biglam/cooper-hewitt-alt-text huggingface dataset:
Boulders and Trees along Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, October 1878
Graphite on white wove paper
drawing

Landscape sketch showing a view of boulders and trees on the shore of Lake Millinocket in Maine. Shown at center, multiple large boulders emerge from the water, as well as other natural debris and a small tree at left. The tops of two incomplete evergreen trees backdrop the scene.
Dessus de Porte, dans le grand Appartement des Tuilleries.
François Chauveau, French, 1613 – 1676, 1710
Etching on laid paper
Bound print

Twenty-fifth 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 two overdoors from the Grand Apartment of the Tuileries Palace. Both overdoors are decorated with friezes, arched pediments with military trophies above. Ornamented with heraldic devices, globes with fleurs-de-lys, grotesque motifs, foliage, shells, ribbons, cornucopias, acanthus leaves, running patterns of laurel and palm leaves and other foliage. The plate is titled, signed, and numbered.
View of the Tennengebirge between Golling and Abtenau, Austria
Frederic Edwin Church, American, 1826–1900, August 5, 1868
Graphite, brush and white gouache on tan wove paper
drawing

Landscape sketch showing a view of the alpine massif known as Tennengebirge (or Tennen Mountains) from the base of the Lammer River Valley, near the town of Unterscheffau, Austria. Prominently situated in the middle distance at center, the Tennengebirge's three craggy, serrated, karst peaks overlap one another as they recede into the background. The mountain's bulging sides are covered in trees, while in the lower left corner, nearby grass or treetops are loosely rendered.
Candlesticks
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At center, the figure of an athlete standing on a round pedestal standing upon a stepped base. Two branches on either side. Surrounding sketches.
Bracket
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Bracket.
A Pitch Pine, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Botanical sketch showing a view of a twisted pitch pine tree, likely near the location of the former Catskill Mountain House, above the village of Catskill, New York. Positioned along the leaf's vertical axis at center, the tree is windswept, as its contorted branches predominantly grow to the right. Each needle, seemingly, is rendered.

Verso: Mixed sketches of a seated dog--possibly Thomas Cole's dog, Tiger--viewed in left profile at left, and ferns growing out of a boulder or embankment, at right.
Portrait of Carlo Careno
Angelo Zaffonato, Italian, died 1835, ca. 1810
Stipple engraving on paper
Print

Bust-length portrait in three-quarter view, facing right. The sitter, a middle-aged man, with long hair, wears a dark jacket over a vest.
Trimming
, 19th century
silk Technique: uncut supplementary warp pile on satin ground (velvet)

Trimming fragment in a design of an angular stem with leaves in uncut red velvet on a yellow satin ground.
Stage Design for the Interior of a Hall in the Classical Style
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Large hall opening between columns in the background and on the left side, decorated in the classical style. DEtails on margin.
Vue de l'Entreé du Chateau de Marly (View of the Entrance to Marly Palace)
Chez Daumont, active 18th century, 
Hand-colored etching on paper; verso: fabric adhered with thread
Bound print

Perpsective view of the Château de Marly. The palace extends horizontally across the midground. The windows of the palace are cut out, with thread and colored fabric visible through the openings. In front, two lines of soldiers surround a horse-drawn carriage approching the open gate, perpendicular to the palace. Various pairs of figures are scattered to the left and right of the procession. Green foliage lines the top of the palace, and a blue sky is visible along the top margin.

Verso: Patches of green, yellow, red, and blue fabrics. Print label: Vue de l'Entreé du Chateau de Marly. / A Paris chez Daumont rue St. Martin.
Fragment
, 18th century
silk and metal Technique: raised cut pile on a silver faced foundation (velvet)

Rust and black colored pile enclosing silver floral shapes.
Design for a Trophy
Richard de Lalonde, French, active 1780–96, 1780
Graphite, pen and black ink, brush and rose, brown watercolor, wash, on cream laid paper
Drawing

Trophy consisting of a ewer encircled by a wreath of flowers, a walking staff angled at center, olive branches above and below, all bound by a ribbon tied in a bow.
Japonaiserie
W.N. Peak, Brooklyn, New York, 1880 - 1900, 1883–85
Machine-printed paper
Sidewall

Anglo-Japanesque design.  Full width of a paper giving nearly two full repeats of a design composed of larger and smaller enframed motifs: views of Brooklyn Bridge (opened 1883), bridge at Niagara Falls, a ferry slip, a Western road, and ceramic vases and jars. Printed in greens, browns, red, and metallic gold.
Index Peak, Clarks Fork, Wyoming
Thomas Moran, American, b. Britain, 1837–1926, 1892
Brush and watercolor, white gouache, graphite on wove blue-green wove paper
Drawing

Horizontal view of a pointed rock peak in the middle distance, placed just left of center on the sheet. Brown jagged rocks surrounds white highlighted peak. In the foreground, small green shrubs and rocks rendered in graphite. White gouache sky behind peak.
Pendant
, mid-19th century
Gold, black and white enamel, aquamarines.

Pendant of three curving panels ornamented in black and white enamel in floral design above three pieces of aquamarine and below an ornament of three leaves; loop at top.
Border
, 1860
Block-printed and flocked

Rectangle with cable molding or rope twist along top and bottom edges. Part of a square and part of a circle, composed of cable molding, at respective short sides. Between, strip of red flock overprinted with foliate rinceaux in bright orange.  Printed in yellow and brown distemper and red flock.
Elevation of a Carriage
, 18th century
Etching on laid paper
Print

Elevation of a richly decorated carriage, with panted panels depicting winged putti and a crowned coat of arms, and carved ornament motifs includding griffons, bead course, scrolls, garland, terms, urns, and horn-blowing angels with a crowned orb with fleurs-de-lys at top. The plate is not signed or numbered.
A Sphinx with Globe
, late 18th century
Graphite, red crayon on paper
Drawing

Sphinx with woman's head, body of a lion, and wings.
Mount
, late 18th–early 19th century
Gilt and coppered bronze with pewter or lead surround

Winged cupid playing a lute riding a lion.
Chair
Giuseppe Barberi, Italian, 1746–1809, 1780–90
Pen and brown ink, brush and brown wash, on off-white laid paper, lined
Drawing

Frontal view of a chair with a large octagonal back, sloping arms terminating in acanthus leaves where the hands would rest, tapered geometric legs, and caning connecting the back to the seat.
View at Sea near Jamaica
Frederic Edwin Church, American, 1826–1900, April 29, 1865
Graphite on gray wove paper; verso: graphite
Drawing

Landscape and atmosphere sketch showing a view at sea near Jamaica. Water stretches from foreground to a distant and low horizon. Above, clouds of various types stretch across the sky with puffy, billowing clouds peeking over the horizon. 

Verso: Botanical sketch of the flower of wild plantain plant in Jamaica. The flower's triangular, mirrored leaves are visible along the composition's vertical axis and decrease in size as they go up.
Scene with Apollo
Thomas Christian Winck, German, 1738–1797, late 18th century
Etching and engraving on off-white laid paper
Print

Scene of Apollo at the peak of a pyramid of figures. The plate is signed on a book at the lower left.
Trimming
, 19th century
silk Technique: woven

White trimming fragment in a design of satin and plain weave stripes.
A Cleric with Halo, Nun in Habit, and Small Angel
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash, graphite on paper
Drawing

A Cleric with Halo, Nun in Habit, and Small Angel.
Elevation of a Fountain
, ca. 1790
Pen and brown ink, brush and gray wash, white heightening on light blue laid paper
Drawing

Truncated obelisk topped with a crowned double-headed eagle. Water flows from the mouth of a mask into a basin with rock work. A stepped base below.
Ten Sketches of Tombs and a Mountainside, Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 26, 1868
Graphite on off-white wove paper; verso: graphite
Drawing

Architecture and landscape sketches showing ten views of rock-carved tombs at Petra, and a rocky mountainside. Along the left margin, the facades of three rectangular tombs are visible--the lowest of which includes two columns and a pediment. Two other columns are shown at lower center, while three views of dark portals in the cliffsides are visible at center and upper center. At far right, separated by double dividing lines, a steep and craggy mountainside is a loosely sketched continuation of the view in 1917-4-487. 

Verso: Architecture and figure sketches showing, at upper left, two views of the upper stories of two houses (copied from photographs), and a man shouldering a fishing rod, viewed from behind at upper center.
Façade pour la Salle de Bal
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for the façade of a ballroom decorated with figurative sculptural groups above a rooftop balustrade and trophies carved in bas-relief. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters). The plate is signed and numbered.
St. GERMAIN EN LAYE
Gabriel Perelle, French, 1604–1677, 1669–1703
Etching on laid paper
Print

View of the palace of St. Germain en Laye from the formal garden, with its fountains, basins, and parterre planting. Trees in the foreground and buildings in the background. Figures walking throughout the grounds. The plate is titled with a description of the palace.
Plate 6, "Suite de douze Pêcheurs et Chasseurs"
Jean-Baptiste Pillement, French, 1728–1808, 1771
Ethching on paper
Print

Decorative landscape with a Chinese using a pointed spear to attack a dragon below him. Two framing lines. Right top corner: "6."; bottom of the design: "j. pillement.in.del."; "j.j.avril.sculp.1771."
Fragment
, 1750–99
silk Technique: embroidery on satin weave

Design of an upright stem with flowering branches, and architectural motif (partly cut away).
Domino paper
, 1745–60
Block-printed, stencilled

Rectangular pieced portion of a sheet, with paired checkered serpentine bands, colored blue, entwined by serpentine bands of small flowers periodically set with larger rose-like flowers, colored pink and blue. Field white, with groundwork of black broken lines. White margin on one long and two short sides.
Grille d’appui posée a l’entrée du Sanctuaire de l’Eglise du Seminaire de Messieurs de l’Oratoire, executée et composée par Gabriel Bonthomme
Gabriel Bonthomme, France, active ca. 1775, 1775
Etching on paper
Print

Design for a wrought iron balcony balustrade (rail) from the entrance to the sanctuary of a seminary church featuring scrolling leaves, beads, foliage, and bands of c-scrolls, s-scrolls, and ovals. The plate is titled.
Title Page
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Title page for a series of ornament prints. The title is framed in an oval opening within a rectangular frame decorated with running patterns of leaf and pearl motifs, with scrolling leaves (rinceaux), and foliate branches in the corners.
Four Cornice Designs
, 17th century
Engraving on paper
Print

Four cornice designs.
Charger, from the "St. Andrew" Service ("St. Andreas" Service)
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1744–1745
hard paste porcelain, vitreous enamel, gold
charger

Circular form, with overglaze gilt and red border and Russian Imperial arms opposite the Imperial Order of St Andrew the first called, on the rim, the central well with underglaze moulded white floral pattern, and colorful Deutsche Blumen scattered over the whole surface.
Writing kit
, 19th century
Cut and shaped tortoiseshell on wood core, silver, glass (bottles), textile (interior)

Rectangular tortoiseshell box with arched lid (a), containing ink well (b), bottle for sand (c), pen (d), pen nibs (e/f).
Three Men
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1630–1640
Red chalk, pen and ink, brush and watercolor on paper
Drawing

Upper left, a crouching figure facing right, pointing with his left hand. To the right, the top half of a figure facing left, carrying a pole over one shoulder. Below, a bearded figure shown seated.
Landscape in Dorset, Vermont
Walter Shirlaw, American, b. Scotland, 1838–1909, July 4, 1875
Graphite on paper
Drawing

A fence is shown in the foreground, a group of tress are beyond, left. At right, countryside in distance.
Chambranle avec colonnes Corinthiens
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation of a doorframe design that has Corinthian columns on either side, and a top shelf with a frieze with a repeating design of c-scrolls and stylized flowers. Below the elevation is a scale bar of four French feet ("4 Pieds"). The profile of the column is provided on the left side of the plate, and a cross section of half of the shelf is on the right. The plate is signed and numbered, although the lettering of the plate is not evident in the creasing of the album.
Heavy Swells
Howard Russell Butler, American, 1856 - 1934, 1918
Oil on canvas mounted on cardboard
Painting

Rocks are shown in the left foreground. A tongue of the coast projects into the sea in the right distance.
Designs for Ewers, from Dessins d'orfèvrerie (Designs for Metalwork)
Léonard Thiry, Flemish, 1550, 1540–1560
Engraving on laid paper
Print

Fontainebleau school. Design for two ewers. On the left ewer, the Birth of Venus. On the right one, the Triumph of Neptune. Both are decorated with pearls, jewels and strapwork, crabs, frogs, lobsters, putti and grotesque masks.
Design for a Candle Bracket
, late 18th century
Pen and ink, brush and watercolor on paper
Drawing

Vertical rectangle. Design for a candle bracket intended to be executed in partly gilded bronze. A central and two lateral arms springing from a cornucopia, with a ram head as point at base. Two scales in pen and ink and graphite at bottom.
Fragment
, early 17th century
linen Technique: applique and embroidery

Light brown rectangular fragment with a conventionalized design of a spoked circle surrounded by petals and scrolling bands and lines.
View of a Palace
Giuseppe Barberi, Italian, 1746–1809, 1792
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Three wings face a coutry with colonnades, to which staircases lead. Verso: A trapezoidal and a triangular plan, roughly sketched.
Sketches of Four Heads in Caricature
Carlo Marchionni, Italian, 1702–1786, 1725–75
Pen and black ink on paper
Drawing

At left are two clerics in three-quarter profile; at right, two profiles, in caricature.
Button
, 1815–30
Pewter

On card E
Design for a 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 shaft is similar to -1411, the bowl to -1406. The lid has below a base with two zones, the lower one being undecorated, except with a broken pediment at the front. Upon the base stands a pyramid-like, curved pedestal with, ton top, a bunch of lilies and cherubim. Below the oblique sides are cherubim and palm branches. Usual background.
Project for the Decoration of a Ceiling
, ca. 1780
Graphite, pen and ink on paper
Drawing

Portion of a ceiling shown. At lower right, a candelabrum. To the left of this a circle with a mask at center. Flanking this, are two panel with three figures each.
Porte d'Appartement
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Apartment door design with lamb tongue ornamented cornice, and molding with fluting, bead course, scrolling leaf, and lamb's tongue decoration. The profile contours of the door is shown at the right. The plate is signed and numbered.
Design for a Woven Fabric, Fragment
, 1815-1840
Yellow, beige, red, and black gouache on oily tracing paper, mounted
drawing

A big and a small fantastical plant with verticall rows of rings shown perspectively, at the bottom. Dots, ring, a calyx.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

With blue-gray field. Arabesque of flowers and fruit, with green foliage.
Sidewall
, 1875–85
Machine-printed

Horizontal rectangle giving a complete width. Design of Chinese inspiration, with plants springing from vases and forming foliate arabesques set with scrolled ribbons and flowers, printed on black ground.
Developpement de l'Entablement Dorique avec Corniche, Imposte, Archivolte à l'usage des Portes et Fenêtres
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profiles of an entablature in the style of the Doric order. The plate is signed and numbered.
L’ÉCOLE DES GARÇONS
Jacques Bacheley, French, 1712 – 1781, mid- 18th century
etching on paper
Print

First plate from a series of six depicting children's scenes, framed within decorative rococo cartouches. The series is incomplete in this album and the third and fourth plates have been substituted with plates from other series. The scene depicts a group of boys with a teacher sitting on a chair, punishing one of the boys with a spoon. The cartouche incorporates a shelf with books, a quill and scrolls of paper. The title is lettered below the cartouche, the plate is signed and numbered.
Saint Genevieve, Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Study for woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on grey wove paper
Drawing

Sketch of a female figure with detail of fabric gathering around her shoulders and knees. The entire figure is shown without feet and slightly sketched right forearm.
Man in a Garden
Jean-Baptiste Pillement, French, 1728–1808, 1773
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes. A man wearing a hat holds a stick in a garden landscape with a brick half-wall in the background. A wooden fence in the foreground and a vase with flowers and leaves on the end of the wall, to the right. The plate is numbered, signed, and dated.
Sidewall
, ca. 1785
Block-printed on handmade paper

Simulated moire silk, decorated with small bunches of flowers in drop repeat. Printed in colors on light blue ground.
Sketch of Seated Woman for National Academy of Design Tympanum
Daniel Huntington, American, 1816–1906, ca. 1885
Graphite on cream wove paper
Drawing

Woman in drapery, seated, turned to the right with her legs crossed. Her left arm rests on a tablet. Verso: Woman in same postion, with slate shaded and right arm not shown.
Les Deux Pigeons
Jean-Baptiste Réveillon, French, 1725–1811, 1789
Block printed on handmade paper
Sidewall

Vertical rectangle of joined sheets of paper. Large basket of flowers with dove flying out from its midst; another dove above, to right. Along each margin, slender shaft with occasional foliation, intercepted by small urn of flowers. Scrolls and swags of foliage and drapery, and crossed arrow and torch above large basket; diagonal yellow dotting on field.
Design for Ceiling Decoration, a Barrel Vault
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A variation of the scheme of -1532 and of -1551, representing a coffered vault. Women are seated beside urns below. A mask between figures is shown on top of the pointed arch. In the center is a view at an entablature and a balustrade.
Project for a table
, ca. 1700–50
Pencil, pen and ink, brush, green-brown watercolor on light brown paper
Drawing

An eagle standing with spread wings serves as the foot. He holds a short branch in his mouth, another in his right foot, while his left foot stands upon a stone. the base is the earth.
Project for a Window Case
, 1650–1700
Pen and brown ink, brush and gray wash on off-white laid paper
Drawing

Elevation of door frame with a straight entablature supported by two consoles with triglyphs. Below is a dado with scale.
Boys Playing with a Bird
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

Four nude boys grouped about an urn. One, to the right, lies on the ground, his head on his hand. One plays, center, with the urn. Two at the left are watching a bird, far left.
Striding Soldier
Aniello Falcone, Italian, 1607 - 1656, 1620–40
Red chalk on paper, lined
Drawing

A figure of a soldier in a feathered helmet strides forward with his left arm extended before him and a lance or similar object in his right hand.
Cartouche with a Dragon and Armorial Trophy
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Cartouche framed with a winged dragon and battle weapons (including spear, helmet, ax, shield). Within cartouche, a figural scene in Rococo style depicting two putti in a field below a tree--a town or village in background.
An Angel Hammering a Chisel into a Burning Beast
, early 17th century
Pen and ink, brush and watercolor and laid paper; verso: pen and ink
Drawing

Vertical rectangle. An angel or putti shown from the front, sitting upon a beast, raising a hammer with his left hand and holding a chisel in his right hand. Verso: Saint John the Baptist shown in profile, turned toward left, kneeling. He offers something he holds in his right hand. The left forearm is around the neck of the lamb crouching beside him. Scratchings.
Trophy Design
P. Moithey, French, active 18th century, mid- 18th–late 18th century
Etching in red ink on laid paper
Print

A design for an ecclesiastical hanging trophy printed in red ink, incorporating religious headgear such as mitres, and a galero (large-brimmed cardinal's hat), a crucifix, crosses, thurible, an open book, a monstrance, and a candlestick, intertwined with palm leaves, foliate branches, and ribbons. Another copy of this print in black ink is bound within the same album (1921-6-363-7).
Frame, probably for chair back
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Frame, probably for chair back.
Dedicatory page of the set "Mediceae familiae rerum feliciter gestarum Victoria et triumphi"
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1578
Engraving on paper
Print

Vertical rectangle.  An escutcheon surrounded by many animals, statues of Diana and another huntress, two hunters and the coat of arms of the Medici with spears and  horns, contains the text beginning: "COSMVS MED. MAGN: ETRVRIAE" and ending with : "Johannes Stradensis Flanfrius inuen.  Philippus Galle Sculp. et exud:/1578."  Bottom center: Ad Lectorem.  Framing lines, bottom: Exornant aulasque aulea parentis Hetrusci, Pluribid exemplis his tibi lector habe."
Fragment
, mid–late 18th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Fragment of blue cut and uncut velvet on rose silk ground. Design in velvet forms hexagonal-shaped areas each enclosing a tiny blossom.