biglam/cooper-hewitt-alt-text huggingface dataset:
Study for Serpents Sent to Destroy the Sinners, Plate 360, Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and grey, black wash, pen and brown, black ink on cream laid paper
Drawing

In the foreground a group of men in robes, in various states of undress, are shown writhing on the ground at the base of a mountain or hill. A bearded man on the right is on his knees, facing his right with his hands clasped in prayer. A large serpent appears in front of them, with his body partially wrapped around the right portion of the picture frame. A mountainous landscape that includes a building with two turrets can be seen in the background. Another large serpent is partially wrapped around the picture frame on the left side, and his curving body extends below the bottom portion of the frame. The elaborately ornamented frame also includes decorative masks, tree limbs, and fire-breathing creatures that resemble serpents or snakes.
Escutcheon, No. 1 from "Raccolta di varii cappriccii et nove inventioni di cartelle et ornamenti"
Stefano della Bella, Italian, 1610–1664, 1648
(as reported on cat. card).
Print

No. 1 of the set "Raccolta di varii cappriccii" etc.
Colonnade with Fountain
Carlo Marchionni, Italian, 1702–1786, ca. 1770
Pen and brown ink, brush and gray wash, graphite on laid paper
Drawing

A sketch left in pencil on the left, and filled in with ink and wash on the right. A wall with niches and colonnades contains a fountain with a figure of a man upon a rock in the center, a figure on a console standing at the projecting wall, and a niche with a sculpture upon a pedestal with steps below.
Partial View of Guaranda, Ecuador
Frederic Edwin Church, American, 1826–1900, June 3, 1857
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch showing view of Guaranda, Ecuador and surrounding mountainous landscape. Grassy foreground leads to the town in the middle distance, where numerous buildings and trees stretch horizontally across the composition. In the background, rugged mountains increase in height as they extend into the distance, where Chimborazo looms over the horizon at center.
Study of Soldiers Taking Aim
Winslow Homer, American, 1836–1910, 1862
Graphite on pasteboard
Drawing

Vertical studies of soldier taking aim.
Designs for a Stock and Firearms Ornament
de La Collombe, French, active 1702 – 1739, ca. 1730
Etching and engraving on laid paper
Print

A design for a stock surrounded by firearms ornament, featuring strapwork, fronds, leaves, sprigs, devices, trophies, animals, armor, profile portraits, dragons, heraldry and cupids. The print is signed.
Design no. 536 for the Emrboidery of a Man's Waistcoat of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Left bottom corner; obliquely rising bottom edge. An urn with a flame between flower boughs. Waved ribbons and leaf garlands. Many flowers alternate with a circle motif in the field.
Cartouche with War Motifs
, late 17th–mid- 18th century
Engraving on paper
Print

Cartouche with War Motifs.
Grande ponte du pied pour un lit de 4 pied et demy de large
Nicolas Guérard, French, ca.1648 – 1719, late 17th century
Etching on laid paper
Print

Design for an embroidered footboard for a bed featuring strapwork, fleurons, rosettes, and scrolling leaves. The plate is titled and numbered.
Ornamental Vase Design
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Etching on laid paper
Print

Lidded vase design with lion heads at the shoulder. The neck of the vase is draped with a garland. There is a band of meander at the shoulder of the vase, between the lion heads. The belly of the vase is wide and has a wave pattern at its base. The vase is elevated on a low plinth. The plate is not signed or numbered.
Designs for Two Panels
Etienne de Lavallée-Poussin, French, 1735–1802, 1770
Pen and ink, brush and watercolor, graphite on paper
Drawing

At left, half figures holding a flower basket on her head, above an urn. Set within a frame composed of urns, lozenges and leaf motifs. Right, rectangular panel triangularly quartered with octagonal central panel in which is set an eagle.
Mercy's Hand and Arm, Study for "Mercy's Dream"
Daniel Huntington, American, 1816–1906, 1857
Graphite on blue wove paper
Drawing

Studies of hands for the figure of Mercy. Right hand pressing down on a surface, at right. At left, the back of the left hand. Verso: Study of drapery, falling mainly to the right.
Design for an Escutcheon in Honor of William Earl Cowper (ca. 1665-1723)
François Boucher, French, 1703–1770, ca. 1730
Charcoal, brush and brown wash on tan paper
Drawing

In the same direction as the etching--a memorial to William Earl Cowper after François Boucher by Nicolas-Dauphin de Beauvais, 1921- 6- 58. Justice with a pair of scales and a sword; Prudence and Peace are on top; attributes referring to Cowper at the bottom.
Vestige du Septizone de l’Empereur Severe a Rome
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of Roman ruins within a rocky landscape with several levels of arcades and columns in ruin with foliate branches and trees growing. Figures in the foreground and buildings in the background. The plate is titled and signed.
Designs for a Watchcase Lid or Medallion and Flowers
Jacques Vauquer, French, 1621–1686, ca. 1660-70
Engraving on laid paper
Print

An ornament print with a central design for a medallion or the lid of a circular watchcase depicting the New Testament Biblical scene of the Flight into Egypt with Mary riding a donkey while holding the baby Jesus, Joseph to the left, holding the reins and a stick. To the right a winged angel. Trees and clouds in the background. The roundel is flanked by four floral designs, the lower two are in glass vases. The plate is numbered and signed.
Artist's Brook
Henry Hitchings, American, d. 1902, 1854
Graphite on tan wove paper, laid down
Drawing

A brook slopes through wooded banks.
Decorative Monogram Design
Pierre Ranson, French, 1736–1786, ca. 1780
Etching and hand colored in watercolor on paper
Print

Design for a decorative monogram for the letters C and E, featuring flowers, leaves, and ribbons. The letters are topped with a crown of flowers, ribbon, and pearls. The plate is numbered, signed and hand colored.
Sidewall and border
M.H. Birge & Sons Co., 1834, 1890–1900
Machine-printed, mica

a) Simulates Dutch tile. Consists of two designs. One is a symmetrical design divided into four equal parts of blue scrolls, portions in powdered mica on ivory field. The second tile design is a circular spray of roses, partially printed in blue mica on ivory field; b) A border which simulates tile. This is a Renaissance design. Printed partially in blue mica on ivory.
Portrait of S. Francesco Xavier (1506-1552)
Lelio dalla Volpe, Italian, 1700 - 1799, ca. 1750
Engraving on paper
Print

Half-length portrait in three-quarter view to left, looking upward. The Saint wears a cape. The portrait is in an oval frame. Below it a cartouche plaque with inscription.
Fireplace fenders
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Fireplace fenders.
Mount
, early 19th century
Partially silvered brass

Pierced compound anthemion motif soldered to flat brass plate.
Mountain Ridge with Rock, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of a heavily wooded mountain ridge with a rocky prominence in Jamaica. Large boulder or rockface dominates right portion of composition. In middle distance, woods of hillsides alternate between green and brown. Sky above rendered in hazy muddled gray. Green plants visible at right foreground.
Saint John the Baptist, A Saint Bishop (Porbably One of the Doctors), and Two Devouts
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

At right, Saint John, standing, and pointing at the lamb beside him, addressing a kneeling devout at left, probably a woman. Behind her stands the bishop, without headgear, carrying the pastoral staff in his left hand and leaning his right hand against the shoulder of the woman. Outer-most, at left, is a kneeling girl, with a book in her right hand. T he scenery represents a vaulted structure, with two openings at the back. Framing line.
Woodblock Trial Proof for a Printed Textile
, 1790–1800
Brush and gouache on paper
Drawing

Sprig of small clusters of blue flowers, with leaves on yellow ground.
Garden Wall and Terrace
Unknown, Italian, 18th century
Pen and black ink, brush and green, red, pink, brown and yellow watercolor, slight traces of black chalk on paper
Drawing

Design for a garden wall and terrace.  A parallel colonnades supporting an open roof of cross rafters.  The terrace is decorated with four statues and plants growing on the rafters.  On the colonnade level, a statue is placed in the wall niche.
Sampler
Hannah Woodman Coffin, American, early 19th century
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Bands of alphabets and numerals separated by narrow geometric cross borders, a verse and inscription, in colored silks on tan linen.
The verse reads: 
When youths soft season shall be oer
And scenes of childhood charm no more
My riper years with joy shall see 
This proof of early industry
Palm Fronds, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on white wove paper
Drawing

Botanical sketch showing three views of palm fronds in Ecuador. Above, two sketches of a frond blown to the right by the wind are visible. Below, one detailed drawing of the leaves that grow from the frond's stem is shown.
Sidewall
, ca. 1680
Leather, stamped, painted, silvered

Portion, silver varnished and painted dark brown, showing basket of flowers below a lambrequin.
Ornamental Vase Design
A. Panier, French, active 18th century, 1767-1793
Crayon-manner engraving with red ink on paper
Print

Vase with a floral bouquet in its narrow neck. The vase has twos-curve handles, the bottom half of which are formed from acanthus leaves. A floral garland is draped across the front. The bottom of the vase has gadrooning and is perched on a tapered foot with a stylized Doric capital. The vase is elevated on a low socle, and with an indication of landscape (grass and flowers) around it. The print is engraved in red ink (sanguine) crayon manner. The plate is lettered.
One of a set of projects for a title page and 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 framing. With two putti and the blossom of a rose. Intended to be engraved
Designs for Two Brooches
, late 18th century
Pen and black ink, brush and gray watercolor on paper
Drawing

Jewelry designs for two brooches, arranged vertically one above the other; each a knot of laced ribbon à jour with a rosette at center. In the example above, the interior of the ribbon filled with round disks. Below, the interior of the ribbon filled with disks alternating with a band of two squares. Beveled corners.
Project for a Sculptural Monument
, ca. 1650
Pen and ink, brush and wash on paper
Drawing

Center and left side of design shown. An octagonal base with knobs as feet stand upon a wider one. Above this rises a column supporting an escutcheon topped by two putti holding the papal keys and tiara. Beside the escutcheon is the allegorical figure of Prudence, seated. Cornucopias rise from the bases.
Button
, late 18th century
Steel

Three circular buttons ornamented with bosses cut in facets; a central boss, plain section and border rings of bosses; C) three concentric rings with beviled border.

On card 58.
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, before 1666
Etching on laid paper
Print

Two frieze designs with putti, armor, arms (weapons), an oval profile portrait, captive men, and leaf moldings. The plate is numbered and lettered with the publisher's address below.
Design for a Brooch
, 1825–50
Pen and ink, brush and watercolor, sepia on paper
Drawing

The head of a satyr with diamonds in the eyes; upon the forehead is a diamond, two pear-shaped gems pending from the ears.
Rocaille Rinceaux Designs
Georg Leopold Hertel, German, active ca. 1780, mid- 18th century
Etching on off-white paper
Print

Sheet of variations of rocaille rinceaux. The plate is signed and numbered.
Great Artists, Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Fragment
, 16th century
silk, metallic Technique: wovem

Palmettes with ogival starpwork
Gorge of the Niagara River, New York
Frederic Edwin Church, American, 1826–1900, probably 1856
Oil and graphite on cardboard
Drawing

Landscape sketch showing a view of the rapids of the Niagara River Gorge. Dominating the composition at center, the frothing waves and roiling surf are bounded at left and right by steep, rocky, and heavily wooded banks, which are also visible in the distance at center. Rushing speed and violent movement are conveyed through the size of the waves  and the spray of their foam. Above, a mostly cloudy sky reveals patches of blue throughout.
Design for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, red ink on off-white laid paper, lined
Drawing

Design for Ceiling Decoration.
Design for the Elevation of a Public Building
, late 18th century
Pen and black ink on white laid paper
Drawing

Horizontal format architectural drawing. Somewhat more than the left half of the building is shown. Basement with several doors. Ground floor accessible through two doors to which flights of stairs lead. A correction at the stairs at left. Second floor. Attic over the central and the lateral parts of the main body of the building, which is to be flanked by aisles of three bays with mezzanine floors. Base lines. Bottom: oblong. Framing lines. Lines along top, bottom edges.
Sash
, 1883
silk Technique: plain weave

Narrow sash or bet of vertically ribbed plain cloth. Pale blue ground with horizontal stripes of pink, yellow and white. Ends have short fringe formed by warp ends.
Beach with Boats and People, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881–82
Charcoal, white crayon on cream wove paper
Drawing

Horizontal view of two men in oilskins in foreground; beach with boats drawn up on it, and groups of peope in middleground; and on the water in the distance are two sailboats.
Design for a Monument of King Louix XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The elevation of a sepulchral tower. Below are some steps. The door case is projecting and it is laterally elongated by parapets with urns with flames at their ends. Above the entablature sits upon a base. Faith or Religion, supporting with her right hand a medallion standing in her lap, raising with her right hand a monstrance. Beside her is the continuation of the wall shaped like a pedestal. Above it stands a kind of sepulchral urn, with on top a fleur-de-lis upon a base. Usual background.
Elevation of a Church for Monte Vergine
Giuseppe Barberi, Italian, 1746–1809, 1784
Pen and brown ink, brush and brown wash, graphite, red ink on lined off-white laid paper
Drawing

Escutcheon over the door. Steeple with bell over the transept. The facade is flanked by two-story structures, each consisting of a wing with two windows in either story, and a projecting wing with a window over a door and a triangular pediment. Some heights are indicated. Fragment of figures, right edge.
Stage Design, Town in Landscape
, early 19th century
Pen and sepia ink, brush and wash on yellow paper
Drawing

Horizontal rectangle. Town with palace-like buildings, hills in background.
Staircase to Arcade in Bishop’s Palace
Giovanni Battista Natali III, Italian, 1698 - 1765, ca. 1750
Pen and brown ink, gray wash on laid paper
Drawing

Vertical rectangle showing a door which is left empty, and an architectural aetting with stairs leading to a circular hall. On top of door is emblem showing mitre, hook and cross.
Interior Alcove
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on laid paper
Print

An alcove with a canopy bed in the center with feather finials. The alcove is framed by a mascaron (mask), festoon of fruit and leaves, paneling, moldings, and flanked by views of landscapes.
Border
, 17th century
linen, silk Technique: embroidered

Embroidery in design of plants forms and fantastic animals standing on either side of an urn on which is a pelican in her piety.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

Design for an interior wall decoration with applied ornamental stuccowork. At left, a painted panel or tapestry depicting architectural ruins. At right, an arched niche with a tufted canapé. Scale at lower right.
Skirt
, 19th century
silk embroidery, silk foundation Technique: embroidered on satin weave Label: silk satin, embroidered with silk

Blue silk satin skirt embroidered in colored silks with a design of flowers and birds; trimmed with black satin bands and black silk braid. Waistband of white linen lined with pink silk woven with a fret pattern. The skirt is made in two parts designed to wrap around the body, with straight panels in the front and back and pleated sections at each side.
Plan des Souterrains du Château Royal de Luneville.
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Plan of the tunnels for the Royal Castle of Luneville. At the bottom is a scale bar of "8 Toises."
Designs for Sarcophagi
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The left half is shown, with the left support shown from inside. Bathtub form a carved gaine with a lion mask rising from the support. Colored background. Below ar the points of a stroke in -1402 and upper parts of its background coloring.
Man
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Four sketches of a male figure.
Funeral Decorations for 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

A variation of 1938-88-1322, the plan of the lower part being rectangular. The panels beside the door opening are decorated with two gaines with heads in draperies; they are connected by a festoon. Inside like 1938-88-1301. Above is an entablature with some cornices. Above it is the round part. On top is a group like 1938-88-1323.
Self-Portrait of Felice Giani; recto: Muses Seated Beneath a Tree
Felice Giani, Italian, 1758–1823, late 18th–early 19th century
Pen and brown ink, brush and brown wash on cream wove paper
Drawing

Recto: Group of classically-inspired female figures in loose drapery gather and sit around a large rock and several trees in the center of the composition

Verso: half-length portrait of a man wearing a top hat and collared jacket seated leaning on the top rail of a chair and looking off to the right of the composition.  In front of the man is a tabletop with several objects resting on the surface.
Design for a gateway with lodges, early design for Villa Albani
Carlo Marchionni, Italian, 1702–1786, 1740s
Graphite, brush and gray watercolor on laid paper
Drawing

Entrance to a park. At left, between caryatids sunken compartments. At right, alternation of figures in niches and windows. Upon the wall, at left, vases, at right there are balls. Four figures upon the gateway.
Two Designs for Trophies
Roubiliac, French, active 18th century, 18th century
Crayon manner etching in red ink on laid paper
Print

A plate from a series of designs for ornament prints of designs for small trophies. Only the first and second plates are known from this series. Two small trophies one above the other on the plate. The upper trophy is made up of two birds, a flaming torch, a bow, quiver with arrows and garlands of flowers and leaves. The lower trophy is hanging from a tied ribbon, made up of a horn, spear, rifle, dagger, powder flask and purse along with branches of leaves and flowers.
Arabesque Panel Design
Juste-François Boucher, French, 1736 – 1782, 1775–88
Etching on paper
Print

An arabesque panel design featuring an oval medallion with a standing female figure framed by scrolling leaves, festoons of leaves, rosettes, a vase and basket of flowers, and two embracing winged putti with scrolling acanthus leaves as legs seated on a base or bracket. The plate is signed and numbered.
A Village at a Brook in Mountainous Country
Carlo Marchionni, Italian, 1702–1786, 1770–86
Pen and brown ink on paper
Drawing

Sketch of a town with trees on each side and a large mountain in the background.  In the middle ground are figures.
Tsuba
, 19th century
Iron, gold

This iron tsuba is nade (oval) in shape and has a maru mimi (round outer rim) with nanako (a punched pattern of dots). Sukashi (openwork) and iroyo takabori (high relief carving) show a scene with Shoki, the demon queller, and the demon Oni. Gilded details. 

At the center is the nakago-ana, an opening through which the sword passes. Surrounding this is the seppadai, a flat oval area that is migaki (burnished). At the left is a hitsu (opening) in the hangetsu-kei (half moon) shape.
Chimneypiece Design
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Chimneypiece design with overmantel frieze with a torch and a quiver and bow, draped by a garland of flowers. Above the mirror is an oval medallion held up branches of leaves and flowers. The chimneypiece is decorated with bead course, fluting, lamb tongue, a guilloche of branches, and rosette ornamentation. There is a scale bar of four French feet ("4 Pieds") at the bottom. The plate is signed and numbered.
Hospital Trinita de Pellegrini, Plan
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink on off-white laid paper
Drawing

Complete plan with measurements; an oblong of 980: 1642.
Ed-Deir Rock Temple, Petra
Frederic Edwin Church, American, 1826–1900, late February 1868
Brush and oil, graphite on tan paperboard
Drawing

Landscape and architecture study showing a view of the facade of the monumental rock-carved structure known as El-Deir in Petra, present-day Jordan. Viewed from a direct, frontal perspective, the two-storied facade dominates the composition at center. Its lower level is composed of a colonnade with niches, and, at center, a dark portal topped with a triangular pediment. Its second level has three main sections: two portions of a broken pediment at left and right, interrupted by a central tholos-shaped feature. The pink, tan, and purple tints of the rock are visible throughout the facade, as well as in the cliff face out of which the building was carved, which flanks the facade at left and right. A greenish blue sky is visible at upper center and upper right.
Ornamenti o Grottesche (Grotesque Ornament)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on laid paper
Print

Vertical rectangle showing a woman offering a lamb to a hound emerging from an acanthus leaf above her head. At her feet, another hound.
Fragment
, 16th–17th century
silk, metallics Technique: woven

Design of foliate forms in red and light blue on red background.
Ornament
, 3rd–4th century
warp; S-spun linen. Wefts; S-spun linen, S-spun wool. Technique: slit tapestry woven with supplementary weft wrapping.

Leaf rising from a horizontally striped oblong.
Stage Design: Bedroom with alcove
, ca. 1790
Pen and brown ink, brush and gray wash on white laid paper
Drawing

Vertical rectangle showing two alternative designs for a bedroom. In the foreground, a richly decorated alcove, the opening of which is formed by an arch supported by twisted solomonic columns. Behind, the bed is surmounted on one side with a scrolling ornate back topped with a crown. Ruled borders.