biglam/cooper-hewitt-alt-text huggingface dataset:
Woman with Bellows Lighting Fire
, late 18th century
Graphite, pen and ink, brush and watercolor on paper
Drawing

A woman shown in profile, kneeling with bellows.
Chandeliers ou Flambeaux et Couteaux de Table
Richard de Lalonde, French, active 1780–96, 1796
Etching on off-white laid paper
Print

Designs for candlesticks and table knives. The plate is lettered.
Frieze with Children
Giuseppe Bernardino Bison, Italian, 1762 - 1844, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

Horizontal basin with four children holding a cloth. The background is tinted grey. Framed by two lines.
Trimming
, 19th century
silk Technique: cut supplementary warp pile (velvet)

Trimming fragment in a design of alternating squares of green and ivory in cut velvet.
Pool in the Woods
Francis Hopkinson Smith, American, 1838–1915, 1875
Brush and watercolor, white gouache, graphite on tan paper
Drawing

A stream in the woods, with a large tree fallen across it. Rocks in foreground, left and right, with a small waterfall between. This scene is probably in the White Mountains, New Hampshire.
Woman
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of female figure wearing a feathered hat.
Panel Design (Right Plate)
Bellay, French, active from 1734, ca.1734-49
Etching and engraving: counterproof on laid paper
Print

A counterproof of a print from this series (1921-6-490-19). Two designs for ornamental panels printed from the same plate but cut and pasted side-by-side. The designs feature rococo and chinoiserie motifs with ornately decorated frames featuring leaves, c-scrolls, feathers, shells, rinceaux, cartouches, bells, fleurons, a bow and quiver of arrows, and vases. In the center of each panel are figures within fantastical landscapes. To the right, a man sits crossed legged on a river bend with canopies and a fantastical monument behind him. To the left, two figures sitting on the platforms/ steps stemming from the borders, one of them holding an axe, with a bird flying above.
Two Candelabra Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for two candelabra. The five-arm candelabra at left has arms made of leaves, draped with garlands of beads, and a shaft with an inset of flowers. The six-arm candelabra at right has arms made of draped flowers attached to a vase on top of a column with a Corinthian capital, a fluted shaft, and a tri-pedestal base of scrolling acanthus leaves. Below either candelabrum is a cross section of the base design. The plate is signed and numbered.
Stage Design, Underground Vaulted Space with Tombs
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and black ink, brush and pale green, pink, and gray wash, graphite on laid paper, laid down
Drawing

Horizontal rectangle. Vaults of crypt with tombs, urns and tablets with inscriptions.
Funereal Monument
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Funereal monument placed under a baldachin within a church. On either side of the monument are rows of seated onlookers, with members of the clergy processing by. The plate is not signed.
Dove Houses, Mexico
Frederic Edwin Church, American, 1826–1900, February 21 and 24, 1890
Graphite on gray-blue wove paper; verso: graphite
drawing

Architecture and landscape sketch showing a view of a structure containing dove houses in Mexico. Situated in the foreground at left, the dove houses are positioned within a wooden, framework structure on stilts. Openings for the doves are visible in the center of the structure. Relatively flat terrain extends through the middle distance and into the background, where a grove of trees is visible at center right.

Verso: Small architecture sketch showing an oblique view of a granary in Mexico. Situated at left, the granary is semicircular in form, shaped like a barrel vault with a dark doorway on its facade. A cactus grows from its rear.
Fragment
, 18th century
silk Technique: plain weave patterned by supplementary warp floats and continuous and discontinuous supplementary weft floats

Polychrome garlands and bouquets on white.
Elevation et Developpement d'une Armoire
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of a wardrobe with ornament motifs including lamb tongue, egg and dart, wave pattern, mascaron, leaf garland, rosette, and crossed branches. The plate is signed.
Sampler
Frances Rae, English, 1797
silk embroidery on wool foundation Technique: cross, eyelet and stem stitches on plain weave

Detached motifs, including a swan, flowers, and birds, mostly framed or in wreaths. Letters, numerals, and initials are scattered over the sampler. In the center, the signature "Frances Rae", "Ackworth School 1797".
Elevations and Plans of a Chapel and Observation Tower
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a gothic chapel and an observation tower with two exterior elevations, one sectional view, and two floor plans. The plate is titled, numbered, and signed.
Bracket and Rosette Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Two bracket and two rosette designs. In the top center is the elevation of a bracket, decorated with an acanthus leaf down the center and lamb tongue edging. To the right of the elevation is a profile of the bracket; to the left of the elevation is a rosette with its profile printed above. In the lower center of the plate is an elevation of a design for a bracket with a lancet leaf with piastre detailing down its center. To the right of the elevation, is a profile of the bracket; to the left of the elevation is a rosette with its profile printed above. The plate is signed and numbered.
Cascades of the Ausable River, near Keeseville, New York
Frederic Edwin Church, American, 1826–1900, August 13, 1856
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing a view of the cascades of the Ausable River near Keeseville, New York. In the foreground, the river's water rushes around a rocky bank at right as it cascades down small, stepped falls at center. In the middle distance, beyond a wider point in the river, a taller, more dramatic waterfall is visible between two rocky, rugged cliffs on either side. These cliffs lead to wooded slopes that extend out of frame at left and right. Above the falls, a bridge spans the river and leads to at least three structures slightly obscured by treetops.
Studies of Heads
Carlo Marchionni, Italian, 1702–1786, 1760–80
Pen and ink on laid paper
Drawing

The caricatures refer mostly to an old man wearing a wig; some show the bust. The other - non caricature - heads are shown looking downwards or upwards. One is a cherub; some accounting is written in intervals and over sketches. On verso: elevation of a bed alcove with alternative suggestions. The bed is sketched. Above a cherub and the head of a bearded man. Below is the left part of a roughly sketched ornament.
The Maid of the Mist beneath Horseshoe Falls, Niagara Falls, Canada
Frederic Edwin Church, American, 1826–1900, September 1858
Graphite and white gouache on tan laid paper
Drawing

Landscape sketch showing a view of Horseshoe Falls from the Canadian bank of the Niagara River, featuring the Maid of the Mist below the falls at center left. Dominating the view, the falls expand horizontally across the composition as voluminous amounts of water cascade over the edge and create plumes of mist below. At center left, the Maid of the Mist, with its single, tall smokestack, is viewed from the rear as it floats beneath the falls. The tumultuous waters of the Niagara River extend from the foreground to the base of falls in the middle distance. In the background at right, the outline of the river's heavily wooded southern bank is faintly shown.
Woman
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a female figure wearing a bonnet.
Château de Madon à Mr. de C par Mr. Mandar Architecte Ingenieur en chef des Ponts et Chaussée
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a chateau with a sectional view of the interior and three floor plans. The chateau features neoclassical motifs, with columns, friezes, decorative paneling, domed ceilings, and coffering. The plate is titled, numbered, and signed
Theodore Cole Observing his Toy Sailboat, Catskill, New York
Frederic Edwin Church, American, 1826–1900, October 1844
Graphite on white wove paper
Drawing

Figure and landscape sketch showing Thomas Cole's son, Theodore (also known as Teddy), kneeling beside a river or stream as his observes his toy sailboat floating by. With his form reflected in the water below, Theodore has a contented expression as he wears a straw hat and rests his head on his hand. In the middle distance at left, a twisted tree and its branches arch over the boy, neatly framing him. In the background at right, the distant Catskill Escarpment is outlined along the horizon.
Fragment
, 17th century
silk, metallic thread Technique: woven

Stripes comprised of flower and leaf-like shapes on a dark blue background.
Mountain Peaks
Frederic Edwin Church, American, 1826–1900, 1853–1868
Graphite and oxidizing white gouache on light green wove paper
Drawing

Landscape sketch showing a view of immense and rugged mountain peaks, viewed at a distance over a range of shorter hills with a line of trees. The rocky range features two particularly sharp peaks at center and likely several fields of snow running down its slopes. Sky above and behind appears hazy.
Border
, late 19th century
linen Technique: needle lace

Nineteenth century rosepoint in pattern of seventeenth century candelabra type with narrow edging on one side of "roses." Worked in ecru thread.
Button
, 1801–50
Brass

Circular, convex button with ornament showing shield with heraldic devices, lion supporters, crown above and below, a ribbon with "vicit iter durum pietas." Brass back and shank. On reverse: "G and Cie Paris", 18 in shield, small coat of arms impressed.

On card E
Le Toucher (Touch) from the series Les Cinq Senses (The Five Senses)
François Boucher, French, 1703–1770, 1720–1770
Etching and engraving on paper
Print

Two allegorical figures representing the sense of touch. One seated, elderly man (left), and one standing, young woman (right). Each holds an animal (cat?), and at their feet lay a parasol, a spoon, and a platter.
Study of Right Arm for "Christiana and Her Family Passing through the Valley of the Shadow of Death"
Daniel Huntington, American, 1816–1906, 1850
Graphite and white chalk on grey wove paper
Drawing

Man's raised right forearm holding a staff, with palm facing frontally.
Covered Milk Jug
Royal Worcester, English, established 1751, ca. 1770
soft paste porcelain, vitreous enamel
milk jug

Pear-shaped, on cylindrical foot, with v-shaped lip and plain loop handle. Circular flat domed cover with applied flower in the round attached to stem and foliage in relief. Decoration of floral sprays and butterflies.
Ornament Panel with Bird Cage
Nicoletto da Modena, Italian, active 1500 – 1522, ca. 1507
Engraving on off-white laid paper
Print

A vertical ornamental motif, bilaterally divided, shows a winged figure, holding trumpets and palm leaves, and supporting a bird cage. Upper level, two seated figures write on tablets that read S.P.Q.R. (The Roman Senate and People) and D.M.A.N.  Two bound captives sit beneath a military trophy. In the center of the panel, a winged figure supporting a birdcage holds trumpets and palm leaves, symbols of victory. At the top, two seated Roman senate and people. Two bound captives sit beneath a military trophy and above a small ornamental battle scene.
Studies of Hands
Daniel Huntington, American, 1816–1906, 1850–60
Graphite, white chalk on brown wove paper
Drawing

Study of a right hand and the lower part of an arm, resting on drapery. Additional study of right hand, upper left.
Design for a sundial in a public place
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Below are five steps with a gentleman standing upon them at left, and a man sitting upon them at the front at right, with a woman standing nearby. Upon a square base with the inscription TRIVNFVM APOLINE / MDCCLXXXXV rises a huge pedestal. It has a fluted base in front of which two women sit, either one with a cornucopia, and connected by a garland, representing two of the elements. The main part of the pedestal has moldings below and above. At the front is the sundial. Above is a circular base with the flying Horae, connected or in front of festoons. On top is Apollo in his quadriga. Caption at right: Maniere p[er] collocare / un'Orologio solare / in una Publica / Piazza o villa / c[on] carro di Apollo / le ore nel Zoccolo / li quatro E[l]ementi che trionfano nel / la base segt[segnato] / il di Il Mag[gio] / 1795.
City on a Plain in the Mountains of Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a distant city on a wide plain in or near mountains in Mexico. The plain extends from the foreground through the middle distance, where it meets the base of an extremely rugged mountain range that stretches across the horizon. A particularly sharp peak is visible at center left, while another mountain range looms in the distance. At the base of the mountains at left, the buildings of a city or town are visible, especially twin belltowers that are presumably part of a church. 

Verso: Landscape and figure sketches from Mexico showing a rugged mountain range with a sharp peak at and ascending ridge at right stretching across the horizon, while at lower left, two figure sketches are visible. One, at left, shows the torso, head, and right arm of a man viewed from behind, while the figure sketch at right is a man wearing a brimmed hat viewed in left profile as he rests his hands on his hips. His feet and ankles are not rendered.
Distant View of St. Peter's Basilica and the Vatican, Rome, Italy
Frederic Edwin Church, American, 1826–1900, October 1868 - April 1869
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing the skyline of Rome, likely from the northwest, prominently featuring the Vatican and St. Peter's Basilica at center. The outlines of other buildings in the cityscape extend to left and right. Above, light, elongated clouds hang in the sky.

Verso: Botanical sketch showing a view of a group of barren, twisted tree trunks and boughs that overlap with one another. At left, the undulating forms of three trees are grouped together while another is partially sketched at right.
Textile
, 19th century
piña (pineapple) fiber, silk Technique: plain weave

Very sheer white ground with narrow vertical stripes of orange silk.
Study for a woman, “Moods to Music,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1893–1895
Graphite on wove paper
Drawing

Sketch of a costume fitted for a female figure.
Design for a Vase
Joseph Anton Seethaler II, German, 1799–1868, 1827–35
Pen and black ink, brush and wash on paper
Drawing

On a wooden plinth, calyxes surround the lower part of the body, a wave motif on shoulder, leaves on neck; two handles made up of griffins.
Trunk of a Dead Birch Tree, Maine
Frederic Edwin Church, American, 1826–1900, 1876 - 1881
Graphite on tan wove paper
Drawing

Botanical sketch showing the trunk of a dead birch tree, whose white bark peels off like rolls of paper, reveal dark wood below. Roughly oriented along the central vertical axis.

Verso: Loose, unfinished sketch showing a portion of tree trunk with a broken branch.
Ornament Design
Jean-Bernard Turreau, French, 1672 - 1731, 1716
Etching on laid paper
Print

Design for ornament, possibly for decoration within a pediment, along a semicircular base. Scrolling leaves, rosettes, fleurons, basket of flowers, canopy, vases, gadrooning, foliate scrolls, putto, sphynx, satyr/faun, dragon, and festoons of leaves. The plate is signed.
Embroidery sample
, 1770–1810
silk, silver and gold wire, glass and paper Technique: embroidered on uncut voided supplementary warp pile (velvet)

Floral design embroidered with silver and gold thread, sequins and wire, and bits of glass on a patterned green ground.
Icebergs off Greenspond, Canada
Frederic Edwin Church, American, 1826–1900, July 23, 1859
Graphite and white gouache on light brown paper
Drawing

Seascape sketch showing three views of icebergs off the coast of Greenspond in Newfoundland and Labrador, Canada. At left, a uniquely-shaped icberg features an arch that tunnels through the ice, as well as a twisting, tapering, seemingly serrated spire in front. In the background behind this berg, a ship travels along the flat oceanic horizon at right. In the upper and lower right corners, two other, distant icebergs are also sketched.
Clouds above Hills
Frederic Edwin Church, American, 1826–1900, 1865–75
Graphite on gray wove paper; verso: graphite
Drawing

Landscape and atmosphere sketch showing a view of billowing clouds over a range of hills. In the middle distance, a hill with a long flat top and seemingly covered in evergreen trees is visible at right and extends towards other mountains in the background at left. Above it, along bank of billowing and partially shaded clouds extends across the sky while another long cloud is shown above it. 

Verso: Atmosphere sketch showing a small portion of a rainbow at center, and loosely rendered parts of clouds along the right margin.
Bedcover
, late 19th century
cotton Technique: printed by engraved roller on plain weave

Bedcover made with different fabrics on each side. One side has a design of large-scale flowers and birds on a trellis of gnarled branches in shades of deep purple and yellow on white ground. Reverse side has large scale pattern of flowers in red on white ground.
Different Types of Buffets and Their Development
André-Jacob Roubo, French, 1739–1791, 1770
Engraving on paper
Print

Different Types of Buffets and Their Development.
Medallion
, mid-19th century
plaster

woman w/ two young boys
Stage Design, Interior of Gothic Church
Romolo Achille Liverani, Italian, 1809 - 1872, after 1829
Pen and sepia ink, brush and wash on paper
Drawing

Vertical rectangle. Interior of Gothic vaulted church with large decorated monument and draperies showing Maltese cross and coats of arms.
Roundel
, 4th–5th century
warp; S-spun linen. Wefts; S-spun linen, S-spun wools. Technique: slit tapestry with supplementary weft wrapping.

Polychrome vases, plant and flower forms facing in four different directions.
Fragment
, 14th century
silk Technique: two integrated textile structures; plain weave and plain weave (lampas)

Ground divided into squares which contain palmettes. Griffins, grape leaves, and birds.
Helmet
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Helmet.
Design for a Mantelpiece with Alternative Suggestions
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At left, the lower right side is shown. The fireplace is flanked by a receding pair of Ionic columns, with a statue standing in the intercolumnium. Festoons decorate the frieze, in the center of which is a projecting oblong relief. A looking-glass stands above. A candlestick for three candles stands in front of the flanking pilaster s tripe. It consist of an urn rising between two seated figures. Measurements are indicated at right. The right side of the looking-glass is shown. A plant rising from an urn decorates the pilaster. On top is a molding supported by genii. Colored background.
Dessein d'un Poële de Terre Vernissée en Blanc
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a niche with a stove in the center, above which is a carved trophy with musical instruments and attributes of the theater. The plate is numbered.
Andiron Designs
Antoine Pierretz le jeune, French, active 1660-70, ca. 1665
Etching on laid paper
Print

Nine designs for andirons, three per row, decorated with scrolling motifs, fleurons, beads, vases shapes, roundels, and flame motifs. The plate is numbered and signed.
Spoon
Nicolas Vautrin, mid-19th century
silver
spoon

Pointed heart-shaped bowl with center ridge; rattail stem paritally twisted issuing part foliate join to the ivy embossed circular crusher terminal.
fountain
, ca. 1800
mother-of-pearl
Miniature

Chinoiserie
Textile
, late 19th century
silk Technique: double-faced satin weave

Light green satin ribbon with cord edge.
Border
J. Duppa, 1825–50
Block-printed

Architectural design, with laurel swags between modillions. Gray, yellow, green and brown.
Medieval Crucifix
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590–1599
Recto: pen and brown ink on laid paper. Verso: pen and brown ink, brush and brown wash over black chalk on laid paper.
Drawing

Recto: Depiction of a painted Crucifix in a medieval style, with the crucified Christ appearing at center, and with four mourners depicted on panels affixed to either side. Italian inscription at upper left.  
Verso, left (inverted): Christ stands at center on the bank of a river. St. John the Baptist stands to the left. Above, the dove of the Holy Spirit descends.  
Verso, right: The Virgin in Glory, framed by a halo of light, surrounded by angels.
Grand Canal
, ca. 1830
Block printed on handmade paper, pasteboard support
Bandbox

Pattern includes a scene along the Erie or "Grand Canal" between Albany and Buffalo, New York, begun in 1817. The scene is apparently based on a "View of the Aqueduct Bridge at Little Falls" included in Cadwallader D. Golden's "Memoir Prepared for the Celebration of the Completion of the New York Canals", New York, 1825. Medallion pattern on lid; guilloche border around lid. "GRAND CANAL" printed in the design.  Blue ground color, block-printed in pink and white distemper, and in green brown and yellow with glossy finish.
Design for a sedan chair
, 1770-1775
Pen and black ink, watercolor, and traces of charchoal on paper
Drawing

Shown from the rear right corner with two bars. The upper panel of the back has a small window in an escutcheon hanging from a nail, which also supports festoons. Below is a rocaille fountain with an escutcheon on top, from which garlands stretch to the lower corners. In the escurcheon are two coats of arms, conjoined paleways. Heraldic right: a bend sinister between three blossoms, 1, 2, left: a fess between three, [spade icon], 2, 1. In the lower panel is a festoon. In the panel beside the lateral window are festoons hanging from a ram head. In the lower panels are a branch and festoons respectively. Tassels hang from the corners. The bar is decorated in the middle. Something was written in the triangle of the foot at the front and has been erased.
Grotesque Design; verso: a Landscape
, early 17th century
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Strapwork frame with harpies and masks/ Verso: view of a town in a valley.
Boutons de Meubles
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Four furniture knob designs. The knob at upper left is oval, has a border of bead course and an interior rosette. The knob on the upper right is oval, has a ribbon twist border, and a lozenge at the center with a bead course frame and a rosette within. The knob at lower left is round, has a border of bound leaf and a small central rosette surrounded by a quatrefoil of flowers. The knob at lower right is round with a border of bead course and an acanthus leaf rosette. The plate is signed and numbered.
Panel
, 18th century
silk, metallic thread Technique: embroidered on taffeta weave; bobbin lace

Panel of white taffeta embroidered in a pattern of flowers in polychrome silks. Vase form in the center with plume-like ornaments in metallic thread. Edged with bobbin lace and metallic trim.