biglam/cooper-hewitt-alt-text huggingface dataset:
Taconic Mountains near Clarendon Springs, Vermont
Frederic Edwin Church, American, 1826–1900, October 1873
Graphite on tan wove paper; verso: graphite
drawing

Landscape sketch showing a view of the Taconic Mountains and wooded valley in Vermont, possibly looking toward Herrick Mountain. In the foreground, nearby rocks and plants (including red sumac) are shown beside a grove of trees. Beyond a hedge of bushes or treetops, a wide valley extends across the middle distance before encountering a heavily wooded range of hills and mountains in the background. One large peak looms above the rest in the extreme distance at center. At upper right, a small view of several trees on a curving hilltop is included.

Verso: Atmosphere sketch showing a view of the full moon hanging in the night sky, at upper right, above treetops and a generally wooded landscape in Vermont.
Border
, 19th century
linen Technique: bobbin lace, Brussels style

Large and small flowers and leaves in close arrangement.
Ground floor of a narrow structure
Giuseppe Barberi, Italian, 1746–1809, ca. 1785
Pen and brown ink, brush and brown wash, graphite, red ink on off-white laid paper, lined
Drawing

Two arched door openings, the right of which is narrower and more elaborately decorated than the left one. Caption: "Andamento dei primo piantato della fabrica a….(?)."
North Peristyle of the Parthenon, Athens
Frederic Edwin Church, American, 1826–1900, April 1869
Brush and oil, graphite on tan paperboard
Drawing

Architecture sketch showing a view of the northern peristyle of the Parthenon in Athens, shown from the west. A stone corridor extends obliquely from the foreground into the middle distance at center left. A tall, stone wall delineates the corridor at right while a colonnade frames the view at left. At center, at the end of the corridor, a dark, brown-hued column is prominently visible, supporting a ruinous entablature. The sky behind and above is dark and grey, suggesting storm clouds.
Clouds over Mountains
Frederic Edwin Church, American, 1826–1900, June 1874
Graphite on gray-green wove paper
Drawing

Landscape and atmosphere sketch showing a view of clouds over a rugged mountain range, likely in the Hudson River Valley. A sharp, undulating mountain ridge stretches across the composition while layers of puffy and wispy clouds are variously lit in the sky above. The tops of two billowing cumulus clouds are visible peaking over the ridge at center:

Verso: Atmosphere sketch showing a long, puffy cloud bank in front of the sun, which casts a glowing halo behind the clouds and sends a vertical column of light down through the hazy atmosphere below. Other light, wispy clouds are loosely rendered at center and right.
Four Border Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Four designs for borders, stacked vertically on the plate. From top to bottom, the borders are in the forms of: scrolling acanthus leaves and branches of leaves and flowers; a bead course in the center of the band surrounded by scrolling vines and acanthus leaves; a guilloche of flowers and leaves with rosettes in their center; a ribbon twist around a dowel, with the ribbon comprised of acanthus leaves, small leaves, and a band of carved leaf detail. The plate is signed and numbered.
War and Divine Law
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Pen and bistre ink on paper
Drawing

Figure of a faun in uniform, carrying a large sword, which he holds forward with a mailed glove at his feet, faces a violently movemented figure who holds the tablets of the Divine Law before him. Other figures at right.
Figures
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Three partial sketches of male and female figures.
Lampes
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Designs for three pendant lanterns decorated with ornament motifs including spiral fluting, acanthus leaves, gadrooning, and scalloping. The plate is signed and numbered.
After Coming From Villa Pamphili
Henry Kirke Brown, American, 1814–1886, March 1, 1844
Graphite on light brown paper
Drawing

Distant view of a hilltop with a group of umbrella pines and with a couple looking towards the wooded country in the distance, at left. Mountains and hill ranges beyond.
Rosette Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Four rosette designs. The rosette at upper left has swirling acanthus leaves; at upper right, bands of oak leaf and acorns, and bead course; at lower left, a bead course; at lower right, swirling lancet leaves, beading, and lamb tongue detail. The plate is signed, but the numbering at the lower right is not apparent (in comparison with other versions of this album, it should be numbered 6).
Loggia del Papa o dei Nobile (Loggia of the Pope or the Nobility), Siena, Italy
Whitney Warren Jr., American, 1864–1943, October 10, 1890
Graphite, brush and watercolor on paper
Drawing

The elevation is shown at left; upper right, the plan, showing in the left half the floor and the right half the ceiling.
Sunset over the Hudson Valley, Part One
Frederic Edwin Church, American, 1826–1900, January 1875
Graphite on light brown laid paper; verso: graphite
Drawing

Landscape sketch showing a portion of a panoramic view of a vibrant sunset over mountainous terrain in the Hudson River Valley. Confined to the right side of the leaf, this drawing shows a portion of a jagged mountain range at far right, with layers of loosely rendered clouds above it.

Verso: Landscape sketch showing a loosely-rendered view of the Catskill Escarpment beneath an immense billowing cloud bank, likely viewed from Church's home near Hudson, New York, known as Olana. The mountains are dark with shadow and the sky in the background appears to be dark, as well, contrasting with the white cloud that dominates the composition. Sky and clouds are somewhat unclear here.
Women and children
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Four sketches of figures;  Above, profile view of a young figure; Upper right, partial views of a young figure and partial views of a female figure's head; Center, female figure in a long gown.
Title Page
Pierre Ranson, French, 1736–1786, 1779–84
Etching and engraving on laid paper
Print

Title page for a series of designs for interior wall decoration. The title is lettered below a design for a wall with ornately painted panels and a bathtub in a niche, decorated with ‘chinoiseries' (European decorative arts and architectural style inspired by fanciful ideas of China and East Asia) motifs. The paneling features fantastical canopied structures with hanging bells and trellises, with nets, fish, leaves, and spears. There is a wall fountain in the shape of a bow of a boat, with water pouring out onto a large shell and then into the bathtub, with leaves on either side. A double canopy hangs above topped with feathers, scalloped floral textiles with hanging bells and tassels. The plate is numbered.
Mixed Sketches with a Coconut Grove and Sugar Mill, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on off-white wove paper; verso: graphite
Drawing

Mixed sketches featuring views of a coconut grove, a sugar mill, and diverse vegetation in Ecuador. At center, a vignette of a dense coconut grove and a nearby structure is visible. A group of seemingly aquatic plants are shown at upper left. A small illustration of a sugar mill is included at lower right, while three botanical drawings are visible beside it along the lower margin.

Verso: Mixed architecture sketches showing views and details of tiled houses and a thatched structure resembling a lean-to. Two details of hanging potted plants visible at upper right, beside a drawing of a window with flowers. At left, a study of a second story balcony with potted flowers, viewed from the side, is shown. Beside this, at right, a makeshift thatched structure resembling a lean-to is visible.
Boy
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Half-length profile sketch of a young male figure.
Autumn Treetops
Winslow Homer, American, 1836–1910, October 11, 1873
Brush and oil paint on canvas
Painting

View showing tree-tops in foreground, some in autumn foliage, with a range of greyish hills beyond a valley and intermediate hill.
Ornamental Vignette with Gourd and Pedestal
D. P. Pariset, French, 1740 - ca. 1783, 1769–1783
Engraving on paper
Print

Ornamental Vignette with Gourd and Pedestal.
Study for an Overdoor Painting, Cupid Removes a Thorn from the Foot of Venus
Marc Antonio Franceschini, Italian, 1648 – 1729, 1707
Pen and brown ink, brush and brown wash, graphite on paper, lined
Drawing

Figure of a woman (Venus), shown in profile, sits on the ground, turned toward left and leaning with her back against an elevation of rock. Her expression is full of pain--she gestures with her right hand to express further suffering. Her left arm holds her left leg, and Cupid tries to remove a thorn from the sole of her foot. Framing line in pen and brown ink. Squared in graphite.
Design for Four Walls of a Salon
, ca. 1780–90
Pen and black ink, pink, green, black wash on ivory laid paper, ruled black in border
Drawing

Elevation of four walls around the floor plan of a salon. Wall 1: fireplace; Wall 3: Windows; Wall 3: center door; wall 4: mirror flanked by pair of doors. Inscribed in pencil at lower margin: Style de Boucher fils - aquarelle XVIIIe siecle, salon Louis XVI - 30L; inscribed in pencil on verso: Dessin de XVIIIe s, interieur XVIIIe siecle - Guerinil - 7e
Street Scene, Jaffa, Palestine
Frederic Edwin Church, American, 1826–1900, March 9, 1868
Graphite on tan wove paper
Drawing

Architectural study of a stone house and other structures along a street in what was Jaffa, Palestine, now Tel Aviv, Israel. The cubic house dominates the composition at center right, and seems to be composed of two layers of stone--rough below and plaster-covered above. Portions of other buildings visible at left and right. The sea is shown beyond the buildings at center left.
Design for a Molded Frame, Probably for a Looking Glass
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Right row: above the left corner, below the central part. Beside it at left the section is shown. The decoration consists of rows of leaves, a garland, an ovolo. Caption at left, horizontally: "Questo e il mod(glio)re con sua travoletta / dietro, voluntato anche il cristallo".
Sidewall
, 1875–90
Machine-printed and glazed

Horizontal rectangle, giving a complete width less margins. Large-scale pattern of flowing leaf-forms and scrolls, with flowers. Printed in pale gray on glazed white paper.
Fragment
, ca. 1850
cotton Technique: printed

Fragment with vertical stripes interrupted by medallions, paisleys and leaves; in red, brown, blue, green, yellow and pink.
Table à l'Antique
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a table decorated with ornament motifs including bound leaf, fluting, acanthus leaves, a central rosette with crossed branches underneath, and a pinecone at the base. The plate is signed.
Design for a Decorative Aedicula
, late 16th century
Pen and ink, brush and sepia wash, graphite on laid paper
Drawing

Vertical rectangle. Design for a shrine standing upon a two-stepped base, with roof supported by four columns, those behind connected by a wall with a niche. At top of niche is a winged child's head in the center of drapery festoons. The frieze has a rinceaux ornament. Upon the triangular pediment stand three figural statues with wings. The central parts of the upper step are protruding as half-circles; flanking them are tripods containing flames, at right and at left with alternative design suggestions.
Les Plans
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Diagram of countour drawings of all metalwork. The plate is signed and numbered.
Title Page
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for the corners and profiles of windows on buildings with rooftop balustrades. From left to right, they are labelled as designed in the Doric Order, the Ionic Order, and the Corinthian Order. The plate is signed and numbered.
Sampler
, 1759
silk embroidery, wool foundation Technique: cross, long-armed cross, double running, rococo, and chain stitches on plain weave

Four cross borders with floral ornament and "boxers"; The Lord's Prayer; alphabets, numerals and date.
Bag
, mid-19th century
glass beads, silk Technique: beaded knitting

Knitted bag with colored glass beads in a design of bands of ivy, in blues on a black ground; black silk lining and ribbons.
Design for the decoration of a panel
, 1760–1780
Black chalk, pen and ink, brush and blue-grey and black watercolor on paper
Drawing

A female half-figure in the center of rinceaux. Rectilinear framing line surrounds. Measurements have been indicated at left and below, with scale.
A Sleeping Man and Mother with Baby
Giuseppe Bernardino Bison, Italian, 1762 - 1844, 1780–1800
Pen and ink, brush and watercolor on paper
Drawing

At left, a sleeping man with his feet toward the viewer. At right, the woman. Probably sketches for a rest during the flight to Egypt.
Designs for Screens or Balustrades and Putti
Thomas Germain, French, 1673 – 1748, 1748
Etching on paper
Print

Three designs for sculpted ornament, possibly screens or balustrades, and a series of putti (children) below. The designs feature c-scrolls, scrolling leaves, acanthus leaves, flowers, fruit, s-scrolls, shells, putti holding books and putti holding cornucopia of fruit and leaves.
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, and a framed cartouche depicting a camel intertwined with foliate branches, palm leaves, ropes and ribbons hanging from a tied ribbon, with a central shell motif with acanthus leaf scrolls. The plate is signed and numbered.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737-1749
Etching on laid paper
Print

Vase with fluting from the lip to the top of the foot. Two tritons sit on the lip of either side of the vase. Their tales intertwine with the handles. The vase is elevated on a low, square pedestal. The print is lettered but is missing the numbering found in earlier editions.
Cloud Figures and Dead Birch, Catskill, New York
Frederic Edwin Church, American, 1826–1900, July 1844
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketches around Catskill, New York, showing views of the trunk of a dead birch tree, at left, and at right, several shapes and figures perceived in the clouds by the young Church. At upper right, the forms of a dog and a figure on horseback are shown. At center, a winged figure like an angel is visible above a bird- or dove-shaped cloud. At lower right are two details of this cloud formation.

Verso: Figure sketch at upper left of a standing boy viewed from behind and facing away from the viewer as he wears a brimmed hat and a smock.
Fragment
, 18th century
silk embroidery on linen foundation Technique: embroidered in cross and Rhodian cross stitches on plain weave

Vertical design of leaves and abstract in red, green, blue and beige. Piece probably salvaged from a bed curtain.
Design for panel with carved trophies
Gilles Paul Cauvet, French, 1731–1788, 1750–75
Pen and Chinese ink, black chalk, brush and watercolor
Drawing

A crouching lion holds a sphere in its right forepaw at the foot of a palm tree, to which arms are fastened and topped by a legionary eagle.
View of Rome, Italy
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Partial sketch of a building facade with tables and chairs set up outside in Rome.
Textile
, late 19th century
silk Technique: plain compound satin

Pale blue satin ground with design of alternating chysanthemum and one other flower arranged in horizontal rows. Design in weft of blue, green, purple, and pink silk.
Fragment
, 19th century
silk, metallic thread Technique: woven

White herringbone ground with horizontal stripes of varying width, in purely geometric and small-scale conventionalized floral patterns. Stripes are formed by secondary wefts of red, black, blue, pink, purple, green and gold metallic thread.
One of a set of four projects for the decoration of wall panels at a height
, 1675-1699
Pen, brush, sepia
Drawing

Architectural forms; at left an angel with a canopy, at right another one with an acanthus rinceau.
Textile
, 15th century
silk, metallic (gilded parchment wound around linen core) Technique: two interconnected structures: 4&1 satin and weft faced plain weave (lampas) Label: silk and metallic lampas

Fragment of woven silk with eight-pointed stars containing regardant leopards or cheetahs alternating with palmettes and leaf forms. The stars are formed from parallelograms with lattice-like fillings. The leopard or cheetah pairs are surrounded by inlaced bands and pointed foliage. In cream and gold on a dark blue ground.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of three gondolas in Venice with the facade of a building and a terrace garden in the background.
From "Etching" [Cassell & Co.], Illustration for The Book Buyer (III, No. 1, February 1886, p. 10)
Frederick Stuart Church, American, 1842–1924, 1885-1886
Etching on paper
Ephemera

Left; profile of young mermaid out of water, facing right, hands out extended in front of her, holding her up. Right; bird facing mermaid.
Trimming
, 19th century
silk Technique: woven

White trimming fragment in a design of a zigzag band with triangular motifs.
Heart Shaped Cartouche
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with arabesque ornaments and motifs including garlands and a mascaron. The plate is signed; a graphite inscription indicates this plate is "sans titre" (without title).
LA FOLIE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Panel of arabesque ornamenation with a female figure holding a staff with a jester's head, at the center, under a trellis supported by vines. The plate is signed.
Fragments
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1783–89
cotton Technique: printed by engraved plate on plain weave foundation

Two fragments  showing a nursemaid leading a toddler in reins toward a seated woman with children around her. In red on white.
Proof for textile: Don Quichotte [Don Quixote]
Jean-Jacques Lagrenée the Younger, 1739 – 1821, 1780
Engraving in dark brown gum paste ink on pieced laid paper with four deckle edges
Print

The central scene depicts Don Quichotte attacking a boar (Don Q. is oriented right to left with a pointed shield held in his left arm, Sancho Panza in the tree oriented from left to right); three other major scenes: to the left Dulcinea with Don Q. and S. P., on the right Don Q. with S.P. and two other "knights", above two ruined columns and urn with figure of Don Q., SP. and Dulcinea (?) and bridge; to left Don Q. and S.P. next to a rectangular fountain with putto , womand and child to left; lower left corner of sheet windmill and bridge, lower right, castle and boats.
Chef de piece
Robert H. Bovet, 1790–99
cotton Technique: block printed on plain weave

Exotic flowers alternate with twisted stripes. Quilted.
Printer's sample book
Old Pacific Print Works, Lawrence, MA, USA, 1884–88
leather, paper, cotton

Small leather-bound notebook with tabbed-in areas with 9 printed textile samples.
Handscreen
, 19th century
Silk leaf with applied kingfisher feathers, silk-wrapped frame, carved ivory handle, silk cord with glass beads, embroidered and gilded pendant

Handscreen with octogonal leaf and carved ivory handle. Cream-colored silk gauze leaf has a design of flowering plants, birds and insects, formed from kingfisher and other feathers. The frame is wrapped with brocaded silk. The handle is ornamented with a knotted green silk cord, glass beads and an embroidered and gilded pendant.
Ewer
, 18th–19th century
Pewter

Shaped octagonal foot (probably used with another vessel originally); body in two parts, the lower bowl-shaped, the upper flaring and having a shell and scroll relief around the irregular edge. Double-scrolled foliated handle.
Drawing
Felice Giani, Italian, 1758–1823, About 1810-1823
Pen and brown ink with brown wash (iron gall ink) and traces of graphite

Jupiter seated upon a couch extends his right arm with a bowl into which Hebe kneeling with her left knee upon the couch, pours nectar from a pitcher. The eagle and two putti are near Jupiter, the other girls are shown in the middle plane. Cupid wit a bow and a putto with two wreaths fly above. Framing pencil square, the length of the bottom side given as ''p7''.
Fringe
, 17th century
silk Technique: plain weave

Red fringe with a plain weave heading, band in trellis pattern and skirt threads.
Scarf end
, early 19th century
cotton, linen Technique: machine made cotton net with linen embroidery

Design of flower filled horns of plenty with small flowers scattered over ground.
Design for a Paper Knife
, 1850–1875
Graphite, brush and white gouache on brown paper
Drawing

A variation of 1931-72-3 with a different design of the handle, which has below the monogram DT.
Design for the Ballroom of the Royal Palace at Warsaw as Decorated for a Festival
Victor Louis, French, 1731 - 1802, ca. 1765
Pen and black ink, brush and gray and various watercolor washes on white laid paper
Drawing

The left and right halves united to form a design. It seems probable that the entire decoration was to have been painted, although it cannot be forgotten that the columns were intended to be real ones and that they bordered a kind of corridor from which steps lead down to the floor. In any case the back wall was probably entirely painted. The decorations suggest a view from a colonnade into a park at left, boxes at right. Decorated coves of the ceiling. The scale underneath. Framed by lions and a green stripe. Indication of scale in lower margin pen&black ink ornamented border of ruled black lines and green wash???
Fragment
, early 19th century
linen Technique: bobbin lace (Valenciennes ground)

Band of Point d'Angleterre in a formal  arrangment of leaves and scrolls in an open field of mesh. (quotation from 1933 catalogue card)
Fringe
, 16th century
silk Technique: woven

Red fringe with a woven heading and red skirt threads.
St. Paul's, New York
Joseph Pennell, American, active England, 1857–1926, 1915
Etching in black ink on laid paper
Print

St. Paul's Chapel is shown dwarfed by skyscrapers, one in the process of construction at right and another in the immediate left foreground.
Stories of Jove
Felice Giani, Italian, 1758–1823, 1803
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Horizontal rectangle. Obverse: Top row: octagonal representation: 1) Jupiter and Juno. Caption: ''giove e ''givnone.'' 2) Venus accompanied by Cupid, and two doves and Mars. Caption: ''venere e marte.'' 3) Neptune drawn over the seas by sea horses moving toward right. Caption: ''netvno.'' 4) Pluto holding Prserpina in his arms, in a chariot drawn by two horses. Caption: ''plvto proserpina.'' 5) Vulcan is shown seated and turned toward right, putting arrows in the quiver of Cupid who faces him, holding the bow in his right hand. Caption: ''vulcano che insegna per/far acuti li strali.'' 6) Apollo in his chariot drawn by four horses shown frontally. Zodiac rises in the left rear. Caption: ''Apollo.'' 2nd row: two octagonal representations: an old woman is shown seated kindling the flame of a lamp on a tripod and holding a lighted torch in a circular domed temple. Caption: ''vesta;''Minerva standing in front of a chair holds in her left hand spear and shield and a wreath in her lowered right hand. A sphere is shown in the left rear. Caption: ''Minerva.'' An ovoidal representation of the infancy of Jupiter. The