biglam/cooper-hewitt-alt-text huggingface dataset:
Imaginary Coastal Landscape with Tower
Frederic Edwin Church, American, 1826–1900, 1870–75
Pen and dark brown ink on off-white laid paper; verso: graphite
Drawing

Landscape sketch showing an imagined view of a coastal landscape with a tower. In the foreground, a dark, backlit tree grows out of a steep slope with other foliage visible along the left margin. It frames a view of a square tower, seemingly positioned on a cliff or prominence in the middle distance at right, and the open sea beyond. In the background at center, a backlit cloud bifurcates the sun's light into distinct beams that fall upon the tower, which has one dark, square window. 

Verso: Loose landscape sketch showing a view of a summer sunset over the Catskills, viewed from the artist's property near Hudson, New York. The shaded Catskill Escarpment forms a rugged horizon the stretches across the composition, topped with layers of hazy and puffy clouds.
Study for "Herding," "The Progress of Civilization: Hunting, Herding, Agriculture," State Capitol, Des Moines, IA
Kenyon Cox, American, 1856–1919, 1905–1906
Graphite on paper
Drawing

Partial sketch of a bull's head.
Box or Snuffbox Design
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a rectangular box or snuffbox showing, from top to bottom, the elevation of the lid, with bead course and draped floral garland; a top view of the lid, featuring an oval rondel of an eagle surrounded by floral garlands emerging from a basket at either end; and an elevation of the box with lid open at the hinge, decorated with a quiver in a central rondel, framed by a bead course, and with scrolling acanthus leaf ornamentation on either side. The plate is signed and numbered; the signature also includes that of Angélique Gabrielle Sélincart, the wife of de St. Morien.
Niagara Falls, Part One
Frederic Edwin Church, American, 1826–1900, probably September 1856
Graphite, brush and white gouache on off-white wove paper
Drawing

Landscape sketch showing the first part of a panoramic view of Niagara Falls from the Canadian side. This description addresses the entire view, with the other portions continuing on 1917-4-721-b and -c. In the foreground, Table Rock is visible at lower right, with its craggy, serrated edge. From there, Horseshoe Falls curves from the foreground into the middle distance before extending horizontally across the scene to the heavily wooded Goat Island at left. Terrapin Tower is visible just before this billowing mass of vegetation. Voluminous ribbons of speeding water cascade off the edge of the Falls, simultaneously churning up the frothing waters below and kicking up a plume of mist. Across Goat Island, in the distance at left, the American Falls are included. Multiple spires and buildings of the town of Niagara Falls in New York are visible just beyond the American Falls in the background at left. In the background at right, the heavily wooded Canadian shore of the Niagara River is shown with sporadic structures as it extends into the distance, before vanishing. The lower portions of a double rainbow are faintly visible at far left and far right before arching out of view along the upper margin.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs decorated with grotesque ornamentation, including sphinxes, terms, garlands, rondels of mythological scenes, tritons, ram heads, and putti. Between the chimneypieces is a gueridon, a lidded vase, and a carved panel of grotesque ornamentation. The plate is signed and numbered.
The elevation of a tower-like structure for a firework at the feast of St. Rosalia in Palermo
, 1780–1810
Pencil with grey and black brush on paper
Drawing

Vertical composition of a tower-like structure. A dado is at the bottom with sprial-shaped candelabra and angels on pedestals sketched in pencil. The lower story of the tower shows columns and pilasters of Ionic order. A painting hangs on the central wall. Statues of saints stand in niches in the obliquelydispersed lateral walls. The upper story has a dado with an escutcheon on the front. Steps rise on the dado with statues standing at the corners of the lowest one. The story has pilasters of Corinthian order at the corners. An ovoidal painting is at the central wall. On top is a pedestal with two virtues and with a painted representation referring to the saint. A statue of the Virgin with the Child stands on a column on the pedestal. Many brackets carry candles.
SAUCIERES ET GOBLETS
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Design for two sauce boats and two cups with Empire style motifs decorated with a male torso handle holding grapes, nude female figures, masks (mascarons), sea creature, fox, frieze, rosettes, reeds, fleurons, and scrolling leaves (rinceaux). The plate is titled, signed, and numbered.
Sidewall
, ca. 1820
Block-printed on handmade paper

Incomplete vertical unit of design with figured scenes. Woman in swing hung between two trees, accompanied by man and woman; woman on donkey, accompanied by goat and dog, pointing to ruined building in marsh. Smaller vignettes of hunters and dogs.  Printed in white, dark red and brown on neutral brown ground.
Icebergs
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil and graphite on thin paperboard
Drawing

Seascape sketch showing a view of a massive, craggy iceberg, partly in shadow with sunlight glinting from the peaks, seen from a distance across a dark brownish body of water with cresting waves off the shores of Newfoundland and Labrador, Canada.  A smaller iceberg is visible in the background at right, while small ship is shown in the distance at left with its sail illuminated in red. Scene takes place during sunrise or sunset.
PLAN GÉOMETRAL DE LHERMITAGE EXÉCUTÉ DANS LE JARDIN DE NIMPHENBOURG MIS AU JOUR EN MDCCLXXI
Joseph Effner, German, 1687 – 1745, 1771
Engraving and etching on paper
Print

Architectural plan for the Hermitage in the garden of Nymphenburg Palace in Munich with an inscription in Latin lettered above. Buildings surrounded by trees within a landscape on either side of the plan, and a scale below. The plate is titled, signed, dated and numbered.
Designs for a Capital, Sarcophagus, and Relief
Romolo Achille Liverani, Italian, 1809 - 1872, ca. 1840
Pen and black ink, brush and bistre, gray watercolor, graphite on paper
Drawing

Vertical rectangle. Capital at top, seen from above; two dolphins support a shell at its front. At center, the right corner of the sarcophagus is visible, with a pillar at the corner and a medallion with a shell rosette and bust of a figure. Part of a vase is shown at left in front of the sarcophagus. Below, a relief fragment with the head of a woman adorned by a wreath; beside her a pan flute and clarinet.
Plan générale du jardin de Bagatelle, du grand Pavillon et ses dépendances, Bâtis et plantes en 63 jours, par Belanger Architect. An. 1782
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with a general plan of the gardens of Bagatelle in Paris and elevations above of various garden structures including bridges and pavilions within their landscapes decorated with Chinese (chinoiserie) motifs and ornament. There is a legend in the lower left. The plate is titled, signed, and numbered.
Sketches of Army Encampments
Winslow Homer, American, 1836–1910, 1861
Recto: Graphite, brush and watercolor on paper Verso: Graphite on paper
Drawing

Recto:  Vertical view of three registers, with the upper and lower registers showing a camp, and the middle register showing a shelter constructed of pine branches. At top right: recount, ink.

Verso:  Vertical view of a seated soldier and, in the opposite position, of three soldier's heads.
Title Page
Nicolas Pineau, French, 1684-1754, ca. 1730
Etching and engraving on laid paper
Print

Title page for a series of ceiling designs. The title is lettered along the upper margin within the plate. Within the center, a large design for an oval ceiling with the lower half of a ceiling rosace decorated with fleurons, c- scrolls, s-scrolls, floral motifs and strapwork. The cornice is highly decorated with a changing design, incorporating putti within an arabesque design of garlands of flowers, c-scrolls, s-scrolls, masks, fleurons, strapwork, trophies, portrait roundels, mythological animals, and figures. The plate is signed, with the address.
Bust of Benjamin Franklin
Sèvres Porcelain Manufactory, French, established 1756, ca. 1790–1795
biscuit (bust); wood, gold (socle)
bust

A bust portrait of Benjamin Franklin in biscuit porcelain on a gilded underglaze-blue waisted socle. "BENJAMIN FRANKLIN" painted in gold around socle.
Console table
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Console table.
Floating Iceberg, Battle Harbour, Canada
Frederic Edwin Church, American, 1826–1900, July 7-16, 1859
Oil and graphite on cardboard
Drawing

Seascape sketch showing a view of a large iceberg in St. Lewis Bay near Battle Harbour, Newfoundland and Labrador, Canada. Situated prominently at center across an expanse of dark blue water, the white iceberg is brightly illuminated and is roughly shaped like two overlapping rectangles with a craggy and slightly sloping top. Behind and above it, the clear sky is rendered as a gradient from pale orange to bluish-green.
Pleated fan
, ca. 1860
Paper leaf with gilded chromolithograph, pierced ivory sticks

Pleated fan.  Paper leaf with chromolithograph. Obverse: a lady with her pet birds, a lady visiting a fortune teller, gold arabesques on a blue field, putti, devils. Reverse: three chinoiseries in gilt and black.  Pierced ivory sticks.
Design for an Embroidered or Woven Horizontal Border, of the "Fabrique de Sts. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and blue, white gouache on glazed tracing paper pasted on paper
Drawing

A bough from which an ear of grain and a leaf hang downwards over a horizontally undulated feather leaf. Three repeats are shown.
Coupe de la Cascade et du Pavillon à la tête du Canal des Jardins de Lunéville.
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Cross section of the stepped path up the cascading waterfall to the pavilion. The stepped pathway is decorated with numerous statues and trees; the cross section of the pavilion shows its richly decorated interior walls. The artist has populated the scene with staffage to indicate scale and social use (strolling, conversing, etc). There is a scale bar at the bottom of the plate of "10 Toises."
Wallpaper Design
, 1840–60
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, a frieze with laurel leaves and seeds and an entablature are on top. The panel shows three stripes with bunches of leaves beneath calyxes with palmettes.
Design for a Woven or Embroidered Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
White chalk, brush and light blue and white gouache on glazed tracing paper
Drawing

A kind of sunflower rises over the hollow of a festoon at left, another flower motif is roughly outlined over the festoon at right.
Fragment
, 1750–1800
silk Technique: plain weave with supplementary weft

Yellow and white striped dress fabric with serpentine flower and sprigs. Narrow white stripes have blue double guard borders with repeating sprig motif. Wider yellow stripes have two thin rose stripes and a central white stripe with trailing serpentine flower bouquets.
Designs for Flowers: White Muscade Rose, Pomegranate Flower
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for flowers with their leaves, numbered with a legend below: white muscade rose, pomegranate flower. The plate is numbered and signed.
Fragment
, late 18th–19th century
silk and metallic embroidery on silk foundation Technique: embroidered with chain stitch on plain weave

Pale green plain weave silk embroidered with silk and metallic yarns showing a bouquet of leaves and fruit tied with a silver ribbon.
Design for a Porcelain Candlestick
Jean-Jacques-François Le Barbier, French, 1738 – 1826, 1770–80
Pen and black ink, brush and watercolor on white laid paper laid down
Drawing

A girl holds a garland and flower boughs, helped with the latter by a genius. A calyx and a blossom are characterized as sockets, standing like a group in a park.
Saco River, North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, August 1854
Graphite on paper
Drawing

River stretches away to left, with bank low and grassy with trees in forreground. River curves to right in distance. Trees on opposite bank.
Designs for a Watchcase Lid or Medallion and Friezes
Jacques Vauquer, French, 1621–1686, ca. 1660-70
Engraving on laid paper
Print

An ornament print with a central design for a medallion or the lid of a circular watchcase depicting a biblical scene representing Susanna and the Elders; flanked by two friezes featuring putti and scrolling leaf and floral motifs with an oval cartouche within the center of the left frieze. The central medallion features a nude woman being sexually assaulted by two older bearded men, they lurch over her and reach for her chest. There is a fountain to the right and two female figures in the garden landscape. The plate is numbered.
Fountain Design with Three Bronze Animals
Charles Le Brun, French, 1619–1690, ca. 1670
Chalk, brush and gray wash on laid paper
Drawing

Renderings of three bronze animal sculptures. Upper, dragon turned to the right; center, lion with open mouth turned to the right; lower, three-headed creature turned to the left.
Project for a Door Case
, 1750–1780
Pen and brown ink, brush and gray wash, traces of graphite on off-white laid paper
Drawing

Door case with shell and bellflower garlands above.
Galerie métallique des grands hommes français (Great Men of France)
Joseph François Noinard, French, 1792 - 1858, 1817
Cast bronze
Medal

Bust of Pierre Mignard (1612 -1695).
Double Goblet, after Altdorfer
Hieronymus Hopfer, German, active ca. 1520 - 1550, 1528–1563
Etching on white laid paper
Print

Vertical rectangle showing a double goblet decorated with gadrooning and acanthus leaves. At center, a mask. At the base, an interlaced design.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and olive, white gouache on glazed tracing paper pasted on paper
Drawing

A tripartite leaf from which an acorn-like seed branches off rises from the left hollow of a pair of two waves formed by two stripes. The right part of the leaf is crossed by one of five large leaves forming a rosette. Two repeats are shown.
Stage Design, Men Constructing Building in Cave
Antonio Giuseppe Basoli, Italian, 1774–1843, early 19th century
Pen and gray ink, brush and gray and black wash, graphite on paper
Drawing

Horizontal rectangle. Inside cave, workmen are constructing stairs and buildings. Various kinds of tools, pulleys, and installations seen in foreground, stairs leading up at left. Two pairs of male figures at left and right.
Sidewall
, ca. 1750
stamped leather, silvered, varnished, and painted

Diapered field, varnished silver; foliage in green, flowers in green and blue (Louis XV painted leather)
Title Page
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque designs divided in three registers. The top section features female anguipeds leaning with their backs against a censer between them; the middle register is a border of egg and dart; and the bottom section depicts a drapery with the title printed on it, pinned by a mascaron.
Moutardier
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a mustard pot decorated with ornament motifs including branches, rinceaux, scrolls, and a raised foot. The plate is signed and numbered.
Portrait of Antoine Godeau (1605-1672)
Jacques Lubin, French, 1637 - 1695, 1696-1700
Engraving on paper
Print

Half-length portrait in three-quarter view facing right. The sitter wears a skull-cap. The portrait is in an oval frame adorned with coat-of-arms in lower part. It stands on a moulding on which is inscribed.
Strapwork Design
, early 17th century
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Strapwork design with bearded man, harpies and serpents surrounds an oval reserve.
Chestnut Trees at the Water's Edge, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September 1844
Graphite on tan laid paper
Drawing

Landscape and botanical sketch of a grove of chestnut trees on the edge of a body of water in Catskill, New York. Two pairs of larger trees frame the view at left and right, while a vaguely V-shaped chestnut tree is visible at center right. Other surrounding foliage is loosely rendered. The edge of a body of water is visible along the lower margin, as it reflects some debris on the shore at left.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1938-88-1308. The lower part of the pediment being heightened, the upper lowered. The inscription is at he front of the lower part. On top is a variation of 1938-88-1306. The lateral motifs and a variation of 1938-88-1297.
Fragment
, 13th century
silk Technique: complementary weft 2/1 twill

Horizontal bands of blue, off-white and yellow. Flying birds within circles, with diamond pattern in background.
Studies of Eyes
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1773
Crayon-manner with red ink on laid paper
Print

Studies of eight eyes in different positions and from different angles 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 and signed.
Holy Trinity with the Dead Christ in Glory after Palma Giovane; Adoration of the Magi, Study after Lodovico Carracci
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and dark brown wash over traces of black chalk on white laid paper
Sketchbook folio

Upper drawing of Reclining Christ figure on clouds supported by putti and God the Father. Lower drawing of the Adoration of the Magi with the Holy Family at right and the Kings at left; an ox at center back- ground.
Two Floating Icebergs, Canada
Frederic Edwin Church, American, 1826–1900, July 16, 1859
Graphite and white gouache on light brown wove paper
Drawing

Seascape sketch showing two views of floating icebergs off the coast of Newfoundland and Labrador, Canada. The iceberg at left has a wide and even top that descends to the left, while the iceberg at right has multiple rectangular prominences and somewhat resembles a crown.
LE CHASTEAU DE TRIOLS
Adam Perelle, French, 1638 – 1695, 1677–1703
Etching on laid paper
Print

Bird's-eye view of a chateau and its gardens within a wider landscape. The gardens in the foreground feature jets of water/ fountains, basins, parterre planting, statues on plinths, and figures throughout. Details are numbered with a legend below. The plate is titled with a description.
Textile
, ca. 1500
silk, gilt parchment wrapped around silk core Technique: two partially interconnected structures; 4\1 satin plus 1\3 twill

Green silk twill background with a design of serpentine stems with pomegranate blossoms and buds in gold and coral.
Rampes d'Escalier a Grands Paneaux avec Consoles et Pilastres
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for the panels of staircase railings. The plate is signed and numbered.
Laocoon
Jan de Bisschop, Dutch, 1628 - 1671, 1671
Engraving on paper
Print

Laocoon group in frontal view. Inscribed, upper right: "16", lower right, monograms "J E F", lower left, "D O N D."
Fragment
, 18th century
tempera on silk Technique: painted on plain weave

White horizontally ribbed ground with a design of slender serpentine stems with large blossoms of carnation, lotus, peony and chrysanthemums in red, purple, yellow and green.
Design for a Marine Trophy
, ca. 1810
Pencil, pen, and ink with Chinese black ink on paper, pricked
Drawing

The stern of a sail ship with the Napoleonic eagle as a mast head, a trident, an oar are shown in the top part, an axe, a sword, an anchor, a laurel wreath and a compass suspended from a scarf, in the bottom part. Laurel boughs form the background. Colored ground.
Plan du Rez-de-chaussée et du 1er Etage du Batiment d’habitation
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

Two floor plans for a house. The ground floor plan includes the surrounding landscape. The plate is titled, numbered, and signed.
Design for a Main Altar
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The central part of the retable has the shape of a niche, in front of which, below, is a panel with two festoons, above a picture, probably the Virgin, carried by angels upon clouds into heaven. On top of the circular frame are two angels. In the height of the upper angular edge of the frame is, laterally, an entablature. It is curved and projecting at the front, the outer end being supported by a column, the inner one by a pilaster, belonging to the wall of the niche. The entablature projects also to the back wall, the supports being similar. Above the entablature, laterally and at the front, are angels. On top of the niche is a triangular pediment with two sitting angels. In the outer panels of the zone of the pedestals are escutcheons. In the hollow of the mensa is a bathtub sepulchrum. the tabernacle stands upon the mensa. slightly colored background.
Four Men
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1630–1640
Pen and ink, brush and bistre on paper
Drawing

At top, two standing men with brimmed hats. The left is seen from the front, the right from behind. Below, two seated figures.
Sampler
, 18th–19th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Seven horizontal bands of varying heights each with a stylized wavy floral vine. Embroidery for pattern only.
Cuff
, ca. 1870
silk Technique: bobbin lace, Chantilly style

Cuff of black taffeta edged with two ruffles of black Chantilly style lace.
Lidded Jar
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Glass

Jar (a), cylindrical shaped, squat, with short broad neck.  Irridescent gold.  Decoration of flat shapes of green ivy leaves connected by stems. Matching lid (b), knobbed.
Fragment
, possibly 19th century
silk, wool, silver-wrapped silk core Technique: compound weave

Dense repeating pattern of silver leaves on a red background.
Design for an Altar, from "Nouveaux Dessins d'Autels"
Nicolas Pineau, French, 1684-1754, ca. 1725
Etching on paper
Print

#1 of the set ''Nouveaux dessins d'Autels,'' etc. Berlin 3722.
Fragment
, 17th century
silk Technique; supplementary wefts in satin foundation

Compactly placed angular leaves. Selvage at left.
Textile
, 17th century
silk, metal on silk core Technique: compound satin with supplementary weft

Pale salmon pink satin showing deep horizontal borders with hunters, birds, and animals among flowers and separated by guard borders. In the upper part, three spaced stripes formed by floral serpentine on which hunters pursue leopards, and rise from the horizontal bands. Metallic thread, green, rose, pink and coral flosses in long floats or wide twill tie. Two broad warp twill selvages with green to white pencil stripes.
Design for Bamboo Chair and Table
, 1794–1804
Gouache over graphite, correction in white gouache Support: white wove paper
Drawing

Horizontal rectangle; a bamboo arm chair, with rattan seat and low, square back, and a low bamboo table, with rattan top. Top edge wrinkled. (OPB '60)
Fragments
, 1750–1780
silk, linen Technique: plain weave with supplementary weft patterning (brocaded)

Silk fragments. Design shows trailing lace-like pattern and flower bouquets on a ground of blue chevron.