biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a sedan chair
, 1780–1800
Pen and ink, brush and gray, green yellow blue watercolors on paper
Drawing

Shown from the rear right corner with two bars.  Urns stand upon, tassels hang from the corners of the roof.  Garlands frame the back and the lateral side, except above and below the window.  Horizontally disposed twigs divide these panels in the height below the lower window frame.  The monogram A R is above them at the back.
Design for a Frieze
Carlo Marchionni, Italian, 1702–1786, ca. 1770
Black crayon, pen and sepia ink, brush and gray watercolor on laid paper
Drawing

Three panels framed by pilasters, with alternate variations. The central panel has in the middle a candelabrum with a burning fire above a leaf base, the lateral panels have a floral candelabrum upon a similar base with two flying birds breaking stems of the rinceaux protruding from the bases. Two festoons are suspended beside each of the candelabra. In front of the pilasters are two crossed branches, fastened by a knot whose ends are hanging into the panels.
Recollection of the Scenery on the Road from Fusugasuga to Pandi, Colombia
Frederic Edwin Church, American, 1826–1900, July 11, 1853
Graphite on tan wove paper
Drawing

Landscape sketch of the mountainous terrain between Fusugasuga and Pandi, Colombia. Foreground made up of a gently sloping prominence with rocks, vegetation, and a figure sitting at left. In middle distance, a house sits atop a hill overlooking a steep river valley, which extends through an elevated plain in the distance. Tall, sharp mountains rise at right while others comprise the distant horizon.
Stage Design, Portico
, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Portico in the antique style, buildings to be seen through column intervals.
Candlestick
, 19th century
silver plated, glass
candlestick

Two-tiered square base with two rows of beading, of silver. Blue glass column shaft, capped by silver capital hung with three bead swags. Candleholder in the shape of a fluted urn, silver. No marks.
Embroidery sample
, ca. 1790
silk, paper Technique: embroidered on a compound foundation Label: Satin, stem, and knot stitches embroidered in silk on silk compound weave; paper enclosure

Dark blue ribbed silk embroidered in a border design of small feathers and flowers in multicolored silks.
The Dance In Front of An Inn
Jan de Visscher, Dutch, 1633 - 1692, ca. 1670
Engraving on paper
Print

In front of an old house, at left, a couple are dancing. A musician who plays a clarinet, stands behind them. Several onlookers surround them in semi-circle. Houses in background with a group of peasants standing in front of one of them. Inscribed, lower margin: "Nu is't de reghte tydt... kekmisis"; lower left: "Joan de Vischer fecit"; lower center: "Ad. van Ostade pinxit"; lower right: "Nicolaus Visscher execudit".
Manufacturer's sample book
, early 19th century
paper, cardboard, silk, metal-wrapped silk cord, metal foil Technique: warp-float face with supplementary warp and weft patterning

Hard covered, accordion-folded portfolio of about 175 trimming samples with their pattern numbers. Many priced in French.
Fragment
, possibly 18th century
silk, metallic Technique: cut supplementary warp forming pile (velvet) with supplementary weft

Blue velvet with silver thread.
Study for Roundel with Putto
Pierre-Victor Galland, Swiss, active France, 1822 - 1892, late 19th century
Oil on canvas (verso is coated with paper, as though once adhered to a board)
Drawing

A small putto in a roundel pulls a string from an object below him.
Design for Title Page, Cahier des Parasols Chinois
Jean-Baptiste Pillement, French, 1728–1808, ca. 1770
Pen and brown ink, brush and black ink, black chalk
Drawing

Under fanciful trees, a Chinese man and woman are seated on a section of rustic fence, over which hangs a cloth intended for the title.
Design for an Organ
Giuseppe Barberi, Italian, 1746–1809, 1780-1790
Pen and brown ink, brush and brown wash on lined off-white laid
Drawing

Below is a socle with three panels. The lateral compartments are framed rectangularly; the central, higher one has above pieces of the wall and the conch of a niche. Beside the conch are parts of the support of the triangular pediment, with festoons hanging from the keystone upon the lower ends. In the pediment is a shell, on top a star. In front of the pipes, in the center, are scrolls beside a mask and a flower basket, laterally crossed branches. Usual background.
Two Altar (Communion) Rail Designs
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Two designs for church altar (communion) rails featuring geometric and scrolling bands, rosettes, beads, scrolling leaves (fleurons), rosettes, ewers, a pyramid, and a mouse laying on a book. The plate is signed and numbered.
Ornamental Tail-Piece
Francesco Faraone Aquila, Italian, 1676 - 1740, 1719
Engraving on paper
Print

A herin with lion skin over his head holds rampant griffons by their beards. All are supported on an acanthus leaf arabesque.
Fragment
, 1750–1800
silk Technique: cut voided supplementary warp pile in a twill? foundation (velvet)

Small-patterned or "miniature" velvet with a white horizontally ribbed ground and border design formed by short floats of secondary white silk weft, giving the effect of twill, and over this, garlands and sprays of minute roses in red, pink, green, and white pile. Left selvedge present.
Bacchus and Ariadne with Autumn and Victories and Three Roundels with Putti
Felice Giani, Italian, 1758–1823, late 18th century
Pen and brown ink, brush and brown wash, traces of graphite on cream laid paper
Drawing

Three roundels, each containing flying putto with respectively, arrow, sword, shield. On second row, at left, Ariadne and Dionysus sit between two maenads. Third maenad kneels and offers something from bucket. At right rests herm of Pan, while in front rests goat suckling satyr child.  Below, candelabra connected by festoon; winged genius kneels. At right, female winged genius kneeling upon back of lying bull, pulling its head back by seizing its left horn with left hand.
Design for a Vase
, 1810–1830
Graphite, pen and black ink on paper
Drawing

Loose sketch showing the elevation of a footed vase decorated with two masks.
Ecclesiastical Ornament Drawing: Cross
George E Germer, 1868 – 1936, 1888–1936
Graphite on paper
Drawing

Ecclesiastical Ornament Drawing: Cross
Leaf with Motifs for Decorations of Snuff Boxes
, ca. 1740
Pen and ink, brush and Chinese black on paper
Drawing

A rocaille frame with a crane, a dolphin fountain, farming tools and a fountain at right. A trophy of musical instruments hangs from a bracket, top center. A bunch of flowers and fruits iwth a standing bird lies upon a balusttrade, bottom center. A bird flies toward it.
Studies of a male nude
Carlo Maratti, Italian, 1625 - 1713, 1650–75
Black and white crayon, on rough gray paper
Drawing

(A) Profile of a man walking towards right, his left arm raised, right arm lowered, a nimbus glowing above his head.
(B) Reverse: right leg of a seated man, part of a left arm, front view of left foot, profile view of right foot, part of drapery.
Quos Ego (Whom I)
Simone Cantarini, Italian, 1612 - 1648, ca. 1640
Etching on paper
Print

Mythical figural scene. The Roman gods Jupiter (identified by eagles), Neptune (identified by trident), and Pluto (drawn by horses) pay homage, by lifting their crowns to the arms of Cardinal Borghese, in the air on a cloud.
Button
, late 18th century
Stoneware

1925-2-21-a: Three circular medallions in the style of Wedgewoo...
Stage Design, Exterior of Palace, Sepulchral Hall
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. Group of buildings belonging to palace with huge archways, decorated with sculptures. Sepulchral urns in niches.
Parthenon at Night, Athens
Frederic Edwin Church, American, 1826–1900, April 1869
Oil and graphite on tan paperboard
Drawing

Architecture and landscape sketch showing a nocturnal view of the Parthenon in Athens, artificially illuminated with red and green flares in celebration of the Prince and Princess of Wales visiting the city on April 21-22, 1869. Dark, rugged, and loosely rendered terrain ascends from the foreground to the middle distance, where the Parthenon is shown extending obliquely into the distance at left. Its ruinous facade is visible at right, illuminated in green light, while red light shines on the long colonnade at left. Above, a dark night sky lightens at right.
Clouds at Twilight, Color Effects, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1865–75
Oil on bright green paperboard
Drawing

Landscape and atmosphere sketch showing the color effects of twilight over the Hudson River Valley, as seen from or near the artist's property in Hudson, New York. The middle distance is a dark, hastily-rendered expanse of dark brown that leads to the Catskill Escarpment. Stretching across the horizon, the mountain range is loosely rendered in dark purple, while numerous puffy and low clouds hang in the sky above, catching touches of red sunset light. The sky behind is a vivid gradient from blue along the upper margin to fiery orange-red along the horizon.
Plat-fonds de la Galerie d’Apollon
Jean Bérain the Younger, French, 1674 – 1726, 1710
Etching on laid paper
Bound print

Eleventh plate from a series of prints depicting the ornament and interiors of the King's apartment at the Royal palaces of the Louvre and the Tuileries, part of the Cabinet du Roi (King's Cabinet) series published by the Imprimerie Royale. The plate illustrates a section of the ceiling from the Gallery of Apollo at the Louvre. The ceiling features a strapwork and rosette border and ornamented with grotesque and arabesque motifs, with deer, dogs, trophies with arms and arrows, foliage, acanthus leaves, and a central floral and acanthus leaf rosette. The plate is titled, signed, and numbered.
Fragments
, early 17th century
silk Technique: satin weave

Green satin ground with weft that is alternately yellow and white silk. Wefts floated out over face to form design of four different small-scale floral sprays arranged in horizontal rows.
Olana from the Southeast
Frederic Edwin Church, American, 1826–1900, 1872–75
Brush and oil, graphite on paperboard
Drawing

Landscape and architecture sketch showing a view of the artist's home, Olana, near Hudson, New York. The structure is visible at upper center through a window in framed by trees. A grassy slope in immediate foreground leads to dense foliage and two birch trees, at right. Perched atop Long Hill, Olana's facade is illuminated by the midday sun, which makes clear its hybrid Victorian/Persian design elements. A light blue, open sky is visible above.
Dibutades Tracing Her Lover's Shadow
Franz Ignaz Oefele, German, 1721–1797, 18th century
Etching and engraving on off-white laid paper
Print

Scene taken from mythology of a young woman, Dibutades, tracing the outline of her lover's shadow on the wall. The story is often taken as concerning the invention of drawing.
Button
, late 18th century
Stoneware

1925-2-16-a: Circular medallion in the style of Wedgwood Jasper...
Elevation of a Church for Monte Vergine
Giuseppe Barberi, Italian, 1746–1809, 1784
Pen and brown ink, brush and brown wash, red ink on lined off-white laid paper
Drawing

At left, half of a plan with measurements. Top right: a small sized variation of the design -1140. Right center: a section. An arch is flanked by two pairs of wall panels, of which the outer ones project. Vaults. Vertically, accounts.
Salon rond de Six Portiques de treillage au Jardin du H[---] President Nicolaï
Nicolas Langlois, French, 1640 - 1703, 1658–1703
Etching on laid paper
Print

Two plates printed side-by-side on a single sheet. Both proofs are before lettering with their titles inscribed in ink below each image, within the plates. Left plate: a view of a round fountain with a large jet of water shooting upwards, with eighteen figures standing and walking around. Trellis arches surround the fountain, leading out towards the garden. Each arch and trellis between the arches are mounted by a round vase-shaped finial. Trees visible in the background. Right plate: In the center, a circular domed trellis structure made of arches with a round table underneath with fence-like trellis surrounding it. The structure is enclosed by trellis fencing with vase finials, with trees visible beyond. Figures stand around and sit on benches within the enclosed garden room.
Galerie métallique des grands hommes français (Great Men of France)
Armand-Auguste Caqué, French, 1793 - 1881, 1821
Cast bronze
Medal

Bust of Jean Baptiste Bourguignon d'Anville (1697 - 1782), to the left.
The Iceberg, Canada
Frederic Edwin Church, American, 1826–1900, 1859
Graphite on light brown wove paper
Drawing

Seascape sketch near Newfoundland and Labrador, Canada, of a sailboat in front of and dwarfed by an enormous iceberg that dominates the composition at center. Crowned in pointed spires and craggy ridges, the monumental iceberg makes the ship below it appears a diminutive toy--its two dark sails in stark contrast with the white berg behind it. The iceberg's vertical edges precipitously plummet into the water below. In the background, a rolling, mountainous coastline is visible along the central horizontal axis.
Diverses Pieces d'Ouvrages de Serrurerie
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for metal brackets, door knockers, key tops, and friezes. The plate is signed and numbered.
Cape for an ecclesiastical figurine
, mid-19th century
silk, metallic yarns, glass beads Technique: ribbed plain weave, moire finish, embroidered; bobbin lace; lined with voile

Small cape for an ecclesiatic figure, the "Bambino". Blue moire with silver moire collar. Edged with silver lace. Embroidered vine design along edge with gold cord and sequins and white glass beads. Lined with pale blue silk voile.
Tea Caddy Spoon
, 1877
silver
spoon

Shallow, bell-form, shovel-like bowl, engraved with wrigglework and loop. Slightly curved stem issuing shaped rounded terminal engraved with interlacing wrigglework bands and punching.
La Musique
P. Moithey, French, active 18th century, mid- 18th–late 18th century
Etching on laid paper
Print

A design for a trophy representing music, incorporating a guitar, flutes, sheet music, possibly an oboe, wind instruments, violin, tambourine, theatrical masks, garlands of flowers, palm leaves, and ribbons. The plate is titled and numbered.
Ecrans à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two standing screens with carved decoration including ribbon twist, garland, acanthus leaf, and rosette ornamentation. The plate is signed.
Design for Magazine Cover
Kenyon Cox, American, 1856–1919, 1900
Graphite on paper
Drawing

Sketch of a magazine cover with a female figure dancing.
Cachepots
, ca. 1750
Enameled tôle

A pair. Cylindrical, with slightly rounded bottom and simple handles. Gilt field, with oval medallions front and back showing Chinese landscapes and Chinese figures.
Swiss Chalet and Mixed Sketches, Switzerland
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite and white gouache on tan wove paper; verso: graphite and white gouache
Drawing

Architecture sketches, likely from Switzerland, showing two stacked views of an alpine chalet. Above, the side of the structure is shown with various objects leaning against its exterior wall, including a ladder and a pile of wood. Below, a corner of the building is viewed obliquely, allowing the chimney, slate roof, and facade balcony to be seen. Between these two drawings, multiple small vignettes of ducks on the water, a partial house facade, and the face of a man smoking a pipe are visible. 

Verso: Architectue sketches showing views of a mausoleum above and a church with other structures below, and oppositely oriented. At upper center, a mausoleum with a tile or slate roof and trellis window is obliquely shown in a general state of decay. At lower center, and oppositely oriented, a church's steeple is visible in front of a cabin or mine on a rock-strewn slope.
Cupid with a Dart
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

Cupid sits and peers left over some rocks, at his bow and arrow, which appear to be in flames.
Fragment
, 18th century
silk; tempera Technique: painted on plain weave

Yellow ground with polychrome tempera design. Central serpentine stem with curving branches with many flowers on each side. Birds of brilliant plumage perched on branches.
Woman
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Partial sketch of a female figure.
Ornament Designs
Nicolas-Jean-Baptiste Poilly, de, French, 1707 – 1780, mid- 18th century
Etching and engraving on laid paper
Print

Two designs for rococo cartouches and ornament featuring acanthus leaves, c-scrolls, shell, palm leaves, wings, plumes, gadrooning, floral motifs and birds. The plate is signed and numbered.
Elevation de Croisées à coté de Trumeaux Ornés de Glaces
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Split elevation of an interior with casement windows on either side of a divided overmantel mirror. The left side of the mirror is framed with egg and dart border, and a panel above with rosettes within rondels. The right side of the mirror is framed with bound leaf, and a panel above with leaf garland surrounded by a border of lamb tongue. The plate is signed.
Ornamental Vase Design
A. Panier, French, active 18th century, 1767-1793
Crayon-manner engraving with red ink on paper
Print

Vase in the shape of a pitcher. The c-curve handle of the vase terminates at the lip with the mouth of a grotesque dolphin. The neck of the vase is decorated with a fish scale pattern and shells. At the shoulder of the vase is a low relief with a river god, reclining against a spilling vase. A garland of leaves is draped across the vase and loops over the bottom part of the handle. The vase has shell-shaped gadroons at its base and a tapered foot. The vase is elevated on a low socle with faint indication of a landscape below it. The print is engraved in red ink (sanguine) crayon manner. The plate is lettered.
Flower Pavilion, Dango Hill, Sendagi (Sendagi, Dango-zaka Hana-yashiki) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Print

Blooming cherry blossoms divide this print in half. Below are visitors depicted admiring the flowers. Beneath the large cloud appears a thick formation of trees that surround the pavilion. Three small figures are seen climbing the steep steps to witness the view at the top. The "Pavilion of the Violet Spring" (Shisentei) overlooks Shinobazu pond and further beyond parts of Ueno.
Elevation of a villa
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

In the ground floor of the central section: arched doorway flanked by pairs of embedded Doric columns; in the top floor: three windows. Slightly projecting lateral sections with a window in either floor. A mansard with triangular pediment in the central rear.
Ornamental Vase Design
Jacques-Philippe de Beauvais, French, 1739 – 1781, 1760-1764
Etching on laid paper
Print

Vase with narrow mouth and two ring handles. The vase is decorated with rosettes set with triangular coffering, gadrooning, laurel leaves, and garlands. At the center of the vase is a Roman imperial profile portrait. The vase is elevated on a simple, low plinth. The plate is signed and numbered.
The Virgin Sitting by a Wall
Albrecht Dürer, German, 1471–1528, 1514
Engraving on white laid paper
Print

In the foreground, the Virgin is seated, facing left, holding the infant Jesus with an apple in his hand on her knees.  A purse and a bunch of keys are suspended from the Virgin's girdle. The background is a view of a town. Behind the group at right, is a stone wall inscribed with the artist's monogram and the date "1514".
Buildings and Boats along the Danube
Frederic Edwin Church, American, 1826–1900, June 9-17, 1868
Graphite on tan wove paper
Drawing

Mixed sketches showing buildings and boats along the Danube River. At upper center, a house with an overhanging second story is shown, with two views below of a home, at left, and a houseboat, at right. In bottom portion, a fortified tower is visible at left with a sailboat at right.

Verso: Landscape sketch showing a view of steep, rocky cliffs along the Danube River. Vegetation is loosely rendered at the base of the cliffs, which are made up of visible rock strata. A detail of this strata is shown at upper left.
Seated Shepherd
François Boucher, French, 1703–1770, 19th century
Brush and water colors, pen and black ink on paper
Drawing

Center right, shepard seated with his back turned to viewer surrouned by four sheep, one cow, and one dog. Center, large tree. Wood fence in the distance.
Design for a Catafalque
Unknown, after 1630
Red crayon, pen and black ink, brush and wash on paper
Drawing

Drawing of elevation and plan. An octagonal pavilion, to which flights of stairs lead on the oblique sides. Straight ceiling and entablature. An attic, for the decoration of which alternative suggestions are made. Statues stand on the left side of a balustrade, before the drum of a dome. On verso: pen sketches; a plan, a motif for the base.
Tinted Mountain near Visp, Switzerland
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on tan laid paper; verso: graphite
Drawing

Landscape sketch of a sharp, pyramidal mountain in the Swiss alps near the town of Visp, Switzerland. A steep, wooded mountainside at left descends to center. At upper center, the pointed peak of the central mountain is visible--the highest point of a nearby range.

Verso: Two vertically and oppositely oriented landscape sketches around Valais, Switzerland, divided by a line down the middle. In upper half, a house is shown on a rocky ledge overlooking a gorge with a tall waterfall. In lower half and oppositely oriented, a view through a crux in mountain ridges is shown. Mountain slopes at left and right creat a "V" through which lightning and a thunderstorm over a mountainous landscape are shown.
Campfire in the Woods, Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, 1878
Graphite on white wove paper
drawing

Landscape sketch showing a loosely rendered view of a campfire in the woods and its smoke, likely near Lake Millinocket in Maine. In the foreground, a fallen tree trunk extends obliquely out of frame. At center, the campfire emits a column of smoke that expands as it rises. A tall, visibly shaded conifer tree looms over the composition in the background at center, while several other trees are loosely sketched in the background and middle distance at left and right.
Allegory of the Four Seasons - Spring
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 reclines on the ground, leaning against a basket of flowers, with a dog climbing up on her legs; the man stands above her, playing bagpipes. The plate is trimmed and only the plate number is visible.
Designs for Mechanical Furniture: Bookcase and Shelf Desk
, ca. 1805
Pen and black ink, brush and watercolor on paper
Drawing

Left, a bookcase with one-half showing glass door, seen in elevation. Right, isometric projection of a desk with tilting top, shown open, forming shelves. Sliding shelf at one side.
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

A slightly undulating bough with leaves and clusters of seeds over a waved garland formed by leaf boughs and blossom rosettes and following the outlines of scallops. Not quite two repeats are shown.