biglam/cooper-hewitt-alt-text huggingface dataset:
Funeral Ceremony
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Funeral ceremony in a church. At the upper level are well-dressed bystanders; on the ground floor are bystanders as well as church officials carrying torches. The back wall is decorated with coats-of-arms with fleurs-de-lis and trophies, winged skulls, and skulls over cartouches. The plate is not signed.
Personification of Two of the Elements
Felice Giani, Italian, 1758–1823, 1800–1823
Pen and brown ink, brush with brown wash, black chalk, traces of graphite on off white laid paper
Drawing

Horizontal rectangle. Above: Water Amphitrite riding over water. Caption: "3 aqua". Below: Cybele in chariot drawn by lions, upon which putti with torches sit. Caption: "4 terra."
Pair of knee buckles
, 18th century
Steel, rock-crystal, foil back.
Buckles

Buckles with square frames of foil-backed rock crystal set in steel; prongs and fasteners of steel.
Vestibule en Perspective
Johann Nepomuk Maag, German, 1724? – 1800, 18th century
Etching and engraving on off-white laid paper
Print

Perspective view of an interior stairwell.
Water color; A vegetable stall
Saverio della Gatta, Italian, 1777 - 1829, 1827
Pen and black ink and water colors on paper.
Drawing

Horizontal rectangle. The vegetables are displayed upon a scaffold at the corner of a house, and in baskets. Others are loaded by a man and a boy upon an ass. A woman bargains with the vendor with another woman standing by. A vegetable dealer with an ass is shown from the back in the middle distance. In the background at left are houses and a door leading into the inner town of Naples. Signed in pen and ink at lower right: "Gatta."
Distant View of Kinryuzan Temple from Azuma Bridge (Azuma-bashi, Kinryuzan embo) No.39 From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Print

The view of Asakusa, with its famous large pagoda, and Mt. Fuji are divided by the structure of the yellow pleasure boat. Almost hidden on the left side of the boat is discreetly placed a geisha. Typically there would be other guests, such as attendants, another geisha, and one or two other guests. The dusting of falling cherry blossoms suggests they were viewing the blooming pink trees.
Developpement d'u Buffet à Vaißelle [...] Pour une Pendule [...] Developpement pour une Armoire
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for a buffet, a clock, and an armoire. These pieces of furniture are decorated with ornament motifs including egg and dart, lamb tongue, drapery, ribbon twist, floral bouquets, rosettes, reliefs inspired from the antique, terms, and trophies. The plate is signed and numbered.
Study for Candelabrum Motif and Strapwork Escutcheon
Unknown, ca. 1560
Pen and brown ink, black chalk, brush and violet watercolor on off-white laid paper
Drawing

A smoking baluster candelabra decorated with masks, swags and sphinxes. At right, strapwork with masks forms the right portion of an escutcheon.
Study: The left arm and the neighboring parts of the body of an elderly man
Giuseppe Marchesi, called Il Sansone, Italian, 1699 – 1771, 1725–1770
Black crayon and white heightening on brown paper
Drawing

Figure study of a man's left arm and upper torso. He is turned toward the left with his left arm raised, his face hidden behind his arm.
Kettle Drum
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Head and shoulder of a male figure playing a kettle drum.
Title Page
Jean-Baptiste Pillement, French, 1728–1808, 1760
Etching on laid paper
Bound print

Title page from a series of designs for bouquets of flowers. The title is lettered in the center of the page, framed by intertwining sprig of flowers and leaves. On a plain background. The address is lettered lower center, with the date.
Button
, late 18th century
copper

1931-59-314-a: circular nearly flat button with engraving at the ...
A Hand Bell
, 1820–35
Pen and ink on paper
Drawing

A hand bell with baluster form acanthus leaf handle. Cherubs and ornamented body decorated with a medallion of the Madonna and Child.
Trimming
, 18th century
silk Technique: supplementary warp pile on satin ground (velvet)

Red trimming fragment in a design of scrolling leaves.
Lake View, Maine
Frederic Edwin Church, American, 1826–1900, 1876–1881
Oil and graphite on thick paperboard
drawing

Landscape sketch showing a view across a lake in northern Maine--likely Togue Lake, Lake Millinocket, or Katahdin Lake. In the foreground, a large round rock is partially submerged and reflected in the lake's glassy surface, which extends across the scene. In the background, as well as in the middle distance at left, the lake's heavily wooded shoreline is visible. It steadily ascends to the left in the background. The hazy and partially cloudy sky above is reflected in the lake's still surface.
The Illinizas, Ecuador
Frederic Edwin Church, American, 1826–1900, July 3, 1857
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch of the twin peaks of the mountain Illiniza in Ecuador. Shown at center, the sharp peaks are snow-covered, and various cliffs and ravines are visible. The mountain's lower slopes extend horizontally across the composition and are shown in shadow. At lower right, a small study of paramo grass and, below, a small drawing of a thatched roof.
Church in the Mountains, Mexico
Frederic Edwin Church, American, 1826–1900, January–February 1890
Graphite on gray-green wove paper
Drawing

Landscape and architecture sketch showing a loosely rendered view of a church in the mountains of Mexico. Situated at center right, the church has a tall belltower at its facade, while the rest of the building extends to the right. Backdropping the structure, the outline of a rugged mountain ridge stretches across the horizon in the background. The tallest peak is shown at upper center.
Stage Design for Semiramide by Gioachino Rossini
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and ink on paper
Drawing

Horizontal rectangle. Group of buildings on stairs, winged sculptures.
Mt. Katahdin Rising over Katahdin Lake, Maine
Frederic Edwin Church, American, 1826–1900, 1876–78
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing a view of Mt. Katahdin rising over Katahdin Lake, as seen from the lake's eastern shore. The lake's blue and white surface is incompletely rendered in the middle distance at center and center left. At center right, the unfinished lower slope of Turner Mountain is visible. Beyond rolling and heavily wooded terrain on the opposite bank, Mt. Katahdin rises into a blue, open sky. Baxter and Pamola Peaks are shown at left, while Hamlin Peak and Howes Peaks are visible along the ridge at center and center right. Mountain painted in a tone of grayish purple.
Dog
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Sketch of a dog lying down
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737-1749
Etching on laid paper
Print

Cup-shaped vase supported by goats, standing on a pedestal ornamented with acanthus leaves. The vase has twisted scalloping from the middle of the form to the rim. The lower half of the vase body is decorated with a fish scale pattern and a festoon that drapes from the center of the vase, over the horns of the goats, and around their bellies. The print is lettered but is missing the numbering found in earlier editions.
Chambre de M. le Prince de Rohan, coté de la Cheminée
Germain Boffrand, French, 1667–1754, after 1745
Etching and engraving on laid paper
Bound print

Elevation of the bedroom of the Prince de Rohan in the Hôtel de Soubise, currently a part of the French National Archives. The room is decorated with elaborate carved paneling, overdoor paintings, overmantel mirrors, and cornices. The print is signed and numbered; the publisher's address, that of Pierre Patte, indicates that this is a later printing than the original publication of the plates by Guilaume Cavelier in 1745.
Decorative Studies; Verso: Anatomical Studies
Felice Giani, Italian, 1758–1823, 1814–18
Pen and ink over graphite on laid paper
Drawing

Two studies of partition with grotesque; three friezes with grotesque and masks. Verso: two anatomical studies of knees in profile and frontal views.
The Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and bistre ink on paper
Drawing

Full-length figure of the Virgin and Child, the Virgin stands frontally, facing the spectator. She holds the Child in her left arm, and carries a hatchet in her right hand. Inscription in graphite.
Title Page
P. Ludovik, French?, active mid 18th century, 1768
Etching on laid paper
Print

Title page and design for rococo ornament featuring the title lettered within a cartouche framed by scrolling rocaille ornament, c-scrolls, festoon of leaves, feathers, foliate branches, on a scrolling plinth with a fluted vase or sculptural finial to the right. The cartouche is surmounted by a helmet, palm leaves, and a quiver of arrows. The plate is titled, dated, and signed. Drawing without text, in reverse at Waddesdon Manor, The Rothschild Collection (National Trust), acc. No. 1338, cat. No. 219v.
Designs for Three Chairs
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for three chairs, the central one with a curved back, decorated with ornament motifs including fluting, rosettes, branches, acanthus leaves and scrolls. The plate is signed and numbered.
Design for a Fountain in a Pavilion
Carlo Francesco Barabino, Italian, 1768 – 1835, 1785–90
Graphite, brush and brown-yellow, gray wash on two pieces of paper, pasted together
Drawing

The pavilion consists of eight pairs (four are drawn) of columns supporting the entablature. Above is a cupola, with a female figure on top. The fountain has two basins, the upper one is supported by four (three are visible) standing figures from the mouths of which water pours, as it does in the center. Below is one half of the plan. Framing graphite line. On the verso of the upper slip are two scales, the lower one having been erased. On the entire verso is a blotter impression of a graphite drawing of a similar cupola. Plan and the caption: "Le colonne senzza soccolo che la base sola / sopra al pedestallo (?) col li socoli / 5 scalini all..? 4 il…(?) all…..(?) / con guesta prontà (?)". At right of the plan, "Ciniese (?)", evidently to connect to the upper motif.
Design for a Bronze Candlestick
Jean-Jacques-François Le Barbier, French, 1738 – 1826, ca. 1800
Pen and black ink, brush and gray, brown wash, yellow watercolor on laid paper lined with paper mount
Drawing

The design for the candlestick is positioned at the center of the sheet. The shaft of the candle stick is composed of a winged female figure (the genius of Peace) standing beside a gun barrel, positioned vertically, which supports the socket with a burning candle.  The female figure has the right foot on a staff with a crescent.  A ring of grenades support the base. Mount has monogram FR and gilt border.
Plate 5, from "Divers Ornemens"
Gabriel Huquier, French, 1695–1772, 1730-1740
Etching on paper
Print

Rocaille frieze, one section of which is shown, composed of an acanthus scrolls, flower branches, and lattice.
LE PONT NÔTRE DAME
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the Bridge Notre Dame in Paris with the river Seine in the center. The bridge is lined with buildings and other buildings visible on either side of the river. The river is filled with barges and boats. People are visible on the boats and on the streets. Details are lettered with an explanatory legend below. A history/ description of the bridge is lettered below. The plate is titled and signed.
Sunbeams above Jamaican Mountains
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch showing a view of sunbeams cascading over mountains in Jamaica. Three shaded prominences comprise foreground, while taller mountains are visible in the middle distance and background. Above, the sun shines through a partly cloudy sky, resulting in dramatic crepuscular rays, rendered in white gouache, that fall from the sky.
Fragment
, mid–late 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) on satin ground

Fragment of rose (faded to brownish) cut and uncut velvet on cream satin ground. Design of serpentine, scalloped bands of uncut pile on which are scattered tiny four-petal blossoms in cut pile. Space between bands in cream satin.
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Trimming fragment in a design of red and yellow blocks in cut and uncut velvet.
Medallion
, mid-19th century
plaster

profile of man w/ goatee
Sidewall
, 1750
leather, silvered, painted and varnished

Vining floral design on textured ground.
Mount
, early 19th century
Brass

Polygon with straight lower edge. Repoussé figure of seated woman facing left, looking down at a small winged figure.
Interior Alcove
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Design for an interior alcove with a canopy bed hung with bed curtains and topped with feather finials. The back wall is lined with a tapestry. There is a central female figure with a man bowing towards her and another to the right. The alcove is framed by a rectangular opening decorated with ornate sculpted moldings, friezes, and a balustrade. A curtain is drawn back. In the upper center of the alcove opening, a roundel with a profile portrait topped by two female figures, and festoons of leaves. Doors on either side of the alcove, decorated with paneling and sculpted herm angels. The overdoors are decorated with panels with large, lidded vases, with fruit and leaves, masks, and festoons of leaves.
Olympus
Felice Giani, Italian, 1758–1823, 1810
Pen and ink, brush and watercolor on textured laid paper
Drawing

Jupiter on throne in center middle-distance in front of temple with inscription: Eternita.  Jupiter flanked by woman with cornucopia, Mars, beside whom, genii fly upon clouds. Sit at left: Neptune, Athena, Mercury; at right: Apollo, Aesculapius, Hercules. Altar dedicated to "Pace" stands in center foreground. From left, procession of putti and women with symbols of peaceful occupations; from right, procession of putti and warriors with arms.
Soup Tureen and Tray
Meissen Porcelain Manufactory, German, active from 1710 to the present, late 18th–early 19th century
hard paste porcelain, vitreous enamel
tureen and tray

Oval dish with molded scrolling handles and decorated with scattered flowers.
Design for a Sarcophagus
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Left halves of the elevation are shown. At left: supported by lion's feet standing upon bases. At the left upper corner is a lion mask with a ring. Center: the body has trapezoidal sides and is supported by lion's feet standing upon a bse. The cover also is angular. At right: the body is supported by a volute standing upon a base of two stpe.s A festoon hangs aroudn the left side. Colored background.
REPRÉSENTATION DU FEU D'ARTIFICE qui fut tiré dans la Place de l'Hotel de Ville de Paris à l'Occasion du Mariage de MONSEIGNEUR LE DAUPHIN avec la Princesse MARIE JOSEPHE DE SAXE, le 13 Fevrier M.DCC.XLVII.
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Fireworks display comprised of a large temple with rocks and water before it. This large landscape and architecture is populated with mythological figures. At the peak of the composition, in the air, are portraits the Dauphin and Marie-Josephe of Saxony. Contemporary Parisian figures are places in the foreground of the scene, looking on, to emphasize the scale of the ephemeral architecture.
Perspective Rendering of the Chateau de Verneuil, France
Jacques Androuet Du Cerceau the Elder, French, ca. 1515 - after 1584, 1568–75
Pen and brown ink, brush and blue, gray wash on wove paper
Drawing

Frontal view of a two-storied architectural structure, with square corner pavilions an additional story in height, enclosing a court. The side nearest the viewer is a single story in height, and is broken by a circular pavilion, surmounted by a dome. The whole structure stands on a high platform whose access is gained by a drawbridge, flanked by guard boxes.
Portrait Study of Annie A. Brush, Seated in Profile
Daniel Huntington, American, 1816–1906, September 22, 1841
Graphite on off-white wove paper
Drawing

Sketch for a portrait. Girl in left profile seated, reading, in a chair with curved arm.
The Moon over Clouds, Hudson, New York
Frederic Edwin Church, American, 1826–1900, October 13, 1870
Graphite and white gouache on green laid paper; verso
drawing

Landscape sketch showing the moon shining over a cloud-filled Hudson River Valley, viewed from an elevated perspective on the artist's property near Hudson, New York. The tops of puffy, low-lying clouds extend from the foreground to the middle distance, where they encounter a dark, shaded landscape. In the background, the rolling contour of the Catskill Escarpment forms the horizon. Above, hazy, high-altitude clouds hang in the sky, illuminated by the moon in the upper left corner.

Verso: Landscape sketch showing a view of rain and mist above the mountainous terrain of the Hudson River Valley, likely viewed from or near the artist's property in Hudson, New York. At lower right, a darkened hillside is shown in front of the outline of another rolling ridge. At upper center, a break in the mist reveals a view of a massive, billowing storm cloud. The sky is otherwise occupied by vertical and diagonal striations that indicate mist and rain.
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

Laurel and pansy boughs are to rise alternatively from stands which are connected between each other by flower festoons, over which flower boughs are shown. A row of blossom rosettes is at the bottom. Somewhat more than one repeat is shown.
Interior Alcove with a Bed
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Design for an interior alcove with a canopy bed hung with bed curtains and feather finials. The walls are lined with tapestries and a couple embracing sit on the edge of the bed. The alcove is framed by an arch and balustrade. The arch is decorated with festoons of laurel leaves and fruit. A central cartouche with a shell, flanked by two female figures, paneling and sculpted molding. Arched doorways flank the central niche, looking out into the landscape. The overdoors are highly ornamented with winged herm figures, paneling, roundel portraits, fluting, wave patterns, and topped with vases. Two figures standing on a balcony to the left, and a view of a sculpture on an exterior balustrade to the right with trees in the background.
Allegory of the Four Seasons - Summer
Jacopo Amigoni, Italian, 1682–1752, 1739-1752
Etching and engraving on laid paper
Bound print

Vignette of a man and a woman in a landscape. The woman leans against a ground near a cage of roosters. The man stands above her, holding her chin in his right hand and pointing to the roosters with his left. Behind him is a bushel of gathered wheat and a small scythe. The plate is trimmed and only the plate number is visible.
Cheminée au milieu de Lambris de desseins differens
Nicolas Pineau, French, 1684-1754, 1700-1742
Etching and engraving on laid paper
Print

Chimneypiece design with over mantle mirror. The mantle has a scalloped cartouche with acanthus leaves at its center. The pilasters on the sides of the mirror feature intersecting scroll ornamentation, rosettes, and flowers. The frame of the mirror is exuberantly carved at the top with an oval rondel, fluted scrolls, split leaves, and flower garlands. The panels on either side are decorated with varying motifs of scrolls, split leaves, and scallops, although the right-side panel also features a female mascaron near the top. At the bottom of the plate there is a cross section of the "Plan du Chambranle et / de la tablette" as well as a scale bar of four French feet ("4 pieds"). The plate is signed and numbered.
Fragment
, 6th century
linen Technique: plain and tapestry weave

Oblong fragment containing heart-shaped tapestry-woven red leaves and green stems at intervals. Leaves have a thin border of tapestry weave in the natural linen. Two red rosettes with pink centers similarly bordered in tapestry weave. A brown and yellow striped basket contains pink fruit and greens.
Hat pin
, late 19th century
Glass, silver

The head of pin is an amethyst ball, or marble with plain glass, cut in facets, set in.
Fragment
, 17th century
Tin-glazed earthenware

Fragment of pottery with tin and cobalt glaze on surface of earthenware. Decoration shows a bird and plant.
Kylix
, 600–550 BC
Terra-cotta

High concave rim. The body decorated on the exterior with three bands of red containing radiated strokes, rabbits and reversed floral decoration joined by fillets. Interior centered with "eye" and red stripe at base of rim.
L’HOSTEL DE VILLE
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the city hall (l'Hôtel de Ville) in Paris. The façade features a clock and a bell tower. In the foreground, figures horse drawn carriages, merchants, and figures performing on a stand to the left. Buildings visible on either side of the city hall. The plate is titled with a description.
Study for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined white laid paper
Drawing

Above, horiztonal study for a painting. Below, studies for figural groups within the larger composition. Lower left, man sitting at a table, and two others. Lower right, man standing with his back toward observer and others sitting around the table.
Melon-Shaped Thread Holder
, 1798
silver
thread holder

Six spreading leaves, on three scrolled feet, support melon-shaped body hinged to open vertically. Handle in shape of a branch, attached to body by leaves.
Paper Doll Costume with Muff and Blue Cloak
, 1840–60
Engraving with brush and watercolor on paper (machine cut?)
Paper doll costume

Paper doll costume with blue cloak trimmed in lace, light purple full skirt and ermine (?) muff. Costume is two-ply, with a front and back piece, and is open at the neck and bottom of the skirt where the doll slides in.
Designs for Gueridons and Ornamental Sculptural Centerpiece
Henri Sallembier, French, ca. 1753 - 1820, 1777
Etching on laid paper
Print

Designs for two Gueridons (Candlestands) flanking an ornamental sculpture featuring an obelisk, palm tree, lion and arms and armor. The guerdons feature neoclassical and military motifs, cartouches, eagles, arms and armor, fleurons, caryatids or terminal figures, and snakes. The plate is numbered.
Sampler
Ann E. Kelly, American, b. 1814, 1825
silk embroidery, cotton foundation, painted paper Technique: embroidered in chain, buttonhole, satin, and cross stitches on plain weave foundation Label: embroidered in silk in buttonhole, satin and cross stitches on a cotton foundation

Square sampler with a center field depicting a woman holding a long garland of flowers, flanked by a pedestal on the left and a pitcher on the right. The scene is surrounded by a border of leaf shapes, and a deep framing device of 19 squares, each containing a motif, some of which are repeated. The motifs including floral sprays, birds, fruit, sheep, and sheaves of wheat, are arranged symmetrically on the top and sides. At the bottom, the verse and inscription:

Ann E. Kelly was 
born in Halifax April 20 in 
the year of our Lord 1814
and made this sampler in 
Mrs. Leah Meguier's school in 
Harrisburg, January 21 1825
Oh May the Lord Instill Good
Principles in me and make
me a good and faithful servant