biglam/cooper-hewitt-alt-text huggingface dataset:
Doors of a prison
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At left: greater part of the elevation. Two standing captives are fettered to a ring which is supported by a lion mask. Inscription tablet, topped by an escutcheon. Top right: the door opening is out in a pylon shape and is flanked by seated captives. Bottom right: left half of an elevation without the top. Similar to the left design, but the captives are seated. Colored background.
Garden
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Recto: Sketches of a plant in bloom, a flower bud, and a duck; Verso: Sketch of an interior with couch.
Botanical sketches with a Monkey, Colombia or Ecuador
Frederic Edwin Church, American, 1826–1900, May–October 1853
Graphite on gray laid paper
Drawing

Botanical sketches showing views of a trees and vegetation in Colombia or Ecuador, with a depiction of a monkey climbing down a tree branch at lower left. At upper left, a tree is shown covered in parasitic vines; at upper center, the top of a grove of bamboo trees is visible; at upper right, a view of a heavily wooded river bank is included; two dark sketches of trees heavily wreathed in vines and other vegetation are situated at center and center left; at center right, a treetop with clusters of white flowers is shown; at lower right, two details of palm fronds are shown while at lower right, a tree with extremely dense leaves is visible; and finally, at lower left, a silhouette of a monkey climbing down a tree is included.
Tureen
Unknown, Italian, 17th–19th century
Pen and ink, brush and wash on cream laid paper
Drawing

Drawing for a decorative tureen. Throughout the surface grapevine foliage.  At center, an eagle with extended wings wrapping under the bowl area with a crown above its head.
Soleil
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a liturgical staff with a sunburst decorated with ornament motifs including clouds, grapes, sheaves of wheat, rinceaux, cherubs, and branches. The plate is signed and numbered.
Chandelier d'Eglise (Church Chandelier), plate 81, from Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on white laid paper
Print

Footed lamp in rococo style; main body shows cross with what look like rays. Above, two putti heads gaze downward; above, lamp is in a roughly triangular shape, made up of C-curves leading upward to a bowl-like element topped with a point.
Medallion
, 5th–8th century
Warp; S-spun, Z-twist linen. Weft; S-spun linen, S-spun wools Technique: slit tapestry with supplementary weft wrapping

Animal and human figures within a circle.
A Boar Hunt
, 1750–1800
Etching on paper, mounted
Print

A boar, running from right, is pursued by dogs and attacked by three men with a spear, a gun, and a fork-like weapon. Another man blows a bugle. In landscape with trees. Bottom center: "LA CAZA DEL XAVALI / Venatio Aprorum".
Upholstery trimming
, ca. 1902
Meduim: silk, copper strips Technique: woven

Trimming of gray and white silk cord and flat copper strips twisted into an ornamental design of loops.
Design for Decorations for a Bedroom
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on paper
Drawing

Top left: section showing the back part of the room. A door is at the right wall. Sofas stand at the wall panels beside the alcove. Its front is divided by supports into a broad central and two narrow lateral openings; curtains hang in the latter ones. Three sketches deal with the scheme of the decoration of the ceiling. Another sketch is unfinished.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for two rectangular decorative panels featuring arabesque motifs including scrolling acanthus leaves (rinceaux), flowers, festoons of flowers, ribbons, a vase, basket, and fleurons. The plate is numbered.
Escutcheon
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Escutcheon.
Ornament Panel Inscribed "Victoria Augusta"
Nicoletto da Modena, Italian, active 1500 – 1522, ca. 1507
Engraving on off white laid paper
Print

Upper part of the print depicts the musical contest between Apollo, playingthe lyre and Marsayas playing the bagpipes. In a narrow relief below, the flaying of Marsyas is depicted. Seated on a pedestal at bottom of the print two satyrs play musical pipes.In the relief above them, a satyr plays the pipes to a stag on the right, while Apollo chases Daphne on the left. Image is heavily ornamented with figures.
Sketch, Funereal or Deathbed Scene in Classical Interior
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Sketch, Funereal or Deathbed Scene in Classical Interior
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. The central part has the transitional form from the knot to the wings, here done with flower stems. The usual scheme of a disk above and three drops below. Bevelled corners.
Project for an Altar Painting
Giovanni Francesco Barbieri (called Guercino), Italian, 1591 – 1666, 1700–50
Red crayon on paper
Drawing

The Christ child standing upon cherubim appears before St. Anthony of Padua, who is shown standing at right. Lily bough and book lie upon the soil. He gazes at St. Joseph, who is seated upon the clouds and points at the child. Another Franciscan monk is shown in admiration in profile at left.
Fragment
, early 18th century
silk, metallic thread Technique: embroidered

Fragment depicting a vase of flowers resting on the ground with a bird in the foreground.
Cartouche with Garden Scene
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on paper
Bound print

Design for upright symmetrical cartouche, with a mask at upper center. Within the frame, a garden landscape scene. A vase or urn upon a pediment at left, an obelisk behind two trees at center, and a building at right.
Canyon Panorama, Part Two, El Yemen Valley, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 20, 1868
Graphite and white gouache on gray wove paper; verso: graphite and gouache
Drawing

Landscape study showing the second half of a panoramic view of a canyon in the valley known to Church as El Yemen in southern Israel. A rugged mountainside in foreground, periodically interrupted by cliffs, descends from upper right to lower left. In middle distance beyond, a massive, precipitous, table mountain is visible. It long, sheer cliff face extends across the composition. Rock strata visible in cliffs thoughout.

Verso: Loose landscape sketch of a sloping mountainside in the desert canyon in present-day southern Israel known to Church as El Yemen. The rocky slope descends diagonally from upper left to lower right, with rocks and bluffs throughout. Beyond, in middle distance and background, rugged topography of the nearby mountains extends to the horizon. Likely first half a panoramic view.
Embroidery sample
, 1790–1800
silk, wool Technique: embroidered on plain weave

Multicolored silk embroidery in a floral design on a napped brown ground.
Design for a Mantel Clock
Jean-Louis Prieur the Younger, French, 1759 – 1795, 1780–90
Graphite, pen and ink, brush and watercolor on paper
Drawing

Design for a marble and bronze clock. The case is marble with bronze decoration. Mounted above is a bronze group of seated Diana (?) and a dog.
Ornamental Design for the Letter B
Gilles-Marie Oppenord, French, 1672–1742, ca. 1720
Pen and black ink on white laid paper
Drawing

B in reverse intertwined with satyr.  The forepart of a goat and a snake are at right, another snake at left.  Oppenord paraph at lower right.
Elevation of a Drawing Room Wall
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

An alternative suggestion for -1582. The left side is shown. The central panel is decorated with the figure of a woman. The console table below the looking glass is supported by winged sphinxes. Beside the upper part of the looking glass are hanging garlands. Above the door is a frieze with a mask in the center which is followed by an architectural view. Flying putti are in the upper parts of the panel beside the door, at left, and above the looking glass. On the verso are pen sketches.
Design for Brooch with Cherubins
, 16th century
Pen and ink, brush and sepia on paper
Drawing

A round gem is set within a frame decorated with floral scrolls and small round gems. Four cherubim with extended wings as a frame. At right, sketched for florals and a head.
Button
, late 18th century
Stoneware

1925-2-19: Circular medallion in the style of Wedgwood Jasper...
Metal frames for Purses
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Top row: a left top corner. From a band in the top center start intertwined vine stems. A left top corner: garlands fastened by a bow knot, in the corner. Left top part of a bow, decorated with a laurel bough. Second row: a left top corner decorated with a chain, starting from a man's head, in the top center. A rosette. Third row: fragment of a band with three Maltese crosses. A bow formed by chains which are connected in the corner of a head. Bottom row: two left halves of frames which are composed of anchors. Colored background.
Design for a Caryatid
, 18th century
Pen and ink on paper
Drawing

Woman with a lion's mask belt supports a capital
Children Playing with a Hoop
Jean-Baptiste Pillement, French, 1728–1808, 1759
Etching on laid paper
Print

Print from a series of fourteen chinoiserie vignettes, depicting children playing a variety of games in different landscapes.Three children play with a large hoop in the middle of a landscape within a vignette framed by trees, sprigs, flowers and foliage. There is a roofed dwelling with two windows in the background to the left, with a fence to the right. The plate is signed.
Fragment
, 19th century
silk, cotton, and metal Technique: plain compound cloth

Yellow horizontally ribbed ground. Ground divided into roughly oval areas by lacy bands in extra white silk weft. In center of each oval a small spray of flowers in extra wefts of red, pink, green and blue silk.  Flat gold strips originally over yellow ground.
Paper Doll Costume in Yellow with White Lace and Pink Rose Garlands
, 1876–80
Lithograph, brush and watercolor on cream heavy wove paper
Print

Yellow dress with white lace top layer.  Pink rose garlands cascade down either side of her gown.  Both back and front of dress represented for this paper doll outfit.
A Gnarled Evergreen, Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, August 1851
Graphite, white gouache, and oxidized white gouache on light brown paper
Drawing

Botanical sketch showing a view of a gnarled evergreen tree on Grand Manan Island in Canada. Dominating the composition at center, the tree's knobby, curving trunk hosts numerous barren and twisting branches. Spanish moss (or some other kind of hanging detritus) appears to dangle in tufts from these branches, highlighted in white gouache, some of which has oxidized into a black color. The top of the tree extends out of view at upper center.
Elevation of a Sepulcher Monument
, 1700–1750
Graphite, pen and gray ink, brush and gray wash on off-white laid paper
Drawing

A flight of stairs flanks by obelisks topped by fleur de lys leads to a triumphal arch upon which is a casket with trophy.
Embroidered picture
, early 19th century
paper, silk Technique: embroidered

Small picture embroidered on paper with pastel silks. Design reversed on reverse of paper. Labelled in ink: "S. Josephus." The saint is shown holding a flowering rod.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and military trophy design incorporating a festoon of leaves, foliate branches, armor, feathered helmet, cannon, drum, trumpet, spears, and flags. The plate is titled, numbered, and signed.
Elevation of a Fountain
, 1700–1750
Pen and brown ink, brush and gray wash on off-white laid paper
Drawing

Aedicule with broken pediment and pilasters with bellflowers. At center, water flows from the mouth of a mask into a basin supported by two intertwining dolphins.
Motif for Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on paper
Drawing

A group of two women. A standing woman shown from the front raising a sun with both hands. A woman who kneels, at left, behind her, holds a thread or a vine in front of the lower part of her body.
Sketch: A couching dog
Giovanni Maria Viani, 1636 - 1700, 1650–1700
Red chalk on rough grey paper
Drawing

Horizontal composition of a dog turned to the right
Brisé fan
, 1873
Wood sticks with applied chromolithograph on paper; silk ribbon and tassel

Brisé fan with pierced wood sticks, threaded with blue silk ribbon and with a blue silk tassel.  On the obverse, a chromolithograph is pasted onto the sticks.
Design for clock
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow and red watercolor, black wash, graphite, on cream laid paper
Drawing

Clock sits on footed base, lower panel decorated with palmette motifs. At left, a winged cupid gazes at a mask of Medusa spouting water into a basin. A quiver stands beside basin. Above, a dial with a footed bowl at top.
A White-Brown Cockatoo
Frans Snyders, Flemish, 1579–1657, 1610–50
Oil on paper
Drawing

A cockatoo bird shown in profile, turned toward left, the head turned toward the spectator.
Fragment
, 16th century
linen Technique: needlework on knotted net

Rectangular fragment with central reticella geometric form filled with small squares of needle lace. Another square of filet brode on top. Design of four branches, each with three leaves, radiating from central quatrefoil.
Tree Trunks beside a Board Fence
Frederic Edwin Church, American, 1826–1900, July 1844
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing the trunks of two large trees growing in front of a board fence, likely in Catskill, New York. Visible at center, one tree is situated in front of the other, as the curving trunk and broken lower bough of the other are visible behind it. Both trees' branches are not visible, as the trunks extend out of frame. Several rocks lay on the ground around the base of the foremost tree.

Verso: Botanical sketch of two trees in or near Catskill, New York. At right, a tall, slender tree--likely a conifer--is shown. At left and orient to the left, another tree with twisting, spindly branches is visible. Immediately beneath it, a detail of one of its leaves is included.
Ornamental Panel Design
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Ornamental panel design with a mascaron (mask) in the center framed by scrolling leaves, shell, a wreath of leaves, foliate branches, a male and female figure, festoons of leaves and fruit, textiles, and acanthus leaves, within a carved frame. The two sides of the panel have different designs.
Fireplace
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of fireplace mantel with framed mirror and wainscoting along the wall.
Lamentation over the Dead Christ
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1605
Recto: pen and brown ink, brush and brown and gray wash on laid paper Verso: pen and brown ink over black chalk on laid paper
Drawing

Recto: Christ is shown lying upon a bier. Two angels hold lighted candles near his head. The Virgin kneels beside him and Mary Magdalene by his feet. Other figures surround, bowing their heads in mourning. 
Verso: Zeuxis in his studio, painting an image of Helen of Troy. Several nude models pose nearby, one upon a platform. The study of the leg is above, at left. Framing line at left.
Three skecthes for a sepulchral chest
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

An eagle, at left, a dragon, at right, flank the support of a star in a glory of rays. Bottom left: the project. The star stands upon a column and the crest is supported by a Roman Doric capital of a column. The two sketches are in the top right and in the right center. The stars emerge from vases.
A Family Praying
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

The two men of the family - an old and a young man are on their knees facing the left. Behind them a young boy guides his younger brother. A woman at the right, with a basket.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1738-1749
Etching on laid paper
Print

Vase with sphynxes sitting on the shoulder of the form. There is a ram's head knob at the center of the vase, placed between the sphynxes whose tails wrap together below the ram's head. The body of the vase is carved to appear like draped cloth. On the left and right side, where the cloth gathers, are goats' legs. The foot of the vase is scalloped, and the vase is elevated on a low, corniced pedestal. The plate is lettered and numbered.
Sidewall
, 1900–10
Machine-printed

Incomplete unit of a forest scene. Printed in shades of green and red.
Band
, 17th century
linen Technique: bobbin lace, discontinuous tape

Lace in pattern of stem forming a continuous scroll with leaves and flowers growing from it.
Kajikazawa in Kei Province (Koshu Kajikazawa) From the series, Thirty-six Views of Mt. Fuji
Katsushika Hokusai, 1760 – 1849, 1823–29
Woodblock print in colored ink on paper
Print

A fisherman and his young apprentice are perched on an overhanging cliff, being crushed by violent waves. The foamy water resembles that of the famous Great Wave off Kanagawa. The serenity of Mt. Fuji rising above the fog balances out the turbulent seas. The fisherman's posture and his extended lines, cast out, copy the triangle form of Mt. Fuji. This symmetry is often seen in many of Hokusai's prints. Using only three colors, brown, green, and blue, he captures the daily life of a fisherman, using gradation and subtle tones.
Design for Pulpit
Jean Le Pautre, French, 1618–1682, ca. 1670
Etching on paper
Print

Verso: blotted black crayon sketch: segments.
Carte du Théatre de la Guerre
, ca. 1787
silk Technique: printed by engraved roller Label: silk printed by engraved roller
Handkerchief

Silk handkerchief showing a map of Asia Minor and the Eastern Mediterranean in black on a white field, with a blue border. The title, translated as Map of the Theater of War, probably refers to the Russo-Turkish War.
Islands on Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, August 1881
Graphite on tan wove paper
drawing

Landscape sketch showing a wide view of wooded islands on Lake Millinocket in Maine. At center, a distant island shown with several trees across an expanse of placid water in the foreground and middle distance. Another similar appears closer to the viewer at far right, and is partially cut off. In the background, rolling mountain ridges overlap one another beneath a partly cloudy sky.
Four Mask Designs
Johann Leonhard Eisler, German, 1672 – 1733, 1720-25
Etching and engraving on laid paper
Print

Four grotesque mascarons or mask designs featuring scrolling acanthus leaves, fleurons, shells, rosettes, drapery, scale pattern, fruit, and leaves.
Tables a déjeuner à L'Angloise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two tables. At left, a small, single leg table with a round tabletop; at right, a larger, four-legged, rectangular table. The tables are decorated with ornament motifs including acanthus leaves, lamb tongue, and fluting. The plate is signed.
Struggle of Love, Illustration for Harper's New Monthly Magazine (LXXVIII, No. CCCCLXIII, December 1888, p. 52)
Frederick Stuart Church, American, 1842–1924, December 1888
Printed in black ink on paper
Ephemera

On the left, an angel pulls a rope attached to a bird and rose. Below, an article on Frederick Stuart Church.
Three Designs for Candlesticks
Luigi Righetti, Italian, 1780 - 1819, 1802
Pen and ink, brush and sepia wash, gray, yellow watercolor, graphite on light blue paper
Drawing

Horizontal rectangle. Three designs for candlesticks, the same designs that appear in 1938-88-626, with coat of arms of Cardinal Braschi at the pedestals. At left, candlestick A is supported by crouching lions carrying calyces. The pedestal is a richer variation of the one that appears in E in 1938-88-624. The shaft is  a foliated baluster above a calyx. At center, B is supported by tortoises upon knobs. The shaft has, below, a bowl in the two calyces; above, a fluted column. At left, C is also supported by tortoises. The shaft consists of a calyx in opposite direction, a capital, and of a column with a base, calyx, spiral flutes and scallops. Scale at lower left.
Button
, 19th century
Steel

1931-59-246-a: On card 4850
Ink Eraser with Porcelain Handle
Meissen Porcelain Manufactory, German, active from 1710 to the present, late 18th–19th century
hard paste porcelain, vitreous enamel, steel, silver
ink eraser

Spatulate point, bevelled on both sides. The curved white handle decorated with small birds and insects in color, and moulded basketry texture at the ends.
Plan et Elevation d'un Cabinet de Toilette
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Plan and Elevation of a dressing room. At left, is a dressing room table with vanity set; at center, a mirror over a fireplace mantel; at right, a double door. The room is decorated with ornament motifs including overdoors with baskets of flowers, garlands, rosettes, and candelabra. The plate is signed.
Design for a loggia
Carlo Rainaldi, 1611 - 1691, ca. 1660–75
Lead pencil, pen and ink, bistre on paper
Drawing

On top, the elevation. Part of the left half only is outlined. Bottom: the plan, scheme of a triumphal arch. A Palladian arch with two rows of three columns each, and with projecting central opening. Pentagonal walls are shown laterally. Thin fronts are to show statues in niches flanked by pilasters in the ground sections, reliefs in the upper sections. A balustrade with plants in pots is on top. From the roof rises a pedestal of soil, with a statue surrounded by trees. Measurements are inscribed.
Vaulted Cellar
Antonio Giuseppe Basoli, Italian, 1774–1843, early 19th century
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Vaulted cellar with barrels and columns and left side, lantern hanging from ceiling at right.
Landscape
Charles Nicolas Ransonnette, French, 1793 - 1877, 1793-1877
Brush and sepia wash, white heighening on paper
Drawing

Wide bird's-eye view over a plain bordered by hills. A road winds backwards. A vaulted bridge crosses a stream.
Trimming
, 18th century
linen Technique: needle lace, six-sided reworked grounds.

Serpentine floral pattern.
Textile
, early 19th century
silk Technique: satin weave

Fragment of upholstery fabric in red, black and white stripes.
Designs for a Mechanical Desk and Sewing Table
, 1805
Pen and ink, brush and watercolor on paper
Drawing

At left, a desk with cabinets and fitted drawer, seen in isometric projection. A statue of Cupid crowns the central bay. At right, a sewing table with upholstered cushion top and drawer, also shown in isometric projection.
Priting block for embroidery
, 1825–50
wood, copper, brass

One of twenty-one wood blocks showing a different floral motif formed by metal strips set in wood.
Winter Niagara Falls, Terrapin Tower from Goat Island
Frederic and William Langenheim, 1855
Glass stereoscopic transparency, black tape, brush and white, gold ink
Photograph

Two identical images of the Terrapin Tower in a snow-covered landscape.