biglam/cooper-hewitt-alt-text huggingface dataset:
Stage Design, Prison Interior
, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. Entrance of prison with trapdoor. Two guards in foreground stand with large weapons, two figures descend into trapdoor.
Study of Drapery
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Charcoal, chalk, graphite on brown paper
Drawing

A seated figure in drapery is shown from the waist down.
Camels and Riders with Storm-Tossed Ship
Frederic Edwin Church, American, 1826–1900, April–March 1868
Graphite on gray-green paperboard; verso: graphite
Drawing

Mixed sketches of groups of camels and Bedouin riders with a vignette of a sea-tossed ship. At left, three saddled and yoked camels are shown with two standing figures dressed in draped clothing. At upper right, three very similar camels are shown--one of which is ridden and another is guided by a standing figure with his back turned. At lower right, a hasty sketch shows a double-masted ship attempted to crest a large wave amid dark and stormy seas.

Verso: Small figure sketch at upper left showing two groups totaling eight camels and seven Bedouin riders, seen at a distance from the viewer and backlit by the sun. Their elongated shadows stretch toward us.
Elevation of a villa
Giuseppe Barberi, Italian, 1746–1809, 1792–1794
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Two stories. Receding central section with a portico of four Doric columns and a triangular pediment. Steps lead up to it. Possibly for the Villa Poniatowsky.
Port of Cape Ann, Cape Breton Island, Canada
Frederic Edwin Church, American, 1826–1900, July 21, 1859
Graphite and white gouache on light brown wove paper
drawing

Landscape sketch showing a view of the steep coastline around St. Ann's Bay on Cape Breton Island, Canada. Viewed from the water's surface, which extends from the foreground to the middle distance, the coastline of St. Ann's Bay or Cape Ann rises abruptly out of the water and forms several rolling ridges across the horizon at left and right. In the distance at center, a shorter, sharp prominence is visible.
Seated Female Nude
James Wells Champney, American, 1843–1903, ca. 1890
Graphite on paper
Drawing

Seated nude female figure, turned toward left, with left ankle resting on right knee, and right hand resting on left ankle.
Fragment
, 1751–1800
silk Technique: plain weave with supplementary discontinuous weft

Stripes of a dark red silk ribbed weave alternating with stripes of white satin edged with light blue on which a small floral pattern is brocaded.
Tile
, late 18th–early 19th century
Earthenware, glazed, high fire decorated

Man carrying long stick, walking toward left.
Scepter for Papal Ceremonies
, mid- 17th century
Pen and ink, brush and watercolor on paper
Drawing

Cross-shaped scepter. At top, a shield with the papal coat-of-arms supported by two angels. At center, a larger shield and two figures of Henyth and Vigilance.
Plate V, vol. II of "Le Antichita Romane"
Giovanni Battista Piranesi, Italian, 1720–1778, 1756
Etching on paper
Print

Fragment of a stone wall, bearing an inscription.
Elevation of a Sepulchral Monument
, ca. 1830
Graphite on paper
Drawing

Vertical rectangle showing two fluted Doric columns supporting an entablature and pediment with a singed hourglass. Below, the bust of a young man on a pedestal. On either side are female sculptures. At left, Justice holds a judiciary mace; at right Charity, with a fire on her head, nurses a child.
Ornament Designs for use on Porringer’s (Shallow Bowls), Lids, and Handles
Masson, French, active late 17th and early 18th century, late 17th–early 18th century
Etching and engraving on paper
Print

Ornament for the use on porringer's (shallow bowls), with detailed designs of their handles, lids, bases, and finials, with designs of lidded porringer's outlined in profile featuring scrolling leaves, acanthus leaves, heraldry (coats of arms), dolphins, mascarons (masks), fleurons, strapwork, diaper patterns, flowers, and shells. The designs are identified with lettered inscriptions. The plate is numbered and includes the publisher's address below.
Study: A right hand
Carlo Bononi, Italian, 1569–1632, 1630
Black crayon and white heightening on rough grey paper
Drawing

Horizontal composition of a right hand opened and extended. Written on the reverse: "Aless. Maggiori comrpo in/Bologna dal sacer/dote Pancaidi l'an/no 1796" and below the hand: "H Bonone fece."
Lucretia or Tarquinia Stabbing Herself
Francesco Coghetti, Italian, 1804 - 1875, 1825–50
Pen and brown ink, black chalk on off-white laid paper
Drawing

The female figure is kneeling while facing right; her left arm is raised, right arm with knife pointed toward the throat.
LA PHARMACIE
Jacques de Lajoüe, French, 1687–1761, 1738
etching and engraving on paper
Bound print

Print after an overdoor painting of an allegory of chemistry or pharmacology, depicting the fantastical interior of a chemist's study or laboratory in a round room with arches, windows, bookcases, and stairs, with a large stove with a chimney in the middle. A landscape with trees is visible to the right. A man sits in front of the stove, a woman with a basket stands behind him to the left. The room is filled with vials, beakers, and other apparatus and tools. Animals hang from the ceiling, including an elephant's head, a turtle, spider, and an alligator or crocodile, along with shells, coral, and other natural specimens. The title is lettered below and the plate is signed.
Handscreen
Louis XV, King of France, 1715–1774, late 18th century
Engraved, hand-colored and painted paper leaf, turned wood handle

Obverse: palace gardens with carriages, pedestrians, and large equestrian statue in center, surrounded by scrolling border. Reverse: tributes to Louis XV, surrounded by hand-painted motifs.
Design for a Chalice
, ca. 1800
Graphite, pen and ink, brush and wash on paper
Drawing

A richly decorated vase stands upon a pedestal in the scheme of a pedestal upside down. On top stands a cup, with a bossed bottom. An oval medallion with the three nails suspended from a bowknot over two crossed boughs, in a band. At bottom left, an accounting in pencil.
Plate
Faience Manufacturing Company, American, 1881-1892, 1886–1890
Glazed and gilt porcelain
plate

Octagonal shape with gold-banded edge.  Heavily guilded, incised water plants in center, with space-filling floral and leaf forms of gold, with enamel color dots and smaller gold dots.  Porcelain with blue underglaze decoration and overglaze enamelling and gilding.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Designs for six decorative panels and friezes featuring arabesque motifs with scrolling acanthus leaves (rinceaux), flowers, festoons and crowns of flowers, textiles, s-scrolls, and a vase. The plate is numbered.
Cheminée Decorée de Glaces
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Divided design for a fireplace with mirrors as panels above and on either side. Above the mirror is a painting depicting an allegory of astronomy set within a rocaille cartouche. The plate is numbered.
Sketch for a Portrait of Bella Worsham
Daniel Huntington, American, 1816–1906, 1878
Graphite on cream paper
Drawing

Full-length woman standing, her left elbow on a mantelpiece, pedestal, or wall; she holds her skirt in her right hand, and looks to her left. Her name and some mathematical figuring, lower right. Verso: two sketches of female heads.
Towel fragment
, 17th–18th century
cotton Technique: twill patterned with supplementary wefts

Band from a Perugia towel with a pattern of a fountain with confronted stags.
Lettre sur les Eléments de la gravure á l'Eauforte (Letter on the elements of etching), Page 3
Adolphe-Martial Potémont, French, 1828 - 1883, 1860-1864
Etching on paper
Print

One of five sheets on the techniques of etching with illustrations of various processes involved, as vignettes.
Ships at sea
Robert Frederick Blum, American, 1857–1903, 1884
Graphite on wove paper
Drawing

Sketch of ships under sail with clouds in the sky.
Design for Embroidered Waistcoat, pattern 1594 of the Fabrique de St. Ruf
Mademoiselle Montalent, ca. 1785
Brush and gouache on laid paper
Drawing

The lateral side is higher than the strip with the buttonholes, two of which are shown, disposed in a strip. Lilac edges. A row of seeds upon those of the waistcoat. A flower vase, shaped in the outlines of the neck of a vase with three rings at the bottom, is shown in the corner. Leaf boughs are wound around it, passing through the rings. Verso, in graphite: outlines of a pocket; slight sketch of the decoration beneath it.
On Highest Road to Chocorua, Looking North, Near Canas Pond
Daniel Huntington, American, 1816–1906, August 11, 1855
Graphite on pale green paper
Drawing

Foreground, very hilly fenced pasture, a rocky hill beyond with two mountains in the distance. Mt. Kearsarge, toward right, identified.
Band
, 3rd–4th century
Warp; s-spun linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry and plain weave

Inwoven tapestry band between areas of plain weave. leafy serpentine band with bird at one end.
Sun Rays behind Clouds, Hudson, New York
Frederic Edwin Church, American, 1826–1900, September 1869
Graphite on green laid paper
drawing

Atmosphere sketch showing a view of a backlit clouds near Church's home in upstate New York, known as Olana. Dominating the composition at center, this billowing cloud bank is rendered almost entirely in shadow, as it blocks the view of the sun behind it. At upper center, rays of sunlight emanate from behind the cloud. Below, other puffy cloud formations are also included.
Classical Exterior Scene with Beasts
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink on paper
Drawing

Classical Exterior Scene with Beasts
Arabesque Ornament Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A horizontal plate with arabesque ornament designs featuring Neoclassical and Empire style motifs, with a central rectangular vignette with three female figures, flanked by roundels with mythological figures and ornament, surrounded by scrolling acanthus and foliage motifs, winged lions, birds, fleurons, palmettes and rosette motifs. With repeating pattern friezes along the upper and lower sections featuring similar floral motifs. The plate is numbered.
Purse
, 19th century
silk and metallic thread embroidery on silk foundation Technique: embroidered on satin foundation

Bag probably made from pieces of older textiles. Blue silk edged with silk cord and a tassel with appliquéd pieces of metallic cloth with embroidery.
Lower Falls, Genesee River, Rochester, New York
Frederic Edwin Church, American, 1826–1900, 1848
Graphite, brush and white gouache on dark gray-green paper
Drawing

Landscape sketch showing a view of the lower falls of the Genesee River near Rochester, New York. Visible at center, the stepped falls are rendered in white gouache. Water cascades over steps of varying height before falling into the pool below and sending up a plume of mist.
POELE Russe, décoré de Cariatides, et surmonté d’un vase antique
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a pedestal supporting a vase. The pedestal is on a base decorated with a diaper and floral pattern. The pedestal is decorated with corner female winged caryatids, and a front panel featuring the head of the god Apollo, with intertwined foliate branches, birds, and a trophy incorporating a flaming torch, quiver of arrows, and a bow. The vase is decorated with a frieze of classical figures, and leaf and gadrooning motifs. The stove is set into an arched niche.
Panel
, ca. 1780
wood (oak)

Four polygonal panels carved with laurel - set in simple moulded frames.
Tureen
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Tureen.
Printing block
, late 18th century
wood, metal and felt

Narrow block in the form of a band with flowers bordered by small squares.
Design for the Cresting on the Back of a Coach
Unknown, Italian, 1833–40
Graphite on off-white machine made laid paper
Drawing

Lightly drawn image of a cornucopia and a putto, supporting a wreath with his right hand. The rinceaux have the form of a cresting board framing the sides. Below the garland is written: "Carrozza." Two escutcheons are sketched.
Sampler
, early 19th century
silk embroidery on cotton foundation Technique: cross stitch on plain weave

Double headed eagle surrounded by vases, baskets, flowers, insects and animals; trees and people are surrounded by a border comprised of 27 different designs.
The Visitation, from "The Life of the Virgin"
Albrecht Dürer, German, 1471–1528, before 1506
Woodcut on laid paper
Print

Saints Mary and Elizabeth, center, embrace one another. Mountainous landscape in the background. Monogram of Dürer on tablet, lower center. Initial "B," in margin, lower right. Text on reverse, 26 lines.
Fragment
, 13th century
Technique: drawnwork and embroidery; deflected

blue on blue embroidery
Flower holder
, 1889
Tin

Flowers and leaves of stamped metal. Twelve leaves soldered to flaring circular stems surround three smaller leaves and twenty-five flowers mounted on wire stems rising from a common base. Topmost flower, center, has five large petals enclosing blossom in three layers.
Summer, Lunette for Ceiling, Sala Ottagonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and light brown wash over graphite on white laid paper
Drawing

Winged putto holding sheaves of grain and sickle in a demi lune.
The Virgin and the Child
Fortunato Duranti, Italian, 1787 - 1863, 1815-1830
Brush and gray-brown, dark brown watercolor on paper
Drawing

The Virgin sits on the floor, the right leg outstetched, the left one crossed. She holds a book in her right hand. Upon her left leg sits the Infant, his left hand resting upon her head. The background is shaped as if the group were sitting in a semi-circle formed by a wall.
Mausoleum
Giuseppe Barberi, Italian, 1746–1809, 1790
Pen and brown ink, brush and brown wash, graphite on paper
Drawing

The precinct is shown partly in elevations, partly in sections. A ramp beside a platform with a pavilion and a pyramid leads to the entrance of a pavilion similar to the one described first. At left, beside it, is a colonnade with monuments adjacent to a steeple. At left, a staircase of the steeple leads to the vaulted basement below the steeple, colonnade and pavilion to the floors of the monuments. The building of a pavilion. Bottom row: at left, a bedstead, and a child in it, in the shape of a ship, on a platform. Center: a trough-like cradle. At right: a kind of bowl is supported by chimeras, upon a platform.
Entrance to a Palace, with a Pulley
Bibiena Family, 1657, late 18th century
Pen and brown ink, graphite, brush and gray wash on laid paper; verso: pen and brown ink, brush and pink wash
Drawing

Vertical rectangle. Palace or prison. Exterior connected by stairs with castle beyond, pulley with rope in foreground. Verso: fragmentary building plan.
Icebergs near Cape St. John, Canada
Frederic Edwin Church, American, 1826–1900, July 5, 1859
Graphite and white gouache on light brown paper
Drawing

Seascape sketch showing three views of icebergs near Cape St. John on the island of Newfoundland in Canada. Along the upper margin, three icebergs are shown on the water's surface and recede into the distance from right to left. At center right, a single iceberg with a pointed top and roughly pyramidal shape is included, while at center left, a larger, though also roughly pyramidal iceberg is shown with a short spire on its right edge, somewhat resembling the horn on a dragon's nose.
Decorative door boss and nail
, ca. 1550–1700
Steel-plated wrought iron

Square pierced and repousséd mount of four cusps with wrought border-lines, surmounted by a second squared and pierced plate wrought into a four-quadrant design of trefoil leaves. Nails have tall spiraled conical heads on squared shanks.
Stage Design, Agglomeration of Various Buildings
Antonio Giuseppe Basoli, Italian, 1774–1843, 19th century
Pen and gray-brown ink, brush and gray wash on paper
Drawing

Horizontal rectangle. Agglomeration of various famous buildings, including St. Peter's Basilica, the Parthenon, Colosseum, the Cathedral of Cologne, the Arch of Septimus Severus, and the Crystal Palace in London.
Bandbox
, 1835–45
Block-printed paper on pasteboard support

Box shows figures mounting into a carriage. Cover shows buildings in a wreath of flowers. Inside of box decorated with spatter of blue and white on pale blue field. Printed in pink, olive and brown on yellow ground.
Stage Design: Palace Architecture
Unknown, Italian, 1700–1750
Brush and gray wash, pen and ink, black chalk on laid paper
Drawing

Vertical drawing with ruled border curved at top, showing palace façade seen  from the side.
Elevation de la Façade du Coté de la Cour, d'une Maison de Campagne
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Elevation of a façade for a country house, decorated with statues, busts, urns, balconies, and trophies. The plate is signed and numbered.
Trophy Design
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

Ornamental trophy of arms surrounding a battle scene with soldiers on horseback, surrounded by spears, banners, armor, shields, helmets, and two putti. The plate is numbered, and the publisher's address is lettered below.
Sketch of a Tree Trunk and a View at Sea, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray-green wove paper
Drawing

Botanical and landscape sketch from Jamaica showing the base of a tree trunk and a view at sea. Dominating the composition at center and right, the base of a tree's trunk, along with its roots, are loosely sketched. Two or three small plants grow out of the tree's bark while other plants grow at its base and behind it. At left and oriented to the left, a view of billowing clouds at sunset over the open sea is included.
Alpine Landscape near Salzburg, Austria
Frederic Edwin Church, American, 1826–1900, July 8, 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of expansive alpine terrain near Salzburg, Austria. A wooded hill gently rises in the foreground, giving way to a view of a massive mountain range in the background with a tall rock wall at center. 

Verso: Architectural and botanical sketches showing, at center, a tree trunk covered in an orange-tinted moss and, below, an oblique view of a house with a elaborate chimney or small turret.
Arabesque Ornament Design
Etienne de Lavallée, French, 1735 – 1802, 1788–89
Aquatint and etching on laid paper
Print

Arabesque ornament design featuring an oval roundel with a faun, herms, and sphynx, festoons of flowers, scrolling acanthus leaf motifs, drapery, birds, fleurons, putti, and three nude female figures. The plate is signed and numbered.
POELE élégant en forme de pied-d’estal, surmonté d’un grouppe de figures de femmes portant une corbeille
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a group of women holding a basket of flowers above their heads, standing on a pedestal. The pedestal is decorated with a frieze and running pattern moldings. The plate is signed.
The Coast at Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, 1850–1851
Oil and graphite over red ground on cardboard
Drawing

Landscape sketch showing a view of the rugged coastline of Maine at Mt. Desert Island, likely near Schooner Head. The immediate foreground is rendered only minimally in graphite and includes one large rock and a portion of a rockface. Rendered in great detail in oil paint, the middle distance is composed of large, rough boulders and rocky outrcoppings along the shoreline, characterized by their planar, cubic forms and dark fissures. The rock has a distinctly lateritious (brick-colored) tint, similar to the ground that comprises the lower half of the composition. The shoreline itself curves leftward into the background, where a short, round hill defines the horizon. Above, one puffy cloud hangs at upper right in the sky, which has a warm tone due to the ground color.
Arabesque Ornament Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A vertical plate with arabesque ornament designs featuring Neoclassical motifs, mythological figures, squirrels, birds, dragonflies, masks, butterflies, snakes, acanthus leaf and foliate scrolling motifs, putto, ribbons, incense burners, cornucopia of fruit and flowers, friezes and vignettes featuring classical architecture and figures. The plate is numbered.
Botanical Sketches, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite on gray wove paper
Drawing

Botanical sketches showing views of three plants in Jamaica. At left, a birch tree is visible beside the crown of a palm tree, at center. Two blossoming stalks of century plants are shown in lower right corner among other lush vegetation.
Stage Design, Portico with Monument
, early 19th century
Pen and brown ink, brown wash, traces of graphite on off-white laid paper
Drawing

Vertical rectangle. Portico with statue against garden background. Only half the setting is shown.
Milk Jug (Pot à Lait à Trois Pieds)
Sèvres Porcelain Manufactory, French, established 1756, 1790
porcelain, vitreous enamel, gold
milk jug

Pear-shaped with shaped mouth and lip; handle and three feet modelled and gilded in imitation of tree bark. Gilded floral spray in relief at points of junction of feet and handle with body. Painted floral swags in colors.
Swan and Two Snakes
, ca. 1805
Black crayon, pen and ink, brush and wash on paper
Drawing

A swan standing upon a rock with one snake in its mouth and another in its talon.
Astronomy, from a Series of Seated Muses
, 1750–1780
Pen and bistre on paper, mounted
Drawing

Shown in profile, turned toward the left. She looks through a telescope. Behind her stands a globe. Framed by ink lines.
Écuelle and Stand
Clignancourt Porcelain Manufactory, French, active by 1771 - ca. 1791, late 18th century
hard paste porcelain, vitreous enamel, gold
Ã©cuelle and stand

Circular, with handles composed of crossed-over loops. Domed cover with handle in the shape of a twig. Circular tray with curved sides and scalloped edges. Decorated with flowers, singly and in sprays.
Fragment
, late 18th century
silk, metallic thread Technique: cut supplementary warp pile (velvet) in a plain compound satin foundation

Narrow fragment with white horizontally ribbed ground and flat strips of silver metal thread, which are occasionally floated to form figured oval medallions, which enclose the figure of a women under a floral garland formed by cut pile in light blue, pink and yellow.
Designs for Ornament Motifs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off white laid paper
Print

Designs for ornament including scrolls, garlands, and rinceaux composed as cartouches, brackets, pitchers, gueridon, frame borders, and free motifs. The plate is signed and numbered.
Caster and cover
, late 18th–early 19th century
wood, turned

The pounce pot is baluster shaped, with a spreading circular foot, swelling curved body, and at top a truncated globular dish with concave interior. The upper bowl is attached to the hollow base with a screw thread. the interior of the bowl is pierced with concentric circles of holes.
Chrysanthemums and Ripples
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Various forms of chrysanthemums and water ripples form this abstract motif. The small cutouts maintain the stencil structure and therefore does not require silk threads.