biglam/cooper-hewitt-alt-text huggingface dataset:
Caius Mucius Scaevola and Porsena
Felice Giani, Italian, 1758–1823, 1800–1820
Black chalk, pen and brown ink, brush and grey wash on cream laid paper
Drawing

In an enormous courtyard, Mucius, in left foreground, thrusts his right hand into the flame of a brazier, while pointing with his left at Porsena who sits upon a throne. The stabbed officer, supported by a soldier, lies beside him, while a group of soldiers stands to the left, and the king's treasurer stands a table at right foreground.
Portrait of Maximilian I (1459-1519)
Lucas van Leyden, Netherlandish, ca. 1494–1533, 1700-1725
Engraving on paper
Print

Bust-length portrait in three-quarter view to left. Maximilian wears a white brimmed hat and the order of Toison d'or around his shoulders and over his coat. Portrait in an oval frame standing on an inscribed pedestal.
Grande Lampe d'Eglise d'une forme nouvelle tenus par trois Cherubins
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Design for a liturgical pendant lantern decorated with ornament motifs including branches, gadrooning, fluting, drapery, tassels, wave pattern, lancet leaves, and owl, and Cherubs. The plate is numbered.
Console Table and Wall Bracket Designs
Jean-Bernard Turreau, French, 1672 - 1731, ca. 1716
Etching on laid paper
Print

Design for a console table (center) and wall bracket (right) featuring a bird with a snake in its talons, dragons, masks (mascarons), roundel profile portrait, fleurons, and scrolling leaves (rinceaux). The plate is signed.
Elevation of a Reliquary Cross
Pietro Belli, Italian, 1780–1828, 1815–40
Pen and ink, brush and ochre and black watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a reliquary, the pedestal in the shape of an antae sarcophagus, featuring a pelican on clouds and cherubim supports. Above, a serpent coils around the base of the cross with an apple in its mouth. Above, the Veil of Veronica hangs with the image of the face of Jesus Christ. Spear and sponge staff are carried in front of the bottom part of the cross above the cloth, the sudarium suspended from them. Four circular receptacles, inscribed "Relliquia" are proposed, three of them at the ends of the cross arms, the fourth between the tops of the spear and the staff. A small cross-shaped receptacle is in the center. The nails, dice, hammer, and tongs surround its top. A crown supported by two flying putti at the top of the reliquary.
Sampler
, 18th century
silk embroidery on linen foundation Technique: counted satin, herringbone, double running, stem and cross stitches on plain weave

Unfinished horizontal sampler embroidered in vivid colors. The lower half is predominantly bands of flame and geometric patterns. The upper half has some small-scale floral borders and an unfinished bird on a nest.
Chimneypiece Design
N. Bruchon, French, active 18th century, 1775–87
Etching and engraving on laid paper
Print

Design for a chimneypiece with an overmantel mirror and panel with neoclassical ornament. The mantel features fluting, rosettes, and leaf motifs. The overmantel mirror is framed with a bead course, a cartouche and a festoon of flowers and leaves.  The rectangular panel above the mirror is framed with a lamb's tooth pattern and a tied ribbon above with sprigs of flowers and leaves in the center. Below, two plan details of the chimneypiece, with a scale below. The plate is titled, signed, and numbered.
Nissaka: Distant View of Mukenzan from Sayononakayama (Nissaka, Sayonoyamanak Mukenzan enbo)
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This scene shows a trail of people traveling up the road. At the base of the print is a rest stop where people can stop for tea or sustenance. Beyond the road is a lovely landscape scene which is typical in a Hiroshige print.
Mountain Valley near the Königssee, Germany
Frederic Edwin Church, American, 1826–1900, July 1868
Graphite on blue wove paper; verso: graphite
drawing

Landscape sketch showing an oblique view of a sharp and rocky mountain range that extends from the foreground at right to the background at center. A craggy mountain with a vertical cliff is visible at left. A narrow, wooded valley floor is shown at lower center.

Verso: Landscape study showing a view of steep, wooded mountains along the shore of the Königssee in Bavaria, Germany. In foreground, that placid waters of the lake extend into the middle distance, where they reflect the vegetation on the shoreline above. Rising over the scene, at center, is a sharp, pyramidal peak.
Fragment
, 17th century
silk Technique: velvet with cut and uncut pile in a satin foundation

A vase with floral sprays in red.
Sampler
Dalila Bracali, 19th century
silk embroidery, cotton foundation Technique: cross stitch on plain weave

Alphabets, numbers, and signature within an unfinished floral border.
Etui Design
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

Two designs for etuis, side-by-side, decorated with rococo and neoclassical motifs, including central cartouches with trophies of flaming torches, hearts and birds, palm leaves, fleurons, rinceaux, shell and scale patterns, festoons of flowers, fluting, gadrooning, waves, beading, and laurel leaves. The lid on the right is decorated with dolphins and a vase finial. There is an unnumbered scale below. The plate is numbered and signed.
Bandbox
, ca. 1830
Block-printed on paper, pasteboard support

Yellow field, with macaws in blue, brown and white and branches of the same color.
Design for a Console Table and Mirror with Surrounding Ornamentation
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching and engraving on off white laid paper
Print

Design for a console table and mirror against a wall with richly carved/molded ornament of scrolls, rinceaux, and garlands. The plate is signed and numbered.
Design for an Embroidered Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and gouache on glazed tracing paper pasted on paper
Drawing

An unnatural flower bough rises from every other of a blossom rosette, which are connected between each other by a fantastical leaf and garland. A row of beads is at the bottom. Two repeats are shown.
Triumphal arch standing in a pool
Giuseppe Barberi, Italian, 1746–1809, 1800-1805
Pen and brown ink, brush and brown wash, graphite on blue-white laid paper
Drawing

A bridge leads to and passes under the arch. The fron shows below pairs of Doric columns supporting the lower entablature. Statues and relief medallions are shown in the intercolumniations. The arch is flanked by genii and oblong reliefs. A quadriga upon a pedestal is on top. Traces of framing lines at the edges.
Design for a Brooch
, mid- 18th century
Pen and sepia ink, brush and olive watercolor on paper
Drawing

Jewelry design for a brooch. A flower branch with an interlaced ribbon. A big blossom is at right, smaller blossoms on vine at upper and lower left.
Tumbler
, 19th century
Glass

Cylindrical, with fluted base and band of facetted diamonds. Decoration includes monogram, trophies, plants, flying cherub, altar and dog. Underside with eight-rayed rosette.
Design for a Chest of Drawers
, ca. 1805
Pen and black ink, brush and watercolor on paper
Drawing

Chest with six drawers decorated in marquetry inlay of stylized flowers between scallops. Similar decorations on piers and cornice. A metal gallery between finials above.
Designs for Two Chairs and a Fire Screen
Aubert Henri Joseph Parent, French, 1753 - 1835, 1865
Etching on paper
Print

Two designs for upholstered chairs and a fire screen with carved frames featuring flowers, flaming urn, fluting, scrolling leaves, and foliate branches. The plate is signed with the printmaker, publisher, and original designer / date, and numbered.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

A plant is shown over two festoons from which alternatively lacy triangles and pears are suspended. Scalloped edge at the bottom. Somewhat more than two repeats are shown.
Monte Rosa above the Anzasca Valley, Italy
Frederic Edwin Church, American, 1826–1900, September 10-12, 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of Monte Rosa looming over the Anzasca Valley in the Pennine Alps of Italy. Steep, rugged mountain slopes at left and right converge into a narrow valley in the foreground at center. A group of buildings is shown on a slope at right. In the background, serrated mountain range stretches across the horizon, culminating in the snow-capped Monte Rosa, situated in the upper right corner.

Verso: Landscape sketch showing a view looking down the Anzasca Valley, which terminates at Monte Rosa, in the Pennine Alps of Italy. Steep, rugged mountain slopes at left and right converge into a narrow valley in the foreground at center. A group of buildings is shown on a slope at right. In the background, serrated mountain range stretches across the horizon. At left and oriented to the left, a vignette of a rocky, snowy mountain range is included.
Cartouche Designs
Alexis-Nicolas Pérignon, French, 1726 – 1782, 1759
Etching on laid paper
Print

Four designs for rococo cartouches featuring c-scrolls, s-scrolls, shell, and acanthus leaf motifs, with festoons of flowers and leaves. The top right cartouche is set onto a plinth surrounded by arms and armor, and spears with flags. The lower two cartouches are set within arches or archways, with only the upper sections of the arches visible. The upper left cartouche is freestanding with hanging festoons of textiles and flowers. The plate is signed and dated.
"From the Retina of a Drowned Man"
Winslow Homer, American, 1836–1910, 1881–82
Graphite on wove paper, mounted in an album.
Drawing

Horizontal sketch with the upper portion containing a rocky coast line with a foundered boat and, apparently, figures floating in the water.
Sampler
, 19th century
cotton and wool embroidery, linen foundation Technique: buttonhole, overcasting, darning and drawnwork stitches on plain weave

Twenty patterns worked in drawnwork, cutwork and embroidery. Geometric and floral patterns.
Designs for Ornamental Details
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching and engraving on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys and liturgical objects. The plate includes individual designs for rococo ornamental details featuring acanthus leaves, fronds, S-scrolls and two repeating molding friezes along the lower margin. The plate is signed and numbered.
Five Headgears
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, ca. 1782
Etching on paper
Print

Five headgears, pasted together from three different prints. Three hairdos with feathers.
Two Winged Genii with Laurel Wreath
, ca. 1825
Black crayon on paper
Drawing

Horizontal rectangle with two winged genii holding a laurel wreath which has a ribbon at its bottom. Hatched background. Framing line at bottom. Obverse: slight sketch, of two spirals of a rinceau, and an account written in pencil.
Stove pipes, top and bottom
, mid- 18th century
Tin-glazed earthenware

Three pieces of a stove in the form of a tree with a vine growing on the trunk. Leaves in the form of a canopy.
Lit a 4 colonnes surmonté d’un dôme retroussé a draperie vu de face
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on blue paper
Print

Design for a canopy bed (side view) with the posts bending inwards to support a smaller crown canopy (baldachin) above, topped with feather finials. The bed curtains are drawn back and tied to the four posts. The side of the bed is decorated with floral motifs and draped textiles tied with bows and tassels. The plate is titled, numbered, and signed. A scale below.
Standing Figure
Luigi Vanvitelli, Italian, 1700 – 1773, 1700–1773
Black crayon on paper
Drawing

A man faces left, bending at the waist and holding a cloth.
Project for a doorknocker
, 18th century
Pen and ink on paper
Drawing

Knocker with animal head and crowned eagle. At hinge above, a mask framed by volutes.
Chair
John Hewitt, American, 1777–1857, ca. 1820
wood (mahogany), wood (poplar), horse hair

Back legs flat sided, front legs flat excepting rounded front face; legs curve outward toward bottom, and back legs incline toward eachother at bottom.  Corner posts of back in a double curve terminating at top in on elemenatary volute form.  Flat top rail bowed toward back, slightly arched, with a rectangular panel of inset veneer surrounded by beading.  Splat horizontal, composed of small oblong faced with veneer, flanked oneither side by horizontal coupled C-scrolls deeply carved with foliage, terminating in volutes.  Seat flares  from back to front with straight edges.
Fragment
, 1825–50
silk, tempera paint Technique: painted velvet

White velvet with painted ornament of pink carnations.
Coffeepot
Wallendorf Porcelain Manufactory, German, established 1764, ca. 1800
hard paste porcelain, vitreous enamel
coffeepot

Cylindrical with rounded shoulder; short spout; flat strap handle, rectangular, with simulated screw heads; cover cylindrical, with rectangular strap handle, and pierced with three round openings. Overglaze polychrome decorations of roses and other flowers.
Pleated fan
, 1851–1900
Silk lace mounted on silk gauze leaf; tortoise shell sticks

Pleated fan with leaf of black Chantilly lace on white gauze. Sticks are plain tortoise shell.
Communion at Church
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1595 - 1605
Recto: pen and brown ink, brush and black wash over black chalk on paper Verso: pen and brown ink, brush and brown and black washes, over black chalk on laid paper
Drawing

Recto: Interior view of a church with an altar at center and figures surrounding, some kneeling. A priest stands to the left of the altar administering communion. An explanatory inscription in Italian appears beneath a framing line at the bottom of the image.
Verso: A priest administers the communion to an old woman lying in bed at right. Figures kneel left and right. An explanatory inscription in Italian appears beneath a framing line at the bottom of the image.
Elevation of a pedestal
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash, red ink on off-white paper, lined
Drawing

The front panel is decorated with a wreath and two branches. A triangular pediment is above it showing a hear (?) in the field. The corners are beveled. A cherub over a volute carries an angular capital. The corner at right is not shown. A base for a column is on top. Colored background.
Entrée de Serrures, Plate 98 from Divers dessins de balcons à plusieurs usages (Variety of Balcony Designs)
Claude René Gabriel Poulleau, French, b.1749, 1757–1776
Engraving on paper
Print

Four symmetrical designs for open iron work.
The Ford
Claude Lorrain, French, 1604 - 1682, 1634
Engraving on light brown paper
Print

Two women at right, one seated on the bank of a stream, a second about to step in. A peasant with cattle and goats leads the way.
Ornament Designs
I. F. Saur, German, active 18th century, mid- 18th century
Etching on off-white laid paper
Print

Designs for ornament motifs. The plate is signed and numbered.
The Sense of Smell
François-Thomas Mondon, French, 1709 – 1755, ca. 1750
Etching, brush and watercolor on paper
Print

At left a woman and a kneeling man are amelling flowers taken from a basket which he holds. A shepherdess stands at right, surrounded by sheep. On a little hill beyond them is a circular building in which is a partially draped statue of a woman.
Escutcheon, No 12 from "Raccolta di varii cappriccii et nove inventioni di cartelle et ornamenti"
Stefano della Bella, Italian, 1610–1664, 1646
Etching with graphite squaring on paper
Print

No. 12 of the same set as -10, "Raccolta di varii cappriccii," etc.
Sketch for "Tail Piece" in "Trump Kards"
Frederick Stuart Church, American, 1842–1924, 1877
Graphite on paper
Ephemera

Background, upper left, sun, surprised, yelling police; right, group of animals watching boy and alligator, hippo and cranes. Foreground, profile of young child facing left, with arms outstretched, as if surprised; right, alligator pulls the bottom of child's shirt. Lower left, sketch of smiling crab.
Trimming
, 17th century
silk Technique: woven

Yellow trimming fragment in a design of sawtooth borders with broken diagonal lines in between.
Sheet from a Sketchbook: Minerva Asking Jupiter for the Happiness of Ulysses or Minerva Questions Jupiter on the Destiny of Ithaca
Felice Giani, Italian, 1758–1823, 1802–05
Pen and brown ink, brush and brown wash, traces of graphite
Drawing

Minerva is shown kneeling before Jupiter who leans toward her and touches her chin.  Juno sits beside Jupiter.  Other gods are in the background at left.
Project for the high altar in San Salvatore in Campo in Rome
Giuseppe Subleyras, Italian, 1745 – 1819, ca. 1800
Pencil, pen, washes, chinese black, and various watercolor washes on paper
Drawing

Vertical composition divided into two sections. The top section shows the frontal view of the altar with the altar mensa in front of the dado, flanked by two women, one holding a chalice and the other holding a cross. Two columns support the entablature that is topped by steps showing angels and a glory of rays. The bottom section is the plan, depicting the altar from above. Inscription at the bottom reads "Scala di Palmi Romani."
Sidewall
, ca. 1880
Block-printed paper

All-over pattern of orange boughs with fruit and blossoms, with perching birds. Printed in cream, brownish greens and tans, with metallic gold highlights. A full width, giving slightly more than two repeats.
Molding
, ca. 1785
Oak

Semi-circular. Series of plain moldings, with frieze of olive leaves. Soffit carved with guilloches and rosettes.
Design for a gate, for the reception of Pope Pius VI returning from Germany, in Ancona
Filippo Marchionni, Italian, 1732–1805, May 1782
Graphite, brush and gray watercolor, pen and ink on paper
Drawing

An arch with a mask as a keystone, and with pillars supporting the entablature. Above is a broken pediment with a papal escutcheon standing upon a foot in the center. Upon the cornice the figure of a woman. A priest and a man conversing. Below is the scale.
First Chestnut Street Theater, Philadelphia
A.P., 1811
Crayon engraving on paper
Print

Horizontal rectangle. Oblique view. A carriage is shown on the street. Caption: A. P. Esq. delin, W. Sherlock sc/ A CORRECT VIEW OF THE THEATRE AT PHILADELPHIA. Published [as] the Act directs July 1st, 1811, by J.M. Williams.
Study for Allegorical Painting
, 1700–1725
Black crayon on paper
Drawing

A putto reached for the hand of a grown angel. Below, a mother pelican feeds three young. Subject: the love of god.
Cheminée en Saillye, Plate 5 from "Livre Nouveau de Cheminée"
Jean Baptiste Nolin, French, 1648–1708, 1675-1700
Etching with engraving on paper
Print

Above the fireplace, which is shown in elevation, is a rinceaux frieze; above the mantel is a representation in a rectangular moulding of two men cutting trees. Higher up is a cornice, above which is a medallion with a bust of a young man and a garland. The scale is at bottom center.
Case
, 16th century
leather (cuir bouilli)

Brown campaniform case decorated in two panelled bands with designs of lions and hounds within scrolls and foliations. Heraldic device within scrolled escutcheon top. Four wide open loops on sides. Bottom border is a fillet of laurel leaves.
7 fragments of vessels
, 1st century BC–5th century AD
Glass

7 of what was originally 26 fragments of vessels selected for types of decoration, variation in color of glass, and iridescence.
Acanthus Leaf Ornament Design
Alexis Peyrotte, French, 1699–1769, 1749–61
Etching on laid paper
Bound print

Second plate from a series of twelve designs for rococo ornament by Peyrotte. A large Acanthus Leaf ornament with rocaille motifs, c-scrolls, a cartouche, fleurons and branches with leaves. The plate is trimmed and pasted onto the album page. It is signed and numbered.
LA MAISON DE SCEAUX
Adam Perelle, French, 1638 – 1695, 1674–1683
Etching on laid paper
Print

Bird's-eye view of the palace of Sceaux and its surrounding landscape. In the foreground, tree-lined avenue, gates, and courtyards. Parterre planting and garden visible in the background. Trellis / lattice garden pavilions to the left. Cows in the fields in the foreground. Figures, horseman, and horse-drawn carriages throughout the grounds. A group of buildings in the background to the right. The plate is titled with a description and signed.
INAUGURATION DE LA STATUË DE LOUIS XV
Saint-Aubin Gabriel de, French, 1724 – 1780, 1766
Etching and engraving on paper
Print

An oval medallion with an allegorical vignette celebrating the inauguration of the equestrian statue of Louis XV in Paris by Edme Bouchardon in 1763, accompanied by a detailed description lettered below. The medallion illustrates the statue in the background surrounded by buildings. In the foreground the female mythological figure of Cybele, representing the city of Paris, leans on the male personification of the River Seine. She gestures towards the statue. The medallion is framed by the arms of the city of Paris, a swan, an armillary sphere, measuring devices, and flowers. The plate is numbered and signed.
Snuff bottle and stopper
, 19th century
porcelain, enamel, malachite, ivory, cork

Bottle is in form of an ear of corn, the yellow kernels emerging from a brown-yellow husk. Additional relief decoration of green foliage and a praying mantis. Stopper knob of malachite, with cork stopper and attached ivory spoon.
Printing blocks
, 1905–19
wood

Three wood blocks used to print the patterns on 1977-77-1, 2, 3.
Fragment
, 16th century
linen Technique: bobbin lace, continuous braid like

Pattern of lattice and floral like forms
Embroidered picture
Willamina Rine, American, born 1801, 1813
silk embroidery on cotton foundation, painted paper Technique: embroidered in satin, stem and cross stitches on plain weave foundation, with painted paper Label: cotton embroidered with silk in satin, stem and cross stitches, with painted paper

Oval picture of a young woman standing by a tomb beneath a weeping willow, surrounded by flowering sprays tied with ribbons. At the very bottom, an inscription and verse:
Willamina Rine a daughter of Christian and Barbara Rine was born November 6th 1801 and Made this sampler at Mrs. Armstrong's School, Lancaster
Teach me the measure of my Days ...Thou maker of my frame I would survey life's narrow space and learn how frail I am
Study of a Man's Head
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a man's head after A. Watteau. The man has long wavy hair, his face is turned to the left and his eyes and head are slightly downturned. The plate is numbered and signed.
Dante and Other Poets
Francesco Bartolozzi, Italian, active England, 1727–1815, 1806
Line engraving in brown ink on brown paper
Print

Dante in the center with his head bound by a wreath, and surrounded by four ugly men. The man at left has one arm about Dante's waist; the mouth of another is agape with laughter.
Sampler
Nyergesi, Hungarian, 1887
silk, wool, cotton Technique: embroidered

Berlin work sampler with geometric patterns embroidered in bright wool thread. Inscription at the bottom: Nyergesi 1887
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. Light green ground with off-white pattern.
b. Light green ground with pink pattern.
The Reconciliation of Minerva and Cupid
Marc Antonio Raimondi, Italian, 1483 – 1527, ca. 1520
Engraving on paper
Print

Allegorical female figure of Peace. She is standing in frontal position, head turned to right, facing down. Her right hand is on her breast; in her left hand she holds the hand of a putto who is standing at right. A tree in mid-distance.
A Man's Head
Francesco Bartolozzi, Italian, active England, 1727–1815, 1806
Stipple engraving in red ink on brown paper
Print

The man faces right, his profile is with beaked nose and protruding chin. His hair is snaky and full.