biglam/cooper-hewitt-alt-text huggingface dataset:
Stage Design: Village in Hilly Landscape, for L'orfanella di Ginevra, ossia L'ombra di un vivo
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and black ink, brush and gray wash, and graphite on laid paper
Drawing

Horizontal rectangle. Street in village with one Gothic and several simple buildings, hills with church in background. Verso: vestibule in the ballet. Shadow of a God, Act 4.
Design for a Chalice
, mid- 17th–late 17th century
Pen and ink, graphite on laid paper
Drawing

Below is a couped pediment with a female allegory, each with a putto upon an exterior volute. The shaft is foliated below and has above an aedicula with two female statues. The lower part of the cup has a frieze with compartments having on top couped pediments. In that of the front is a Vera Ikon (head of Christ). The left side is uneven.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments including doorways, ornamentation, rosettes, rondels, brackets, aedicules, and cartouches. The plate at the upper left functions as the title page. The plates are numbered but not signed.
Necklace
, 1850–75
Graphite on paper
Drawing

Fine chain with three large flower bouquets.
Design for a Candelabra
Carlo Marchionni, Italian, 1702–1786, 1728–84
Pen and ink, brush and wash on paper
Drawing

Elevation of a smoking candelabra. Five arms, stepped toward the center. Branches decorated with leaves. Body in the form of a pillar. Detail of a base below.
The Annunciation
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

An angel kneels at left, the Virgin at right, praying. Rays. A line separates both figures. Below, a base. Framing graphite line in the shape of a pointed arc. Parts of outline are deeply impressed.
Button
, 19th century
Brass, gold-plated

Circular button (flat) with shield ornamented with heraldic devices, bird supporters on ribbon with "Stetit unda fluent"; surmounted by crown. Back and shank of brass. On reverse: "G and Cie Sutton 434 Bvrd Haussmann".

On card 45
Jan Six
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1647
Etching on paper
Print

Interior, shown in deep shadows, the light coming from window at right. The subject is represented standing, leaning against the window-sill, facing the spectator. He is reading, the book held with both hands.
Design for a Woven Fabric, Fragment
, 1815-1840
Gouache on oily tracing paper, mounted
Drawing

Scroll of a bough with leaves and a lace bud. Two yellow, black bordered discs are applied.
Band
, 16th century
linen, silk Technique: deflected element work on plain weave

Strip of insertion in a design of scrolling angular oak branches with foliage and acorns in reserve on the linen ground. Background of drawn work embroidered with red silk.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for trophies incorporating leaves, flowers, architectural fragments, corbels, measuring devices, lute, lyre, music, birds, baskets, quiver of arrows, target, harp, jug, and a scythe. The plate is numbered.
Pedestal of a column
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Below are moldings of an entablature. The pedestal stands upon a base, the upper part of which is a concave frieze. It is decorated with a fifteen- pointed star and with fleurs-de-lys around the corners. The front panel of the pedestal has a fleur-de-lys, in an oval frame formed by two branches. Colored background.
Design for an Alcove with a Buffet
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys, and liturgical objects. A design for an alcove with a buffet or tiered console table set into the wall with two cabinet doors below. The alcove is decorated with carved paneling with fleurons, acanthus leaves, rosettes, mascarons, c-scrolls and flower ornament. A framed mirror is set-into the alcove, above the buffet. The alcove is arched with a mascaron head of Apollo set into the top of molding. The panels are decorated with fretwork and ornament, with a carved and molded cornice level above. Below the design is a plan, in outline, of the shape of the marble tabletop, as seen from above, with a scale bellow. The plate is signed and numbered.
Sunbeams above the Catskills, Hudson, New York, Part Two
Frederic Edwin Church, American, 1826–1900, 1882
Graphite on tan wove paper
Drawing

Landscape and atmosphere sketch showing a view of sunbeams cascading through clouds and onto the rolling landscape of Catskill, New York. Below, gently undulating, wooded foothills stretch across the middle distance, while an outline of a portion of the Catskill Escarpment is visible in background at center left. Above, a loosely-rendered cloud bank begins to break apart, allowing sun rays to emanate into the landscape, which are articulated as subtle, streaky lines.
Imaginary Lake Landscape with a Distant Mountain
Frederic Edwin Church, American, 1826–1900, 1870–80
Pen and ink on white laid paper; verso: pen and ink
Drawing

Landscape sketch showing an imagined view of a distant mountain across a wide lake, almost certainly derived from the artist's views of Mt. Katahdin in Maine from nearby Togue Pond or Millinocket Lake. The lake's rippling water extends from the foreground and into the middle distance, where an island covered in trees is visible. A small sailboat floats on the water in the foreground at right. The opposite, dark shore is visible in the distance at center, while behind it, a tall mountain with a sharp, serrated peak looms over the scene. The darkening sky above appears to be clear and open. Scene delineated within a rectangular frame.

Verso: Unfinished sketches of what appear to be wooden gates, or two doors made of wood planks. Two crossing planks are cut off along the lower margin, while another incomplete linear design is visible at right. The vertical lines trail off. Forms a complete (yet still indistinct) image with 1917-4-533.
Ornament Designs for a Sedan Chair
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Ornament designs for a sedan chair featuring strapwork, scrolling garlands, baskets of flowers, sphinxes, terms, shells, dolphins, masks, crowns, and birds. The plate is signed.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1772–77
Etching on paper
Print

Six designs for nautical and fishing themes trophies incorporating fish, baskets, nets, shells, leaves, flowers, anchors, sails, flags, trident, fishing rods, and baskets. The plate is numbered.
Design for a Pendant Trophy
René Charpentier, French, 1680 - 1723, 1738–61
Etching on laid paper
Print

A design for an ornamental pendant trophy from a series of twelve plates. The trophy features arms and armor, a crown, a triton, and a framed cartouche depicting a horse intertwined with foliate branches and ribbons hanging from a tied ribbon, with a central shell motif with acanthus leaf scrolls. The plate is signed and numbered.
At a Fountain
Jean-Baptiste Lallemand, French, 1716 – 1803, 1750-1775
Black and red crayon, pen and Chinese black ink on paper, laid down on paper
Drawing

A fountain is in the right foreground. Water pours from a lion, standing in the cave, into a basin. Two women are laundering; another is waiting for her turn. A fourth one approaches on a donkey. Classical ruins in the foreground and the right middle distance. Mountainour landscape.
The Blindness of Tobit: The Larger Plate
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1651
Etching with drypoint on laid paper
Print

Interior: The Figure of Tobit is seen, walking to left, the head shown almost in profile. He holds a cane in his left hand. his dog is at his feet. Signed and dated in plate, lower center: "Rembrandt f. 1651."
Design for a carved mirror frame
Gilles-Marie Oppenord, French, 1672–1742, 1750
Pen and ink, brush and watercolor, graphite on laid paper.
Drawing

In panel above mirror, Athene with sphere and compass. A candle bracket with two branches to the right of the mirror.
View of an Elevated Plain from Mojarras, Colombia, Part Two
Frederic Edwin Church, American, 1826–1900, August 14, 1853
Graphite on white wove paper
drawing

Landscape sketch showing the first part of a panoramic view of an elevated plain within the extremely rugged, mountainous landscape of Colombia, near the town of Mojarras. A rough, nearby ridge extends across the foreground along the lower margin, while, just beyond it at left, a rocky prominence is delineated in some detail. In the middle distance, an elevated plain--articulated as a long, horizontal line--stretches across otherwise rugged terrain. Sharp mountains form an undulating horizon in the background.
Study of a Male Nude for "Tribute Money"
Daniel Huntington, American, 1816–1906, July 1852
Graphite and black crayon on tan paper
Drawing

Study of a nude, male figure in left profile. Feet not shown.
Tumbler
, 18th century
Cut and engraved glass

Cylindrical, flaring at the rim. Heavy base. Decoration includes "D" in shield and small temple with vase on altar. Geometrical band at trim.
Figure and Camel Sketches from Gaza, Palestine
Frederic Edwin Church, American, 1826–1900, March 4 and 5, 1868
Graphite on white wove paper; verso: graphite
drawing

Sketches from Gaza, Palestine, showing several views of camels and figures. In the upper portion of the composition, three loose sketches of a camel ploughing are visible. At center left, a female figure wearing a dark, ornamented veil (typical in Bedouin attire) looks back at the viewer as she carries a large pot on her head. At center right, a lone plough is included above a seated and a standing camel, both viewed from behind. Another camel is shown in left profile at lower right, while at lower left, a pair of individuals faces the viewer.

Verso: Mixed sketches from Ashkelon, present-day Israel, showing at left, lines of Arabic writing inscribed on a stone, a mother holding a child at lower left, a bush growing out of sand at center right, and the base of a tree in a sand drift at upper right.
Sight, from "Senses"
, 1750–1775
Brush an watercolor, gold on paper
Print

A woman, seated at a table, looks at her reflection in a mirror held by a man. Behind the table a girl, standing, looks through a telescope. Trees in background. A narrow border of shell and rocaille motifs. Bottom: "VISUS" and "VER". Wide border composed like 1921-22-268, without the wide outer border.
Designs for the Letters E and F
Jean Baptiste Piauger, French, active 1760s, 1767
Etching and engraving on laid paper
Print

A plate of six designs for the letters ‘E' and ‘F' from a series of decorative letters, published in Pouget's ‘Dictionnaire des chifres […]'. The plate features six ornamental inhabited letter designs, two per row for the letters ‘E' and 'F', featuring putti, male and female figures, mythological characters and gods, garden landscapes, clouds, musical instruments, and a jester with rococo ornament, such as fleurons, acanthus leaves, scrolling foliate, and friezes. The plate is numbered.
Design for the Embroidery of the Left Bottom Corner of a Man's Waistcoat
, 1775–1790
Brush and gouache on glazed tracing paper
Drawing

Rectangular corner; two buttonholes are shown. Four putti busy themselves to decorate an altar. A jar stands at the right edge.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design with a panel depicting a reclining woman at the bottom. Above this panel is a band of egg and dart, and then a vase with scrolls, lozenges, censers, and portraits.
Justice and Peace
Felice Giani, Italian, 1758–1823, 
Pen and brown ink on cream laid paper
Drawing

Decorative design shown in tondo.
Euterpe, Muse of Lyric Poetry
Felice Giani, Italian, 1758–1823, ca. 1820
Black chalk on laid paper
Drawing

Seen in three-quarter profile, walking toward the right, holding a flute in both hands.
Designs for Incense Burners and a Frame
Henri Sallembier, French, ca. 1753 - 1820, 1778
Etching on paper
Print

Designs for two tripod incense burners flanking a framed landscape with a figure featuring neoclassical motifs including cartouches, festoons of leaves, scrolling leaves (rinceaux), foliate leaves, flowers, meander motif, rosettes, and a scrolling foliate frieze. The plate is numbered.
Crane Hunt using Cones [above]; Bust-length Portrait of Jacob, Lion with a Blindfold, Map of a Fortified City [below left]; Wildcat Hunt [below right]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1595 – 1599
Pen and brush and brown ink over black chalk, with corrections by the artist in white opaque paint on laid paper.
Drawing

Recto, above: Hunters trap cranes using bait placed in paper cones in the ground.   

Recto, below left: Bust-length figure identified as Jacob, lion with blindfold across its eyes, cityscape.  

Recto, below right: Hunters and dogs trap a small animal in a tree.  

Verso, above and below right: Three ovals containing bust-length figures; Italian inscriptions.  

Verso, above left: Hunters use starlings tied to a rope as bait with which to trap other birds.  

Verso, below left: Hunters holding torches drive lions into nets.
The Invention of Book Printing
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590 or before
Recto: pen and brown ink, brush and black wash over black chalk on laid paper
Drawing

Recto: View of a printer's shop, the space divided by a colonnade. A scholar stands in the foreground at left, overseeing the process. Beside him a man works at a large press. Nearby, another inks a plate. Wet sheets hang from suspended wires. At right, three seated compositors work. A proofreader stands beside a column at center left.
Cap
, late 19th century
silk Technique: machine knitted Label: knitted silk

Neapolitan fisherman's cap of knitted silk. Roman-striped in red, cream and blue.
Hair ornament
, ca. 1830
Seed pearls, mother-of-pearl, gold, fiber

1946-50-47/51: Parure composed of seed pearl necklace, brooch, ha...;     1946-50-47: Necklace comprising eight sunburst-ornaments of se...;     1946-50-48-a,b: Brooch of woven seed pearls making a flower and th...;     1946-50-49: Hair ornament of woven pearls making flowers in a ...;     1946-50-50-a,b: Pair of earings of woven pearls making a flower. E...;     1946-50-51-a,b: Bracelet of woven pearls making a row of flowers; ...
Le Salle de Spectacle, Bordeaux
, 1780–1790
Engraving on paper
Print

Horizontal rectangle. Oblique view from the left corner of the front side. The street flanking this side is shown. Masts of ships are at its end. A corner hosue is shown at left. Soldiers, walkers, carriages are on the streets. Caption: "VUE PERSPECTIVE DE LA SALLE DE SPECTACLE DE BORDEAUX / A Paris, chez Jean, Rue St. Jean de Beauvais, No. 10".
Cup and Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1840–1850
hard paste porcelain, vitreous enamel, gold
cup and saucer

Cup with ogee profile, rounded foot, loop handle. Shallow saucer and cup decorated in relief with radiating leaves and curved ridges in gradient green against pale violet with pearly sheen, picked out in gold. Gold band about inside of cup, foot and on handle.
Design for the Decoration of Four Pilaster Strips
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

One beside the other, separated by empty strips. Each decoration follows the scheme of the candelabrum, starting below from a box-like base. The first two strips are of a greater width than the last ones. Left row: two crouching lions support the stem of a palmette flower above which rises a pavillion with a goddess inside sitting upon clouds. A plant candelabrum springs from the roof of the pavilion. Charcoal lines are at the left edge. Second row: Two fighting animals are represented at the base. Above is a plant candelabrum, with an ovoidal medallion with a figure in the center. Third row: A rabbit is represented at the base. Two female gaines are shown in profile; they support a base upon which stands a woman performing a sacrifice. Above similar to the second row. Fourth row: Two crouching sphinxes support a stem, in whose center is an ovoidal medallion with a figure, which supports a niche in which a statue stands. ABove are candelabrum motifts with another medallion and two sitting children.
Band fragment
, 3rd–4th century
Warp; S-spun linen. Wefts; S-spun linen, S-spum wool. Technique; woven slit tapestry with supplementary weft wrapping plus embroidery.

Long and narrow band of leaves on a serpentine vine, above a section with embroidered herring-bone stitches.
Figure
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Partial sketch of a reclining female figure.
Portal Design,"la Prusse et la Religion," design for plate 40 in the "Nouvelle iconologie historique..."
Jean-Charles Delafosse, French, 1734 – 1789, ca. 1765
Pen and ink, brush and watercolor, graphite on laid paper
Drawing

A doorway flanked by two draped grotesque figures. Before the doorway is a framed artwork depicting a cross and wolf pierced by a flag pole. Above door is a scene of cupids feeding each other grapes.
Trophy Design
Jean-Charles Delafosse, French, 1734 – 1789, late 18th century
Etching on laid paper
Print

Design for an ornamental hanging trophy. A copy after one of the trophies in the print titled ‘Attributs de Chasse' (Attributes of Hunting), published in 1771 by Jacques-François Chereau, engraved by Pierre François Tardieu, after Jean Charles Delafosse. Trophy depicting objects associated with hunting, including baskets, nets, horns, dead birds, hunting purse, powder flask, daggers, arrows, and foliate branches. The plate is numbered.
Design for a Title Page
Charles Nicolas Ransonnette, French, 1793 - 1877, 1825–1840
Graphite on yellow tracing paper
Drawing

Part of a wall is shown, with a tablet and the inscription: "CROQUIS / D'APRES NATURE / PAR / CHARLES RANSONNETTE" surrounded by vine.
From "Golden Book of Tales," Illustration for Publisher's Weekly (XX, No. 21-22, November 1881, p. 689)
Frederick Stuart Church, American, 1842–1924, 1881
Etching on paper
Ephemera

Left, profile of swan standing, facing, right eating food from girls' hand. Right, profile of two girls standing facing swan, leftmost figure has hands outstretched, feeding swan. Rightmost figure, hands behind back.
Elévation d'un Cabinet décoré d'Armoires pour Bibliothèques ou diverses Curiosités
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of a study with a console table at center with a clock on top and large mirror behind. On either side are double-leaf cabinets. The walls are decorated with ornament motifs including vases, floral garland, bound reed, bound leaf, medallions, lion head, and wave pattern. The plate is signed.
Fragment and ornaments
, late 19th century
linen Technique: machine made tape with hand made fillings

a.) Scalloped border with a design of four-petal flowers above a border of leaf-shaped motifs. b.) Star-shaped doily in a design of a central flower with eight petals surrounded by waving lines and ovals. c. and d.) Two oval ornaments in a design of a spray of eight leaves partly surrounded by a leafy wreath.
Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Brush and grey wash, ink, graphite on cream wove paper
Drawing

A standing woman is shown holding a thread with a weight at the end. A radiating pattern or cob-web in the background.
Elévation d'un Sallon en face des Croisées
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of a living room with a large panel (perhaps for a mirror) at center above a console table. On either side is a painted landscape scene with figures. The plate is signed.
Design for a Fan, No. 1 from "Dessins d'Eventails et Ecrans"
Nicolas Pierre Loir, French, 1624 - 1679, ca. 1675
Etching with engraving on paper
Print

Semicircular plate.
Wall Elevation, Probably for the Noble Cabinet, Palazzo Altieri
Giuseppe Barberi, Italian, 1746–1809, 1787–1793
Pen and brown ink on off-white laid paper, lined
Drawing

Horizontal rectangle. Below inscription is written at right, below what evidently is a sketch of the decoration of the ceiling, and over a sketch of what seems to be the frame of a niche, with a figure on top. At left is the elevation. A mantelpiece with a looking glass is separated by a pilaster, the decoration of which is described in the caption, from a door, above which is a rectangular representation. On the other side of the door are two pilasters separated by two short panels, one above the other. The entablature has a frieze with festoons. Above the vaulted lower part of the ceiling with an octagonal and an oval representation.
Veuë de la Cour des Fontaines de Fontaine-bleau à main gauche de l’Estang
Gabriel Perelle, French, 1604–1677, 1661–1703
Etching on laid paper
Print

Bird's eye view of the Palace of Fontainebleau from the side with its courtyard, canal, and parterre planting with statues on plinths. Trees in the background. Boats in the water. Figures, horse-drawn carriages in the courtyard and in the garden. Trees and figures in the foreground. Details are lettered with a legend below. The plate is titled.
Chandelier a deux branches
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a two-arm candelabra decorated with ornament motifs including fluting, acanthus leaves, garland, and bound leaf. The plate is signed.
Seated Gentleman
Gravelot, French, 1699 - 1773, active in England, ca. 1735
Red chalk on paper
Drawing

A male figure in gentleman's clothing, shown in profile facing right, seated on a bench in a park. A sphere (globe) on a pedestal in the right middle distance. Verso: reddened for tracing.
Design for Fountain with Two Putti with a Fishing Net
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a fountain in the form of an irregular cartouche, decorated with rinceaux, coral, nude figures, putti, a river god, musical instruments, flags, and attributes of the sea. The plate is signed and numbered.
Lake Sketches near Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, September 1876
Graphite on tan wove paper
drawing

Landscape and botanical sketches showing views around a lake in the Mt. Katahdin region of Maine, possibly around Togue Pond or Millinocket Lake. At upper center, the largest sketch depicts the lake's heavily wooded shoreline and possibly an inlet. At upper right, a barren, leafless tree is shown without its trunk. At lower left, a view of an irregularly shaped log floating on the lake's surface is included. Finally, at lower right, a heavily wooded island on the lake is sketched in some detail. Waterlines are visible around its shore.
Decoration of an Entablature with Alternative Suggestions
, ca. 1650
Black chalk, pen and ink, brush and watercolor on paper
Drawing

View of a decorative entablature. At left, a scrollwork escutcheon. At right, a projecting bracket with a front panel decorated with a girl's head and cornucopias.
Rank badge
, mid- 19th century
silk and metallic embroidery on silk foundation Technique: embroidered with satin and couching stitches on satin weave

Rank badge for a civil official. Embroidered silk showing a bird facing a sun disk. Ground of clouds with diagonal lines at bottom and scroll border. Lined with blue silk.
Tile
Joseph Fowler Factory, ca. 1760
Tin-enamelled earthenware, overglaze slip.

Square tile. Grayish white ground, centered with slate blue figure of a boy in the Chinese manner. Figure faces the observer and carries two buckets which depend from the ends of a board behind his back. Margins filled with crude floral ornament in overglaze white. Examples of "bianco sopra bianco" technique.