biglam/cooper-hewitt-alt-text huggingface dataset:
Design of a Landscape with Ruins
François de Cuvilliés the younger, German, 1731 - 1777, 18th century
Etching and engraving on off-white laid paper
Print

Scene of ancient ruins, with people socializing among the ruins.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Trophy design incorporating foliate branches, flowers, feathers, crown of flowers, flag, quiver of arrows, horn, armillary sphere, and a book. The plate is numbered.
Deer Hunt with Hounds [above]; Skylark Hunt with Falcons [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1596-1599
Recto: pen and brown and black inks, brush and black wash over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

1901-39-151-a: Recto, above: Hunters on horseback and on foot are...;     1901-39-151-b: Recto, above: View of a landscape with a duckpond ...
Mount
, early 19th century
Silver-plated brass

Figure of Apollo holding a lyre in his right hand and with the left holding reins of two horses that draw the semi-crescent wheeled chariot. Across bottom, curved lines of clouds. On chariot, the initials FD.
A Shears Grinder
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1630–1640
Red chalk, pen and ink, brush and watercolor on paper
Drawing

Figure of a man shown from behind, his right foot raise, operating a grinding machine.
Title Page
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

Title page with the title, designer and address lettered within an ornamental frame of flowers, fluted columns with vases, portrait roundels, decorative bands, laurel leaves, fleurons, shell and gadroon motifs, ‘rocaille' scrolls, palm leaves, with a trophy of flowers, leaves, and dolphins on clouds. The plate is numbered and dated.
Fragment
, 14th century
linen, silk Technique: plain weave patterned by supplementary weft floats

Addorsed animals between bunches of grapes and vine leaves.
One of a set of projects for a title page and for the decoration of a horizontal panel
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

The panel has an elaborated frame, the outermost borderline of which is framing the drawing. With the blossom of a lily and two putti. Intended to be engraved
Trimming
, 19th century
silk Technique: woven

Green trimming fragment in a checkboard design.
Border
, 1815–25
Block-printed and flocked

Horizontal rectangle. Across the top and bottom, twisted ribbon motif in yellow. Between, intertwined chains of laurel and white flowers, on a red flock field.
Lit a la Polonaise
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a canopy bed (view from the footboard or headboard) with upholstered headboard and footboard of the same heights. The posts bending inwards to support a smaller crown canopy above, topped with feather finials. The bed linen is decorated with flowers, scrolling leaves (rinceaux), fleurons, bow, quiver of arrows, festoons of flowers, and birds. The bed curtains are scalloped with passementerie and tassels. The plate is titled, numbered, and signed. A scale below.
Ornamental Vase Design
François Voisin, French, active 18th century, 1786-1789
Engraving on paper
Print

Lidded vase with an elaborate finial comprised of a swan with cygnets in a nest. The finial is framed by two winged putti who are held aloft by female terms with baskets on their heads. The vase is decorated with many grotesqueries and has a central band with a lozenge pattern filled with acanthus leaves and a stylized geometrical rosette. The vase is supported by a slender, tapered foot with fluting. The print is numbered but not lettered.
Fragment
, 17th century
silk Technique: supplementary weft forming cut and uncut pile (velvet)

Stylized leaves branching right and left from diagonal cartouches. In black.
Menu for the Ball Given by James Hazen Hyde, January 31, 1905
Whitney Warren Jr., American, 1864–1943, 1905
Etching in red ink, on cream laid paper
Print

An elaborate menu for a banquet listing the dishes to be served inside an escutcheon bordered by a masked deity of plenty above, fruits of the hunt and of the harvest below, and snaking grapevine on the trellises at either side.
The Virgin Mother and Joseph Travelling
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

The Virgin Mother and Joseph Travelling
Studies for a Sepulchral Monument, possibly commissioned by King John II of Portugal-Brazil (1815-1826)
Camillo Gajani, Italian, ca. 1820
Graphite, pen, and brown ink on paper
Drawing

At top half of sheet, elevation of sculptural tomb: flights of steps lead to a platform with candelabra faintly indicated at the corners. On this level is a pedestal base showing a relief, representing the death of a classical painter (?); the relief is flanked by the personifications of Architecture at left, and a woman holding a wreath at the right.  Above, a winged classical male nude (a genius figure), holding a wreath in his outstretched right hand, stands in front of the sarcophagus, which is supported by crouching lions.   The side of the sarcophagus is decorated with a relief showing a medallion portrait of a man, wearing a wig, above a festoon.  At the bottom of the sheet, at the lower left, is a rough sketch of a draped woman; to the right of lower center is a mourning woman leaning against the corner of a pedestal or sarcophagus.  On the verso is a fragment of a caption.
Study of Hand for "Early Christian Martyrs"
Daniel Huntington, American, 1816–1906, 1839–40
Graphite and white chalk on gray-brown paper
Drawing

A raised right hand, palm forward, with the sleeve shown.
Chalice
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

A flared chalice decorated with acanthus leaves is supported by an angel standing on a platform.
The Arkansas Divide
Thomas Moran, American, b. Britain, 1837–1926, August 1874
Brush and black wash, graphite on thin light brown wove paper
Drawing

Horizontal and oblique view of valley with a mountain range in the distance
Cape for an ecclesiastical figurine
, 1750–99
silk, metallic yarns, sequins Technique: embroidered on moire

Small cape for an ecclesiatic figure, the "Bambino". White silk moire embroidered with silk chenille in greens, purples, rose, and gold sequins and gold and silver thread. Design of grapevine, rose and grain aroudn border. Lined with blue silk with white brocaded floral design.
Iceberg near Battle Harbour, Canada
Frederic Edwin Church, American, 1826–1900, July 9, 1859
Graphite and gouache on light green wove paper
Drawing

Seascape sketch showing a view of a roughly pyramidal iceberg near Battle Harbour, Canada, that features a lofty, sharp pinnacle at left that descends to an undulating, flowing form at right. Entire right side of iceberg highlighted in white gouache. In the background at left, two other icebergs are visible on the horzon: one tall tower at left, and another, shorter berg at right.
The Risen Christ
, 1600–1900
Pen and ink, brush and wash on paper
Drawing

The risen Christ holds a banner, surrounded by clouds and angels.
Gedney Bunce
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Sketches of a make figure's profile.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1880–1900
Machine-printed

Large stylized poppy and clusters of small flowers form the drop repeat motif. Finished with a wash which makes it a "wash print" paper. This was the top one of six layers of wallpapers.
Town gate
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash, red ink on off-whtie laid paper
Drawing

Slightly more than the left half is shown. Low arched opening, flanked by a rustic pilaster and a Doric column. Inscription tablet on top. Colored background.
Wallpaper Design
, 1840–60
Brush and gouache, graphite on heavy white paper
Drawing

A dado is shown at the bottom, an entablature showing a laurel staff on top. Suggested are rows of palmettes consisting of leaves or of bunches of leaf boughs arranged like palmettes, the bottoms of which are connected by flower festoons.
Shop Scene
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Scene of a man and a woman in a shop. The man gestures to a wall with hanging textiles, shoes, and ribbons. On the other walls, there are also gloves, tassels, and wigs. Many of the goods are numbered, suggesting there might have been a legend identifying the various items. The plate is not signed.
Sidewall
, ca. 1860
Block-printed, stamped foil, distemper painted

Vertical rectangle. Two large frames, suggesting the style of Berain, in white and brown overprinted in gold, on the vertical axis; smaller motifs repeating on the field, in gold and white. The frames enclose vertical oval medallions with painted landscapes, each with a rustic building.
Cotton Tree, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Graphite, brush and white gouache on gray-green wove paper
Drawing

Botanical sketch of roots and lower trunk of cotton tree. Lightly shaded roots have strangely anatomical quality.

Verso: Partial outline of tree trunk or branches.
Autumn in the Hills
Frederic Edwin Church, American, 1826–1900, 1865–1880
Oil and graphite on off-white paperboard
Drawing

Landscape sketch showing a view of rugged hills covered in autum foliage. Sloping terrain in the foreground is loosely rendered in shades of beige and brown. In the middle distance, two hillsides converge at center to frame a view of a pointed peak behind them at center. Both ridges, as well as the peak, are blanketed in dark red autumn foliage. The sky above is a clear, saturated blue.
Fragment
, 17th century
silk, metallic threads Technique: cut and uncut (ciselé) supplementary warp pile in a satin ground (velvet)

Very incomplete design of a large-scale flower in cut and uncut red pile on a yellow ground. Originally with flat metallic strips that floated across the ground, but these are almost entirely gone.
Fragment
, early 18th century
silk, metallic thread, gold paint Technique: embroidered using satin, stem and couching stiches on satin weave; painted

Small fragment with a bouquet of multicolored flowers (carnation and tulips) and leaves tied with a ribbon. Satin weave ground is painted gold.
Ornamental Medallion Designs
P. J. Bertren, active 18th century, 1768
Etching on paper
Print

Two medallion designs, one above the other. The upper medallion is decorated with musical instruments, including a lute, bagpipes, a horn, and a tambourine. The lower medallion has on it attributes of the arts, including a bust, a paint palette and brushes, a maulstick, rules, a book, and rulers. The plate is signed and numbered.
Interior of the New Concert Hall, Venice
, 1760–1790
Etching on paper
Print

Horizontal rectangle. View into a circular hall with a cupola, at right. A concert is going on. The public sits in the ground floor and upon a gallery along the walls. Some men are standing in the foreground. Caption above, inverse: "SALLE DE CONCERT DE VENISE"; below at right: "a Paris chez Daumont Rue St. Martin".
Fragment
, 17th century
silk, linen Technique: two interconnected structures (brocatelle)

Blue and yellow brocatelle fragment with a scrolling pattern with details in diagonal hatch marks.
Heads of Cats and Dogs
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1775
Aquatint in gray and black ink on paper
Print

Heads of two cats face heads of two dogs.
Sketch of Seated Woman for National Academy of Design Tympanum
Daniel Huntington, American, 1816–1906, ca. 1885–88
Graphite on cream wove paper
Drawing

Recto: Woman in drapery, seated, with pencil and slate. Her legs crossed, turned to the right, her head turned slightly to the left. Verso: Horizontal sketch with crossed legs and part of the coat of Mr. Winthrop.
Sidewall
, ca. 1845
Block-printed paper

Vertical strip picturing details of Gothic architecture in grisaille, the center containing doorways with figures in green and brown alternating with circular medallions depicting a railroad station with a train and an underpass.
Old House in New London
Daniel Huntington, American, 1816–1906, 1857
Graphite on paper
Drawing

House, at left, outlined. Trees in right foreground lightly sketched.
Orizaba, Mexico
Frederic Edwin Church, American, 1826–1900, February–April 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the city of Orizaba, Mexico, and surrounding mountains. In the middle distance at center, a large church with a red dome--possibly the Parroquia de San Juan de Dios--is visible atop a short prominence. Mountain ranges surround the city, with the immense peak known as Tres Cruces shown in the background at center, capped by a loosely rendered bank of clouds. 

Verso: Atmosphere sketch from Mexico showing a view of the sun shining through a thin layer of hazy clouds.
Water color; Night Fishing at the Entrance to a Cave
Saverio della Gatta, Italian, 1777 - 1829, 1828
Pen and black ink and water colors on wove paper.
Drawing

Horizontal rectangle. Three fishermen in boat and another seated upon a stone are shown fishing in a huge cave lighted by a fire at the stern of the boat. A fifth man stands at left. Framing lines.
Design for a Title Page
, 1760-1770
Pen and ink, brush and wash on paper
drawing

A frame with curved, chamfered corners decorated at the top with putti, one holding a ribbon inscribed "Dum Spiro Spero," above an escutcheon showing a rampant lion and three crescents. At either side, flying putti hold rose garlands. At the bottom, water and fruit spill from three overturned vases, two other escutcheons, a mace and oars. The frame rests on a stone base with attached rings at either side.
Musical Trophy Design
François Marie Isidore Queverdo, 1748 - 1797, ca. 1767
Etching on paper
Print

An allegorical hanging trophy design representing music with its attributes, including sheets of music, foliate branches, horns, tambourine, guitar, harp, lyre, and a bagpipe (musette). At the top, an oval medallion depicted a woman playing the harp. The plate is signed and dated.
Design for a Sculptured Coat of Arms; Verso: Sketches of Architectural Designs
, 1580–1600
Black chalk, pen and ink, brush and watercolor on paper
Drawing

A scrollwork escutcheon contains two shields with a greyhound rampant and a bear rampant, respectively. Two arms rise from the helmet; the hands hold a book. A scroll with the inscription NOSCE TEMET is on top. At the lower ends of the manteling heavy tassels. Ovoidal molded fram for which an interlacement band is is suggested in its top part. Below at right, pen scratching and written "Ca...(?). Verso: Three sketches referring to volutes, shown obliquely and from the front. Above at left are horizontally drawn two oblique views of an entablature. A circle is drawn below at left.
Design for a Pair of Trophies
Jean-Charles Delafosse, French, 1734 – 1789, 1770–80
Pen and black ink, brush and wash, black chalk on off-white laid paper. (bordered in brush and black, blue watercolor on three sides)
drawing

Two trophies showing implements of war; the left one refers to the French cavalry, the right one to elements of artillery.
Hacienda in Cuautla, Mexico
Frederic Edwin Church, American, 1826–1900, February 1885
Graphite on off-white wove paper; verso: graphite
drawing

Landscape and architecture sketch showing a view of a hacienda and its courtyard in Cuautla, Mexico. In the foreground at center, a square courtyard is bounded by stone walls, which are viewed obliquely. According to inscriptions, the courtyard is filled with mules and horses, though none are rendered. A gate or door is visible at the far end of the courtyard at lower center.  At center right, the tall, triangular gable of the hacienda building is starkly shown. Trees and bushes neighbor the hacienda at left, though which, the nearby train station is partially visible. Other town buildings are shown in the middle distance at right. In the background at left, the rugged ridge of Iztaccihuatl is visible beside the sloping mountainside of Popocatépetl, which climbs out of frame at right. 

Verso: Mixed sketches from Cuautla, Mexico, showing views, at upper left, of a church's belltower and stepped facade; at upper right, a wide barn- or warehouse-like building shown obliquely; and at center, indistinct and undulating parallel lines that may represent a river or field.
Vase, Candlestand, and Ornament Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A vertical plate with designs for two perfume burners, a large candlestand, masks, and three vases or capitals featuring Neoclassical and Empire style motifs, acanthus leaves and foliage, palmettes, eagles, fluting, gadrooning, lion heads, snakes, and repeating patterns. The plate is numbered.
View of Groton Heights from New London
Daniel Huntington, American, 1816–1906, ca. 1859
Graphite on paper
Drawing

Lower right, inset, old house in New London, labeled. Above, area near shore with houses and trees, with sailboat masts beyond. Water and ridge with meadows in distance.
View from the Acropolis, Athens, Greece, Part One
Frederic Edwin Church, American, 1826–1900, April 20, 1869
Graphite on gray-green wove paper
Drawing

Landscape and architecture sketch showing the first part of a panoramic view of Athens, Greece, and the Acropolis from the southern slope of the hill. This description refers to the entire view, comprising two leaves with 1917-4-595-b. The top of a stone wall in the foreground at lower right extends directly toward the middle distance. The southwest corner of the Parthenon is visible atop a rise in the terrain in the upper right corner. Immediately to the left of the foreground wall, the arched rear wall of the Odeon of Herodes Atticus is briefly visible, situated at the base of the southern flank of the Acropolis. In the middle distance at center, the Hill of Muses, also known as Philopappou Hill, gently rises across the terrain to its rounded summit at left, crowned with the prominent Philopappos Monument. At the base of the hill at center, dark, rock-cut openings in a cliffside indicate the so-called Prison of Socrates (erroneously labeled by the artist as the Tomb of Cimon, which isn't visible from the Acropolis) . Relatively flat terrain dotted with olive trees extends to the background, where the peaks of the Aigaleo range and those on the island of Salamis form a rugged horizon at center and right. At left, distant mountains visible across the Saronic Gulf also constitute a sharp horizon.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decorated

Man in long white trousers and short blue coat walking toward right and holding a black top hat in his left.
Fragment
, 17th–18th century
silk, cotton Technque: 7&1 satin plus 1\7 twill

Grid of checkerboard banding with crowns at the intersections. Selvage to selvage.
Four Statues in Egyptian Style
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and ink, brush with sepia wash over cream laid paper
Drawing

Two male, two female figures. Inscribed: bassalto. Inscribed under two last figures: marmo nero.
Ornamental Vase Design
François Boucher, French, 1703–1770, ca. 1738
Etching in red ink on cream laid paper
Bound print

Vase in the form of a pitcher. Shell-shaped forms near the neck and lid, the handle connected to the base by a snake-like chain. Sitting on the handle is a crouching dog baring its teeth. Reclining in the slope of the neck, at right, a putto figure. The plate is printed in red ink (sanguine). The plate is signed and numbered.
Tablettes d'appui de Croisées avec Consoles
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two architectural sills. The top features lion heads on the brackets; The lower sill features a band of Greek Key, or meander, pattern, and scrolling brackets. The plate is signed.
Vase Design with Flowers
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Design for a handled vases with flowers, decorated with gadrooning and leaf motifs. The plate is numbered.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of green ribbons on a tan ground with white stripes; picot edges.
Design for Embroidered Floral Motifs of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1785–1795
Graphite, brush and gouache on paper
Drawing

Cards fastenedd together by bow knots form irregular lozenges. A standing bunch of feather leaves and a lilac bough, horizontally disposed, alternate in those of the first row. The lozenges of the second and fourth rows show two alternating floral designs in oblique strips. Flower garlands hang in the lozenges of the third row. Somewhat more than one repeat is shown. Squared with graphie in opposite direciton. Verso: blotter of a sketch of a design of small boughs in rows. Written in graphite, bottom left: "8 fleurs". Part of a listing as at the left edge.
Trimming
, 18th century
White, black, and colored silks in velvet weave.

Two shields, each under one crown.  One shows a Maltese cross in each of two quarters and a tree with two small animals in each of two quarters.  The other shield shows a horseman with a motto.  Colors are blue, purple, green, yellow, and black on a white ground.
Valentine
, ca. 1840-1850
Colored and painted embossed cut-paper
Greeting card

Within an embossed cut-paper frame with stylized floral decorations is a floral wreath of colored cut-paper, and paint additions, with a cupid holding a heart. Above is written (in blue ink): "In sweetest dreams thy lovely form I view/Accept this token of my love for you."
Fragment
, ca. 1815
cotton Technique: printed on plain weave

Fragment shows a scene from the Adventures of Telemachus and depicts a group of men and women in a grotto seated at a table.
Temple of Love and Pyramid
, ca. 1830
Block-printed paper on pasteboard support
Bandbox

Scenic paper of formal gardens with "Temple of Love and Pyramid".  Printed in olive green, dark red and brown on pale gold background. Cover matches.
Drawing
Filippo Marchionni, Italian, 1732–1805, 18th century
Pen and ink, brush and gray watercolor on paper

Architectural doorway.
The Upper Part of the Body of a Punchinello
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, 1750–1800
Pen and ink on thin paper
Drawing

Shown in profile, turned toward left.
Design for Two Brooches
, 1820–30
Pen and ink, brush and sepia on paper
Drawing

Two designs, one above the other. At top, the frame of a circular diamond has outside arches with alternatively a fleur-de-lys and a brilliant upon points. Below, five diamonds forming a cross, with inverted chalices with pearls outside, in the wedges.
Lion Ornament Design
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Ornament design with a lion surrounded by scrolling leaves (rinceaux), foliate branches, and rosettes. The plate is numbered.
Ceiling Designs
Nicolas Pineau, French, 1684-1754, ca. 1730
Etching and engraving on laid paper
Print

A design for a ceiling with variations to the design in each corner and sides. Only the cornice is ornamented with rococo motifs - cartouches, fleurons, palmettes, c-scrolls, s-scrolls, shells, masks, gadrooning, flowers, leaves, putti, and figures within the cartouches. The plate is numbered and signed.
Elevation of a Memorial Structure
Giuseppe Barberi, Italian, 1746–1809, 1790-1800
Pen and brown ink, brush and brown wash on paper
Drawing

A doorway of Doric order and with doors of Paladian order leads into a Pantheon-like building. Laterally redoubts project obliquely. Rostral columns wit hstatues on top stand in the center of the segments. Measurements are indicated. Accounts.