biglam/cooper-hewitt-alt-text huggingface dataset:
Two Sloops Sailing
Winslow Homer, American, 1836–1910, ca. 1890
Charcoal on canvas
Drawing

Horizontal slight drawing, with indication of billows in foreground, left cener, and a sloop sails obliquely to left, while beyond, at right, a smaller sloop sails to the right.
Elevation de Vestibule decoré diversement de chaque côté
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of a vestibule. The entryway has an overdoor trophy with attributes of war. On the left is a niche with a statue of a classically dressed female figure. Above the niche is carved garland. On the right is a niche with a large vase and, above it, a relief of classical subject matter. The plate is signed.
Necklace
, 18th–19th century
Gold-foil, enamel, pearls, diamonds, rubies, sapphires, emeralds, moonstones, tourmalines, aventurines, cord of metal-covered silk

A gold-color metal cord tying at the back of the neck, has at the back ends, wrapped in elongated small conical shapes, a pale sapphire in each. The ends that are at the front are of larger conical shape, wrapped in small pearls. In front of these are truncated, triangular shapes not examine and described by Mr. Crowingshield, but in appearance gold, with enameled decoration on their sloping vertical sides, and on the tops of both, a pearl at center, surrounded by three red stones, alternated by three green ones. From these triangular ornaments are suspended two strands of small pearls, each with pendant jewels, nine in the inner, shorter strand; eleven in the outer, longer strand. The inner of these pearl-covered strands has as its center pendant, a pink tourmaline with an emerald bead attached, through which the string passes. The pendant stones on the inner strand have their surfaces studded, the studs backed with gold foil.
Design for a Kaffeehaus
Giuseppe Barberi, Italian, 1746–1809, 1780-1790
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Square pavilions with pedestals and statues on top project diagonally from a central domed pavilion showing a weather cock on top. Steps lead to the three intercolumnar spaces of the portico, which is topped by a princely coat of arms between two crouching figures. Bottom left: rough sketch of the plan of another pavilion. Top left: account.
Fragment
, 1700–1750
silk Technique: plain compound cloth brocaded with silks

White ground.  Very imcomplete symmetrical floral design, partly in secondary green silk weft partly brocaded in coral, yellow, tan, beige and ivory.  Right selvage present.
Design for a Chimneypiece with Borghese Dancers
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

The fireplace is framed by moldings and stripes. Fluted pilasters are laterally. Ramheads with blossom festoons are in the capitals. Above is a high entablature with an unornamented frieze. In the center in front of the lower part of the entablature and the stripe above the opening is a relief with the five dancers as in 1938-88-8202 without the pilasters. A greek band is below the relief. Ramheads are shown in profile laterally at the upper corners. They support festoons, which hang in the framing stripes. Shadow, base line, planes, scale as in 1938-88-8196.
Fragment
, 18th century
silk; tempera Technique: printed then painted on plain weave

Six fragments of blue silk grosgrain painted in polychrome tempera. Design of a slender floral sprays twisting about, crossing themselves and forming loops.
Two Half Panel Designs
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Two half panel designs within a carved leaf frame featuring male figures, scrolling leaves, acanthus leaves, shell, foliate branches, drapery, mascaron (mask), shell, and a basket of fruit and flowers.
Sidewall and border
, 1860–70
Block-printed

Horizontal rectangle, roses, rosebuds, morning glories, zinnias and acanthus scrolls framed in scalloped edge of "c" curve, printed in yellows, browns and gilt on yellow-green ground.
Ornament Design with Birds and a Figure
Antoine Aveline, French, 1691 – 1743, 1736
Engraving on white laid paper
Print

A chinoiserie (European decorative arts and architectural style inspired by fanciful ideas of China and East Asia) ornament print with a figure and fantastical birds. Rocaille ornament in the center featuring cartouches, c-scrolls, feathers, scrolling leaves, and a crescent moon. A male figure wearing a hat with feathers sits atop the ornament, with fantastical birds in the foreground and on the ornament. Sprigs of flowers and leaves to the left. The plate is numbered and signed.
Fleet of Mackerel Fishers, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, August 19, 1850
Graphite on white wove paper
Drawing

Seascape sketch showing a large fleet of mackerel fishing boats sailing out to sea from Mt. Desert Island, Maine. Foreground and middle distance are entirely comprised of ocean, while the scene itself takes place in the background across a high horizon. The numerous masts of the fishing boats lend a serrated appearance to the otherwise flat horizon.
Deer attacked by Lynxes [above left]; Deer Hunt with Hounds Tracking [below left]; Cloelia and her Companions escape Porsena's Camp [above right]; Aeneas and Dido Shelter in a Cave [below right]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1596–1598
Pen and brown ink, brush and brown and black washes over black chalk on two spuriously joined sheets of laid paper
Drawing

Recto, above left: Forest scene with stags feeding. Above them, lynx is shown jumping from a tree towards the back of one of the stags. 
Recto, below left: In a wood, stags chased by hounds try to hide their scent. One climbs on the back of a bull, the other rubs its antlers on a tree. Hunters and dogs approach from the right. Recto, above right: A figure identified as Coelia flees towards left across the Tiber river. Her companions follow. 
Recto, below right: Dido and Aeneas on horseback, out on a hunting trip, ride toward a cave at left to take shelter from a storm. 
Verso: Two female busts in oval frames set within decorative borders.
Decoration of a frieze
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Decoration of a frieze
Textile
, 19th century
cotton Technique: printed by engraved copper plate on plain weave

Copper plate print with a design showing the statue of Jeanne d' Arc in wreath of asters and bay leaves against background of red stripes with stars. Off-white cotton printed in dark red.
Design for a Stove
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a stove set within a niche. The chimney of the stove is in the form of a fluted column topped by an urn. The base of the stove is decorated with lozenge and bead pattern. The plate is signed and numbered.
Fishing Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Trophy design incorporating foliate branches, flowers, festoon of leaves, fishing rods, nets, paddle, and fish. The plate is numbered.
Design for a Woven or Embroidered Corner Motif of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800-1825
Brush and white gouache on glazed tracing paper
Drawing

Obliquely shown bough with three blossoms and leaves in an angle of lines.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. The left plate is a title page, with the text printed at the base of an altar. The altar has an oval rondel on the front with an angel holding a trumpet and a wreath. On top of the altar is a vase flanked by two helmets. The altar is carved with acanthus flourishes, masks, and mascarons. The right plate is a design for the porch of a church. The tall double doors have fluted, Corinthian columns on either side. The doors are carved with rocaille shell cartouches. At the top of the door is an ornamental clasp with a winged shell and garlands. At the overdoor is a carved dragon and incense lamps. The plates are signed with Huquier's name, and numbered.
Border
, 1815–25
Block-printed

Horizontal rectangle. Foliage motifs in yellow overlaid by acanthus motifs in red-orange, on an irisé, or rainbow, patterned field.
Cloud Sketch, Sunset
Frederic Edwin Church, American, 1826–1900, 1870–1890
Oil and pencil on white paperboard
Drawing

Atmosphere sketch showing a loosely rendered view of billowing storm clouds at sunset, likely over the Hudson River Valley. With a bright pink patch at center right, the clouds are characterized by their voluminous form, fluid brushwork, and purple hues. The sky is, otherwise, open and light bluish-green. A hillside may be suggested in the lower right corner.
Stage Design, Classical Temple Interior with Tombs
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and brown ink, brush and yellow, brown, and gray wash on laid paper, laid down, ruled border in pen and black ink
Drawing

Horizontal rectangle. Interior of temple with tombs, vaults on columns.
Village in the Guarumo of the Río Magdalena, Colombia, with Botanical Sketches
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on white laid paper
Drawing

Landscape, architectural, and botanical sketch showing a view of a village in the Guarumo (marsh) of the Magdalena River in Colombia, with botanical sketches. At bottom of leaf, two sketches of trees are included at right. Above, a scene of a village with several wooden structures, including a church, positioned a wooded bank is visible. Slender, tall forms of coconut palms rise before a view of hill in the distance.
Study for "Communion of the Sick"
Daniel Huntington, American, 1816–1906, 1845
Graphite, white chalk on brown wove paper, lined
Drawing

Upper body of a woman in right profile with her head bent down and her arms around a child, not shown.
An Audience Scene
Pietro Antonio Novelli, Italian, 1728 - 1804, ca. 1775
Pen and brown ink on laid paper
Drawing

Man and woman seated on a slightly raised platform receiving homage. Helmeted soldiers at left, an open chest in front of them. Ruled border line.
Sidewall
M.H. Birge & Sons Co., 1834, 1912
Block-printed paper, embossed, hand-rubbed oil finish

Imitation leather. A large center motif of fantastic flowers and scrolls. Enclosed in oval shaped bands with acanthus leaves. Copied from a collection of old tooled leathers at The Hague, Netherlands. Entire design is embossed and antiqued by hand. On reverse side is written: "8396EC".
The Physician and the Hyena
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Center, profile of man with top hat, glasses and cape, facing a hyena on his hind legs. Profile of hyena with mouth open and tongue out, with front paws on grave. Left, ghost; above, tree with two owls looking down. Upper left, waning crescent, upset.
Sidewall
, 1820–40
Block-printed

1939-58-2: Blue circular motif composed of disk with four whi...;     1939-58-3: Blue circular motif composed of disk with four whi...
Fragment
, late 17th century
Tin-glazed earthenware

Mascaron, crowned with coiled serpents. Pale blue glaze over pink earthenware body, with details in dark cobalt.
Title Page
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Title page for a series of designs for ornamental trophies and cartouches possibly for fire screens or hand fans. The title is lettered in the center of the plate, framed by a hanging garland of flowers and ribbons.
Castle by Moonlight
Frederic Edwin Church, American, 1826–1900, 1850–60
Graphite, white crayon on brown wove paper
Drawing

Landscape and architecture sketch showing an imagined view of a medieval turret in a rugged and wooded landscape at night. The cylindrical turret stands atop a short prominence at left, while an arched, elevated walkway extends out of view at left. At right, a pair of trees are shown atop another nearby prominence. In the background, the moon's luminous light is visible at the base of the turret, illuminating clouds in the sky with a silver edge. Such scenes were surely inspired by the artist's teacher, Thomas Cole. 

Verso: Landscape sketch showing a faint view of clouds at sunrise. Multiple layered bands of puffy and wispy clouds inhabit the sky and, according to the artist's inscriptions, and range in color from purple to orange and yellow.
Hercules and Cerberus
Felice Giani, Italian, 1758–1823, 1805
Pen and brown ink over traces of graphite on cream laid paper
Drawing

Hercules shown walking toward right, holding Cerberus whose head he turns.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

Flowering plant and one large blossom in center. Possibly rock motifs off to left side. Background embossed with horizontal bands of triangles.
Rosette Design for a Ceiling
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Rosette design for a ceiling with, from back edge to sight edge, lamb tongue, garland of fruit and leaf, bead and bar course, stylized shell and leaf band, bound leaves ornamentation. The profile of the rosette is provided below. The plate is signed and numbered.
Man Wearing Zouave's Cap
Winslow Homer, American, 1836–1910, ca. 1861
Graphite on gray-brown paper
Drawing

Recto: Vertical view of a man wearing a Zouave's cap and blowing a bugle.
Verso:  Figures of women and a flight of steps.
Trimming
, 19th century
silk Technique: cut supplementary warp pile in a plain weave foundation

Design of a pink ribbon wound onto a white rod in cut velvet on a ground of gray and white basket weave.
Pitajaya Fruit, Colombia
Frederic Edwin Church, American, 1826–1900, June 1853
Oil and graphite on paperboard
Drawing

Still life study of pitajaya fruit, also known as dragon fruit, in Colombia. Two pitajayas are prominently situated on a flat stone surface at center. A wedge has been cut out of the rearmost fruit and placed before it at right. A whole pitajaya is placed foremost at left. The fruit's red and green scaly surface, as well as its dark reddish-purple, seeded interior, are clearly on display. Source of light originates out of frame at upper left. Background is nondescript brown wall, shaded at right.
Stage Design, Tomb in a Cave
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Cave with antique tomb at right.
Saint Francis and Saint Clara Adoring the Infant Jesus
Pieter de Jode the Younger, Flemish, 1606 - ca. 1674, ca. 1630–1655
Engraving on white paper
Print

The Christ Child in a manger, Ste. Clara to the right, Sts. Francis at the left, both in their religious habits. Below, inscribed, "Quid parum Francisce adeo miraris Ie sum / Ex pecta, pendens in Cruce maiorerir. / In tenebris lucet lux re plens lumine mundum. / Hinc est quod clara nomine mieat." Below, the artists' and publisher's names.
Ornamenti o Grottesche (Grotesque Ornament)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on laid paper
Print

Vertical rectangle showing interlacing oak branches pierced by an upright spear. At center, a bow, arrow and quiver. Above, a stag's head. Below, two boar's heads.
Grotesque Design
, 1600–1625
Charcoal, pen and ink on paper
Drawing

Strapwork frames a blank central oval. Below, two putti recline on scrolls, and dogs flank a central lion mask. Along the sides are musical trophies, birds and fantastic half human figures.
Design for the Embroidery of a Horizontal Border, Pattern No. 23 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1775-1800
Graphite, brush and gouache on paper
Drawing

Flower boughs, ears of grain. Red and black strips at the bottom.
Panel
, early 19th century
cotton, wool, silk Technique: embroidered on twill weave

Panel, probably pieced from a bedcovering, has figures in 18th century costume. The center portion has men on horseback riding toward a solitary figure. The remaining areas have men and women, some in pairs, others standing alone, surrounded by trees, flowers, and fountains. Some embroidered phrases are visible, but are mainly incomplete due the pieced nature of the panel.
Sampler
Mary Harris, early 19th century
silk embroidery on wool foundation Technique: cross stitch on plain weave

Sampler worked by Mary Harris in black thread on a natural ground. A border of twenty-two half-lozenges. The upper half of the field has seven alphabets. The lower half of the field is filled with pattern lozenges and wreaths, with baskets of flowers, birds, initials and sentiments: "Tho absent yet beloved," "Token of love."
Richly Decorated Gallery (with trophies on pedestals)
, ca. 1700
Brush and grey wash, graphite on laid paper
Drawing

View into a long gallery with windows on one side richly decorated, showing trophies on walls and pedestal tables alternating with statues on round pedestals.  Unfinished.
Design for a painted frieze
, 1700-1750
Pen and ink, brush and blue, yellow, and pink wash on paper
Drawing

Scheme of a crest. A crest with Cupid and Psyche on a pedestal in the center and flanked by two seated female figures. Urns on pedestals rise between sphinxes. Garlands connect the motifs grasped by putti.
Cavemen Chasing Elephants
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or before
Recto: pen and brown ink, brush and black wash over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: A herd of elephants moves away from the right into a hilly landscape. Palm trees appear in the foreground to the left and right. Two tiny figures clinging to the palms prepare to spring towards the elephants. A third hangs from the tail of an elephant and stands upon its knee, raising an axe with his left hand. 
Verso: Italian inscription relating to the recto.
Sidewall
, 1880–90
Embossed paper

Self colored, fawn colored paper, raised designs of flowers and scrolls.
Ornament
Giuseppe Barberi, Italian, 1746–1809, 1750–1775
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Elevation above, plan below. The legs of a table are indicated in the elevation. AN exedra with four crouching sphinxes is flanked by two obelisks.
Cartouche with Sea Motifs, Plate B
Alexis Peyrotte, French, 1699–1769, ca. 1740
Engraving on paper
Print

Cartouche with sea motifs, plate B.
Necklace
, late 19th–early 20th century
glass beads, metal fasteners

Tubular necklace with horizontal rows of white glass beads, with red, green and black stripes at the center front and back. Cone-shaped metal fastener.
Geese Sketches with Figures, East Hampton, New York
Frederic Edwin Church, American, 1826–1900, probably July 1858
Graphite on off-white wove paper
Drawing

Mixed figure sketches around East Hampton, New York showing eight views of geese and three partial or complete figures. At upper right, two grazing geese are shown in right profile; below them, another grazing goose is pictured from the rear, with a sketch of a goose's head in left profile below it. At center, a standing goose is viewed from the rear, while in the lower right corner, a standing goose is shown in right profile while another is shown obliquely from the rear. Finally, in the lower left corner, another standing goose is rendered in left profile, while in the upper left corner, a standing figure wearing a dress and hat (ostensibly a woman) is viewed from the rear while they appear to feed the geese. At left, the incomplete outline of a torso is included, while at right, a bearded man's head is shown in right profile.
Hill with Viaducts and Ruined Mills, Near Catskill, New York
Frederic Edwin Church, American, 1826–1900, 1865–68
Brush and oil, graphite on bright green paperboard
Drawing

Landscape sketch of a verdant hill with a brook, two viaducts, and two ruined mills near Catskill, New York. The brook runs down the slope of the hill while viaducts transport water through ruined mills. Sky above the rolling hill is a light shade of blue.
Fragment
, 14th century
silk Technique: two integrated textile structures; plain weave pattern by plain weave

Closely spaced minute design of affronted animals and birds flanking symmetrical foliate arrangements in rose (faded) and green.
Galerie métallique des grands hommes français (Great Men of France)
Arnould-Joseph Pingret, French, 1798 - 1830, ca. 1821
Cast bronze
Medal

Bust of Jacques Cujas (1522 -1590), to the right.
The Descent from the Cross
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1633
Etching on paper
Print

Rays of light throw the central group, representing the figure of Christ being removed from the Cross, into strong relief. Other figures in foreground, right; background, left. Spectator, left, wears a richly embroidered cap and Oriental turban (probably Joseph of Arimathea).
Title Page
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

Title page for a series of altar and monument designs. The title is lettered in a rectangular cartouche on a marble altar or monument featuring a frieze with figures in classical dress, incense burners, a vase, festoons of leaves, masks (mascarons), foliate scrolls, and a pediment decorated with sculpted fruit. The cartouche and friezes are framed with lamb's tongue and egg and dart moldings.
Title Page
Pierre Ranson, French, 1736–1786, 1779–84
Etching and engraving on laid paper
Print

Title page for a series of designs for interior wall decoration featuring ‘turquerie' (Turkish style) motifs. The title is lettered below a design for a wall with ornately painted panels and a canopy bed set into a niche in the center. The bed's tent-like canopy and panel in the niche features crescent moons. The paneling and textiles feature festoons of flowers and pearls, lyres, arrows, quivers of arrows, fleurons, and crowns of flowers. The bed curtains are supported by ropes with tassels and passementeries, with feathers at the top. Below the bed, the step is draped with a textile decorated with a leopard print. The frieze above is decorated with a repeating pattern of leaves, eggs, and crescent moons. The plate is numbered.
View of the Pulpit, Saint Sulpice, Paris (Second Project)
Charles de Wailly, French, 1729 – 1798, 1789
Pen and black ink, brush and watercolor, black chalk on white laid paper
Drawing

A marble pulpit dramatically suspended between two flights of stairs, designed by de Waily, forms a bridge-like structure across the nave of the Church of Saint Sulpice.  A priest, with upraised arms, preaches to the congregation seated in the foreground.  A sculpture of Charity adorns the top of the pulpit.  A sculpture of Faith (holding a chalice) adorns the left landing; the pedestal shows a bas-relief of the symbol of St. Luke (ox). On the right landing, a sculpture of Hope (holding an anchor) rests on a pedestal decorated with a bas relief of St. Mark's symbol (the lion).
Design for a Sepulchral Monument to 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 1938-88-1302. The flames burn in bowls, which are supported, in alternative suggestions, at left by the raised arms of a woman, at riht by a post, which is surroudned in its lower part by standing figures. The panels beside the door are decorated with a festoon. Without a distinctive objects in the interior. The figure on top is a variation of 1938-88-1301, without the angel.
Two Trees, Catskill, New York
Frederic Edwin Church, American, 1826–1900, July 1844
Graphite and white wove paper; verso: graphite
Drawing

Botanical sketch showing isolated views of two trees in or near Catskill, New York. At left, the upper portion of a tree, seemingly without a top, is visible. At right, the upper, leafless branches of a tree with a split trunk are show. 

Verso: Landscape sketch showing a view from an elevated perspective of a distant mountain range across a like, possibly North-South Lake near Catskill, New York. In the foreground, dark, wooded hills descend to the water's end in the middle distance. Across the placid expanse, a shaded and rugged mountain range backdrops the scene. Entire composition loosely rendered.