biglam/cooper-hewitt-alt-text huggingface dataset:
Weather Frognosticator
Frederick Stuart Church, American, 1842–1924, 1878
Black ink on paper
Ephemera

Top; left, profile of frog sitting on a ladder in a bottle half-way filled with water, bottle labeled, Weather Frognostigator. Center right, profile of a bear wearing glasses, hat, and suit, facing left. Right, profile of bird with outstretched neck wrapping around bottle. Upper right, waning crescent smiling and looking down at bottle. Upper right, shinning sun, smiling down at frog in bottle. Clouds and stars in the background. Various weather forecasting terms behind bear. Bottom, poem on weather forecaster frog.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of a zigzag band ornamented with open flowers and triangular leaf forms.
Sunset
Frederic Edwin Church, American, 1826–1900, 1868 - 1869
Oil on paperboard
Drawing

Landscape sketch showing a view from an elevated perspective of the sunset over expansive and indistinct terrain. In the foreground, the green tops of trees are visible, and seemingly descend down the slope of a hill. In the middle distance, a loosely rendered landscape extends to an indefinite horizon, over which the setting sun illuminates the sky in shades of yellow, orange, and red.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on tracing paper
Drawing

Sketch of a female figure. The upper part of the figure is shown with raised right forearm. The left arm is lowered.
In a Country Town
Charles Nicolas Ransonnette, French, 1793 - 1877, 1865–1877
Graphite, brush and brown wash on paper
Drawing

A winding road is shown in the first plane with a man walking on it. The doorway and buildings of a great farm are at left, a group of buildings upon a hill, which includes a church and an institution are in the right background.
The marriage of Psyche and Cupid
Felice Giani, Italian, 1758–1823, 1795–1800
Pen and brown ink, brush and wash, black chalk on paper.
Drawing

Jupiter seated in the centre embraces Psyche and Cupid who join hands.  A putto accompanies Psyche.  Three gods are shown on either side.
Chairs
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Seen from the front, the upper part of the back is a low curved rectangle, supported in the center by a standing one, both with straw plaiting inside. From the lower corners spring the arm volutes, the front spirals of which are supported by the front legs. The frame of the upholstered seat is shown in the center of the front legs. Its front is divided into three panels, the center one being higher. Narrowly standing back legs. Usual background.
Ironwork Door Design
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork double door design featuring cartouches, cyphers, shells, festoons, masks (mascarons), profile portrait bust, foliate branches, foliate scrolls, fleurons, scrolling leaves (rinceaux), and rosettes. The plate is signed and numbered.
Design for the Section of a Part of a Wall with a Doorcase
Carlo Marchionni, Italian, 1702–1786, 1740–60
Pen and sepia ink, brush and gray watercolor, graphite on paper
Drawing

The doorcase has a pointed pediment with two winged genil or angels sitting upon it. It is framed by an arch upon pilaster strips, with a garland lying above it. On either side are two pillars supporting an entablature. In the door opening is a walking cleric.
View of Damascus, Syria, Part One
Frederic Edwin Church, American, 1826–1900, May 2, 1868
Graphite on gray-green wove paper
Drawing

Landscape sketch showing the first part of a panoramic view of Damascus, Syria, looking east from the Wadi Barada--a river and canyon northwest of the city. This description refers to the entire view, comprising two leaves with 1917-4-123-b. In the foreground at right, an extremely rugged hillside is partially rendered, with a prominent rocky outcropping at upper right. This hillside descends toward lower center, where a small river snakes through the bottom of a steep canyon. The opposite side of the canyon, at left, has abrupt cliffs that lead to an extremely rugged hilltop at center left, where a small domed structure is visible--this is the Mount Qasioun Observatory. Behind it, Mount Qasioun rises quickly to a rounded summit at upper left. At lower center, the Wadi Barada flows from the canyon and into flat terrain in the middle distance at center, where several farms, groves of trees, and structures are interspersed. At center, the buildings comprising the city of Damascus are visible in this flat plain. Other structures are shown on the horizon at right, while a prominent mountain is visible along the horizon at left.
In the Woods
Charles Nicolas Ransonnette, French, 1793 - 1877, 1845–1850
Black crayon, pen and ink, brush and watercolor on tracing paper
Drawing

A man upon a vehicle which is drawn by two horses points the direction to a walker. Two women are shown at the side of the road. Two riders ride backwards.
Profil de deux Venteaux de la porte Cochere
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

Design for a carriage door (double door). Each door decorated with panels topped by scrollwork decoration. In the arched grille above the transom, scrolling vines. Above, a face of a man with closed eyes. Scale at bottom center.
Albert Gallatin Seated, Study of Right Hand
Daniel Huntington, American, 1816–1906, 1899
Graphite, white chalk on blue-grey wove paper
Drawing

Study of a seated figure with his left hand on an open book. Additional study of his right hand, upper left.
Elevation of the Entrance Wall of a Hall
, ca. 1800
Pen, Chinese ink, rose watercolor and ink washes on paper
Drawing

Five fluted pilasters frame wall panels in which three folding doors alternate with two simulated arched window openings. Cast shadow in the top part. Bottom margin: the scale.
Sampler
Matilde Thompson, 19th century
linen and silk embroidery, linen foundation Technique: embroidered on plain weave Label: Linen embroidered in linen and silk

Sampler is divided into compartments with vases, birds, and flowers. Those compartments with text are composed in the form of a rebus or pictogram. Sampler is edged with tatting. Contains the following text in Spanish:

Cuando se (corona) un gusto
Por dos (corazónes) fieles
Una (llave) los maneja
Y una (flecha) los sostiene

En este (urna) yace
Un (corazón) que ha sufrido
De amor lo (cadena) dura
Y la (flecha) del olbido

Vivimos felices
Amor nos une

Para Matilde Thompson

English translation:

When a desire is (crowned)
By two faithful (hearts)
A (key) controls them
And an (arrow) sustains them

In this (urn) rests
A (heart) that has suffered
From love's cruel (chains)
And the (arrow) of forgetfulness

We live happily
Love unites us

For Matilde Thompson
Bull Sketches, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September 1844
Graphite on off-white wove paper
Drawing

Figure sketches showing two views of bulls in Catskill, New York. At center, the head of a yoked bull with curving horns is rendered in detail in left profile. At upper right, the upper body of a bull--including its legs, shoulders, and head--are viewed slightly obliquely from the rear. The bull is yoked and appears to stand next to another bull.
Bag
, late 19th century
leather, felt, glass beads Technique: embroidered with beads Label: leather embroidered with beads, trimmed with felt

Small leather bag with drawstring closure, with red felt trim and flower motifs embroidered with colored beads.
Patmos at Sunset, Greece
Frederic Edwin Church, American, 1826–1900, May 29, 1868
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a distant view of the rugged Greek island of Patmos as the sun sets over the Aegean Sea. Water extends from foreground to background, where the island is visible. Multiple peaks along rugged mountain ranges are visible throughout the island. A few small, puffy clouds hang in the sky while the sun descends toward the horizon at right. In addition, a sketch of a sailboat is shown in upper left corner.

Verso: Sketches from around the Aegean Sea showing a sailboat with two figures, viewed in profile at upper left, and the upper portion of a pointed minaret, visible at lower left and oriented to the left.
Waistcoat fragments
, ca. 1770
silk Technique: satin stitch embroidery on taffeta

Three waistcoat fragments include the lower central parts and one pocket flap. All embroidered in a design of flowers and leaves on a white ground.
Cartel décoré pour le Commerce
Pierre-Gabriel Berthault, French, 1737–1831, ca. 1758
Etching and engraving on laid paper
Print

Design of a rocaille frame with scrolls, flowers, and attributes of commerce, particularly as relating to sea trade, including a mascaron of Poseidon, a trident, coral, seashells, and an anchor. The plate is signed and numbered.
Winter at the Farm, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on paperboard
Drawing

Landscape sketch of a winter scene at Church's farm in Hudson, New York. Slopes in the foreground are mostly covered in snow, with patches of dirt and grass visible. In middle distance, a copse of dark trees, rendered in brown, veils the orange light reflected off the Hudson River beyond the grove at center. Mountainous terrain extends toward the hazy, indefinite horizon. Above, the setting sun illumates the edges of an otherwise gray cloud in bright hues of yellow and orange. The hazy atmosphere below glows due to the sun's light, which is partially blocked at left producing a column of shadow. Muted blue of the twilight sky visible along upper margin.
The Opera House and the Church of St. Hedwig, Berlin
, 1773
Hand-colored etching on paper
Print

For a peep show. Horizontal rectangle. Foreground with many figures, walking on horseback, and riding in coaches. Opera House to left, entrance facing left. The church of St. Hedwig directly behind it. Other buildings in background, right. Deep shadow in foreground, lower left.
Textile
American Print Works, founded 1835, 1876
cotton Technique: printed on plain weave

White fabric printed in a design showing a red rectangle with the word "Centennial" in brown.
Buttons
, ca. 1880
Rubber; mother of pearl, brass in tin

Two circular buttons each with two holes for sewing and ornamented on top with bits of mother of pearl between wavy lines of brass. These two buttons originally part of components making up 1941-91-2-a/f.  See 1941-91-2-b,c and -e for other components which are deaccessioned.

On card 2
Metalwork Design
Babin, French, ca. 1750, ca. 1780
Etching on paper
Print

Design for ironwork/ metalwork - a dog supporting a coat of arms with scrolling leaf and foliate branches, on the top of a gate. The plate is numbered and signed.
Stage Design: Palace Interior
Pasquale Canna, Italian, active 18th century, early 18th century
Pen and brown ink, graphite on paper
Drawing

View into hall decorated in the antique way, sketched roughly.
Wallpaper Design
, 1840–60
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom. On top are a frieze with a leaf garland and a high entablature. Obliquely dispersed waved stems with leaves and petals decorate the panels. A smaller and bigger scale of the details are alternatively suggested.
Designs for Friezes or Panels
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates, each with three designs for friezes or panels. The plate on the left features, from top to bottom: a plumed helmet with crossed flags; a grotesque with anguipeds crowning a winged bust under a baldachin; and a cat perched on a winged platform with quiver and bow, and a dog slinking off to the side. The right plate features, from top to bottom: a platform with trophy; a grotesque with Commedia dell'arte figures; and a cartouche with ram head. Both plates are signed and numbered.
Three Arabesque Panel Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching in red ink on paper
Print

Three narrow vertical arabesque panel designs featuring a peacock, measuring devices, rulers, calipers, roundel with figures, foliate branches, flowers, ribbons, scrolling leaves (rinceaux), tassels, and fleurons. The plate is numbered.
Elevation of the Nave of a Church
, 18th century
Pen and black ink, brush and gray wash on white laid paper
Drawing

Architectural interior drawing of a two-tiered wall decorated with candelabrum, statues, columns, and pediments.
Plate 14, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1662
Engraving on laid paper
Print

Vertical rectangle completely filled with scrolling, interlacing arabesques. At bottom, a figure whose bodies terminate in acanthus leaves holds a flower in his right hand.
Sunset over a Mountainous Landscape, Ecuador
Frederic Edwin Church, American, 1826–1900, 1857
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a partially cloudy sunset over a mountainous landscape in Ecuador. In the foreground, the water of a river reflects the light of the setting sun and extends to a heavily wooded bank in the middle distance. Two structures are situated along the bank at lower right and extreme left. A rugged mountain range comprises background at right, with a bright, cloudy sunset above. Sun beams emanate from behind a cloud at center.

Verso: Field sketches showing views of a plantain-laden canoe piloted by a man in a hat at upper right, a houseboat at upper left, and a detail of a hanging chicken coop in that houseboat, visible bottom left.
VUE PERSPECTIVE DE L'INTERIEUR DE LA SALLE DE LA PLACE DAUPHINE
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Perspective view into the interior of the temporary hall constructed on the Place Dauphine for the celebrations in honor of the marriage of Louis Dauphin and Maria Teresa of Spain given on February 23-26, 1745. At center on a raised platform are musicians; on either side are stepped shelves with food. The room is filled with individuals of various social type, and some in Commedia dell'arte costume, talking, eating, drinking, and dancing. The ceiling of the room is a trompe l'oeil sky.
Hanging Brazier
, 1820–1830
Pencil, pen and ink, brush, on grey paper
Drawing

A burning lamp hanging from a knot.
Printing block
, 19th century
wood, metal

Carved design of thin, serpentine lines and leaves formed by carved dots and metal pins.
Summer View, Hudson Valley, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on paperboard
Drawing

Landscape sketch showing a view of the Hudson River Valley from the artist's estate near Hudson, New  York. A lush, green, rolling landscape under a cloudy sky rendered in hues of gray and blue extends from the foreground and into the middle distance.  Foreground landscape made up of highly saturated green, and hosts two trees at left. Middle distance landscape a deeper hue of purple. Catskill Mountains visible in background.
Elevation of the Wall of a Salon
Pierre Ranson, French, 1736–1786, ca. 1780
Pen and ink, brush and watercolor, gouache, black wash, graphite on white heightening on paper
Drawing

Interior wall decoration for a salon with gold molding, oval and rectangular mirrors/panels; decorations include floral rinceau with bows and arrows throughout.
Alpine View from Belalp, Switzerland
Frederic Edwin Church, American, 1826–1900, September 1, 1868
Graphite, brush and white gouache on beige wove paper
Drawing

Landscape sketch showing a view of the Swiss Alps (Pennine and Bernese) from near the hamlet of Belalp, Switzerland. In the middle distance, rugged mountain ridges descend from a horn-like peak at upper left to a declivity at center. These ridges and features are loosely rendered. In the background at right, several sharp, alpine peaks are visible along an immense range--possibly a portion of the Pennine Alps, looking across the Rhone Valley from Belalp. Several snow fields and glaciers are visible among these serrated peaks, which then melt down the mountainsides in serpentine rivulets that gather in the valley floor below.
Mountain Landscape in Autumn
Frederic Edwin Church, American, 1826–1900, 1873–1880
Brush and oil on paperboard
Drawing

Landscape sketch with view of mountainous, autumnal landscape extending to distant horizon. Rocky cliff comprises immediate foreground at right, and hosts a conifer tree near its top. Mountainside descends into middle distance from right to left, and is colored in orange, yellow, and green hues. Lake nestled in mountains beyond. In background, purple mountains make up jagged horizon, with partly cloudy/hazy skies above.
The Virgin Feeding the Child
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Brush and dark brown watercolor on paper
Drawing

The Virgin sits beside a table, supporting her right arm the child, who stands in her lap, looking at the bowl from which the Virgin takes the food. The child wears a bracelet of beads on his left wrist. Two cherubim look on.
Hunting Scene with a Dog Chasing Ducks
Christophe Huet, French, 1695 – 1759, 1755–76
Etching and engraving (crayon manner) in red ink on paper
Print

A landscape with a dog chasing two ducks with foliage and trees in the background. The plate is signed and numbered.
Two Vertical Arabesque Panel Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, 1765
Etching on laid paper
Print

Third plate from a series of ornament panel designs. Two vertical panels with arabesque and neoclassical motifs including flowers, leaves, foliate branches, festoons of leaves, ribbons, cornucopia, fruit, bells, horns, guitars, tambourine, flute, pipes, a clock, book of musical scores, herm or terminal figure, vases, lyre, beads, rosettes, scrolling acanthus leaves, rinceaux, fleurons, ribbon and scale patterns and plinths. The plate is numbered.
Préliminaire Apologétique Sur La Forge.
Jean Lamour, French, 1698–1771, 1767–68
Etching, engraving, letterpress and woodcut on laid paper
Print

The first of five printed leaves of text and privilège, within ornamental borders. The signed headpiece depicts a nude male figure holding a hammer, with one arm resting on an oval portrait of King Stanislas Leszczynski. At his feet are tools associated with blacksmithing and ironwork, a Corinthian capital and arms and armor. To his right above him, is the winged female figure of victory. Behind them to the right, a building and gates with the French Royal coat of arms. To their left, are nude male figures working iron on an anvil with hammers and a forge with smoke, within a cave-like settling. The text begins with an illuminated initial and is divided into two columns.
Mountain Landscape, Adirondacks
Daniel Huntington, American, 1816–1906, October 5, 1864
Graphite on grey paper
Drawing

Top, mountains, highest one at left. Bottom, mountains - Adirondacks, Whiteface.
Design for a Woven Fabric, Fragment
, 1815-1840
Gouache on oily tracing paper, mounted
Drawing

Pentagonal shape. Top right: a slope similar to that in 1909-13-75 is suspended from an end of a hanging lead bough. Bottom: a flower spray, from which a festoon of a bead chain is suspended. One of the rising ends of a bowknot fastened by a blossom rosette crosses beneath a bud of the spray.
Theater Design: A Town Square
Francesco Galli Bibiena, Italian, 1659–1739, ca. 1719
Pen and brown ink, brush and gray wash, blue, pale rose watercolor on white laid paper, lined
Drawing

Courtyard surrounded by arcade in the background. To the left, a building with dome and small towers at either side, having appearance of a church but there are no ecclesiastical motifs.
Two Amphorae from the Museum at Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-25, 1869
Graphite on gray-green wove paper; verso: graphite
Drawing

Object sketch of two amphorae, or narrow-necked vases with handles, inthe Museum of Athens, Greece. At center, a tall amphora is shown with broken handles and its upper and lower portions painted black. Below and oriented to the right, the unfinished outline of antoher narrow-necked vase is shown. 

Verso: Object sketch of a relief carving showing an elaborate amphora (or narrow-necked vase with handles) in the Museum of Athens, Greece. Body of the vase is fluted with a wave-like motif in a band around the center. The vase's long neck and handles are elegant in form and highly ornamented. Below and oppositely oriented, a partial detail of floral carvings in shown.
Almanac for the Year 1791 with Portraits of the King and Queen of France
Marie Antoinette, Queen of France, French, 1755 - 1793, ca. 1791
Etching or engraving, brush and wash on paper
Print

Framed almanac
Mixed Studies with Mounted Bedouin Guides, Palestine or Syria
Frederic Edwin Church, American, 1826–1900, February or March 1868
Graphite on white wove paper; verso: graphite
Drawing

Mixed studies from Church's journey to Petra through present-day Israel and Jordan, showing Bedouin guides mounted on horses, details of weapons, and two plants. At upper left and center are two sketches of Bedouin guides riding horses and resting long spears on their shoulders, viewed from behind. At center left and lower right, a sketch of a curved sword and the hilt of a rifle are visible. At lower left, partial drawing of a headdress is visible. Along the lower margin, sketches of a flower blossom and a bush with a long, vertical stem are also included.

Verso: Mixed studies from Church's journey to Petra through present-day Israel and Jordan, showing views of figures, luggage, and camels. In upper portion, three partial studies of the heads of Bedouin guides are visible. At upper left, a camel laden with water skins is visible. At center, a sketch of a figure mounted on a camel is shown from the rear. Below this, a sketch of a long rifle is visible. In lower portion are sketches of a figure viewed from behind, the head of a yoked camel, and a camel laden with saddle bags, viewed from behind.
Ornamental Vase Design
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Globular vase. The two handles of the vase are threaded with snakes that twist around a mascaron placed at the center belly of the vase. The lower half of the vase is decorated with a leaf pattern. The foot of the vase is tall, tapered, and fluted. The vase is elevated on a base that extends to the edge of the image. The plate is signed and numbered.
Ewer
, 17th–18th century
Glass

Blue glass vessel with long flaring neck and slightly pear shaped body with tear drop shaped relief along base and long upturned spout; handle of applied glass.
Design for Balcony Railings
Jean François Forty, active 1775 – 1790, 18th century
Etching and engraving on paper
Print

Window balconies iron work
Mt. Katahdin from Togue Pond, Maine
Frederic Edwin Church, American, 1826–1900, probably 1878–1879
Oil and graphite on paperboard
drawing

Landscape study showing a view of Togue Pond and Mt. Katahdin from the southern shore of the pond. The blue-purple surface of the water extends from the foreground to the middle distance, where a wooded island is shown at left. A vibrant patch of fiery red foliage is visible on the left side of the island, resembling a bright bonfire. The lake's opposite shoreline, covered in trees, stretches across the background before rising to the peaks of Abol and Rum Mountains behind it, rendered in warm shades of brown. Beyond them, the purple silhouette of Mt. Katahdin's south face is partially veiled by a low-lying bank of clouds. Patches of blue sky penetrate the clouds at upper right and upper left.
Design for a Pitcher
, 1520–50
Pen and ink on paper
Drawing

Shown in profile. The handle, which stands with a claw upon the shoulder, is at right. The bottom part of the body and the shoulder is fluted. Between is a frieze with bead festoons supported by cherubim. A mask is under the handle.
Border
, 17th–early 18th century
linen Technique: needle lace

Fine scrolls or vines with leaves, held in place by connections covered by picots.