biglam/cooper-hewitt-alt-text huggingface dataset:
Plant Sketches with Poplar Tree
Frederic Edwin Church, American, 1826–1900, possibly 1856
Graphite on gray-green wove paper
Drawing

Botanical sketches showing a view of the thin trunk of a poplar tree, which splits into two boughs, at right, and five sketches of other plants and mixed vegetation at left.
BACCUS
Claude Gillot, French, 1673–1722, 1729–37
Etching on laid paper
Bound print

Plate of arabesques with the figure of Bacchus at the center under a baldachin. The second state of the plate before engraving and before lettering (see 1921-6-224-9 for the lettered version).
Mount
, ca. 1810
Cast and gilt bronze

Lotus rosette surrounded by palmette motifs.
Necklace box
, ca. 1880
Necklace: onyx and gold; box: blue velvet.

B: a box of blue velvet designed to hold the necklace.  On the undeside of the cover in gold letters : "Tiffany and Co. New York Ave de l'opera 36 bis Paris" and on the cover of the box is the monogram: "PDO" in silver letters.
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 with a spout like a trumpet. The handle of the vase is formed from stylized acanthus leaves that appears as if merging with a garland of fruits and leaves draped across the body of the vase. There is acanthus leaf patterning at the shoulder and bottom of the vase. The vase is elevated on a low socle with indication of a ground of grasses beneath. The print is engraved in red ink (sanguine) crayon manner. The plate is lettered.
Architecture Sketches, Switzerland
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on tan wove paper
drawing

Architectural sketches from Switzerland showing two views of a building's roof with a chimney, at left, and a castle's round tower, or turret, at right. An outline of a roof backdrops the turret.
Door knocker
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Sketch of a door knocker with ornate handle.
Plan du Premier Etage
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving
Bound print

Plan of the first floor (above the ground floor) of the Royal Castle with a scale bar indicating a scale of "6 Toises."
Design for a Woven Fabric
, 1815-1840
Various gouache colors, black paint on oily tracing paper, mounted
Drawing

A rinceau, undulated rising flower stems. The designs of the motifs hanging into the four wedges shown are different; they are of opposite directions in alternate horizontal rows.
LE PARTERRE DU PALAIS ROYAL
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the garden parterre of the Royal Palace (Palais Royal) in Paris, with figures, trees, and a fountain. The façade of the Palace and other buildings in the backyard. The plate is titled and signed.
Suite du Jardin St. James
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating various garden buildings and structures including details, elevations, and sectional views for a swing, a shooting game, a sort of merry-go-round, and a trellis pavilion with sculptures on plinths. The plate is titled, signed, and numbered.
Designs for Three Pendants
, mid- 19th century
Pen and ink, brush and sepia wash, gray watercolor on paper
Drawing

Horizontal rectangle. At left: a knot above crossing the ring with hanging diamond; in middle: a knot of ribbon whose ends are invisible and hanging diamond; at right: a knot with hanging diamond. Graphite framing line.
Saucières et Salières
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Designs for the foot of a sauceboat or salt cellar and a sauceboat decorated with branches and scalloping. The plate is signed and numbered.
Mexican Landscape
Frederic Edwin Church, American, 1826–1900, February 25, 1890
Graphite on gray-green wove paper
drawing

Landscape sketch showing a view of a rugged desert landscape in Mexico. Bushes and tall cacti dot flat terrain that extends from the foreground, through the middle distance, and into the background, where it meets a range of hills. This rolling range of hills stretches across the horizon, with two tall, sharp peaks visible beyond it at right.
Stockings
, 19th century
cotton Technique: knitting

One pair of white handknit stockings with two narrow lines of reddish brown at the top.
Les Solitaires de Normandie
, ca. 1788
Engraved, hand-colored and painted paper leaf, turned wood handle
Handscreen

Handscreen with paper leaf and turned wood handle. Obverse: oval medallion with a hand-colored engraved scene of a barrister and four other figures with a basket of flowers in the forest, surrounded by a framework of hand-painted motifs. Reverse: dialogue from the comic opera "Les Solitaires de Normandie."
Elevation of the Side of an Ornate Cabinet
Jacques Androuet Du Cerceau the Elder, French, ca. 1515 - after 1584, 1550–75
Black chalk; pen and brown ink on cream laid paper, laid down
Drawing

One side of an ornate cabinet shown in elevation with a winged, armless satyress prominately featured in profile. One half of cabinet design is shown with a large rectangular section supported by the design of lower verticle doors. Above, is an entablature with a vase of fowers between cornice and pedestles on top.
Project for the modernization of an altar
Luigi Voghera, Italian, 1788 - 1840, ca. 1830
Pencil, pen, chinese ink and wash on paper
Drawing

Horizontal composition with two variations of an altar. The altar on the left, titled "Stato attuale dell' Altare," is shown only in pencil outlines. It has pilasters and a couped pediment with a high central frame. The altar on the right, titled "Stato di riforma," has three panels at the front of the mensa. The niche in the retable is framed with mouldings and acanthus scrolls in the wedges. Ionic columns on both sides support the entablature, which has a dove inside its pediment. The attic on top has two cherubim in the bottom corners.
Odeon Theater, Paris
, 1820
Engraving with etching on paper
Print

Horizontal rectangle. In the foreground at right is shown a part of a railing around a building plot. The street sign is at left at the corner of a house. Above, in the upper right corner is No. 19. Caption: "VUE DU THEATRE ROYAL DE L'ODEON / (Au Faubourg St. Germain) / Prise du coin de la Rue de Creebillion / A Paris chez GENTY, Rue St. Jacques, No. 23. Deposee au Bureau des Etampes."
Detail from a Frame or Molding Design
François Roumier, French, 16..–1748, 1750
Etching on paper
Print

Design for a corner detail of a frame or molding featuring scrolling leaves, acanthus leaves, flowers, fleurons, diaper pattern, strapwork, palmettes, and a dragon. The plate is numbered. Sketched graphite lines added to the left of the design and upper right.
The Dying Savior
Martin Johann Schmidt, 1718 – 1801, 1764
Etching on paper
Print

The dying savior.
Red Hills, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of succeeding mountain ridges extending to the horizon--likely the Red Hills of Jamaica--rendered in a reddish-brown. Smoke of a fire rises along the slope at right. Before this range, a cultivated valley comprises the middle distance. In the immediate foreground, at left, the upper branches of a nearby tree are visible. Above, a hazy yellow-blue sky hosts several puffy clouds.
A Lighthouse
Francis Hopkinson Smith, American, 1838–1915, November 27, 1877
Charcoal, black and white chalk, on gray paper.
Drawing

Horizontal view of landscape with trees and a bank in the foreground followed by water and a lighthouse in the middleground.
Design for Six Metal Book Clasps
, 1780-1800
Engraving with etching on paper
Print

The designs are numbered 12 to 17. The two first deisgns show fluted pilasters around which garlands are wound. The three next designs show scrollwork motifs.
Framed Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Design for a panel of grotesque ornamentation with a printed fame containing scallop cartouches and trophies. The interior composition includes anguipèdes and a winged putto within an architectural space. The plate is signed and given the lettering "G."
A Sailing Ship
Filippo Marchionni, Italian, 1732–1805, ca. 1780
Pen and ink on paper
Drawing

A ship in the water with furled sails.
Sketches for wall paintings: Arts and Sciences
Giuseppe Bernardino Bison, Italian, 1762 - 1844, 1800–1825
Pen and ink on paper
Drawing

Above at left: a woman as a sculptor. At right: a group of four flying putti with a globe. At right: similar group with a book. Below: a group of four putti, and a fifth one with objects; the five putti are in a hall with columns, framed within an oval.
Bald Knob, from end of Waterville Road, the Gurley's
Daniel Huntington, American, 1816–1906, September 17, 1855
Graphite on pale green paper
Drawing

Low rocky wooded ridge, left. Hills, left and right. Mountains beyond.
Adjoining Buildings with Church Tower, Italy
Frederic Edwin Church, American, 1826–1900, October 1868 - April 1869
Graphite on tan wove paper; verso: graphite
Drawing

Landscape and architecture sketch showing a view of several tightly grouped buildings, including a church with a tower. The small dome of a cupola is visible at center left. In the background, the faint outline of a mountain ridge is visible.

Verso: Landscape sketch showing a view of city buildings in Rome extending over rolling terrain from the middle distance into the background, where Monte Soratte forms a jagged horizon.
Snowpeaks Tolima and Ruiz, from the Vicinity of Tequendama Falls, Colombia
Frederic Edwin Church, American, 1826–1900, June 20-30, 1853
Graphite and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of the volcanoes Tolima and Ruiz from above Tequendama Falls in Colombia. In the immediate foreground, nearby treetops and a single dead tree are visible along the lower margin. In the middle distance at lower center, the cliffs surrounding Tequendama Falls are highlighted in white gouache, while the falls themselves are out of view at lower left. At center, a heavily wooded and rounded hilltop is visible, while at right, a rugged mountain ridge descends toward the center. Other craggy peaks frame the view in the middle distance at far left. In the background at center, the snow-capped volcanoes known as Tolima (left) and Ruiz (right) create bulges on an otherwise flat horizon.
Frame or Cornice Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Frame or cornice design with, from sight edge to back edge, lamb tongue, bead and dart, scrolling acanthus leaf, bead and dart, lamb leaf ornamentation. The plate is signed and numbered.
Esther before Ahasverus
, 1750–1775
Brush and watercolor on paper, mounted
Print

Ahasverus rises from his throne at left to extend his scepter to Estcherm who is fainting and supported by women. A guard with a spear and an old man are by the throne. Trees at right and left. Bottom: "Estcher devant Assverus" "à Paris chés Charpentier rue St. Jacques au Coq. Avec privilège du Roy".
Trimming
, 18th century
White and colored silk in uncut velvet weave.

Three shields, two under crowns and the third incomplete, each showing armorial devices in red, yellow, blue, and brown on white.
Designs for Ornament Motifs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off white laid paper
Print

Designs for ornament including scrolls, garlands, and rinceaux composed as cartouches, candelabra, brackets, posts, and free motifs. The plate is signed and numbered.
Seagull and Waves
Winslow Homer, American, 1836–1910, ca. 1884
Chalk on blue blotting paper
Drawing

Study of rippling waves in a body of water.
Design for Fireplace Mantel Decoration
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a fireplace with a mantel on which sits two two-armed candelabra in the form of vases and two candlesticks. The fireplace is decorated with ornament motifs including piastre, acanthus leaf, scrolls, bead course, garland, and lamb tongue. The plate is signed and numbered.
Boys at Play
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1775–1800
Engraving in sanguine ink on white paper
Print

Six boys playing at a stream. Two are in the water, a third is being pulled and pushed in. There are three others on the banks, one with a cloth over his head and shoulders. An engraved rectangular frame.
St. Phillip Baptizing the Ethiopian
Christian Wilhelm Ernst Dietrich, German, 1712 - 1774, 1740
Etching on paper
Print

The baptism takes place in the left foreground before a group of men, some in oriental dress, and a camel. Inscribed, lower right: "Dietrich 1739".
The Virgin With the Child
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Graphite, pen and ink on paper
Drawing

Upper row, at left: The Virgin sits on a bench, the Child stands at left, beside her. Beside, at left, a pillar. In the background is a cupola supported by a colonnade. At right: the Virgin sits upon a throne with a canopy, in front of which two putti stand on either side. She carries the Child in her lap. Below: The Virgin sits upon a throne, with the Child standing beside her, at left. Beside her, at left, a kneeling and a standing woman, at right the figure of a young woman, standing in front of two broken columns, seen frontally, the head turned toward right. Framing line. B: the other side. Above, at right: three-quarter figure of a young woman, sitting at a table upon which she places her right arm, raising her left hand which carries a letter. Her Skirt is brown, the blouse green, a blue shawl is visible on the back of the chair, where her left forearm rests.
Cartouche Design
Jean-Bernard Turreau, French, 1672 - 1731, 1716-19
Etching on laid paper
Print

Design for a cartouche framed by putti herms, draped textiles with tassels, putti satyrs/fauns, cornucopia of flowers, fluting, shells, ribbons, scrolling leaves (rinceaux), foliate scrolls, laurel leaves, and a vignette of Poseidon with a trident being pulled by seahorses.
View from Church's Farm, East Toward the Berkshires, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1865–75
Brush and oil on paperboard
Drawing

Landscape and atmosphere sketch of the sunset over the Hudson River Valley, looking east toward the Berkshires from the artist's property near Hudson, New York. A dark landscape with a pond or other body of water reflecting the sunlight comprises lower register. Above, a variety of tumultuous clouds stretch in banks and bands across the twilight sky. Light of the setting sun brightly illuminates cloud at center in hues of yellow and pin. Nearby clouds also catch red light. Behind, sky shines in gradient from green to blue.
Inkstand
Paul Sormani, French, 1817 – ca. 1877, mid- 19th century
silver
inkstand

Metal inkstand with swirling forms featuring a connected inkwell with lid and pen holder. The pen holder is fashioned as a wave-shaped arc and the inkwell is bordered by circular, feather-like designs. The inkwell has a wave and lace pattern top. Opposite to the pen holder and inkwell is another foot with floral designs.
Developpement de l'Entablement Composite 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 Composite order. The plate is signed and numbered.
Decoration of an Arched Portal
Carlo Marchionni, Italian, 1702–1786, 1750–55
Graphite, black crayon, brush and gray watercolor on laid paper
Drawing

The upper part of an arch, inside contains an applied escutcheon, supported by two angels. Sitting upon the arch at left, "Wisdom," at right "Hope." Above, an escutcheon with a sketch representation, perhaps the death of the Virgin. On top are clouds with cherubim and an angel, supporting a branch with three burning candles. Two other candles are supported by branches growing out of the volutes.
Ornamental Frame Design
Louis Crépy, French, 1680?–1760, mid- 18th–late 18th century
Etching on laid paper
Print

Design for a frame decorated with ornament including rinceaux, flowers, and scrolls.
Purse
, 18th century
silk, metallic thread, foil strips, coiled gilt wire, spangles Technique: embroidered in satin and couching stitches on plain weave foundation

Rectangular purse with half-circle flap in white silk, embroidered in pink and blue silk and gold metallic thread, strip, coiled wire and spangles, and egded with woven metallic trim. Symmetrical design of scrolls and flowers;  red silk lining.
Spray of Flowers
Jean-Baptiste Pillement, French, 1728–1808, 1760
Etching on laid paper
Print

Design for a fantastical chinoiserie spray of flowers with leaves and stems.
Design for a Chimneypiece
Luigi Righetti, Italian, 1780 - 1819, ca. 1800
Pen and black ink, brush and watercolor, graphite on white paper
Drawing

Horizontal rectangle. Design for a chimneypiece intended to be executed in marble and bronze.  Satyrs without arms are standing upon bases in front of the lateral pillars of the chimney.  The chimney's frieze is decorated with lions with rinceaux as tails.  Below are the plan and the scale of the chimney.
Window case and half of a figure of a Turk
Filippo Marchionni, Italian, 1732–1805, 1750–70
Graphite, pen and sepia ink, brush and gray watercolor on paper
Drawing

Large bearded man with feathered hat seated on a balcony before and curtained, open portal. The upper entablature is circularly curved. In the upper part of the window opening are window curtains. The Turk is sitting and leaning his left forearm upon the parapet. He wears a cap with a feather. The moldings forming the lower part of the window frame are drawing to the lateral edges.
Two Bologna Views
Felice Giani, Italian, 1758–1823, late 18th–early 19th century
Pen and ink, brush and wash on paper
Drawing

Two views of streets in Bologna. At left, two figures stand in a street, in front of a column, possibly the Column of Saint Dominic. High in the distance, a building with triangular pediment stands on a rocky outcrop. At right, two figures stand under a coffered arch. Architecture of the town, and two other figures are visible in background.
Design for a Pitcher
, 1800–1830
Pen and ink, brush and wash on paper
Drawing

Vertical rectangle showing design for a pitcher in the antique style.
Officer and Head of a Horse
Winslow Homer, American, 1836–1910, 1862
Graphite, brush and gray wash on of-white paper
Drawing

Vertical view of the officer and the head of the horse seen in full face.
Lower Part of the Choir, Siena Cathedral
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1872
Graphite and watercolor on paper
Drawing

The lower part of the choir of the Siena Cathedral. A few priests are shown.
Design for a Silk Brocade
, ca. 1790
Brush and watercolor, gouache, graphite on paper
Drawing

Rising flower twigs form irregular ovoids and lozenges by being fastened together by branches upon which pairs of doves stand, by a laurel wreath with a card, and by flying putti, respectively.  A landscape with two rabbits is shown in the ovoid, a landscape with a pheasant and a net in the great lozenge. In the smaller ones are birds and landscape motifs.
Lambris, dans le grand Appartement des Tuilleries.
Jean Lemoyne, French, 1638 – 1715, 1710
Etching on laid paper
Bound print

Twenty-seventh 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 four panels - two rectangular and two narrow panels- from the Grand Apartment of the Tuileries Palace. The panels feature grotesque motifs, mythological and allegorical figures, animals, masks, putti, cartouches, shells, flowers, garlands, cornucopia, incense burners, and rosettes. Each panel is framed by a decorative foliate border. The plate is titled, signed, and numbered
Design for a Sofa
Matthew Liard, English, ca. 1736–1782, ca. 1760
Pen and ink, brush and rose washes on cream laid paper
Drawing

Sofa turned and fluted legs and wrap-around sides and wood trim is seen from the front. The trimis detailed with fluted acanthus volutes and in the center of the back trim there is a bud separated by two acanthus leaves from which hangs a swag.
Title Page
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Title page for a series of arabesque ornament designs with neoclassical motifs. The title is lettered upper center with a design below featuring scrolling acanthus leaves, rosettes, festoons of flowers and leaves, ribbons, fleurons, oval miniatures, foliate branches and three nude female figures. The plate is signed.
Outline of Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, probably 1876–1881
Graphite and oxidized white gouache on tan wove paper
Drawing

Landscape sketch showing a view of Mt. Katahdin and its northern ridge, possibly from Katahdin Lake in Maine. Pamola and Baxter Peaks are visible beside one another at upper center, Hamlin Peak is the prominence at center right, while Howes Peaks are visible at right.
Octagonal Drawing, Fame with Two Putti, Palazzo Morri, Faenza
Felice Giani, Italian, 1758–1823, 1816
Pen and brown ink, brush and wash over black chalk on laid paper
Drawing

Female genius flying against background of clouds, holds torch in right hand and three wreaths in left. Accompanied by two flying putti who embrace each other. Verso: inscribed in ink, fama con corona/ delle belli arti;  Faenza casa Morri.
Medal Commemorating Abbot Suger
Alexis Joseph Depaulis, French, 1792 - 1867, 1820
Cast bronze
Medal

Bust of Abbot suger (c. 1081 -1151).
Two Frame Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Two frame designs, arranged horizontally on the page. The frame at left is rectangular, and features bead course at the sight edge, fluted cove, and lamb's tongue and dart molding in the center, and fluted cove at the back edge. On the left and right side, garlands of flowers hang from outset corners in the frame, about 1/3 of the way from the top. The top of the frame has sculptural carving of a lidded vase atop scrolling acanthus leaves and festoons of roses; the bottom of the frame has a festoon of roses within an inset in the middle. The frame on the right is oval, with ribbon twist ornament at the sight edge, fluted cove in the middle, and lamb's tongue and dart at the back edge. The top of the frame has a carved wreath of roses and branches of leaves. The plate is signed and numbered.
Panel Design
Jean-François-Antoine Boulanger, French?, active mid 18th century, mid- 18th century
Etching on paper
Print

Design for an ornamental panel featuring a fantastical garden with a centra vase framed within an architectural niche, with a cartouche in the foreground and fruit, foliate branches, flowers, and festoons of flowers and leaves. Treillage in the background with scrolling leaves, acanthus leaf, and shell motifs. The plate is signed.
Design for a Symmetrical Frieze
Felice Giani, Italian, 1758–1823, ca. 1805
Pen and black ink, graphite, brush and wash on paper
Drawing

Two winged female figures holding wreaths, reaching to center, and two bulls, flank central vase.
Console Table Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Elevation of four-legged side table set with an incense burner, a ewer on a serving platter, a wide covered bowl, and a vase. Tapered legs topped with hybrid capitals a bow-front top ornamented with ribbons and swags. A basket of flowers placed on a low pedestal is under the table. The plan view of the table is indicated directly under the elevation. Below the plan is a scale bar of three French feet ("Echelle de 3 Pieds"). The plate is signed and numbered.
Leaning Man
Luigi Vanvitelli, Italian, 1700 – 1773, 1700–1773
Black chalk on paper
Drawing

A man seen from behind, leaning on a barrel at his left.