biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Sepulchral Monument of King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

The base is a variation of 1938-88-1288, with urns at the corners, the rest a variation of 1938-88-1289. The entire front of the lower part of the pedestal is treated like that of a sarcophagus, with two half-figures of putti supporting a wreath, and with a triangular pediment and two acroteria. Beside the upper part of the pedestal sit two female allegories, the left one with a sheep lying in her lap. A festoon is in the front of the main part. One more angel is added at right from the cross, with a book of a tablet. Usual background.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Above a disk, below three drops; in the center two wings with a band above, a lambrequin (decorative drapery) below, and disks between them, a jour. In the center a disk. Bevelled corners.
Trees by Streeke Pond, Catskill, New York
Frederic Edwin Church, American, 1826–1900, February 1845
Graphite on tan wove paper
drawing

Landscape sketch showing a view of two tall, leafless trees amongst other vegetation near Streeke Pond (pronounced "Strakie") in Catskill, New York. Their dark, slender, and bifurcated trunks and boughs frame the scene at left and right. A bush is shown in front of the tree at right.
Border
, ca. 1830
Block-printed

Incomplete repeat of design of acanthus leaves and jonquils, above a simulated leaf molding. Printed in yellows, browns, and blue on Indian red ground.
Side chair
H. Landberg, late 18th century
carved wood

Rectangular open back, the top rail carved with a design of grapes.  Splat composed of five splints, inward-curving and fused centrally.  Straight moulded seat rails, the front grape-carved.
The Holy Family
Giulio Carpione, Italian, 1613 - 1678, ca. 1650
Etching on paper
Print

The Virgin is seated with the Christ Child in her lap. St. Joseph, seated at the left, rests his right hand on a table and speaks to Mary.
Clouds over Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, September 7, 1876
Graphite, yellow crayon on brown wove paper
Drawing

Landscape sketch showing a view of Mt. Katahdin from the southeast shore of Katahdin Lake in Maine. In the foreground, numerous rocks emerge from the water near the lake's shore, which is visible in the lower right corner. The lake extends across the middle distance, where a heavily wooded island or spit of land is visible along the right margin. The lake's opposite shore, covered in trees, is visible in the distance beneath Mt. Katahdin, which rises into a bank of low-lying clouds. The mountain's steep flanks are highlighted in whitish yellow and its rugged, rolling ridge forms a high horizon. Pamola and Baxter Peaks are obscured by clouds, while Hamlin and Howes Peaks are visible at upper center and upper right.
Design for a Sepulchral (Funerary) Wall Mounted Monument
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

A design for a sepulchral (funerary) wall mounted monument in the form of a classical temple façade with fluted pilasters and a triangular pediment. In the center, a putto laying over a human skull, draped with a textile, and vases (ewers) next to him. The ornament includes festoons of leaves, cartouches, fluting, shells, palm leaves, wings, crowns, and a bucranium (animal skull). A scale below. The plate is numbered.
Sidewall - fragment
, ca. 1800
Block-printed on handmade paper, glazed

Horizontal rectangle. Serpentine sprays of flowers and foliage.
Study for The Temple in Jerusalem, Plate 424, Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and gray wash, pen and brown ink on cream laid paper
Drawing

A temple, within a larger structure with arches and square columns or pilasters in front, occupies the foreground. The mostly flat landscape in front is dotted with a few small trees. The background contains mountains and a large sky with a scroll floating in the center that reads, "TEMPLI HIEROSOLYMITANI SCENOGRAPIA / Perspectivische Vorstellung des TEMPELS zu JERUSALEM." The second line is crossed out.
Nouvelle Grille du Palais du Sénat conservateur prise du Coté de la rue d'Enfer
, ca. 1775
Etching on off-white laid paper
Print

Design for a gate by an anonymous artist. The plate is numbered but not signed.
Trimming
, 19th century
silk Technique: cut supplementary warp pile (velvet)

Trimming fragment in a design of flowers separated by leaves ending in scrolls. In red cut velvet on a yellow ground.
Petites Maisons de Campagne Pittoresque par Mr. Lomet Adjudant Général
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating smaller country houses with four exterior elevations and five floor plans. The plate is titled, numbered, and signed
Unidentified Classical Subject
Fortunato Duranti, Italian, 1787 - 1863, 1825-1850
Graphite on white paper
Drawing

A nude man is seated on a throne-like bench, facing left in profile. A woman, at his feet, grasps him about the waist, while one boy sits beside her. Another stands behind the man, holding a torch. A draped figure stands before him. Temple in background, right.
Rainbow in the Mountains
Frederic Edwin Church, American, 1826–1900, 1865–75
Graphite on dark gray wove paper; verso: graphite
Drawing

Landscape and atmosphere sketch showing a view of a rainbow in a rainy and cloudy sky, above a rolling, mountainous landscape. At left, a portion of the rainbow is visible between a treetop (or low-lying cloud) at lower left and another, larger cloud at center left. Several dark and overlapping clouds fill the sky at upper center while a rolling mountain range is visible in the background at lower center. At lower left, a green hillside nearby is included.

Verso: Atmosphere sketch showing a loosely rendered view of a portion of a cloud, at far right.
Plan and Elevation of an Alcove
André-Jacob Roubo, French, 1739–1791, 1770
Engraving on paper
Print

Plan and elevation of an alcove.
Frieze
, 1805–1815
Block-printed on handmade paper

Horizontal rectangle. Architectural moldings at top edge with a large central inset panl with arched top. Panel contains the image of two cherubs harvesting wheat, one is reclined and using a scythe while the other stands to bale and carry away. To left and right, portions of a vertically placed quiver or vase each holding a bouquet of drooping wheat ears.
Architectural Fantasy: Bridge and Monuments
Charles Michel-Ange Challe, French, 1718 – 1778, 1745–50
Brush and gray brown wash, over black chalk on paper
Drawing

In this architectural fantasy, an arched bridge ornamented with a sculptural monument transitions into a grandiose palace, to the left.  The palace, viewed from an oblique angle, has twin porticos.  In the background, a domed and colonnaded building is visible in the distance.  Through the arch of the bridge appear steps, another monument, and number small-scale figures.
Design for a Woven Textile
, 1820–1860
Brush and lateritious gouche on oily tracing paper
Drawing

Interlaced ribbons and a Moorish decoration of the panels, in the style of about 1555. The design is possibly a copy of an old design.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737-1749
Etching on laid paper
Print

Vase in the shape of an urn with a lid decorated with acanthus leaves and topped by a pinecone finial. There is a relief band at the neck of the form, depicting a scene of putti playing. The body of the vase is fluted and has mask knob-handles on either side. The foot is narrow with a spiral pattern, and the vase is placed on a low, simple, squared socle. The print is lettered but is missing the numbering found in earlier editions.
Title Page
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Title page for a series of views of Rome and its surroundings. The title is lettered on a separate plate printed within the larger plate in the central arch of a large fountain in the form of a classical façade, with cascading fountains in niches, pilasters, friezes, and a pediment with the French royal coat of arms. Water pouring into a large semi-circular basin with jets of water in the center. Figures in the foreground and trees framing the scene. The plate is signed.
Border
, ca. 1830
Block-printed

Repeating design of acanthus and seaweed, above simulated leaf-molding. Printed in yellows, greens, and grays, with black shading, on blue ground.
Pleated fan
, late 19th century
Paper leaf with chromolithograph, wood sticks

Pleated fan. Obverse has a bullfighting scene. Sticks of varnished wood with stamped silvered design.
The Camp in the Woods, from "XII Vue de la Normandie..."
Franz Edmund Weirotter, Austrian, 1730 - 1771, ca. 1760
Mezzotint on white paper
Print

A forest landscape at night. Campers around a fire at right foreground. Cut within plate mark.
Two Frieze Designs
Alexis Loir, French, 1640 - 1713, ca.1660–1716
Etching on paper
Print

Two horizontal frieze designs with foliate scrolls, scrolling leaves (rinceaux), putti, male figure, basket of flowers, rosettes, festoons of leaves, ribbons, cornucopia of fruit, and a lidded vase or urn. The plate is numbered and signed.
The Assumption of the Virgin
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite, impressed lines on paper
Drawing

Angels convey the upright Virgin into Heaven. The sarcophagus is outlined. Framing line.
Engraving
, 18th century
Black ink and watercolors on paper

Vertical. Under central evergreen tree, a shepherd leaning on staff, a goat, and a cow. In tree, an owl and woodpecker. Blue-green, yellow, and mallow red.
Stage Design, Egyptian Courtyard
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and black ink, brush and gray wash, watercolor, graphite on white laid paper
Drawing

Horizontal rectangle. Court of Egyptian building with portico and skylight. Papyrus columns very richly decorated in bright colors.
Coupe prise sur la longueur du plan de l’Abitation et des détails du portique du côté du Jardin
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with a part-elevation and part-interior sectional view of a house with architectural details above for a portico with its arches, a capital, and a frieze, decorated with Empire style motifs. The plate is titled, signed, and numbered.
Clouds over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, September 1867
Graphite on light green laid paper
drawing

Landscape and atmosphere sketch showing a view of sunset clouds over the Catskill Escarpment, looking northwest from Church's property near Hudson, New York. The steep, jagged ridge forms an undulating horizon along the lower portion of the composition. At right, Windham High Peak and Acra Point are visible, with Blackhead Mountain shown at left. Above, loosely-rendered clouds are illuminated (or possibly enshrouded) by the light of the setting sun.

Verso: Atmosphere sketch showing a view of a thunderstorm near Church's property in Hudson, New York. Loosely rendered, the composition shows a tumultuous mix of puffy storm clouds, unevenly lit. At lower right, lightning is suggested through linear striations, while at center right, the orb of the sun or moon is faintly visible through a cloud.
Fragment
, 17th century
linen and cotton Technique: plain weave with supplementary weft

Supplementary blue weft floating alternately face to face forming design of confronted birds and horses looking backward.
Design for a Wall Fountain
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Water flows from the mouth of a lion's mask within a roundel topped with a garland.
Alpine Landscape
Frederic Edwin Church, American, 1826–1900, September 1868
Oil and graphite on paperboard
drawing

Landscape study showing a view amid the alps of Switzerland or northern Italy. In the foreground, a nearby grassy slope with a grove of conifer trees at left descends into a deep mountain valley. Across the valley in the middle distance, the opposing mountainside is rugged and steep and rendered in shades of grey and brown. This mountain descends to the left, where another mountain range is visible in the background. Above, hazy, low-hanging clouds obscure an otherwise blue sky.
Snuff box
, 1823
Horn and tortoise shell

Round box, removable lid. The base stamped with crown and monogram; circle of evenly spacede fluer de lys. Inscription: "Boite Royale de France. Annee 1823."
Pillar strip, three putti with ribbon and garlands
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A waved garland and a ribbon, hanging, and crossing each other. They are supported above by a flying putto. The top of the waves is also supported by a putto.
"Spoondrift," Heavy Sea, Prout's Neck
Winslow Homer, American, 1836–1910, ca. 1909
Graphite on paper
Drawing

View of a wave crashing on a rocky shoreline.
Design for a Fork and Two Spoons
Unknown, late 16th century
Pen and brown ink, brush and brown wash over traces of black chalk or charcoal on off-white laid paper, lined
Drawing

Sheet shows three pieces of cutlery: a four-tined fork topped a female herm figure at left, a spoon with a scallop shaped bowl topped with a female herm figure with wings at right, and at center, an inverted spoon, also with a scalloped bowl and a satyr herm figure.
Design for a Watchcase
Jacques Vauquer, French, 1621–1686, 1660–1670
Engraving on laid paper
Print

Design for the lid of a circular watchcase, decorated with a biblical scene representing Susannah and the Elders; flanked by two rectangles of ornament and putti. The plate is signed.
Portrait of Count Carlo Gaetano di Gaisruck
Luigi Rados, Italian, 1773 - 1840, 1819
Stipple engraving on paper
Print

Half-length portrait in three-quarter view towards left. The sitter is bareheaded and wearing a clerical robe with a cross.
Arma
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1594–1596
Pen and brown ink, brush and brown wash, over black chalk on laid paper
Drawing

Recto: A seated female figure, identified as Minerva, appears clad in armor at center. She wears a helmet and holds a shield with the head of Medusa. She is an allegory of the Art of War. At right, by her feet, are other weapons and armor, including several cannons. A battlefield is in the background beyond. At left are implements of peacetime industry and study, such as books and farming tools, with a marketplace beyond.   
Verso, above: Latin inscription. 
Verso, below:  A landscape with hunters, hiding behind a stand of trees, 			shooting boars in a clearing.
Design for a Painting of Saint Christopher
Giacomo Zampa, Italian, 1731 - 1808, early 19th century
Black chalk, pen and ink, brush and gray watercolor on paper
Drawing

Shown from the front stepping down into the river with the Child upon his left shoulder. Mountainous country. Framing line.
Toilette simple
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Contour drawings of designs for toiletry items including a pitcher, basin, candlestick, boxes, and a brush. The plate is signed and numbered.
Two Lovers in a Landscape
Fortunato Duranti, Italian, 1787 - 1863, 1800-1830
Pen and bistre ink, brush and ink wash on pricked paper
Drawing

Two seated lovers in a landscape with a dog and winged putti. Verso: Sketch of a proscnium curtain, a stage set of a columned court and scene showing a figure seated in a room.
Blue Mountains, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Unfinished landscape sketch showing a view of the Blue Mountains of Jamaica extending into distance. The upper portion, completed in oil, shows greenish purple mountains beneath a hazy, golden sky. A small domestic structure is situate along the ridgeline at right. Lower portions show graphite outlines of mountain ridges.
Garden Pavillion
Franz H. Heissinger, ca. 1909
Brush and watercolor, graphite on wove paper, lined
Drawing

Drawing of large pavilion surrounded by foliage. Hexagonal pavilion comprised of slanted roof supported by columns with circular design decoration and lanterns. Balustrade at base decorated with flower motif. Small level on roof of pavilion.
Elevation d'une Porte de vestibule
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation, with plan below, of a vestibule door. Above the triangular pediment is a carved trophy featuring helmet, arrows, shields, and leaf garland. The plate is signed.
Portrait of a Man
Francesco Bonsignori, Italian, ca. 1460-1519, ca. 1510
Black chalk on brown paper mounted on paper
Drawing

Portrait bust of a man wearing a cap and fur-trimmed coat. Framing lines.
Representation du Portique Elevé devant la Porte du Coeur pour entrer dans le Camp de la Douleur
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Portico elevated in front of one of the doorways of Notre Dame de Paris, erected for the funeral of service of the Prince de Condé (see acc. no. 1921-6-201-122). The plate is signed.
Design for a Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below are two plinths and a moulding with leaves. The circular bowl is decorated with festoons, supported by bowknots, and the rim with leaves. The rim has the shape of a short onion cupola, with, above visible, two cherubim supporting a chalice with a host hovering above it. Two angels sit beside the cupola. Usual background.
Design for a Woven or Embroidered Vertical Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Brush and gouache on glazed tracing paper
Drawing

Undulating boughs wih bunches of seeds over a calyx are shown in opposite directions in alternate horizontal rows. Two, and part of two more repeats are shown.
Design for Cartouche Evoking the Sea
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Cartouche consisting of references to the sea: a trident (upper left), two horse heads, one with head raised, the other spewing water (lower right).
Textile
Herman A. Elsberg, American, 1869–1938, 1919
silk, metallic thread Technique: compound satin weave with supplementary weft

Textile sample with a satin ground, and a design arranged in staggered horizontal repeat, of a tree with a spray, hanging garland of round roses, and deer leaping between the trees. Design partly in main silk weft, partly in secondary gold weft, and partly brocaded with silver and multicolored silks.
Border
William A. Clark, American, 1839–1925, 18th century
linen Technique: needle lace

Straight border of Point Plat, a flat lace with thicker foundation cords, has a scrolling branch-like design sometimes referred to as coralline. Some needle-made filling stitches. Bars are decorated with half circles.
Samuel Slater, The Father of American Manufacturers
Cranston Print Works, Cranston, RI, USA, ca. 1890
cotton Technique: printed on plain weave
Handkerchief

Small border with black lines. The field has a building on each corner with legend underneath. In the center is a portrait with signature and legend, "SAMUEL STARTER / THE FATHER OF / AMERICAN MANUFACTURERS" and seal. Selvedge on both sides and hemmed top and bottom.
Armchair
South Carolina Vienna Bent Wood Furniture Company, American, 1885 - 1886, 1885–1886
bent wood, caning

Oblong, rounded upper frame and circular seat frame superimposed to a circular stretcher.  Long, curved armrails depart from seat back and loop around in air to connect to the seat frame.  Another bent wood half-loop emulates the shape and direction of the top of the seat back.  Legs taper, with back legs pointing outwards more drastically as they meet the floor.
Indian Diaper
Morris & Co., London, England, designed 1876
cotton Technique: printed
Textile

Medium-scale all-over symmetrical design of trellis framework in tans, each diamond containing a stylized flower and leaf pattern in tans and dark blue. Plain wide unprinted selvedge.
Return From The Vintage
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

Five "Mozzatore," a young man and a boy dance. The pose of the main girl is a variation of that, plate 4, loc. cit. A group of girls in the central distance. Mountainous landscape.
Design for a Trophy
Antoine Watteau, French, 1684–1721, ca. 1735
Etching on laid paper
Print

Design for an ornamental trophy from a tied ribbon. The trophy incorporates a bagpipe, horn, purse, basket, and stick. The plate is signed and numbered.
Dessert Dish
Royal Worcester, English, established 1751, 1804–1813
porcelain, vitreous enamel, gold
dish

Square deep dish with fluted and scalloped edge. Overglaze printed decoration in black, of shells and seaweed. Gold medallion and border.
Shawl border
, early 19th century
silk Technique: twill weave with discontinuous supplementary weft patterning (brocaded) Label: Woven and embroidered silk

Fragment of a shawl border with an ivory colored field and a deep boder of boteh or paisley forms filled with tiny floral forms. Flanked top and bottom with a narrow band with a repeating design of carnations, alternating frontal and profile view. Above, a smaller row of paisleys is adjacent to the field. In shades of red and blue.
Unfinished study for an ornamental detail in the mural at the Boston Public Library
John Singer Sargent, American, 1856–1925, ca. 1890
Graphite on paper
Drawing

Horizontal rectangle.  Two floral roundels (half only of one shown at right), and part of an arabesque shown above the link that joins the roundels together.
The Fox and the Grapes, Illustration for Aesop's Fables
Victor Wilbour, ca. 1916
Pen and red ink, crayon on white board
Drawing

Fox below, facing left, looking up. Grapes at top of wall, upper left.
Fragment
, 16th–17th century
silk Technique: supplementary warp forming raised pile in plain weave foundation (velvet0; then embossed

Pieced fragment with embossed (stamped) pattern of strapwork forming cartouches containing elaborate fleur de lys on plain red velvet.
Fragment
, 1750–1800
silk Technique: plain weave with continuous and discontinuous supplementary weft patterning (brocaded), with moiré Label: silk moiré with supplementary weft patterning and brocade

Fragment of pale pink silk moiré with white lace-like serpentines in supplementary weft patterning. Brocaded design of grass with large flowers; a youth, playing a mandolin, is seated on the grass.
Stole
, 16th–17th century
linen, wool Technique: embroidered

Design of lozenges enclosing palmettes and arabesques arranged in wide horizontal rows, green and reddish-brown on off-white ground. Lined with reddish-colored linen.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a rosette pattern with an openwork center.
Design for Stained Glass Window in Memory of Christina Trask
Francis Augustus Lathrop, American, 1849–1909, ca. 1907
Brush and watercolor, white gouache, graphite on brown paper
Drawing

A girl seated on a bench holds a child in her lap to whom she gives a flower. Blooming trees rise in the background. Written on a tablet on top, in capitals: "BORN.....MDCCCCV"; on a tablet at the bottom: "IF YOUR LIFE BE SHORT / MAKE IT LONG BY KIND / WORDS AND GOOD DEEDS." Framing stripes. Framing brown lines on the cardboard.
Old Ford
, mid–late 18th century
cotton Technique: copperplate printed
Textile

Two fragments, printed in brown, showing a part of the design "Old Ford" drawn in 1761. This is probably an English version as it differs in quality and detail from the French printing. Shepherd seated on a stone wall playing the flute, shepherdess with a distaff and sheep are shown.
Ornament, Christmas tree
, 1850–99
Dough

Shape of a "U".