biglam/cooper-hewitt-alt-text huggingface dataset:
Sketchbook Page: Man Standing
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Three-quarter view of a man in a suit, standing, facing frontally, with his hands in his pockets and his coat buttoned at the top.
Verso: Faint sketch of a profile.
Title page, "Il Campo Marzio dell'Antica Roma," from part 20 of "The Complete Works of Giovanni Battista Piranesi"
Giovanni Battista Piranesi, Italian, 1720–1778, 1800
Etching on off-white laid paper
Print

Small section of the Campus Martius in vertical rectangle.  At bottom right, a tablet overgrown with vegetation is inscribed with title of the section: "IL CAMPO / MARZIO / DELL'ANTICA ROMA / OPERA / DI G B PIRANESI / SOCIO DELLA REAL SOCIETA  DEGLI ANTIQVARI DI LONDRA.
Sidewall - sample
, 1907–08
Machine-printed on paper

Faux crushed velvet ribbons in 4 3/4 inch vertical stripes alternating with 4 1/2 inch stripes edged in fine metallic line, containing double laurel wreaths connecting to second pair of wreaths suspended on laurel leaf chain. Printed in emerald green, khaki and copper gilt.
Winged figure with a horn and putto with fasces
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

A winged figure plays a long horn and leans over an escutcheon. To the right, a putto approaches, carrying a fasces.
Sidewall
, 1860–1900
Machine-printed

On off-white ground, alternating floral motif with pink bellflowers and green and white leaves on scrolling stems.
Sampler
, early 19th century
silk and linen on linen Technique: cross, long-armed cross, double running, stem, "aztec" and deflected element work on plain weave foundation; counted stitches; hemmed at bottom and top; cut edge at right

Several bands of withdrawn element work including several bands of Aztec stitch.  At the bottom, a series of vegetal and animal motifs including a monkey dancing on a tree.  Inscription: "Cuando se un gusto una los maneja" with objects between words, perhaps in the form of a rebus or pictogram.
High Tide
Winslow Homer, American, 1836–1910, August 6, 1870
Wood engraving in black ink on paper
Print

View of three women in bathing costume on the beach
Sampler
, early 19th century
cotton Technique: embroidered in deflected element work using chain, overcasting, and reverse herringbone stitches on plain weave foundation

Sixteen squares of deflected element work using chain, overcasting, reverse herring bone.
Textile
, 18th century
cotton Technique: resist printed on plain weave

Length from a quilt, of white hand-woven cotton resist printed in blue. Design of ascending curving vine with large flower heads and branching foliage; the leaves are deeply indented, with spiny stems. Lined with bands of white dimity alternating with blue striped cotton.
Tannery, with His Dogs, Came Galloping Up the Cañon
Ernest Thompson Seton, American, 1860–1946, 1898
Wood engraving in black ink on white paper
Print

Trial proof for illustration. Two riders on horseback are seen approaching with a pack of dogs in full cry.
Pillory, Charing Cross, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Pillory with two men in it, center of the square, on a platform. A large motley crowd. Equestrian statue, right. Title, artists', and publisher's names below.
A Cat and a Setting Hen
Agostino Carracci, Italian, 1557 – 1602, 1575–1600
Pen and brown ink on cream laid paper
Drawing

A setting hen is on the left, and a bird flies directly above. On the right a placid-looking cat is staring forward. A few scattered plants emerge from the ground.
Lit à l'Italienne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bed with a canopy decorated with a curtain of rosettes, gadrooning, bound leaf garland, and roses. Behind the bed is an incense burner; on the front of the bed is a mascaron. The plate is signed.
Study of a Horse, Quimper, Brittany
Samuel Colman, American, 1832–1920, 1873–74
Brush and watercolor, gouache, graphite on rough brown-grey paper
Drawing

Upper forepart of a white, harnessed horse, shown in profile turned toward left, to a manger.
Hauling Canal Boats, Yotsugi Road (Yotsugi-dori, yosui hikifune) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

The Yotsugi dori canal divides the print in half with its s-shape curve. It was initially constructed at the beginning of the 17th century to provided drinking water for Edo but quickly transitioned into a waterway for freights. Because it was so narrow and shallow, the boats had to be pulled, as seen here. Instead of depicting this canal accurately, Hiroshige used his artistic intention to make this scene more exciting and curvilinear.
Seated Female Nude
James Wells Champney, American, 1843–1903, ca. 1890
Graphite on paper
Drawing

Seated nude female figure, turned toward left; left ankle resting on right knee, right hand resting on left ankle.
Five Floating Icebergs, Canada
Frederic Edwin Church, American, 1826–1900, July 5, 1859
Graphite and white gouache on light brown wove paper
Drawing

Seascape sketch showing a view of five floating icebergs off the coast of Newfoundland and Labrador, Canada. Along the upper half, three icebergs with sharp, rugged contours and cliff-like sides are shown. Two distinct icebergs are shown at lower left and lower right--the one at left has a undulating, rounded contour while the one at right is trapezoidal in shape. All icebergs are situated atop a flat horizon line, indicating the water's surface.
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

Curved fantastic lily-of-the-valley plants rise from every second wedge in a row of downward curved leaf scrolls with carnations hanging in the hollows over lace crescents which connect the scrolls. More than two repeats are shown.
Two Elevations of a Country House, Views from the Garden and Entrance Facades
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating two exterior elevations of a large building flanked by trees, featuring Romanesque, Gothic and Neoclassical motifs. The plate is titled, numbered, and signed.
Design for Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The bowl is a variation of that in -1405. The lid has the shape of a support, with a wider diameter below than above, where a row of four (three are visible) cherubim supports a kind of base with a cross on top. Beside the pedestal are cornices with inwards turned spirals and with palm branches laid upon them. Usual background.
Pleated fan
, ca. 1840
Parchment leaf with gilded and hand-colored lithograph; carved and pierced mother-of-pearl sticks

Fan with carved and pierced mother-of-pearl sticks, and gilded leaf  with lithograph promenade scene. On sticks: central cartouche of a lady and a gentleman playing the fife.
Designs for Baluster Vases
, 1700–1725
Black chalk on off-white laid paper
Drawing

Two rows of four balusters each, the left halves being shown.
The Great Sea-Sarpint
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Center, giant sea-serpent, with tail extending into distance. Various fish and birds flying around; upper right, surprised sun.
Design for a Bracelet
, 1820–30
Pen and ink, brush and watercolor, sepia on paper
Drawing

Two alternating units: a rectangular framed diamond, and a brilliant surrounded by volutes and small round gems. Clasp visible at either end.
Design for a Painted Wall Decoration
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Black, purple, and rose crayons pastel on grey paper
Drawing

The upper part of design cut out along the outlines, painted on top. Children seated upon the floor and the balustrade of a platform and kneeling upon it playing musical instruments, while other children listen. Winged women stand laterally, their outside wings raised and sheltering cherubim. The platform stands, apparently, before a painted window.
Design for Ornament, Plate 17, Second Livre de tableaux d'ornemens et rocailles
Jacques de Lajoüe, French, 1687–1761, ca. 1734
Etching on white laid paper
Print

A framed rocaille border looking into a scene dominated by a rocaille ornament fountain, which includes shells and a mermaid, and a landscape in the distance. The scene is populated with several figures including putti. Some pour jugs of water while others stand off to the side. Water cascades down the rocaille ornaments on the left side of the frame.
Decorative Project for Central Tondo with Apollo, Autumn and Winter
Felice Giani, Italian, 1758–1823, ca. 1780
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Circular medallion representing Apollo playing lyre, flanked by two lozenges; at left, elderly drinker, Silenus, supported by young Diana with bow and quiver.  Figures shown obliquely from back. At left, beside medallion, pen sketch for tree stump surrounded by snake.
The Lookout
Samuel Colman, American, 1832–1920, 1860–70
Brush and watercolor, gouache, graphite on cold-pressed paper
Drawing

A heavily clothed fisherman is shown in profile turned toward left, holding his right hand over his eyes and a stick in his left hand. Right foot resting on step. He casts a shadow.
Decorative Monogram Design: Letter F
Pierre Ranson, French, 1736–1786, ca. 1780
Etching and hand colored in watercolor on paper
Print

Design for a decorative monogram for the letter ‘F' featuring fur, feathers, and floral motifs. The letter is framed by a garland of flowers and topped with a crown of peacock feathers. The plate is numbered, signed and hand colored.
Fan case
, late 19th century
Paper

Plain white paper box.
Designs for Six Trophies Composed of Hunting Attributes
Pierre Ranson, French, 1736–1786, ca. 1775
Brush and gouache, white heightening, pen and black ink, graphite on cream paper
Drawing

Six designs for hunting trophies. Upper left: French horn, rifle, dead pheasant and rabbit, along with wild flowers; upper right: arrows, blue quiver, a live pheasant, and wild flowers; center left: pink and gold quiver with arrows, a rifle, and hanging canteen, and a bird, surrounded by wild flowers; center right: stag's head, pickaxes, an arrow, a French horn, a net, and some wild flowers; lower left: pickaxe and fasces, netting, French horn, canteen, leather pouch, arrow, staff, and twigs with leaves; lower right: dead rabbit, pheasant, and greenery in a basket, rifle, laurel garland supported by a staff.
The Adoration of the Magi
Martin Schongauer, German, 1450–1491, ca. 1485
Engraving on laid paper
Print

The Virgin is seated in the foreground, left, holding the Child on her knees. One of the Magi kneels before them, shown facing left, in profile. The two other Magi, and their servants, are in the background, right. A dog, at lower right. Monogram of Schongauer, lower center.
Catafalque of the Bolognese Artist Elisabetta Sirani (1638-1665)
Matteo Borboni, Italian, ca. 1610 – 1667, 1665
Pen and brown ink, brush and brown wash, red chalk on off-white laid paper
Drawing

Figure of an artist painting on canvas in a pavilion with a high dado, which is decorated with escutcheons with winged skulls. A pair of mermen holding candles flank the flight of stairs.
Elévation
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural elevation of a building surrounded by trees. The house features pointed arched windows and a tower. The plate is titled, numbered, and signed.
Title Page
D. Antoine Pierretz, French, active 1647, 1647
Etching and engraving on laid paper
Print

Title page for a series of architectural details. The title is lettered in the center of a hanging textile, on a sculpted monument with two female figures, classically dressed, on either side, holding measuring devices and a board or print. Above the monument or large plinth, is a seated female figure writing on a tablet, with a putto next to her, holding a candle, and a cockerel to the right. The wall surrounding the monument is marble. And the monument is decorated with friezes and running patterns featuring shells, laurel leaves, and other motifs. The plate is numbered.
Cavemen Chasing Elephants [above]; The King of Persia Hunting [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or before
Pen and brown ink, brush and black wash over black chalk on laid paper
Drawing

Recto, above: Elephants in a landscape are attacked by small men equipped with hatchets. In the foreground, one tiny figure clings to an elephant's tail and raises his weapon. In the background, sections of elephant meat are carried off as the fallen animal is butchered. Sketches of elephant feet in the foreground. Additional studies of soles of elephants' feet are in the foreground. 
Recto, below: The king of Persia and his men hunt by surrounding and trapping animals. They are on an island, seen from above, with the shoreline at right. An explanatory inscription in Italian appears at the upper right of the image. The handwriting is that of Stradanus's patron and collaborator, the humanist scholar Luigi Alamanni.  
Verso: Elephants attacked by serpents. In the foreground a snake on the ground bites an elephant's trunk. Other snakes hang from the canopy of surrounding trees, threatening the elephants. Italian inscription, address to Stradanus.
L'Agriculture
P. Moithey, French, active 18th century, mid- 18th–late 18th century
Etching on laid paper
Print

A design for a trophy representing agriculture, incorporating flowers, foliate branches, a basket of fruit and flowers, rake, scythe, watering can, rope, ribbons, and other agricultural tools. The plate is titled, numbered, and signed.
Grand Central Terminal, New York, NY: Design for Façade
Whitney Warren Jr., American, 1864–1943, 1910
Pen and black ink, graphite on cream tracing paper
Drawing

South facade of lower and upper story, with stairway leading up to the main entrance at center.  Five bays, alternately of different sizes, are placed between the corner projections. Roof ornamentation suggested at upper center of upper story.
Sepulchral Monument for Roman Cavina, Chiesa dell'Osservanza, Faenza
Felice Giani, Italian, 1758–1823, 1816
Pen and brown ink, brush and brown wash over graphite on white heavy wove paper
Drawing

Sarcophagus in niche; on it, bas-relief portrait medallion of Romano Cavina. Seated on plinth at lower left, female figure of Abundance, holding cornucopia and embracing child; standing female figure mourns at right.
Sampler
, 1834
silk embroidery on cotton foundation Technique: cross, buttonhole, and counted satin stitches on plain weave

Alphabets, numerals, date and cross border of roses/leaves. Six samples of designs in counted satin surrounded by a leaf border.
Child's gown
, 17th century
linen, cotton Technique: embroidery (satin, overcast cord, back, herringbone, laid work, coral, knot, buttonhole, and detached chain stiches)

Dress or coat cut without fullness. Has opening from neck to bottom and long sleeves. Foundation 2 & 2 twill weave nearly covered with white linen embroidery (using satin, overcast cord, back, herringbone, laid work, coral, knot, buttonhole, and detached chain stitches) in design of flowers, leaves, and fruit worked solidly in ornamental stitches. Binche lace sewed in neck at bottom of sleeves and of dress.
Man
Robert Frederick Blum, American, 1857–1903, 1876–1877
Graphite on wove paper
Drawing

Sketch of a male figure in uniform; Detail of right leg with short pants and shoe.
Roof Terrace
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a roof terrace with arched balustrade.
Project for Decoration of Ceiling
Felice Giani, Italian, 1758–1823, ca. 1800
Pen and brown ink, brush and brown wash, traces of graphite on light green laid paper
Drawing

Four rhombus with Bacchus, Cerere, Ganymede, Hebe; two tondi with the Seasons; thirteen tondi with cupids; seven decorative folders; octagonal with masks.
Stage Design: Exterior of Circular Building
, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Design for theater depicting an enormous circular building on the riverside surrounded by wall; boat with figure rowing on the river.
The Yule Guest Illustration, Illustration for The Cosmopolitan (XIV, No. 2, December 1892, p. 165)
Frederick Stuart Church, American, 1842–1924, December 1892
Printed in black ink on paper
Ephemera

Left, poem; right, figures riding horses in the sea
Cavalry Soldier Loading a Rifle
Winslow Homer, American, 1836–1910, 1863–64
Black chalk and white crayon on gray-green laid paper
Drawing

Recto: A soldier in Civil War uniform, stands in the foreground, feet spread, holding a rifle placed diagonally across his body in his left hand, using a long rod in his right hand to tamp gun powder down the barrel of the rifle. 

Verso:  A head is shown from the back, at center; a wounded soldier sits leaning on both hands, shown in full length and in the opposite direction, at top; and a dead soldier lies with bent knees and covers his face with his left hand, at bottom.
Orphrey band
, 16th century
silk, linen, metallic Technique: combination of two structures; 4&1 satin plus 2/2 twill.

Scenes of the Annunciation.
Stage Design for the Interiors of a Palace
Giuseppe Barberi, Italian, 1746–1809, 1778
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Possibly a public room of the Teatro Veraro. Four different sketches of interiors in palace showing large halls with windows, half closed by curtains.
Bag
, 19th century
silk Technique: crochet

Bag of colored silks, crocheted in horizontal bands ornamented with geometric forms and floral sprays; drawstring closure and ornamented with tassels and balls.
Design for a Vessel (Tableware)
, ca. 1675
Black chalk, pen and ink on paper
Drawing

The left half is shown, supported by a dolphin's head. The lowest part of the body is convex; it is decorated with leaves. The part next to it is concave and fluted. The main section is convex. It shows an acanthus rinceau beginning at a shell standing in the center. From a bearded and foliated mask rises a handle shaped like intertwined snakes. The upper part of the body is framed by moldings. Pricked.
Design for Arabesque Panel
, 1788
Pen and ink with sepia wash
drawing

In the center, a vase with handles composed of snakes, from which water falls into urns and nets. Bottom, the stern of a galley. At top, fish nets as a swag.
Corniche architravée
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for three cornices. The plate is signed.
Whitton Pond on Drive from Chocorua
Daniel Huntington, American, 1816–1906, September 26, 1879
Graphite on paper
Drawing

High ridges beyond Whitton Pond. Date, place, and notes about leaky boat, below.
Design for a Chandelier
, ca. 1830
Brush and watercolor, pen and black ink, graphite on paper
Drawing

Design for a chandelier, suspended as in 1938-88-727. Glass chains and drops are fastened above in the shape of a canopy. One row of eighteen candles (ten are shown). They stick in sockets which are supported by the heads of eagles, which are at the ends of scrolls which rise from the next to the last ring. Glass chains and drops. Scale below. Traces of a caption as in 1938-88-725.
The Hintersee, near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June - July, 1868
Oil paint and graphite on tan paperboard
drawing

Landscape study showing a view of the Hintersee near Berchtesgaden, Bavaria, and the rocky alps that surround it. The blue-green waters of the lake extend from the foreground to the middle distance, where they meet the lake's flat and wooded northern shoreline. Beyond, this forested terrain ascends to the base of a precipitous, rocky mountainside that dominates the composition at center. In the background, the pinnacles of a rocky mountain, possibly the Reiter Alpe, are visible above the central mountain. Above, the sky is partly clouded.
Ribbon
, late 19th century
silk Technique: double-faced satin weave

Pink satin ribbon with cord edge.
Billard
Pierre Claude Delagardette, French, 1745 - 1792, 1775-1788
Etching on off-white laid paper
Print

Design for a large billiard table. The plate is signed and numbered.
The Elevatino of a Gateway for A Prison Erected by Pope Pius VI
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash, red ink on lined off-white laid paper
Drawing

Only a part of the right half is shown. Broad, low, arched door opening. A pilaster decorated with diamond shapes supports teh entablature, over which a pedestal rises with the Papal coat of arms. Colored background.
Four Putti Making Music, Study after Lodovico Carracci; Christ, Study after Massari
Felice Giani, Italian, 1758–1823, 1821–22
Pen and ink, brush and brown wash, over black chalk on white wove paper
Drawing

Upper drawing of four putti, one with wings, on clouds, one sings from scroll, and one plays horn. Lower drawing of entombment of Christ, with two men carrying corpse, winged putto at lower right, and woman and three figures crowding in from the left.
Orange Peeler
, 19th century
silver
peeler

Flat semicircle head, with attached pointed hook protruding to the side at tip. At the neck, descending slight v-shape meeting in a central ridge, until arriving at inwardly flared base above a ring ferrule. Handle with beaded channel decoration in descending lines flanking an unadorned center. At rounded terminal, embossed double scallop shape.
Design for a Gate
Richard de Lalonde, French, active 1780–96, 1789
Etching on off-white laid paper
Print

Design for a gate with a semicircular archway under which is a crowned orb with branches. The plate is signed, but the numbering is not visible.
Fragment
, 4th–5th century
linen, wool Technique: slit tapestry woven with supplementary wrapping

Part of a garment. Pattern of a square containing animals and floral forms. A right-angle band (clavus) with figures and the same animal and floral forms. A selvage preserved in one place. Attached wool fringe.
Sash
, 19th century
silk Technique:

Fringed sash has thick and thin horizontal stripes of dark and light blue, red, yellow, and white.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Title page with the text printed on a scroll unfolding onto a tasseled seat with a crown with an anguiped on either side. This is surrounded by a frame decorated with a cartouche, terms, scrolls, acanthus leaves, and shells. The plate is numbered but not signed.
Rank badge
, mid- 19th century
silk and metallic embroidery on silk foundation Technique: embroidered with satin and couching stitches on gauze weave

Rank badge for a civil official of the fifth rank. Embroidered silk and metallic yarns showing a silver pheasant on a ground of clouds, surrounded by auspicious symbols. Diagonal lines at the bottom signify the ocean.
Valley and Hillside
Winslow Homer, American, 1836–1910, 1889
Brush and watercolor, graphite on off-white wove paper
Drawing

View of a wooded valley and mountain in distance; pentimento of logger with ax over his shoulder, near tree-truck, at right of lower center.
Title Page
D. Antoine Pierretz, French, active 1647, 1648
Etching and engraving on paper
Print

Title page for a series ornament prints for trophies and helmets. The title is lettered on the base or plinth of a sculpted monument featuring flying putti opening a book of designs illustrating trophies. The monument features sculpted moldings, festoons of leaves, and a mask (mascaron). The plate is numbered.
Elevation et Developpement d'une Armoire
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of a wardrobe with ornament motifs including egg and dart, garland, rosettes, acanthus leaf, bound leaf. The plate is signed