biglam/cooper-hewitt-alt-text huggingface dataset:
Portrait of John Knox (1505-1572)
Benjamin Hall, 1808 - 1884, ca. 1836
Line and stipple engraving
Print

Half-length portrait in frontal view. Right hand resting on a book at left. After unknown artist.
Floral Trophy
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Floral trophy ornament design incorporating flowers, foliate branches, festoon of flowers, birds, a flaming torch with intertwined snakes, quiver of arrows, crowns of flowers and leaves, lyre, and two birds. The plate is numbered.
Figure
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Partial sketch of a figure.
Stage Design, Group of Antique Buildings
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and bistre ink on paper
Drawing

Horizontal rectangle. Group of antique buildings with pediments, vaults, porticoes, stairs leading up.
Design for a Bowl
Luigi Righetti, Italian, 1780 - 1819, early 19th century
Pen and ink, brush and watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a bowl intended to be executed in alabaster and gilded metal. Below is a circular base with masks and a hexagonal one with concave sides. Upon it stands a tripod with a central support consisting of two calyces. Verso: the plan of the bases, blotted writing.
Lamp
, ca. 1835
Blown and pressed glass, tin, cork

Wells of blown glass on stepped (pressed) bases shaped in four lobes; fitted with two tubes in tin plates (marked "PATENT") with original cork packing.
Elevation of a Salon
, ca. 1780–1800
Pen with red and black ink
Drawing

Three bays separated by free-standing iconic columns. Above, a coffered ceiling cove below is a continuous garland.
Man on Horseback
Winslow Homer, American, 1836–1910, 1862
Graphite on wove paper, mounted in an album
Drawing

Hasty sketch of man on horseback (drawn vertically ?).
Lit à la Duchesse
Pierre Ranson, French, 1736–1786, 1779-90
Etching and engraving on laid paper
Print

Design for a bed (front view) with a flat-roofed canopy (baldachin) projecting from the wall at the headboard. The bed curtains are tied back and trimmed with passementeries. There are feathers and acorn finials on the roof of the canopy. The bed linen, drapery, and upholstered headboard are decorated with flowers. The bed posts have acorn finials and are decorated with diagonal fluting and rosettes. The bed skirt is striped and tied with tassels. The plate is titled, numbered, and signed.
Alpine Landscape
Frederic Edwin Church, American, 1826–1900, June - September 1868
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing a view among the European Alps, likely in Bavaria or Switzerland. Foreground is made up of rolling, wooded terrain, inclining to a steep hill that ascends out of frame at upper left. In the distance, a rugged, snowing mountain ridge looms over the landscape like a vertical wall of rock. Snow fields are nestled among the ridge's jagged peaks. Above, puffy clouds touch the mountaintops. Along the lower margin, the work's gray-brown ground is visible.
Fragment
, 17th century
silk, linen Technique: lampas Lable Silk and linen lampas

Design of animals, birds and putti in yellow and tan.
Cloud Sketch, Catskill, New York
Frederic Edwin Church, American, 1826–1900, August 6, 1844
Graphite on white wove paper; verso: graphite
Drawing

Atmospheric sketch showing a view of billowing cumulus clouds towering over the landscape near Catskill, New York. Various layers of these clouds climb into the sky and are brightly lit at their tops. Below, a flat landscape is minimally rendered at left.

Verso: Mixed sketches showing a loosely and incompletely rendered figure at left, who appears to walk to the right, and the top of a bull's head with its horns at center.
Ruins near the Baths of Caracalla, Rome, Italy
Frederic Edwin Church, American, 1826–1900, February 1869
Graphite, brush and white gouache on beige wove paper
drawing

Architecture and landscape sketch showing a view of ancient Roman ruins near the Baths of Caracalla in Rome, Italy. Dominating the composition at center, the roughly cubic structure has several vaulted hallways and ceilings on the first and second levels. Grass and moss grow on various surfaces and niches. Just in front of the ruins at center right, a leafless tree climbs to roughly the same height as the structure. Distant landscape loosely rendered in background at center right.
Design for a circular ceiling
Gilles Paul Cauvet, French, 1731–1788, 1785
Pen and ink, brush and watercolor, graphite on laid paper
Drawing

This cofferred dome ceiling has a skylight at the center. Ciruclar medallions frame classical scenes in the widest panels and organic matter border the edges.
Wallpaper Design
, 1825–35
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, an entablature consisting of a few moldings beneath two darkly colored stripes on top. The moldings at the bottom of the entablature are colored yellow and brown and show ornamentations. The panel is dark blue and decorated in white. Vertical stems with leaves and seeds support a horizontal band which shows clasp motifs alternating with rosettes. The vertical stems are continued above the band by calyx stands with petals. They are connected by semicircles formed by boughs and a rosette. Shorter boughs form incomplete semicircles, beneath the upper ones.
Portrait of Mary Chambers Jumping Rope
Augustin-Amant-Constance Fidele Edouart, French, active England and USA, 1789 - 1861, 1844
Brush and black tempra, white chalk on gray wove paper, cut and mounted on cream colored card
Silhouette

A figure of a young girl is shown with a jumping rope in her upraised hands. Facing right, she is presented in mid-skip with her two long braids bouncing behind her.
A Country House
Charles Nicolas Ransonnette, French, 1793 - 1877, 1825–1840
Graphite, brush and reddish-brown watercolor, brush and white gouache on paper
Drawing

A poor frame house with rotten straw roof is shown near a lake. Three steps lead to the porch.
Chambranle avec Balustres Ioniques
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation of a doorframe design that has fluted balusters on either side with acanthus leaves at the bottom and ionic capitals, and a frieze of scrolling leaves at the top. Below the elevation is a scale bar of four French feet ("4 Pieds"). The profile of the baluster is provided on the left side of the plate, and a cross section of half of the shelf is on the right. The plate is signed and numbered.
Donkey
Robert Frederick Blum, American, 1857–1903, 1883
Graphite, ink on wove paper
Drawing

Center, Partial sketch of a donkey; Below, Sketch of a village scene with figures and animals.
Landscape with a Sleeping Woman and a Faun
Albert Christoph Dies, Austrian, 1755 - 1822, 1781
Brush and watercolor on paper
Drawing

A landscape with large trees; on the right a nude female. Sleeping, on the left, a faun peeking at her through the bushes.
Clouds over a Wooded Landscape, Catskill, New York
Frederic Edwin Church, American, 1826–1900, July 1844
Graphite on white wove paper; verso: graphite
Drawing

Inscriptions including the artist's signature, the date, and dimensions, possibly of a finished work.

Verso: Landscape sketch showing a view of billowing clouds that stretch across the composition to the right, likely viewed from an elevated position. In the foreground, loosely defined treetops and other foliage extend into the middle distance.
Desert Mountains, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a barren range of mountains in the Mexican desert. Across a sandy and stony expanse in the foreground with bushes in the middle distance, a rugged mountain rises at center. It has a pointy, pinnacle-like feature at right, with a sharp peak in the distance at left. Several short foothills are visible in front of the range.

Verso: Landscape sketch showing a loosely rendered view of a group of puffy clouds above a distant mountain range in Mexico. Across a dusty and shaded plain dotted with bushes, a rugged mountain range is visible on the horizon with several sharp peaks. Above, towering, puffy clouds are visible in an otherwise clear sky.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1731–68
Engraving on paper
Bound print

Design for a quarter of ceiling. At lower right, a cartouche with a scene of three putti figures in a clearing, one pulling a book from a box; dragons flank the design at left and right. At lower left and upper right, similar designs of vases filled with flowers. At upper left, the ceiling medallion.
The Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

The Virgin stands in front of what looks like  two steps leading to a structure of which the lower part of a column is visible. Her left foot rests on the lower step. T he Child is sitting upon her knees, his hands raised as if in prayer. A book is placed upon the upper step, at right. A vase with a bunch of roses stands are left on the ground. Clouds at left background.
Iceberg off Torbay, Canada
Frederic Edwin Church, American, 1826–1900, June 23–24, 1859
Brush and oil paint, graphite on paperboard
Drawing

Seascape sketch showing a view of an iceberg floating near the coast of the island of Newfoundland, Canada, near the town of Torbay. Situated in the middle distance at center, the iceberg is asymmetrical in shape, with its right side comprised of a tall, roughly rectangular tower, and its left side, largely flat. The berg is illuminated at left and shaded at right. Blue ocean water ripples in the foreground. The sky above is a warm, hazy tint of bluish gray.
Grille, probably from the series "Héré Plans et Elevations de la Place Royale De Nancy... 1753 A Paris Chéz J.C. François
Jean Lamour, French, 1698–1771, 1753
Etching on paper
Print

Right half of gate from Place Stanislas, Nanci.
Screen or Over-Door, Chinoise Subject
, ca. 1740–1750
Engraving on paper
Print

Within an irregular frame, a Chinese figure pays homage to a Mandarin family in a garden setting with archtiecture resembling that of La Joue.
Sketches of a Bedouin Campfire at Night, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February–March 1868
Graphite on white wove paper; verso: graphite
Drawing

Figure and landscape sketch showing a view of a Bedouin campfire at night, viewed by the artist en route to Petra. At left, two Bedouin guides and two camels are dimly lit beside the fire. The figure at right is shown in silhouette from the back while the figure at left holds a long pipe to his illuminated face. A camel is shown behind him in right profile, while the face of another emerges from the darkness at upper right. Darkness otherwise envelopes the scene. At upper right, a detail of a Bedouin guide looking back at the artist is included, while at right, six small sketches of camels and draped figures are visible.

Verso: Landscape sketch showing a view of mountains in the deserts of present-day Israel. Sandy terrain with bushes extends from the foreground into the background, where a range of mountains with flat tops forms an undulating horizon.
Design for a Cartouche Evoking War
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Cartouche, elongated and asymmetrical, decorated with two fleurs-de-lis and the sun, a partially unfurled flag, a horse on its back, and fruits and leaves.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

A row of obliquely shown lace disks between horizontal borders of hanging and small upright plants growing from lines.
Flower Studies (Four Designs for Circular Ornaments)
Samuel Colman, American, 1832–1920, 1880–90
Recto: Brush and watercolor, graphite on beige laid paper Verso: Graphite on paper
Drawing

Horizontal view of ornaments composed of two petals and leaves at left; of two boughs with maple leaf seeds at right; in the top row of two leaf boughs, at left, of several boughs with leaves and a petal at rght in the bottom row.

Verso: A big castle on top of a hill, at center, sloping downward toward the right and the foreground, where two men with spears are shown.
Study for "The Herring Net"
Winslow Homer, American, 1836–1910, 1884
Black, brown and white chalk, brush and white gouache on green laid paper
Drawing

Horizontal view of two men in a dinghy, at center left, haul into the boat a net filled with herring; two sailboats visible at left and two more in right distance as two birds fly overhead.
Alternative Designs for a Metal Gate
, ca. 1820
Pen and black ink, brush and blue wash, graphite on cream wove paper, pricked for transfer
Drawing

Vertical rectangle. An arched, iron gate divided into three sections: a semi-circular panel above and two vertical leaves below. The semi-circular section has a half-rosette in the lower center with balusters radiating from it like spokes of a wheel. The framing arched band shows a repeating palmette motif in the the left half and a Greek key motif in the right half. These motifs are respectively used in the framing borders of the left and right leaves. The right leaf is divided into two main panels and a small base panel. The two oblong panels contain vertical round bars; the lower base panel is a solid rectangle. The right leaf is framed on all sides and between the two oblong panels with the repeating Greek key motif. The left leaf is divided into two main panels, each of which consists of an oblong panel with baluster-shaped bars. These two panels are divided by a band, subdivided into three compartments, with alternative suggestions for the decoration of the larger panels. A smaller upper and lower panel is decorated with a column capital-like motif. The left leaf is framed on four sides by a band of palmettes.
Arabesque Ornament Design
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching in red ink on paper
Print

Arabesque ornament design featuring a female torso, birds, frieze of figures, vases of fruit and flowers, foliate branches, festoon of leaves and fruit, scrolling leaves (rinceaux), and foliate scrolls. The plate is numbered.
Waistcoat fronts
, 1760–1770
silk Technique: embroidered on satin weave

Pair of waistcoat fronts in ochre silk satin, embroidered along the front and lower edges with a floral vine; covered buttons. Short standup collar.
stripes
, late 19th century
a,b: red cotton cloth and fringe, brass button and hook; c,d: red and black felt, metal braid

Components -a/-d are on card i80-3
a,b: epaulets of red cloth and red fringe arranged to fall over shoulder and hook to fasten epaulet to shoulder; button of brass with spread eagle bearing "A" on shield. On lining: J. Lyall. c,d: chevrons made of black felt edged with red felt with two stripes of "gold" braid.
Design for Table, Plate 1 from, "Six Tables Grecques & Pendules"
Juste-François Boucher, French, 1736 – 1782, ca. 1780
Etching on paper
Print

A fluted column flanked by two female gaines forms the support. An urn on top. Framing lines at right and in part of the top.
Allegory of the Four Elements - Earth
Jacopo Amigoni, Italian, 1682–1752, 1739-1752
Etching and engraving on laid paper
Bound print

Vignette of a man and a woman in a verdant landscape. The man holds a rake in his right hand and hands a small bouquet of flowers to a woman, who gathers other flowers in a cloth. The plate is trimmed and only the plate number is visible.
Fragment
, 18th century
silk; tempera Technique: printed and painted on plain weave

Two fragments of white silk painted in polychrome tempera. Design of twisting branches, wrapped with pink ribbon, from which spring varicoloured flowers and foliage and berries.
Decoration for the Ceiling of a Bedroom in Villa Aldini, Montmorency
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink, brush and brown wash with cream laid paper
Drawing

Eight large hexagons distributed into three rows; eight circular medallions with hands, distributed into wedges and four small hexagons.  On second row, three hexagons showing respectively: Venus and companions adore Psyche. Psyche in boat charon. Cupid touches with his arrow the sleeping Psyche. Third row: small hexagon with decorative motif. Fourth row: three large hexagons showing respectively:  girl outlining shadow of her lover at the wall; an architect over his plans. In intervals, two small hexagons, with sketches. Fifth row: small hexagon with two figures beside altar.
Falls at the Königssee, Germany
Frederic Edwin Church, American, 1826–1900, July 1868
Graphite on blue wove paper; verso: graphite
drawing

Faint landscape sketch showing a view of a waterfall and mountains looming over the Königssee in Bavaria, Germany. Large, rounded peaks are visible in upper portion of composition, leading down to a lightly rendered cascade at center. Steep, wooded mountainsides nearby descend to the placid waters of the lake, visible in the foreground.

Verso: Landscape sketch of the Königssee's mountainous shoreline, viewed from the lake itself. At center, the rugged, abrupt, and wooded shoreline is reflected in the lake's waters below. Along the lower margin, a sketch of reeds or grass is visible.
Button
, 18th century
Copper face over bone back

On card 47
Round button with thin copper face over bone back. Crossed strands of gut for sewing. Herringbone design, raised.
Roots upon a Rock, Turner Mountain, Maine
Frederic Edwin Church, American, 1826–1900, September 1877
Graphite on white wove paper
drawing

Landscape showing the base of a tree and its roots growing around a boulder on Turner Mountain in Maine, near Mt. Katahdin. The base of the tree is shown in the foreground at right as its writhing, creeping roots curl around a shaded boulder like fingers clutching a rock. Another nearby tree is shown at left, while the trunks of several others are loosely rendered throughout the background.

Verso: Unfinished landscape sketch showing the contour of a large, round boulder and the base of a tree behind it.
Grotesque Design
, early 17th century
Charcoal, pen and bistre, brush and watercolor on paper
Drawing

Strapwork with bears and satyrs frames a blank shield.
Plan et Elevation d'un Cabinet du côté de la Cheminée
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation (top) and plan (bottom) of a private study, at the center of which is a fireplace. The side panels are faced with a floral fabric design. Above the mantle, decorated with wave pattern, lion heads, and scroll brackets is a mirror with a frame of egg and dart; at top is a lyre, a horn, sheet music, and garland. The plate is signed.
Man with Weapons
Jean-Baptiste Pillement, French, 1728–1808, 1758
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes. A man walking in a landscape holding a shield, spear, sword, and a quiver of arrows. The plate is signed.
Ode on a Distant Prospect of Eton College
Thomas Gray, British, 1716 – 1771, 1753
Letterpress and etching on laid paper
Bound print

Second page of the poem ‘Ode on a Distant Prospect of Eton College', numbered 13. The text is printed in letterpress with an etched tailpiece below. The tailpiece vignette depicts three male figures in a rowboat on a river with buildings and trees in the background. The tailpiece is framed by foliage and a bird.
Sketch of a Pointed Roof
Frederic Edwin Church, American, 1826–1900, probably June–September 1868
Graphite on gray-green wove paper
Drawing

Architecture sketch showing a view of a pointed roof, likely in Bavaria, Austria, or Switzerland. Positioned in the upper half of the composition, the roof is viewed slightly obliquely with its front and right sides visible. A small gabled window is located in each of the roof's four sections. The building's roof line continues at left and right, while a gable is completely rendered below the pointed roof at center.
Elevation of a Temporary Trumphal Arch
Nicolas-Jean-Baptiste Poilly, de, French, 1707 – 1780, ca. 1750
Etching with engraved parts on paper
Print

Arch erected on account of a festive happening in the Royal family. Arch with three openings, showing in the center of the attic a royal French coat of arms, animals, and puttos, and on top a statue of a genius on Pegasus.
Measurements of an elevation
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, red ink on blued-white laid paper
Drawing

Measurements of an elevation.
Handkerchief
, early 19th century
linen, cotton Technique: embroidered

Handkerchief of fine sheer linen with deep border solidly embroidered in ornamental floral motifs. Lace trimmed.
Twenty-Four Putti, Decoration for the Dinning Room, Villa Aldini, Montmorency, France
Felice Giani, Italian, 1758–1823, 1812–13
Pen and ink, brush and wash over black chalk on laid paper.
Drawing

Top row: 1) running with bar towards right 2) carrying fruit basket upon head 3) flying with scroll 4) dancing with stork 5) flying with vessel 6) walking towards right with basket; Second row: 7) kneeling towards right, in front of basket with grapes, blowing trumpet. Written above, "cerere." 8) standing with right foot in basket with grapes, carrying branch 9) running towards right with jar and bowl. Above: "cerere." 10) standing right, lighting torch 11) runing towards right with tambourine 12) walking towards left, playing lyre; Third row: 13) standing towards left, drinking from jug 14) Walking toward left, blowing double-lute 15) sacrificing 16) leaning upon pedestal, pouring from jar into bowl. Writing above: "cerere." 17) running towards right, carrying large helmet 18) flying and carrying big shield 19) flying with large sword; written above: "cerere." 23) with big mask 24) running towards left, carrying thyrsus. Figures written in pencil, inscription above in ink: Sala da pranza dipinta nel castello di Cerere. Verso: opposite direction. Outlined scheme of ceiling, with below, winged genii holding festoons.
Fragment
, ca. 1820
cotton Technique: printed on plain weave

Portion of a piracy of the Paris printing of Chasselat's Jeanne d' Arc toile.
Design for Mechanical Furniture: Canopy Bed
, ca. 1805
Pen and black ink, brush and watercolor on paper
Drawing

A canopy tent bed surmounted by an urn. Underneath, a drawer for chamber pots, exposed. Bed decorated with batwing fan and bow, arrow and quiver motifs. Scale below.
Trophée de Sciences
Pierre Ranson, French, 1736–1786, 1773
Etching on paper
Print

Design for two rectangular decorative panels, a larger one in the center and a narrow one to the right. The panels feature rococo ornament and motifs including a border of scrolling acanthus leaves (rinceaux), fleurons, c-scrolls, flowers, cornucopia of fruit, and festoons of flowers, with a central science trophy incorporating a telescope, ruler, protractor, globe, armillary sphere, compass, thermometer, and a lute. The plate is titled, numbered, and signed.
Armchair
, late 18th century
walnut, painted and gilded

Rectangular open back.   Horizontal splat surmounted by an open guilloche over a pierced band composed of pendant garlands within V-form scrolls.  The arms are square and curve gently.  The stumps curve towards the front legs which are turned, fluted, and banded spirally above leaf sockets.  Front rail carved similarly as the top rail of back with horizontally repeated husks.  Seat upholstered.
Pillar strip with a candle bracket
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A mask in front of a circular shell supports with the head a flower basket. From it rises a stem with many lateral branches, with leaves and bell-like blossoms. Below are three bigger branches, the blossoms of which serve as sockets for candles.
Portrait of George Campbell Cooper
John White Alexander, American, 1856–1915, before 1902
Oil on canvas
Painting

Portrait of George Campbell Cooper