putti. The platform has on the bottom a grotesque mascaron; at the top of the excedra are scalloped shells. The plate is signed and numbered.
Border
, 1880–1890
Machine-printed on embossed paper

A border of fleur-de-lis and both single and double roses, with a band at bottom simulating a low scalloped wire fence. Printed in red, olive, green, white and gilt on black field. Aesthetic style border
Dessus de Porte, dans le grand Appartement des Tuilleries.
François Chauveau, French, 1613 – 1676, 1710
Etching on laid paper
Bound print

Twenty-second plate from a series of prints depicting the ornament and interiors of the King's apartment at the Royal palaces of the Louvre and the Tuileries, part of the Cabinet du Roi (King's Cabinet) series published by the Imprimerie Royale. The plate illustrates two overdoors from the Grand Apartment of the Tuileries Palace. Both overdoors are decorated with a frieze, and a broken pediment with a central lidded vase, ornamented with garlands of laurel leaves, shells and flaming cannon balls, rosettes, heraldic devices, grotesque motifs, foliage, herms, acanthus leaves, running patterns of laurel leaves and other foliage. The upper overdoor design features nautical elements such as dolphin handles on the vase, and shells. The lower overdoor features dragons and cannon balls. The plate is titled, signed, and numbered.
Ocean Swells
Winslow Homer, American, 1836–1910, 1895
Charcoal, white chalk on gray wove paper
Drawing

Sketch of the ocean, with white highlights at lower left, possibly indicating a rocky shore.
Pine Trees, Austria
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on tan laid paper; verso: graphite
Drawing

Landscape and botanical sketch of a group of tall conifer trees, likely pines, huddled together in a rocky landscape. Loosely rendered, the trees blend together and are heavily shaded.

Verso: Mixed sketches around Austria, showing a view of tall mountain peaks in the upper half, and in the lower half, a view of a house among trees, a moss-covered wayside shrine, and the head and face of a woman wearing a hat.
Brisé fan
, 19th century
Ivory sticks carved à jour, silk ribbon

Brisé fan. Ivory sticks carved à jour with scenes of male figures seated under trees and walking on paths. Houses and trees fill the surrounding areas.
Porte d'Appartement avec son Profil
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Apartment door design. The cornice is decorated with fluting, lamb's tongue, and egg and dart ornamentation. The frieze of the door has rosettes set within acanthus leaves. The borders along the door have lamb's tongue framing, and vertical panels of leaf and bead design. The plate is signed and numbered.
Design for a Cartouche with Vignette
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a cartouche with an upper and lower compartment. The upper compartment contains a vignette of a couple in a landscape; the seated woman holds a dead bird in her hand, while the man carries a gun and a horn. The cartouche is comprised of rinceaux, scrolls, shells, and vines. The plate is signed and numbered.
Design for the Stucco Decoration of a Vaulted Ceiling
, ca. 1660
Pen and ink, brush and bistre wash, black chalk on laid paper
Drawing

Horizontal rectangle. Somewhat more than a quarter of stucco decoration is shown. The entablature of the wall with a capital of a pilaster is shown at the bottom. A strip rises above the capital; a garland is suggested for its decoration. Four forked acanthus volutes are to be connected to pairs by two masks of women carrying upon their heads bowls with plants. The volutes frame fields over the entablature in which bowls with flowers are to be shown.
Earring holder
, mid-19th century
Gold

A) and B) Gold wire shaped to fit around ear; hook at bottom to hold earring.
Kuwana: Ferryboats at Chichiri (Kuwana, Shichiri no watashibune) from the Series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This ferry boat is at full capacity with passengers and other goods. Alongside them is a smaller rowboat with two fishermen whose attention is focused on the fully loaded ship.
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738–45
Engraving on off-white laid paper
Bound print

Folio 6, plate 5 of series 6. Within rectangular framing lines, two rocaille designs for upright decorative panels. Panel at left: various ornamental scrollwork, masks, dragons, birds, and armorial trophies. Panel at right: ornamental wscrollwork with masks; two putti figures play upon a curved rope at center.
La Sultane Favorite
François-Thomas Mondon, French, 1709 – 1755, 1736
Etching and engraving on laid paper
Print

A chinoiserie (European decorative arts and architectural style inspired by fanciful ideas of China and East Asia) ornament print featuring a seated male figure on a throne with a female figure to his right, holding a stick or pipe and a stringed instrument in her lap. The throne and surrounding fantastical architecture features rocaille motifs, rosettes, scrolling leaves (rinceaux), fluting, c-scrolls, and shells. To the right, a lidded vase, and draped textiles. The plate is titled, numbered, and signed.
Design for the Letter Q of a Pictoral Alphabet: Quietness
Victor Vincent Adam, French, 1801 – 1866, ca. 1830
Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper
Drawing

Letter above, flanked by intertwining rinceau. A young woman with a veil holds something, possibly a purse, leads a procession of similarly clad women into a church.
One of a set of projects for a title page and decoration of 15 horizontal panels
, 1675-1699
Pen, brush, sepia
Drawing

The panel has an elaborated frame, the outermost borderline is framing the drawing. Title page: above a ribbon a princely escutscheon in a medallion supported by two winged putti. A rinceau is in the background. Intended to be engraved
Trophy with Implements of the Hunt, Plate 2 from "Suite de Trophées de chasse," Suite VI
Etienne Claude Voysard, French, 1746 - 1812, 1778
Engraving on paper
Print

Gun, hunting horn and a stag's head, with other hunting implements and flower garlands form a trophy. Below, engraver's and designer's names. From: "Suite de Trophées de chasse," suite VI, planche 2.
Button
, 19th century
Brass

Convex button ornamented with "Sainte Barbe" placed above a star and within crossed laurel sprays. On reverse: Superfin, Paris G R" Brass back and shank.

On card E
Study for a dancing woman, “Moods to Music,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1893–1898
Graphite on wove paper
Drawing

Two sketches of a female figure dancing.
Design for a Comb
, ca. 1830
Pen and ink, brush and gray, yellow watercolor on paper
Drawing

Jewelry design for a hair comb intended to be executed in gilded, partly engraved metal and diamonds. With variations like 1938-88-756. The engraved band with a zig-zag pattern with a stroke (above) and a circle (below) in the angles. In the central band, the diamonds are standing near together. The motifs in the cresting border are slightly varied. Twenty-four tines.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs decorated with candelabra, sphinxes, mascarons, putti, vases, and rondels. The chimneypiece on the right is set within a niche. Between the chimneypieces is a panel with a console table, a console bracket topped with vases, and grotesque ornamentation at top. The plate is signed and numbered.
Imaginary South American Landscape
Frederic Edwin Church, American, 1826–1900, 1857–75
Brush and oil paint on tan paperboard
Drawing

Landscape sketch showing an imagined view of a sunset over generalized South American terrain. A single-arched bridge spans a river in the foreground at lower center. A figure in red clothing traverses the bridge just above the arch, while another figure is visible on the path at right. In the lower left corner, two tall palm trees frame the view as other plants grow around their bases and lower trunks. In the middle distance at center, a ruinous tower is situated atop a small prominence partially covered in trees and bounded by the river at right. On the opposite bank at right, a single tree is visible among other indistinct foliage. In the background, the sun illuminates the sky and clouds around it in fiery shades of orange and yellow as it begins to set behind a range of sharp mountains. Another pair of sharp mountains is visible along the horizon at right. In the sky above, wispy banks of clouds are illuminated in warm hues of orange, purple, and reddish brown as they encircle an opening that reveals the clear, blue-green sky behind.
Allegory of the Four Elements - Air
Jacopo Amigoni, Italian, 1682–1752, 1739-1752
Etching and engraving on laid paper
Bound print

Vignette of a man and a woman in a landscape. The man stands on a ladder leaned against a trip, holding out a small nest of baby birds to a woman who gathers them in a cloth. In the background is a bird house, with birds flying around it through the air. The plate is trimmed and only the plate number is visible.
Oil Lamp
, 1650
Pen and brown ink, brown wash on off-white laid paper, joined above center
Drawing

Oil lamp. Ring at top, composed of interconnected griffins. At center, two dragons form the arms. Lobed base with acanthus leaves.
Frieze and Ornament Designs
D. Antoine Pierretz, French, active 1647, 1648
Etching on laid paper
Print

Architectural fragment and ornament designs, including a detail of a possible capital and mantel or frame, along with a frieze below. The designs feature classical motifs, scrolling leaves, acanthus leaves, masks (mascarons), snakes, palmettes, putti, foliate branches, and fluting.
Console Table with Clock
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

View of a console table. Strait fluted legs with masks. Between these are swags and a frieze. Base of a plinth at top.
Design for an Embroidered or Woven Vertical Border
, 1805–1815
Brush and blue, white gouache on glazed tracing paper
Drawing

An undulated stem with big indented leaves, and small flowers of opposite directions in alternate horizontal rows, rises beside a strip, at left.
Aletsch Glacier by Moonlight, Switzerland
Frederic Edwin Church, American, 1826–1900, August 28, 1868
Graphite and white gouache on light brown paper
Drawing

Landscape sketch showing a view of the curving Aletsch Glacier in the Bernese Alps near Belalp, Switzerland. In the foreground, a rounded mountainside descends to the right and is part of the range that hems-in the glacier the glacier at left. At center, the glacier, with its alternating dark and light streaks, creates an S-curve through the alpine valley. In the middle distance and background at left, snow covers rugged mountaintops while the dark night sky is loosely suggest above and beyond.
Drawing
George E Germer, 1868 – 1936, 1910–1915
Pencil. Brown paper

Each shows the teapot with the handle at right, on top, the cream pot with the
handle at left, bottom left, the two-handled and covered sugar bowl, bottom
right. The handles of the cream pots and augar bowls are forked on top.
Reverse: blackened for tracing. C: Top: the tea pot; the handle is at right. Urn on top
of the corner. Bottom left; the cream pot; the sharply rising apout is at
left. Bottom right: two-handled sugar bowl without a cover. "#37"
Tracing, bottom right. Reverse: blackened for tracing.
Recto: Three Musicians in Front of the Albergo Della Pace, 1810
Felice Giani, Italian, 1758–1823, 1810
Recto:Pen and brown ink, brush and brown wash on white laid paper
Drawing

Sheet of a drawing book; folio 59; pages 118, 119. Obverse: Three rows of three designs each.  Written beside: "118"; center, left: "Andrea / Pisano"; bottom: "59 Bologna porta di S. Pettronio del tré cento. del Senese della Fontana." Reverse: Before the entrance of the hotel della Pace in Bologna. Three men are standing; one carries a French horn, the others stringed instruments.  A sign shows: "ALBERGO / DELLA / PACE / 1810". Bottom: a gamut. 

(1) Reverse: Sketch. The start for a seranade.
Lake and Mountains
Frederic Edwin Church, American, 1826–1900, possibly 1856
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of a nearby lake in a mountainous landscape--possibly Maine--viewed from an elevated perspective. The surface of the lake extends from foreground to middle distance, where the lake's steep and heavily wooded shores are visible. Beyond, layered, rolling hills and mountain ridges extend into the background, where a tall, rounded mountain looms over the scene.
La Fontaine du Cabinet de Diane à Versailles (Left Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed on a single sheet (side by side) depicting fountains and basins in the gardens at Versailles, both fountains are framed by lattice walls and trees. The fountain to the left features lions and statues of women on plinths. Both scenes include figures (courtiers) walking along the paths. The plates are signed.
Ornament Panel Design
Alexis Loir, French, 1640 - 1713, ca.1660–1713
Etching on paper
Print

Ornament panel design with a central cartouche of a man with a dog and a woman in a landscape, framed by foliate scrolls, scrolling leaves (rinceaux), rosettes, fleurons, flying putti, flaming torch, bows, ribbons, and sphynx. The plate is numbered.
Triumphal Arch
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1588
Recto: Pen and brown ink over black chalk on laid paper Verso: Pen and brown ink, brush and brown wash on laid paper
Drawing

Recto: Partial elevation of a triumphal gateway with arched openings below and a broad frieze above. It is surmounted at center by a balcony with balustrade. 
Verso, above: Italian inscription. 
Verso, below (inverted): Judith standing, holding a sword raised in her right hand, and the head of Holofernes in her left. A kneeling serving girl receives the head into a sack.
Woman
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a female figure in profile wearing a veil.
Fragment
, late 18th century
cotton Technique: copperplate printed on plain weave

Printed textiles with figures playing at "blind man's buff" in a rustic setting with water fowl. Below, a man pushing a woman on a swing while dogs look on. Behind stands a woman with picnic basket.
Design for an Iron Balcony
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron balcony with an eagle at its center, in front of crossed flags, holding a wreath in its beak. On either side are trophies of war. The plate is numbered but not signed.
Young Man in a Velvet Cap (Ferdinand Bol?)
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1637
Etching on laid paper
Print

Half-length portrait of a man, t urned toward the left, looking out at the spectator in t hree-quarters view. He wears a velvet cap and there aree a number of books on the table beside him, left.
Plate 3, from "A New Book of Chinese Ornaments"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1750
Etching on paper
Print

Chinoiserie escutcheon at the top of which a Chinese sits holding a circular perch in which a bird sits.
Designs for Beds in the Style of Antiquity
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Plan and profile of a design for a bed with a draped canopy. The posts at the foot of the bed are decorated with busts. The plate is signed and numbered.
Ironwork Designs
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork designs for two screens or balustrades, an escutcheon (key plate), and a key head featuring cyphers, cartouches, crown, eagles, dolphins, terminal heads, masks (mascarons), Apollo's heads with sun rays, lyres, festoons, foliate scrolls, fleurons, and scrolling leaves (rinceaux). The plate is signed and numbered.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decorated

Standing man, pointing to the left and carrying winged and flowered blue staff in his left hand; dress of layers of bluish-white and manganese skirts, with yellow coat; high head dress. Chinoiserie type of decoration.
Project for an Escutcheon
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1625–1650
Red chalk, pen and ink, brush and wash on paper
Drawing

Design for an oval escutcheon.
One of a set of projects for a title page and the decoration of a horizontal panel
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

The panel has an elaborated frame, the outermost borderline of which is framing the drawing. Ancanthis rinceau with three putti. Intended to be engraved
Textile
, late 16th–early 17th century
silk, metal foil strips, metal foil strips wrapped around silk core Technique: plain weave with continuous and discontinuous supplementary wefts

Repeating rows of large metallic palmettes on a yellow-green ground. The orientation of the palmettes alternates each row.
Monumental column
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Monumental column.
New York Crystal Palace, 1853
, 1853
Machine printed on continuous paper
Window shade

Glass and cast iron building (The New York Crystal Palace) within large circular frame. Clusters of people on Palace grounds. Atop this is a spread eagle perched on shield of stars and stripes. Flanking eagle are unfurled flags of U.S. and other nations. At bottom center is globe on banner reading "New York Crystal Palace 1853," below which are a spray of flowers and a palm frond. Six fleurs-de-lys edge bottom of frame. Printed in grey, coral and green "rainbow" stripes, white and brown on a blue ground which has been applied to both sides of paper.
Border
, late 16th century
linen Technique: needle lace

Narrow border of points in two sizes, alternating. Fine, flat needle lace technique.
A Winged Mer Hermaphrodite and Sketches for a Bowl
, early 18th century
Brush and brown iron gall ink, red chalk, graphite on off-white laid paper
Drawing

Vertical rectangle. At top right, a chimaera as a support of a bowl. At top left, somewhat more than the left half of the elevation of a bowl is shown. Most of another design, at left below, has been drawn over by "A." The body of the mermaid figure is shown in profile, turned toward left. The face is lowered toward the left shoulder. The creature walks with the forelegs upon the water from which a plant rises at left. Verso: ovoidal units filled with acanthus leaf palmettes are joined to a chain. Three different motifs are devised in a vertical row.
The Almighty in the Clouds, with Two Boy Angels
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

God, with his right hand raised in blessing, looks over the rim of a cloud to two putti below.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design with a censer, vases, mascarons, rosettes, and anguipeds.
Andiron Designs
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates. The top plate features designs of two andirons; the left andiron is a scrolling cartouche topped with a vase with a snake on its lid; the right andiron has a putto holding a cornucopia on top of a pedestal with mascarons, shells, and a portrait medallion. The bottom plate has three andirons, all in the form of lidded vases on top of podiums. Both plates are signed and numbered.
Architectural Elements
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Various architectural elements, including a column, a set of doors, a panel sculpture, and an ornamental clasp. Graphite inscriptions across the plate indicate that these designs were part of a project for the Palais Royal. The plate is signed and numbered.
Folding fan and case
, 1790–1800
Painted paper leaf with applied sequins, carved and pierced bone sticks

Folding fan with carved and pierced bone sticks. Paper leaf is painted in gouache on the obverse with swags in blue, green and pink with gilt and sequins. The reverse is painted with small sprays of flowers.
Sketch of Peter Richards' Head for his Portrait
Daniel Huntington, American, 1816–1906, 1849
Graphite in cream paper
Drawing

Young man with a short beard, facing halfway towards the right. His collar is suggested in outline. Name and note, lower right.
Decorative Studies; Verso: Profile Heads of Barbarians
Felice Giani, Italian, 1758–1823, 1814–18
Pen and ink, brush and watercolor washes over graphite on laid paper
Drawing

Three studies of partitions; study of ceiling with grotesque; festoon. Verso: two barbarian heads in profile from the antique.
Old Grist Mill
Francis Hopkinson Smith, American, 1838–1915, July 14, 1871
Brush and watercolor, gouache, graphite on paper
Drawing

View of an old mill seen across the pond, partially hidden by foliage.
Bird and Hillside with Fire, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Oil on tan paperboard
Drawing

Mixed sketches featuring two distinct drawings, separated at center. At right, a mountainous landscape with a hazy and smoky atmosphere is shown, featuring a plume of smoke and fiery glow at center, likely from charcoal burning. At left, a black bird with an orange beak is sketched in left profile against a green background.