biglam/cooper-hewitt-alt-text huggingface dataset:
Project for an Epitaph in High Relief
Vincenzo Gajassi, Italian, 1801 - 1861, 1850–1860
Graphite, pen and ink on paper
Drawing

Aedicule with pilasters decorated with candelabra. At center, an angel with book over a recumbent effigy.
Divers detail construits dans le Jardin appartenant autrefois à Mr. Thierry à Ville d’Avray, par Lefevre Architect
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating various garden buildings and structures, including five elevations, one sectional view and two floor plans. The structures include a Gothic chapel, a swing, a seesaw, and fountain, or well. The plate is titled, numbered, and signed.
Town gate
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Arched doorway in projecting rustic panel. Triangular pediment with escutcheon held by two figures. Niches in the lateral receding wall panels with figures. Topped by a low tower. Colored background.
Vase, Musical Instruments, and Flowers
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a vase or urn, on a grassy mound next to flowers, with musical instruments (mandolin and a wind instrument, possibly a flute or clarinet) and sheets of music in the foreground. The vase is decorated with gadrooning and scrolling acanthus leaves.
Sopha à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a long sofa. The frame is decorated with cartouches and scrolls. The plate is signed.
Alpine Houses and Rocks, Switzerland
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on tan laid paper; verso: graphite and white gouache
drawing

Architecture and landscape sketches showing an oblique view of two stucco houses with slate roofs, two chimneys, and an exterior stairway, at left. At lower right, loose sketches of rocks and ledges are included.

Verso: Landscape sketch showing tall, sharp, snow-capped peaks along a mountain range that extends horizontally across the composition. With the wooded summits of nearby hills visible in the foreground, the mountain range is viewed from the opposite side of a valley, likely the Rhone Valley. In the middle distance, hazy clouds and possibly smoke hangs in the atmosphere, obfuscating the view of the range.
Spoon
Phillipe Berthier, French, active Paris 1841-1851, 19th century
silver
spoon

Pointed oval bowl, shaped tubular corded stem with two knops, formed by two entertwined snakes; hexagonal crusher.
Four Studies of Soldiers' Heads
Winslow Homer, American, 1836–1910, 1863–64
Black chalk on beige paper (darkened), lined; verso: charcoal, black and white crayon on beige paper (darkened), lined
Drawing

Vertical view showing the heads of four soldiers, with color notation, "Blue", beside head, at center left; and an indistinct letter, at top.  

Verso:  various sketches of (1)a clouded sky, several "W's" inscribed at top; (2)a shore with boulders and vegetation emerging from the water, shown horizontally, with "Redish - white/ L[ight] B[lue]", the places to which are referred to being marked with circles and strokes, respectively, inscribed in the sky.
Folding Fan Sticks
, 1740–1750
Ivory sticks, painted, gilded, and carved à jour, silk ribbon

Part of a folding fan consisting of only sticks and guards. Ivory sticks painted, gilded,  and carved à jour with designs of flowers and ribbons. Blue silk ribbon connects the sticks in the absence of the original leaf. . Mother-of-pearl washer at the rivet.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Trophy design incorporating foliate branches, flowers, festoon of flowers, topiary, arms, and tools. The plate is numbered.
Acropolis Amphitheater at Night, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-25, 1869
Graphite on tan laid paper; verso: graphite
Drawing

Architectural sketch showing a view overlooking an amphitheater in Greece, likely the Odeon of Herodes Atticus on the Acropolis of Athens. Viewed obliquely, the stepped, stadium seating of the semicircular amphitheater is visible at center. At lower left, the stage and its multi-leveled, multi-arched backdrop is visible. A possible fire burns on the stage, unevenly illuminating the backdrop and the first few rows of seating. It's smoke billows up and over the structure, visible at upper right.

Verso: Indistinct sketch, possibly a portion of a plant.
Portrait in Silhouette
Augustin-Amant-Constance Fidele Edouart, French, active England and USA, 1789 - 1861, 1839-1849
Scissor-cut black paper on white paper
Silhouette

Full-length figure, facing right, of a woman holding in outstretched hands an infant, also facing right.
Designs for Ornament, Jewelry, and Seals
Friedrich Jacob Morison, German, active 1693 – 1699, ca. 1700
Engraving on laid paper
Print

Designs for jewelry, seals, pendants, mirror-back or lid of a box, horizontal panels, and a hairpiece featuring scrolling leaves, crowns, ribbons, trophy with arms and armor, mascarons (masks), c-scrolls, eagles, and fleurons. The plate is numbered.
Monkey
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Recto: Two sketches of a monkey; Verso: Sketch of a horse.
A Bacchanale
Raymond Lafage, French, 1656–1684, ca. 1670–1684
Black chalk, pen and ink, brush and gray wash on laid paper
Drawing

A group of five dancers and a maenad who interrupted the dance is flanked by two maenads caring for a vomiting satyr, at left, and by a bacchant and two boys, at right. One of these mixes wine, the other drinks. The bacchant presses the juice of grapes into his mouth. Framing lines.
DIANE
Claude Gillot, French, 1673–1722, 1729–37
Etching on laid paper
Bound print

Plate of arabesques with the figure of Diana at the center under a baldachin. The plate is before lettering (see 1921-6-224-5 for the version with lettering). This is the first state of the plate.
Interior Wall Elevations
François II de Poilly, French, 1666 – 1741, 1696–1740
Etching and engraving on laid paper
Print

An interior wall elevation with two different options for the design of a wall with glass paneled windows featuring rococo motifs and ornament, including c-scrolls, scrolling acanthus leaves, scrolling leaves (rinceaux), cartouches, festoons of flowers, shells, and diaper patterns with rosettes and pearls. The walls in between the doors include mirrors, over mirrors and ornately carved console tables with intricate details in the legs, including masks (mascarons), male herms or terminal figures supporting the marble tops and festoons of flowers and leaves. Plan views below each console table illustrate the shape of the tabletop from above.
Entrées de Serrures
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for two lock entries. Both designs feature exuberant ornamentation including scrolling acanthus leaves, floral garlands, and beading. The plate is signed and numbered.
Two Putti
François Boucher, French, 1703–1770, 1758–63
Etching and engraving on laid paper
Print

Two winged putti laying in clouds. The one below, holds a sprig of leaves in his right hand and a crown of leaves in his left. The one above holds flowers in his left hand. The plate is signed and numbered.
Ornamental Vase Design
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Etching on laid paper
Print

Narrow, lidded vase design with lion head knobs and upturned, flattened, strap handles. The lid of the vase is decorated with a fish scale pattern. There is acanthus leaf pattern around the neck of the vase, and the body of the vase is carved with deep fluting. The vase is elevated on a low plinth. The plate is not signed or numbered.
Galerie métallique des grands hommes français (Great Men of France)
Joseph-François Domard, French, 1792 - 1858, 1823
Cast bronze
Medal

Bust of Nicolas Catinat de La Fauconnerie, seigneur de Saint-Gratien (1637-1712), to the right.
Two Fishermen, England
Winslow Homer, American, 1836–1910, 1881–82
Graphite on gray paper
Drawing

Recto:  Horizontal view of the beach with two fishermen's dories, and two men walking through shallow water carrying baskets.
Verso:  Slight sketch of a beached dory and fishermen
Two Ornament Designs
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Two plates of ornament designs printed on a single sheet, one above the other. The upper plate features a roundel with a portrait bust, framed by scrolling leaves (rinceaux), rosettes, festoons of leaves, draped textile, winged putti morphing into scrolling leaves. The lower plate features a flaming vase on a plinth flanked by scrolling leaves (rinceaux), rosettes, putti morphing into scrolling leaves, and palm leaves. The plates are signed and numbered.
Two Gate Designs
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Two designs for gates, each with single wrought-iron doors featuring geometric and scrolling bands, with arrow, beads, and scrolling leaf ornament details. The plates are signed and numbered.
Design for Part of a Wall or Ceiling Decoration: A Woman Dancer
, early 19th century
Pen and ink on paper, mounted
Drawing

Turned toward right with the head turned and lowered toward her right shoulder. She raises with her left hand a stick, from which a ribbon hangs down. Framed by an ink line.
Four Cartouche Designs
Juan Dolívar, Spanish, active in France, 1641–1692, ca. 1690
Etching on paper
Print

Four cartouche designs. The two upper designs feature religious imagery, including crosses, angels, clouds, palm leaves, foliage, festoons of leaves, flowers, and the figures of Jesus, Mary, and Joseph. The lower left design features military arms and armor, spears, flags, and a mascaron (mask). The lower right design features a basket of flowers, festoons of flowers and leaves, and female torsos. The plate is numbered and signed.
Design for a Pitcher and Basin
, 1800–1825
Graphite, pen and ink, brush and watercolor on paper
Drawing

Design for a pitcher and basin intended to be executed in partial gilt silver. Elevation and view of rim with gilded leaf decoration.
Hercules Slaying the Hydra
, 1750–1800
Black chalk, pen and ink, brush and brown watercolor on paper
Drawing

Shown from the front. Mountainous country. Framing lines.
Full Moon in a Cloudy Sky
Frederic Edwin Church, American, 1826–1900, 1865–75
Graphite on gray-green wove paper
Drawing

Atmosphere sketch showing a view of the full moon in a cloudy sky. At center left, the moon shines through a thin veil of hazy clouds and illuminates the tops of several billowing and overlapping clouds at center and lower center. At upper center, another group of puffy clouds is loosely rendered.
Two Bell Towers
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

At left: the first story with the door and an inscription above it is flanked by two pylons. The second has a window in the shape of a semi-circle between two pillars, the third consists of two lateral obelisks, and in the center a base and the part with the dial. Then the open part with two bells, one above the other, and the topping obelisk. At right is a neighbouring structure, indicated. At right: part of a structure with triangular pediment is sketched. On reverse is written the address: "All' Illmo Sigr Cave Giuseppe Valadier Arch/de SS. PP. AA." The letter was sealed with a partly missing seal, with the coat of arms created by Pope Gregory XVI (1831-1846) as it unites the papal coat of arms with his own.
REPRÉSENTATION DE L’ARRIVÉE ET DE LA DESCENTE DU ROI LOUIS XV DEVANT LE PRINCIPAL PORTAIL DE L’EGLISE CATHEDRALE DE STRASBOURG; Le 5. Octobre 1744. Sa Majesté continua ensuitte sa marche dans la Ville, entre deux hayes des Troupes de la Garnison derrière lesquelles étoit un grand nombre d’habitans de la Ville et de la Province, et d’étrangers
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

A view of the king's procession arriving at the Strasbourg Cathedral with a detailed view of the Cathedral's façade and surrounding streets, with large crowds of spectators lining the streets. The doors of the cathedral are open, and the interior is visible. The plate is titled, signed, numbered, with a legend, and features the Strasbourg coat of arms.
Detail du Plan de la partie du Bosquet de l’hermitage et de la Grande Salle verte qui y correspond Dedie a Son Altesse Serenissime Electoralle de Baviere par son tres humble tres Obeissant et tres fidele Serviteur et Sujet de Cuvillies
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1770
Etching and engraving on paper
Print

Plan for a section of a garden featuring groves, fountains, and a building with allegorical vignettes with putti, and architectural and heraldic motifs. The plate is titled, numbered, and dated.
Ornamenti o Grottesche (Grotesque Ornament)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on off-white laid paper
Print

A thick plant stem with large leaves is the main motif of the etching. Two winged sphinxes with long hair grip the stem, one above the other. The hind leg of a third is visible at top. The floating head of a child is present near the top.
A Leafless Tree, Catskill, New York
Frederic Edwin Church, American, 1826–1900, February 1845
Graphite on tan wove paper; verso: graphite
Drawing

Botanical sketch of a leafless tree in or near Catskill, New York. Generally symmetrical, the tree's spindly branches become thinner as they approach the top. Tree roughly in the shape of an inverted triangle.

Verso: Loosely rendered portion of landscape sketch, likely carried over from a drawing on the adjacent sketchook page. Trees and other foliage are indistinctly articulated along the far right margin.
Fender
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Fender.
Designs for Clock Cases
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for two clock cases decorated with ornament motifs including urns, torches, winged putti, sphynxes, rinceaux, drapery, and eagles. The plate is signed and numbered.
Ornament Designs
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Ornament designs including details of pediments decorated with cartouches, incense burner, sphynx, mascarons (masks), military motifs, shield, helmet, quiver of arrows, spears, palm leaves, festoons of leaves, foliate scrolls, scrolling leaves (rinceaux), palmette, rosettes, shell, and fluting. The plate is signed.
Design for a Mirror Frame, with Alternative Suggestion
Richard de Lalonde, French, active 1780–96, 1780
Pen and black ink, brush and wash, light olive watercolor, graphite on white laid paper
Drawing

At top center of frame, two winged putti flank a cornered cup, a garland draped across the top of the frame from which a flower basket is suspended. All four sides of the frame are treated differently. At right, a putto seated on a bracket holding a candelabrum. Moldings on right half of frame are undecorated. Left half shows carvings and leaves. Framing black ink lines.
The Virgin and Child
Vespasiano Strada, Italian, 1582 - 1622, ca. 1610
Engraving on paper
Print

The Virgin, seated on a cloud, holding the Christ Child, standing on her lap, is attended by a ring of seraphs and angels.
The Cruise of the Polly Ann, of Gloucester
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Short story from "Archibald the Cat, and Other Sea Yarns," about a sailor's journey to Sandy Hook.
Two Waistcoat Designs
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on paper, hand-colored in watercolor
Print

Designs for two embroidered men's waistcoats decorated with floral (flowers) and feather motifs. The design to the right has front skirts and both have pockets. The plate is titled, numbered, and signed. The plate is hand-colored in green, red, purple, yellow, and blue watercolors.
Project for a Mace
, 1720–1740
Pen and ink, brush and watercolor on paper
Drawing

The upper part of the shaft is ribbed with a bow knot at bottom. At center, two women sit upon scrolls, supporting a globe showing Italy. On top, fits Faith or Religion holding a cross in the left hand and a chalice with the host in the right.
Vase de marbre blanc à Trianon
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a marble lidded vase from the gardens at the Trianon at Versailles. The body of the vase is decorated with figures and rams' heads on the sides, with acanthus leaf and floral motifs and fluting around the foot. The lid features acanthus leaves and flowers with an acorn finial. The description is lettered on either side of the foot of the vase, with a scale below the base. The plate is signed.
LES MANGEURS DE FIGUES. / Vie d’Esope
Gravelot, French, 1699 - 1773, active in England, mid- 18th–late 18th century
etching on paper
Print

Fourth plate from a series of four, framed within decorative rococo cartouches, with verses lettered below. The figure of Aesop and another man, gesture towards two seated men at a table, vomiting onto the ground. The figures are flanked by balustrades and vases with flowers. The title is lettered below the cartouche, and the plate is numbered.
A Bed
Matthew Liard, English, ca. 1736–1782, ca. 1765
Engraving on paper
Print

A bed with a canopy furnished with upholstery and drapery. At right elevation of headboard and canopy support shown.
Designs for Bedroom Alcove
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Above: a variation of -1607 above. The arch is supported by pillars. Above the entablature is a balustrade with in the center a large vase and two busts above the pillars. Below: a variation of the same project, without the framing piers and the curtain. A balustrade like above, with above a sphere and two putti apparently with a garland. Slightly colored background.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design of grotesque ornamentation with putti forging tools in the center. The composition also features terms, satyrs and satyresses, putti on swings, monkeys (singeries), horned goats and sphinxes. The plate is signed and lettered "C."
Button
, mid-19th century
Pewter, brass

On card 57
Veüe du Chasteau de Richelieu du Côsté du Parc
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the park façade of the chateau of Richelieu with its lawns in the foreground, moat and figures walking along the paths. Landscape and parterre planting in the background. The plate is titled and signed.
Design for a Chimneypiece
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

A variation of 1938-88-8203 without projecting upper part of the frame. It is decorated with a ribbon surrounding a staff; it is angularly broken. The lateral stripes have receding bases. Consoles are at their upper ends. The wall is colored light green. Base line, shadow, plans, scaled similar to 1938-88-8199 with added "English". Traces of the framing line are at the lower edge.
Plan et Elévation perspective de la Basse Cour
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An exterior elevation and floor plan for a courtyard and its buildings, gates, with a sculpture on a plinth. The plate is titled, numbered, and signed
Dress trimming
, 19th century
silk Technique: woven

White trimming in a design of scallops with knotted and fringed ornaments.
Stage Design, Seaport
, early 19th century
Pen and brown ink, brush and brown wash on laid paper
Drawing

Horizontal rectangle. View of port with lighthouse, piers, and boats through arcades decorated with coat of arms.
Gateways to a prison
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Top left: gaines of captives, shown in profile, support the entablature of the oblong opening. Pylons with lion masks project from the lateral wall panels. Straight entablature at right. The right half of a variation of a design, top left. The pylons are shaped differently; triglyph frieze; triangular pediment. Bottom left: an elevation of a similar design as at right. Bottom center: a left beveled top corner of the opening. Colored background.
Distant Farm Buildings, Catskill, New York
Frederic Edwin Church, American, 1826–1900, August 1844 and August 1845
Graphite on white wove paper; verso: graphie
Drawing

Landscape sketch showing, at center, a view of a farmhouse with two outbuildings on a cleared hilltop with two trees in Catskill, New York. Another building is showng behind this property, partly down the hill at left. In the background, the outlines of distant rolling hills or mountains are visible. 

Verso: Lanscape and figure sketch showing a young lady--possibly Thomas Cole's daughter, Mary--sitting against a tree with a split trunk as she looks down at a pitcher and milk pail on the ground at lower left. She appears to have a robe or long coat wrapped around her shoulders and over her dress. Behind, indistinct vegetation is loosely rendered.
The Great Basin at Sunrise, Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, probably 1877
Oil and graphite on paperboard
Drawing

Landscape study showing a view of the great basin of Mt. Katahdin at sunrise, as seen from the northeastern side of Chimney Pond. A rocky outcropping stretches across the foreground, visible along the lower margin. Chimney Pond is shown beyond at lower right, rendered in shades of reddish brown. In the middle distance, the heavily wooded opposite bank ascend toward the looming mountainside behind. Above, the craggy and rocky eastern face of Katahdin climbs toward the sky, while the red light of the rising sun colors it in shades of purple. Just above the jagged ridge at upper right, a lone puffy cloud hangs in an otherwise blue and open sky.
Sewing case
, 1827
cotton, wool, silk Technique: embroidered

Long narrow wall pocket with five pockets at equal intervals with rounded ends. Each pocket is embroidered. From top to bottom: girl holding a flower and umbrella; two arrows piercing a heart between two plants; crown between two plants; two plants with birds perched on branches; urn of flowers; and a shield with the date 1827 between two plants.
Scent bottle case
, late 18th–early 19th century
shagreen

Octagonal in section, otherwise similar to 1931-86-107.
Design for brooch with head of Medussa
, 16th century
Pencil, pen, ink. Light brown paper
Drawing

Vertical rectangle. A cameo with the head of Medusa, framed by a broad frame in the shape of a blossom.
Fragment
, late 18th century
linen Technique: needle lace

Fragment with both edges showing deep pointed scallops. Dots powdered over the ground. Floral sprays in each scallop. Edges of scallops have minute rosettes.
Fragment
, 17th century
linen Technique: bobbin lace (Binche style with no ground)

Pattern of a scrolling branch with flowers and leaves and snowballs.
Sleeve band
, late 19th century
wool on cotton Technique: embroidered

Sleeve band of light blue cotton, embroidered in wool at one side in small-scale geometric pattern, entwined by a repeated "S" pattern. Edged with dark blue cotton on three sides.
Necklace design: Project for a rincauex to be engraved on metal
, 16th century
Black chalk, pen and ink on paper
Drawing

A stem with leaves and blossoms begins above, at left, and continues to the upper right, in the shape of a border of one half of an ovoid.