biglam/cooper-hewitt-alt-text huggingface dataset:
Cloudy Sky over Mountains
Frederic Edwin Church, American, 1826–1900, 1870 - 1880
Graphite on green laid paper
Drawing

Landscape and atmosphere sketch showing a view of a dramatic cloudy sky over a mountainous landscape, likely in or near the Catskills. In the foreground and middle distance, various curving and undulating lines likely represent a nearby river with bordering foothills. In the background, a rugged mountain range with a sharp peak at left forms the horizon. Above, hazy and puffy clouds stretch across the sky, making for a dramatic atmosphere.
Ornamental Vase Design
Jacques-Philippe de Beauvais, French, 1739 – 1781, 1760
Etching on laid paper
Print

Globular vase with a wide mouth. The vase is decorated with linear carving at the shoulder and a draped garland around its belly. The bottom of the vase is stepped to the foot. The vase is raised on a low, simple plinth. The plate is signed and numbered.
Soldier Marching
Winslow Homer, American, 1836–1910, 1862
Graphite on paper, laid down
Drawing

Vertical view of a sentry, carrying a rifle with fixed bayonet.
Fragments
, 17th century
silk Technique: combination of two structures; 7&1 satin plus plain weave with complementary wefts

Fragments with a design of scrolling yellow acanthus leaves with large flowers on a deep red ground.
Sampler
, 19th century
silk embroidery on linen foundation Technique: cross stitches on plain weave

Floral borders surrounding the alphabet and initials "F. D. M. L."; scenes showing a woman in a gate with vases of flowers, a bird, and a wreath with the initial "B".
Section of wall, small anti-chamber, Palace of Fontainebleau
Frederick Marschall, 1885
Brush and watercolor, tempera on heavy paper
Drawing

Elevation of section of panelled wall surface with door surmounted by overdoor containing a painting of three figures in landscape.
Great Basin of Mt. Katahdin, Maine, Part One
Frederic Edwin Church, American, 1826–1900, September 1877
Graphite on gray-green wove paper
Drawing

Landscape sketch showing the lowest portion of a three-part panoramic view of the Great Basin of Mt. Katahdin in Maine. Viewed from the northern bank of Chimney Pond, the nearby rocky shoreline stretches across the immediate foreground while several semi-submerged rocks are visible in the water just beyond. The surface of Chimney Pond comprises the middle distance, while its heavily wooded opposite shoreline is visible in the background. The illustration cuts off midway up, delineated by a straight horizontal line, while caret marks at left and right indicate that this work is part of a panorama.
Design for an Urn on a Stand with a Spirit Lamp
Joseph Anton Seethaler II, German, 1799–1868, 1825
Pen and black ink, brush and gray, black wash on paper
Drawing

An urn on a circular plinth with four feet. The bottle is heart shaped with a funnel, topped by a butterfly. Two forked handles with eagle heads. The hole for the spout is surrounded by a wreath and by winged half-figures. The egg-shaped receptacle underneath the urn sits atop a tripod.
Cup and Saucer
Bristol China Manufactory, English, 1770 - 1781, ca. 1775
porcelain, vitreous enamel, gold
cup and saucer

Double-bellied cup with vertical ribbing and simple Bristol handle. Cup and saucer have underglaze blue band with cream-colored panels bordered and ornamented in gold. Gold circle and floral pattern on white reserve.
Elevation of a Building with a Tower
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The building has two stories. Shown are the first windows beside the projecting central parts. Steps lead up to te door in the first story. It is flanked by embedded columns. In the second ring are two pilasters at left and at right of the central opening. Above the entablature is a probably octagonal story of the tower with an oening framed by an aedicula at the front. The uppermost story is circular, with embedded columns supporting the entablature. A dial supported by two figures is at the front. Many measurements are indicated. At right is an accounting. Colored background.
Prudence and Beauty
Francesco Bartolozzi, Italian, active England, 1727–1815, 1782
Stipple engraving in sanguine ink on paper
Print

Beauty, lightly clothed, and accompanied by Amor, moves toward the right. Prudence, left, wearing armor, attempts to restrain Beauty.
Design for a Door Wall
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Design for a Door Wall.
Design for Mantelpiece Decoration
Giuseppe Barberi, Italian, 1746–1809, 1789
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The left half of the fireplace and of the frieze are shown. A single molding forms the frame. The frieze is decorated with festoons hanging beside an ovoidal medallion at right, with figures in the center. Three children are in the center. A standing woman is shown in the medallion. A siren forms the bracket at the corner. A standing quadruped, the central one. Inside the fireplace is the section along the inner side of the corner bracket. Realized version carved in marble by Vincenzo Pacetti, reliefs for the Noble Cabinet, Palazzo Altieri.
Three Putti
François Boucher, French, 1703–1770, 19th century?
Etching on laid paper
Print

Copy of the title page before lettering from the ‘CINQUIEME LIVRE de Grouppes d'Enfans' by Boucher, also bound in this album (1921-6-247-25).  Three putti play in the clouds, one above the other, with clouds to the left and below. The plate is signed, with an additional inscription in graphite below suggesting this is a 19th-century or early 20th-century copy.
LA CASCADE A LA TÊTE DU CANAL DE CHANTILLY
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Detailed view of the head of the canal in the gardens of Chantilly with cascading water from an upper basin. Trees in the background. Row boats with people in the foreground with birds/swans/ducks. Figures (courtiers) along the paths. The plate is titled.
Crouching Camel, Syria or Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, January - May, 1868
Oil paint and graphite on paperboard
Drawing

Oil sketch of a seated camel, shown isolated at center without a background. Saddled and yoked, the animal is viewed obliquely with its shadow partially rendered at left.
Textile
, ca. 1810
cotton Technique: printed by engraved roller on plain weave

Cotton print; red on white; vertical stripes alternating red and white with realistic flower and fruit designs. Two pieces sewed together. Edges bound with linen and rings attached to top for hanging.
Button
, 19th century
Brass, gold plated

Convex button with ornament showing heraldic devices on a shield, lion supporters, crown and above and leaf ornament below. Back and shank of brass. On reverse, "Superfins Paris E.B."

On card C
Sampler
, 19th century
silk, glass beads, linen Technique: cross stitch and beadwork on plain weave

Baskets of flowers, a landscape with a barn and fence, and bands of geometrical and floral patterns are worked in small glass beads.  Alphabets, ships, hearts and the words "Constancia" "Amor Valor" "Esperanza" and "Honor" are in silk cross stitch.
The Crucifixion, Study after Ludovica Carracci
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brush and brown wash, over traces of black chalk on white heavy wove paper
Sketchbook folio

Christ on Cross, great mass of seemingly nude figures at lower third of sheet; bearded male figure holds knife. God the Father at upper left with weeping angel below him; at upper right are two angels. Above Christ's head is plaque, and two tombstones at lower left have simulated inscriptions.
Design for the Embroidery of a Lady's Overskirt of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

The left bottom part is shown; it is composed of a row of beads and a chain at the edges, a bunch of flowers inside. Another one is sketched roughtly over it.
Decorative Project for Ceiling
Felice Giani, Italian, 1758–1823, ca. 1800
Pen and brown ink, brush and brown wash, traces of graphite on cream laid paper
Drawing

Central Octagon with Euterpe; Two Tondi with Persona of Architecture and Music; Two Squares with Personifications of Painting and Sculpture
Design for Wall Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At right is a door with: "per il / Marchese (?) / Antici", written in the opening. "A" is written in the frame of the rectangular overdoor, in one of its panels "C". At left, beside the door, is a dado and a high rectangular panel between two vertical ones like bands. The main panel has a frame and a small central square, marked "D". Above, scrolls, below a grotesque motif. The central part of the band is marked "A", the lower part "B". At right the beginning of the panel is outlined.
Design for Two Trophies
Jean-Charles Delafosse, French, 1734 – 1789, ca. 1750
Black chalk, pen, brush and black ink on laid paper
Drawing

Two trophies composed of weapons, crowns, and victory symbols. At left: Referring to the Church victorious over the Turks. At right: referring to a prince patron of the arts and sciences.
Medallion with Figures in Landscape
, 18th century
Brush and ink on paper
Drawing

Medallion with figures in a landscape.
Elevation d'une porte à placard à deux vanteaux
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a double door closet. The plate is signed.
The Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, ca. 1825
Graphite, impressed lines on paper
Drawing

The Virgin is seen frontally, standing upon a plinth. She supports, in front of her chest, the Child, turned her and holding a mace, horizontally. Behind the left shoulder of the Virgin is the globe, probably supported by an angel. Beside the Virgin, below, at left, a bird and a book, at right an eagle and a bowl. The Virgin wears a diadem.
Sketch, a Fountain
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

In the center of a circular basin stands a high subdivided pedestal, upon which four - three are visible - women support a base with an urn, from which water springs. Obliquely are two lower round pedestals with female statues. Water pours from masks on each side of the pedestals. Outside is a circle of posts. Colored background.
Studies of Soldiers
Winslow Homer, American, 1836–1910, 1863–64
Graphite on dark tan paper
Drawing

Horizontal view of four sketches of running soldiers carrying rifles; one of an officer with sword raised in uplifted right hand; and one of a seated wounded soldier.
Petite Pendule [...] Developpement d'un Cabinet our Médailler [...] Autre Espece d'Armoire à serrer des Medailles ou Bijoux [...] Grande Pendule
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for small and large clocks and for cabinets for medals or jewelry. The pieces of furniture are decorated with ornament motifs including lamb tongue, egg and dart, garland, wave pattern, urns, rosettes, pinecones, fluting, caryatids, trophies, portrait medallions, portrait busts, and sphynxes. The plate is signed and numbered.
Study for an Altarpiece: Christ with Saint Stephen, Saint Paul, and Saint Francis
, 1550–1575
Black chalk, brush and bistre, brush and gray watercolor on paper, mounted
Drawing

Christ is seated upon clouds holding the globe in the left hand. Cherubim surround him. The three saints stand below. Saint Stephen points with his left hand upwards; he holds a stone in the right hand. Saint Paul apparently listens to him. Saint Francis, at right, is shown in profile turned toward left with raised hand. The upper outline from a segment.
Cotacachi from Otavalo, Ecuador
Frederic Edwin Church, American, 1826–1900, August 29, 1853
Graphite, oxidized white gouache, and white gouache on white wove paper
Drawing

Landscape study showing a view of the snow-capped volcano Cotacachi from the nearby town of Otavalo, Ecuador. Mountain peak visible at center, with a gently descending ridgeline to the left.
Plate Depicting Virgil's Tomb (Tomba di Virgilio), from a "Topographical" Dinner or Dessert Service ("A Vedute")
Doccia Porcelain Factory, Italian, established 1735, ca. 1810–1820
hard paste porcelain, vitreous enamel, gold
plate

Plate with blue and gold border. At center of well, depiction of two figures in Roman ruins landscape with sea in background. On base: "Tomba di Virgilio." (Virgil's Tomb).
Design for a Cross Pendant
, late 18th century
Pen and black ink, brush and blue, yellow, gray watercolor, gold on paper
Drawing

Jewelry design for a pendant in the form of a cross. Hanging from a cord which is fastened by an agraffe (metal clasp); a blue diamond framed by an interlaced band composed of white diamonds. The pendant is a cross composed of five blue diamonds each, framed by two entwined oval bands. In the corners are rays.
Six Designs for Components of a Columbine Cup, from the series Allerley Gebuntznierte Fisirungen
Bernhard Zan, Germany, active ca. 1580, 1581, published 1584
Punch engraving and brush with blue wash on paper
Print

Designs for six tear drop pieces of metalwork ornament in two rows of three intended for production of a columbine cup (Ackleibecher) or goblet. Each design features strapwork arabesques. Some feature clusters of fruit or jewels.
Sampler
, late 18th century
silks and metallic embroidery, linen foundation Technique: embroidered

Fifteen samples of darning in different patterns; in each corner an initial "L M E M."
Cap streamers
, early 18th century
linen Technique: bobbin lace, Brussels style

Cap streamers in design showing vertical arrangement of floral ornaments with flowers and leaves at either side and filling in spaces between the main ornaments.
Flower Branch, from "Fleures Persannes"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1765
Etching on paper
Print

A flower branch with two conical blossoms topped by berries and long leaves from which small berries or blossoms hang.
Plate 25, from Grotteßco: in diverßche manieren
Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, 1564
Etching on laid paper
Print

Grotesque panel. In center, a man with a tower rising from his head holds a horn of plenty in one hand and feater-topped sword in the other.
PIED-D’ESTAL circulaire, surmonté de deux enfans tenant une corbeille
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 winged putti (children) holding a basket of flowers above their heads, standing on a pedestal decorated with fluting, fleurons, and repeating pattern moldings with leaf and egg motifs. The plate is signed, and hand colored with watercolor.
Design for the Decoration of Mouldings
C. C., French, active 19th c., 1811
Graphite, pen and black ink, brush and gray watercolor, black on light creamy paper
drawing

Above is an ogee with a palmette band. In the middle is a flat torus with an interlacement band. The section is at the right end. Black framing stripes above and below.
A Woman Supported by a Flying Angel
Felice Giani, Italian, 1758–1823, 1813–16
Pen and brown ink, brush and brown wash over traces of black chalk on white laid paper
Sketchbook folio

Large, magnificently winged angel supports woman on his back, floating among clouds. Winged putto supports one of woman's arms.
Man
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a man figure in profile.
LA BOTANIQUE
Jacques Bacheley, French, 1712 – 1781, mid- 18th–late 18th century
etching on paper
Print

Eighth plate from a series of fifteen scenes depicting children and the sciences, framed within decorative rococo cartouches. The scene shows a group of three children looking at potted plants. The title is lettered below the cartouche, the plate is signed and numbered.
Unfinished Design for a Waistcoat
, before 1906
Various gouaches on paper
Drawing

Unfinished design for the embroidery of the left bottom corner of a man's waistcoat.  Irregular flower rinceau, rising at left. A row of small leaves and a bough motif are intended to be beneath the pocket, which is not shown.
Sampler
, 18th century
linen Technique: drawnwork and embroidery on plain weave

Drawnwork in several different designs arranged in two panels.  Stitches are of the drawnwork type and include woven and wrapped bars and square stitch.
Design for a sedan chair
, ca. 1780
Pen and ink, brush and gray water color on paper
Drawing

Shown in profile turned toward right, without ornamentation.  The panel beside the window is subdivided by a curved stripe rising similar to the scroll in 1900-1-11.  Similar stripes frame the panels.  Erased from the left base line, probably: "W H Sq....." and a word in the foot.
Cartouche and Molding Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Two horizontal ornament designs. Above: a cartouche framed by a lion's mask, festoon of leaves, winged putti and a ribbon and stick molding. Below: a strapwork diaper pattern with leaves. The plate is numbered.
Ornamental Vase Design
Charles Leviez, French, 1708–1778, 1756-1773
Etching on laid paper
Print

Globular vase. Two winged putti carved in relief on the neck of the vase hold a festoon, which is draped across the body of the vase, draping on either side above a mascaron. A triton at the center of the vase holds part of the festoon in either arm; he sits astride a dolphin that faces toward the viewer. The bottom of the belly of the vase is formed from a scalloped shell. The foot of the vase has reeds going upward; the vase is elevated on a small, low, plinth. The plate is not signed or numbered.
Portrait of a Cardinal
Giuseppe Passeri, Italian, 1654 - 1714, late 18th century
Red and white chalk on blue grey paper
Drawing

Two separate drawings that were once connected. Lower sheet features two sketches of left hands holding something and the lower torso and left hand of a figure, whose chest and right arm are depicted on the top sheet seen in image.
Architecture Sketches, Italy
Frederic Edwin Church, American, 1826–1900, October 1868 - April 1869
Graphite on gray-green wove paper
Drawing

Architecture sketches showing three stacked views of buildings and architectural details around Italy. At upper center, a small fortress with two rectangular towers is shown situated on a wooded hilltop. At center, the corner of a church is viewed obliquely, and has arched windows on the second story, a bell, and a cross. In the lower portion, the outline of an obliquely viewed building and a detail of an arched window are included.
Project for a Ceiling
, 1725–1775
Graphite, pen and ink, brush and watercolor on paper
Drawing

One quarter view of ceiling is shown. The top of a wall and an entablature are shown from underneath. The parapet forms niches which are filled with escutcheons. A band of ornament separates the ceiling into two reserves. In the left one, there are loose figural sketches.
Studies of a Child's Left Foot
Daniel Huntington, American, 1816–1906, 1845–55
Black crayon on off-white wove paper
Drawing

Four studies of a child's left foot. At left, study of a child's right foot.
Stage Design: A Royal Palace at the Seaside
Giuseppe Galli Bibiena, Italian, 1696–1756, mid- 18th century
Pen and ink, brush and gray watercolor, graphite on paper
Drawing

Horizontal format stage design. At right is a corner of the central part. A paved road is leading to it from stairs going down to the water. On either side is, in the center, an obelisk with a fountain in the middle of the stairs leading into a court, which is bordered on two sides by the palace and on the third by an arcade. Beyond the water is a town with a lighthouse. On headland, two ships. Dark framing line and band.
Designs for a Low Domed Ceiling
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Designs for a Low Domed Ceiling.
Design of a Wall with a Built-in Cabinet
, 1790
Pen and ink, graphite on paper
drawing

The left bay of the wall, the left half of a door and the overdoor are shown. Children carry the Bacchus boy in the latter. A pilaster beside the door shows a wreath in the dado, a pendant of fruit in the pilaster strip. Near the corner, a pilaster decorated with a thyrsus in the dado, a waved bough in the pilaster strip.
Chambranle à Pilastres
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation of a doorframe with pilasters. Either side has a fluted pilaster with a rosette at the top, and a fluted design across the shelf at the top. Below the elevation is a scale bar of four French feet ("4 Pieds"). The profile of the pilasters is on the right of the plate; the cross section of the top shelf is at the top of the plate. The plate is signed and numbered.
Stage Design; Palace Courtyard with Staircase
Antonio Galli Bibiena, Italian, 1700–1774, 18th century
Pen and brown ink, brown, blue and gray wash on paper
Drawing

Horizontal rectangle: stairs leading from right to left side over an angle to a portico, large halls in the background.
Scarf
, 19th century
silk warp, cotton weft Technique:

Long narrow shoulder scarf of light purplish gray. Woven with purple silk weft and white cotton weft.
Vase Design
Charles Dupuis, French, active 1760 – 1791, ca. 1763
Etching on paper
Print

Design for a vase with a base in the form of a ship with two round openings, and wood panels. Two seated mermaids above, leaves, and a wave pattern. The plate is numbered.
Textile
, 19th century
linen Technique: glazed balanced plain weave with fine warp stripe

Beige/tan fabric with woven narrow blue stripe.
Robe
, 1875–1899
silk Technique: embroidered on gauze weave

A woman's robe in green gauze with polychrome embroidery of fish and lotus motifs.
Chef de piece
LeLievre Heutte Vimeux & Comp., 1777–90
linen warp, cotton weft Technique: block printed on plain weave

Stripes with floral sprigs and curving bands with delicate flowers in black, two reds, lilac, blue and dull yellow.
Susanna Mayrin of Augsburg
George-André Wolfgang, 1631 - 1716, ca. 1680-1700
Engraving on paper
Print

Bust length portrait of a middle-aged woman seen in right profile. She wears a lace bonnet.
Chatelaine
, early 19th century
Silver

Folding peep-show on seven pieces of paper, cut out. Scene shows buildings falling as flood waves lap in the foreground; many people drowning or in distress. An open landscape in the background.
Standing Woman, Seated Soldier, and a Slave, from the Vari Capricci
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

Only state
Fragments
, 17th century
silk, linen Technique: two integrated structures, plain weave plus plain weave

Flowering urn with birds within curving, fruiting vines with leopards in blue and gold. Narrow vertical border with diagonal plant motifs at right side.
A Masquerade
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1775
Engraving on paper
Print

Numerous masked figures are clutching at an unmasked woman, who attempts to escape from the crowd. Inscribed above: Das Masquenrecht.
Sleeping Venus and Cupid
Theodor Galle, ca. 1571 - 1633, ca. 1600-1610
Engraving on paper
Print

Venus is shown nude asleep under a tree, while Cupid also sleeps, resting his head on her lap. Dedication lines and five-line couplet (in Latin) below.
Fragments
, ca. 1835
silk Technique: complex compound satin weave with discontinuous supplementary weft (brocaded)

Fragments of a woven white silk has a ground pattern of flower sprigs in the ground. Main design has ornate fruits and flowers set among small architectural details such as arched buildings. In polychrome silks and metallic threads.
Aqua, allegory of Water from The Four Elements
Hans Kellerthaler, German, ca 1562 – 1611, 1589
Punched engraving on laid paper
Print

Within an ornament border, a male figure riding a sea monster. Above, a putto pouring liquid from a vessel