biglam/cooper-hewitt-alt-text huggingface dataset:
Sketchbook Page: Portrait
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of a face with more detail in eyes, nose, and lips.
Comb
, mid-19th century
Shaped, carved and pierced tortoiseshell

Ornamental tortoiseshell comb with large decorative panel carved as scrolling leaves above long teeth.
Urn Design, after the Warwick Vase
Luigi Righetti, Italian, 1780 - 1819, ca. 1800
Pen and gray ink, brush and watercolor, black chalk on light blue laid paper
Drawing

Vertical rectangle; with a square pedestal being connected with the base by an entablature, upside down; below the upper corners are ram's heads supporting festoons over which are disks; base line.
Sketchbook page: Allegorical Figure
Pietro da Cortona, Italian, 1596 – 1669, 1660–69
Pen and ink on paper
Drawing

A  seated woman shown in profile; her left hand raised, the right hand holds a book.
Joueur de Guitarre
Charles Emile Jacque, French, 1813 - 1894, 1845
Etching on paper, pasted to thick white paper
Print

A young man, seated at a table, plucks a cello, resting on his lap.
Study of Two Putti
Francesco Solimena, Italian, 1657–1747, 1689–94
Black chalk on paper
Drawing

Two figures of winged putti. The bottom left putto is kneeling, looking over his left shoulder while lifting a crown with both hands. The top right putto is flying while looking up over his shoulder.  The drawing was made for the Sacristy of San Paolo, Maggiore, Naples.
Arai from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

A quiet landscape looking out onto the ocean shows ships sailing off into the horizon. Below are tiny figures in groups of two or three. The yellow rooftops of the town are nestled into the mountainside.
Sarong fragment
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Part of a sarong showing a white field with narrow blue borders on two sides and wide blue border at end. Borders display blue and white floral pattern and two of the borders are scalloped on the inner side (a North Javanese batik innovation). Ornamented with the "buketan" motif (large-scale pattern of floral bouquets and birds) reflecting foreign influence.
Figure
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Sketch of a figure.
Portrait of Lambert Hortense Montfort
, ca. 1550
Engraving on paper
Print

Half-length portrait of an elderly man slightly turned to right. He wears a four-cornered hat and an overcoat which leaves visible the collars of his shirt and jacket.
Fragment
, 17th century
silk, metallic Technique: plain weave with supplementary wefts

Diagonal arrangement of detached metallic ornaments in gold on green.
Wall Barometer Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching and engraving on paper
Print

Design for a wall barometer, before lettering, featuring scrolling leaves (rinceaux), fleurons, festoons of flowers, incense burner, snakes, foliate branches, acorn, and a putto morphing into scrolling acanthus leaves.
Mt. Katahdin from South Turner Mountain, Maine
Frederic Edwin Church, American, 1826–1900, 1877–78
Graphite and oxidized white gouache on tan wove paper; verso: graphite, white gouache, and oxidized white gouache
Drawing

Landscape sketch showing a view of Maine's Mt. Katahin and its Great Basin from the summit of South Turner Mountain to the east. In the middle distance at lower center, a small lake with wooded shores is visible, possibly Sandy Stream Pond or one of the Whidden Ponds. The Katahin massif stretches horizontally across the composition, with the ridge to Howes Peaks ascending out of frame at right, Hamlin Peak the rounded prominence at center right, and Mt. Katahin with Pamola Peak at center left. Throughout, white gouache is used to highlight ridges and washes.

Verso: Landscape sketch showing an outline of Mt. Katahdin, likely from the ridge north of the peak. Other mountains are visible behind the ridge at far left and right.
Soup Tureen with the Arms of the Scholten-Hogenberg Family
, 1725–1730
porcelain, vitreous enamel, gold
soup tureen with stand

A tureen, lid and stand decorated in gilt with red details. Depicted on the set are small flowers and an emblem with a chicken, lobster, and other items.
The Great Basin of Mount Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, 1877
Oil and graphite on paperboard
Drawing

Landscape sketch showing a detailed view of Chimney Pond and the Great Basin of Mt. Katahdin in Maine, viewed from the northern shore of the pond. The water's dark surface comprises the immediate foreground and encounters the sloping and heavily wooded opposite shoreline in the middle distance. Behind, the northern face of Mt. Katahdin rises abruptly into the low-lying clouds, which obscure its rocky, serrated ridge in a diaphanous veil of glowing mist. The mountainside itself has vegetation and undergrowth on its lower slopes and is rugged and bald closer to the ridge. Thinly applied, the paint frequently reveals the underlying light brown ground. In the upper left, upper right, and lower left corners, paint is absent around pinholes, suggesting that Church himself pinned the paperboard to an easel or other support.
Design for an Embroidered Motif
, 1770–1800
Black chalk, brush and gouache on strong paper
Drawing

Rose boughs grow from a tree trunk
Bag
, 19th century
silk, glass beads Technique: beaded knitting Label: knitted silk with glass beads

Bag knitted with colored glass beads with a spray of pink roses on a yellow ground. Tan silk at upper edge with silk cord drawstring; bead fringe at bottom in bands of pink, green and red.
Playing card
, ca. 1855
Red and black ink, paper

Card numbered at top: B 5 R; below central image: 3
Clouds at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, February and March 1865
Graphite on gray wove paper; verso: graphite
Drawing

Atmosphere sketch showing a view of the sun setting behind a billowing cloud bank over Hudson, New York. A puffy cloud bank forms an undulating contour across the composition, partially obscuring the sun, which is visible at lower left and sends a beam of light through the hazy atmosphere above the clouds. 

Verso: Atmosphere sketch showing the second part of a panoramic view of morning clouds in the sky above the Hudson River Valley near the artist's property in Hudson, New York. Evenly-spaced bands of brightly-lit clouds at sunrise arch across the sky at center. These clouds are a detail of a larger view of the sky at sunrise.
Man
Robert Frederick Blum, American, 1857–1903, 1876–1877
Graphite on wove paper
Drawing

Sketch of a male figure dressed in a uniform, with long waistcoat, short pants, and hat.
Kneeling Man
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1635–1650
Black chalk, pen and ink on paper
Drawing

A man in the act of kneeling, seen from the back, his arms outstretched, possibly carrying a large object.
Three Designs: Perfume Burner, Vase, Plinth
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

Designs for a perfume burner, vase, and plinth with Neoclassical and Empire style motifs featuring gadrooning, mythological figures, festoons, lions, fluting, acanthus leaf and foliate motifs, masks, fleurons, fruit, and classical vases. The plate is numbered and signed.
Design for a Thurible
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys, and liturgical objects. A design for a thurible hanging from two chains. The chains are connected to two winged putti herms on either side. The thurible is decorated with another pair of winged putti mascarons, carved molding, acanthus leaves, fleurons, drapery, shell and gadroon ornament. The plate is signed and numbered.
Panel Design (Left Plate)
Bellay, French, active from 1734, ca.1734-49
Etching and engraving on laid paper
Print

A design for an ornamental panel, pasted to the left of another design. The design features rococo and chinoiserie (in the Chinese style) motifs with an ornately decorated frame featuring c-scrolls, fleurons, shells, sprigs, feathers, leaves, rinceaux, birds and a fountain in the foreground. In the center there are two figures seated within a fantastical landscape with only a couple of trees, a vase, and part of the ground and leaves depicted, the rest of the background is blank with a hanging plinth or platform and a festoon of fleurons. The plate is numbered and signed.
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) on satin ground

Fragment of white satin with large-scale pattern in cut and uncut blue, red and yellow velvet. Only small part of the design remains: a large-scale floral pattern.
Study for a Painting: The Decapitation of Saint Catherine
, 1803
Black chalk, pen and ink, brush and gray wash on paper
Drawing

The saint is shown de face, kneeling. The henchman stands behind her at right, brandishing his swords. At left an angel flies, holding his right hand a palm branch and crowning the saint with a diadem. Pieces of the wheel lie at right. Framing lines.
Fragment
, mid-19th century
cotton Technique: printed on plain weave

A fragment shows a portrait of a little girl and boy within an elaborate frame against a floral background. In purple on white.
Bracelet
, ca. 1830
Seed pearls, mother-of-pearl, gold, fiber

1946-50-47/51: Parure composed of seed pearl necklace, brooch, ha...;     1946-50-47: Necklace comprising eight sunburst-ornaments of se...;     1946-50-48-a,b: Brooch of woven seed pearls making a flower and th...;     1946-50-49: Hair ornament of woven pearls making flowers in a ...;     1946-50-50-a,b: Pair of earings of woven pearls making a flower. E...;     1946-50-51-a,b: Bracelet of woven pearls making a row of flowers; ...
Autre Poële avec Tous ces Ornemens et Principales Moulures Dorés…Un Tableau au Dessus
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a niche set with a stove, above which is a carved panel of putti playing musical instruments. The stove is carved with herms, trophies with attributes of the hunt, mascaron, scrolls, and shells. The plate is numbered.
Elevation d'une maison de 6 Toises de face
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a house of three floors with ionic columns, garland, and a sculptural group at the center roof with two seated, draped female figures on either side of a crowned coat of arms with fleurs-de-lys. The house is described at 6 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed.
Decorated Capital Letter N
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter N before St. Nicholas, who is seated and holds a book upon which the three balls lie.
Venus Beside the Sleeping Adonis
, ca. 1700
Red crayon on paper
Drawing

The nude goddess kneels behind and gazes at a young man lying on the couch with his head at left. Spear and horn are lying in the foreground. A tree is shown at left. Attributed to Pasquale Marini.
Elevation of the Facade of the Théatre Royal des Italiens, Paris
Cesare Recanatini, Italian, 1823–1893, ca. 1860
Pencil, pen and ink, with gray washes on cream-colored paper
Drawing

Horizontal rectangle. Unfinished drawing of same subject as 1938-57-1425, only elevation of town square is seen at left as well as at right.
Design for a Console and Escutcheon
Filippo Marchionni, Italian, 1732–1805, 1763
Charcoal, brush and dark brown, gray-brown watercolor on laid paper
Drawing

Console with a panel and bust; center: empty escutcheon with a crown on top; at right: curved gaine with a winged bust and woman's breast and bearded head, continued by scrolls.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on tracing paper
Drawing

Sketch of a female figure. The right arm is lowered, the left hand is at the left shoulder. Reverse: Part of the figure is traced.
Design for cast metal and colored folding doors
, ca. 1785
Pen and ink, brush and watercolor on laid paper
Drawing

The folding door consists of two wings, overdoor, framing pilasters, and an attic. The attic and overdoor have a trellis ground and decorated with festoons. Garlands are depicted on the pilasters.
Saint Basil and Saint Gregory
Gerard Edelinck, Flemish, active in France, 1640/41 - 1707, 1665-1700
Engraving on paper
Print

St. Gregory faces frontally, at the right, with his arm about St. Basil's shoulders. St. Basil is turned slightly to the right, and is pointing at St. Gregory. Both hold scrolls inscribed in Greek. Below, the title: "S. Basilius Magnus et S. Gregorius Nazianzenus", an inscription, and the artists' names.
Hunting Scene with a Dog Attacking a Bird
Charles Dagomer, French, active 1750 – d.1766, 1755–76
Etching and engraving (crayon manner) in red ink on paper
Print

A landscape with a dog biting a duck who is sitting on a nest of eggs, another duck to the left. Foliage surrounding them and trees in the background. Blue/green wash or crayon added later. The plate is signed and numbered.
Vaulted Ceiling with Alternative Designs
Felice Giani, Italian, 1758–1823, ca. 1750
Pen and ink over traces of graphite on greyish laid paper
Drawing

Row of big coffers of various design, supported by pointed arches separated by spandrels. Representations in lunettes, at bottom of arches, reference to Athena as protector of arts. Candelabrum motifs in spandrels.
Design for a Vessel (Sauceboat?)
Luzio Romano, Italian, active 1528 – 1575, mid- 16th century
Pen and brown ink, brush and brown, gray wash, black chalk on cream laid paper, lined
Drawing

Boat-shaped vessel supported by baluster pedestal on either side of which two nudes sit with arms raised appearing to support the vessel.  The curving body of a long-necked winged harpie rests beneath the spout or prow of the ship.  A harpie or female half-figure at the stern curves outward; her tail curves behind her to form the vessel's handle.  The central body of the vessel displays a figural frieze.  Other decorative elements include a ram's head (in the center) and an eye (towards the stern of the vessel).  On verso, pen and ink framing lines along right and left edges and across upper edge.
Ceiling Design
Nicolas Pineau, French, 1684-1754, ca. 1730
Etching and engraving on laid paper
Print

A design for a ceiling with variations to the design in each corner and sides. Only the cornice is ornamented with rococo motifs - cartouches, trophies of musical instruments and arms, fleurons, palmettes, c-scrolls, s-scrolls, gadrooning, flowers, leaves, putti, and figures within the cartouches. The plate is numbered and signed.
Plate 3, "Suite de douze Pêcheurs et Chasseurs"
Jean-Baptiste Pillement, French, 1728–1808, 1771
Etching on paper
Print

Decorative landscape with Chinese figure holding spear with arrow point and pursuing fantastic bird. Two framing lines. Right top corner: "3"; bottom of the design: "J pillement in."; "j. j. avril.sculp.1771."
Cartouche Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Design for a cartouche framed by a mascaron (mask), palmette, wings, c-scrolls, shell, festoons of fleurons, shynx, with flaming torches on their heads, fluting, scrolling leaves (rinceaux), and fluting. An ornamental motif below featuring a putto, dragon, scrolling leaves (rinceaux), foliate scrolls, and fleurons. The plate is signed and numbered.
Roofs and a Figure, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on brown laid paper
Drawing

Architecture and figure sketches showing at center left, the gabled roof of a house with a chimney at its peak and a tower at left. At upper right, the outline of the facade of a house is shown, rendered as a triangle atop a square. In upper left corner, a shepherd with a large coat is viewed frontally.
Bird on an Orange Branch, with Butterfly
, ca. 1800–1830
Pen and ink, graphite on coated wove paper
Drawing

Bird on an Orange Branch, with Butterfly
Rocaille Ornament Designs
Georg Michael Roscher, German, 1700–1775, mid- 18th century
Etching on off white laid paper
Print

Rocaille designs for frames, tables, cartouches, trophies, and capitals. The plate is signed and numbered.
Brown-and-Black Bird and Blue-and-Yellow Bird on Branch with Red Bloossoms, Hunting Insects
, ca. 1800–1830
Pen and ink, graphite on coated wove paper
Drawing

Brown-and-Black Bird and Blue-and-Yellow Bird on Branch with Red Bloossoms, Hunting Insects
Design for a Fountain
, 1790
Pen and gray ink, brush and watercolor, traces of graphite on off-white laid paper
Drawing

Fountain set in a landscape. A shallow basin with dolphins is supported by sphinxes with fishtail legs. Water flows into a larger basin. Broad framing lines.
Square
, 1850–1900
cotton Technique: printed on plain weave

Fabric for a handkerchief in brown and orange with a central floral medallion and a wide border in a vine and flower design. Border is orange and center is dark brown.
Study of a Lion
, ca. 1815
Charcoal on paper
Drawing

Lion lying, facing left. Portion of hindquarters off page.
ELEVATION DE LA FAÇADE DE LA RETRAITE DU COTÉ DE LA CAMPAGNE
François de Cuvilliés the younger, German, 1731 - 1777, 1771
Engraving and etching on paper
Print

An exterior elevation for a garden building set within its landscape surrounded by trees. The building features domes, a cupola, a bell, festoons, vase finials, sculptures, columns, and fountains set within the stairs. The plate is titled and numbered.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase decorated with friezes, leaves and knotted ropes. The plate is signed and numbered.
Design for the Embroidery of the Lower Front Part of an Overskirt of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, pen and ink, brush and gouache on paper
Drawing

A bunch of flowers, garlands, strings of pearls. Outer framing composed of garlands, and leaves showing inside flower boughs.
Studies of a Child's Head
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1773
Crayon-manner with red ink on laid paper
Print

Studies of a child's head from the front and profile, with accompanying explanatory text, from a series of figure studies for the education of artists and amateurs, printed in red ink in the crayon manner. The plate is numbered.
Sunset over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1865–1875
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a loosely rendered view of the summer sunset over the Catskills, as view from a point near the artist's property in Hudson, New York. In the foreground, a grassy slope at right descends to the river's shore. At lower center, a steamboat is shown traveling down the river, which, itself, stretches across the middle distance along with its heavily wooded opposite shoreline. Foothills are visible just beyond the shore, while the Catskill Escarpment extends across the horizon, with Blackhead Mountain visible at far left and Windham High Peak at center left. Shown at center, the bright yellow orb of the sun illuminates the clouds and sky around it in fiery, saturated shades of orange and red. The sky is delineated into an upper portion, rendered in shades of blue and green, which hosts puffy groups of light and dark clouds.
Sketches, Angels and Female Figures
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Sketches, Angels and Female Figures. At center, the most complete sketch features kneeling woman in classical garb with angel standing behind her at right in an architectural setting. Additional inscription and designs on verso.
Trimming
, 17th century
silk, metallic thread Technique: bobbin lace, metallic

Gold lace border with one scalloped edge formed by fan-shaped pieces extending beyond semi-circles. In yellow silk and metallic thread.
Uranie
Xavier Mader, ca. 1825
Block-printed on handmade paper
Decorative panel

Vertical rectangle. Large diamond-shaped framework of leaf forms, set with lyre and candelabrum, enclosing circular medallion at center. In medallion classical profile of woman's head, with caption: "Uranie". Framework in yellow, against on olive-green ground.
Seated Woman
Daniel Huntington, American, 1816–1906, 1879
Graphite on paper
Drawing

Possibly a study for a portrait of Miss Astor. Sketch of a seated woman, turned toward the right, her hand folded in her lap. Verso: Landscape sketch.
Monument of King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1938-88-1303. The doorframe has the height of the lateral walls. The column has a greater diameter, and it is decorated above the band with drapery festoons. On top is a cresting of a small semicircular pediment above each cross arm.
Platter
Spode Ceramic Works, English, established 1776, ca. 1790
soft paste porcelain, vitreous enamel, gold
platter

Almond-shaped platter decorated near border with gilt, blue, red, and green flowers and abstract mounds. In well, an oval with overlapping initials: "LHW" (?).
Paravent de quatre Feuilles Ceintrées, orné dee Sculpture
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a folding screen with four panels, decorated with arabesque ornament and carved with motifs including piastre, rosette, and wreaths with laurel branches. To the right side of the screen are details of the carved pieces. The plate is signed and numbered.
Heur et Malheur (Happiness and Woe)
Raymond Gayrard, French, 1777 - 1858, early 19th century
Cast silver
Token

Octagonal gambling token. Obverse shows the double bust of young Janus. Inscription: HEUR ET MALHEUR (happiness and woe) / GAYRARD-F. Reverse shows Night in a toga, and the inscription: LA NUIT RAMEM LES JEUX ET LES PLAISIRS.
Orphrey
, 17th century
silk and gold on linen Technique: embroidered, "or nue" technique

Strip composed of two portions of orphrey from chasuble. Five rectangles, each containing a figure - three from back of orphrey and two from front. All done in "or nue" technique.
Design for a Wallpaper or Textile
, 1820–1850
Graphite, brush and brown, black gouache on paper; verso: black paper
Drawing

Recto: Scrolls with acanthus leaves and three festoons with roses. Verso, horizontally: Scrolls with acanthus motifs, bunches of roses, and a curved row of calyxes.
Square
, 19th century
silk Technique: printed

Handkerchief divided into four quarters: two red squares show three lions passant; one blue square with a harp; and one white with a lion rampant inside a red frame.
Studies After Cattle
Samuel Colman, American, 1832–1920, 1871
Brush and watercolor and white gouache, pen and brown ink, graphite on light brown paper
Drawing

Five studies of the hooves and lower legs of cattle. Forefeet, above, from a brown cow or ox. Hindfeet, below, of a white animal. Outline of leg, at left. Each hoof labelled below in pen and brown ink with right or left. Verso: At top, an eye, an ox with lowered head, shown obliquely. At bottom, the upper part of the body shown from the lowered head, which has been erased.
Differents fabriques qui se trouvens dans le plan de la Maison de Me. Belanger, à Santeny
Wandlaincourt, French, active early 19th century, 1812
Etching and engraving on paper
Print

An architectural print illustrating various garden buildings and structures, including three exterior elevations, one sectional view, and three floor plans for a gate and two pavilions, featuring chinoiserie and neoclassical motifs. The plate is titled, numbered, and signed.
Woman
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Recto: Sketch of a female figure wearing a shawl; Verso: Sketch of a male figure wearing a hat.