biglam/cooper-hewitt-alt-text huggingface dataset:
Landscape Study, Palestine
Frederic Edwin Church, American, 1826–1900, February 1868
Graphite on white wove paper; verso: graphite
Drawing

Landscape study showing a view of rugged, rocky mountains in the wilderness of Palestine. A short prominence is visible in the foreground and right, and a taller, sharper mountains rises in the middle distance at left.

Verso: Landscape study of a rocky mountain in the Palestinian wilderness. An overhanging rock at the mountain's peak helps define its sharp contour. The prominence slopes into a ravine with a tree at right, and another sharp mountain is visible in the background at right.
Design for a Door
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design of a door decorated with ornament motifs including palmettes, engaged and fluted columns with Corinthina capitals, lamb tongue, and friezes of scrolls. The plate is signed and numbered.
Clef en console et tete
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for keystones. The top is surrounded by carved leaves on branches; the bottom keystone is in the form of a scrolling bracket with a mascaron carved on it. The plate is signed.
Textile
, 17th century
silk Technique: cut and uncut loops of a supplementary warp (green) in a 7 & 1 satin foundation (white)

Vase and scroll pattern in green on cream.
Design for a Book Cover and Book Binding
Alice Cordelia Morse, American, 1863–1961, ca. 1887–1903
Brush and gouache on paper
Drawing

On tan ground, red-burgundy frame composed of lettuce-like leaves and arcs.
Design for a Casino in a Park
Carlo Marchionni, Italian, 1702–1786, 1728–84
Brush and gray watercolor, pen and sepia ink on laid paper
Drawing

Horizontal rectangle. Three-story building with what seems to be a loggia on the top. Some groups of figures throughout grounds. Trees at left and right. Above at right, a sketch for the profile of the outer sides of the loggia.
Five Figures from Parnassus by Raphael Sanzio
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and ink, brush and sepia wash over black chalk on laid paper
Drawing

Seated boy, head and part of right leg shown. Drawn twofold. Two poets at right of Homer and half-figure shown  next to standing Muses, which are at left of Apollo.
Design for an Iron Balcony
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron balcony with decorative motifs including a festoon and scrolling acanthus leaves. The plate is numbered but not signed.
Design for a sedan chair
, 1770-1780
Black chalk, pen, black ink, brush, grey and various watercolors on paper
Drawing

Shown from the rear corner with open door. A point with fringes stands in the middle of the roof, srolls at the corners. Tassels hang from them. The panels are framed by vine rinceaux with a pole and scrolls. In that beside the window stands a vase with a fire above. In the other panels are plant candelabra. That in the upper black panel ends below an ovoid chevron ermine between three crescents, 1, 2. The bar shows the vine rinceau. The mounting is shown at the right end of the back bar. Something has been erased in the angle of the front foot.
LA FONTAINE DE LA PIRAMIDE,
Adam Perelle, French, 1638 – 1695, 1669–1703
Etching on laid paper
Print

View of the cascading Fountian of the Pyramid with water pouring over platforms supported by mermen and putti riding dolphins, within a large basin in the foreground, set within the formal gardens at Versailles. Beyond that, parterre planting, rows of topiary, planted vases and more fountains, with the palace to the far left, and bosquets (groves) to the right. Figures (courtiers) throughout the grounds. The plate is signed and titled with a description.
Panel with the Letter "L" from the "Newes ABC Büechlein"
Lukas Kilian, German, 1579 – 1637, 1627
Engraving on off-white laid paper
Print

A boy plays the lute ("laute").
From Richmond
Winslow Homer, American, 1836–1910, 1862
Brush and watercolor, graphite on wove paper
Drawing

Two soldiers; one with right arm in sling, and the other on crutches, with his right leg amputated above the knee.
The Resurrection of Lazarus
Lucas van Leyden, Netherlandish, ca. 1494–1533, ca. 1508
Engraving on paper
Print

A group of figures in the foreground, with Christ standing to the right, facing left. His eyes raised to the sky. Lazarus kneels before Him, at the entrance of His tomb. One sister of Lazarus kneels in foreground, left; another stands right. Trees, other figures, in distance.
Birdcage
, 1850–99
Galvanized iron and wire.

Hanging type. Cruciform shape. Pierced metal sides painted green and red. Cage attached to base by four wire loops.  (B) Base is of inverted umbrella shape, on flaring circular foot. Eight groups of painted flowers on underside.
Design for a Mantelpiece
Giuseppe Valadier, Italian, 1762–1839, 1815–1835
Pen and ink on paper
Drawing

A plan of the over mantel. At center top part of the framing of the fireplace and the over mantel: a pavilion in Pompeian style with thin columns, shown in perspective. Bottom, a plan of the dome, shown in bird's eye view.
Excerpt from "An Artist Among Animals" from Scribner's Magazine (XIV, No. 6, December 1893, p. 755, 756)
Frederick Stuart Church, American, 1842–1924, 1893
Printed in black ink on paper
Ephemera

Article clipping from Scribner's Magazine, on Frederick Stuart Church and his creative process. Page 755 is comprised of one illustration. Center, profile of figure with long hair and long dress, facing left. Various owls sitting on branches. Waning crescent in background. Page 756 has the illustration of three tigers, one with a man in its mouth.
Three Designs for Shields or Cartouches
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

Three designs for shields or cartouches, framed with leaves, ribbons, and garlands or festoons of leaves. The central design is topped with an ornate crown, the other two are topped with laurel and leaf crowns. The plate is numbered.
Standing Female Nude
James Wells Champney, American, 1843–1903, ca. 1890
Graphite on paper
Drawing

Standing female nude figure, turned slightly toward left.
Balcony Balustrade Designs
Jean François Forty, active 1775 – 1790, late 18th century
Etching and engraving on laid paper
Print

Two designs for ornamental ironwork balcony balustrades featuring rosettes, crowns, cartouches, palm leaves, clasps, festoon of leaves, scrolling leaves (rinceaux), foliate scrolls, fleurons, c-scrolls, and s-scrolls. The plate is numbered and signed.
Sample
, late 19th century
cotton Technique: printed on plain weave

Woven cotton textile printed in black and red on white ground showing a checkerboard pattern; in each square an ombre of red or black fills the lower left corner, and the upper right corner contains a card suit (spades, clubs, diamonds, hearts).
Androscoggin River by Lead Mine Bridge, Gorham, New Hampshire
Daniel Huntington, American, 1816–1906, July 30, 1862
Graphite, white and black crayon on grey paper
Drawing

Androscoggin River in foreground and center. Trees and ridges, left and right, with rocks in foreground, lower left. Mount Madison and part of Mount Washington in distance.
Fight between Pygmies and Cranes
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or before
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: Landscape with small men riding goats and sheep. The men emerge from right to attack cranes at left with lances and bows. In the background, other men flee.
Verso: Italian inscription relating to the recto.
Frieze: Trophies of Arms and Putti
Jean Le Pautre, French, 1618–1682, 1671
Etching on paper
Print

Two putti blowing trumpets are seated upon a shield, in the center. On either side is a putto busy among weapons.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two cartouche designs. The cartouche on the left is framed with mascarons, acanthus leaves, scrolls, and wings, and topped by a crown. The cartouche on the right has lion claw feet and a flaming heart at the top. Both plates are signed and numbered.
Armchair
, ca. 1810
Parcel-gilt mahogany; yellow silk/cotton (present upholstery)

Mahogany armchair with square tapering front legs which curve inwards.  The plain mahogany top rail has beneath it a carved wreath of oak leaves which forms the slat.  The seat is upholstered and covered in red silk, with gold embroidered medallion in center.  The arms are carved and terminate in eagle heads.  The arm supports are formed by lions paw feet.  Two festoons of oak leaves rise from the arms to the seat rail.  All the carving is gilded.
Aviary
Giuseppe Jarmorini, Italian, ca. 1732 – 1816, 1775–1800
Pen and brown ink, green, brown wash, ruled border in pen and brown Support: white laid paper
Drawing

Scale: at bottom in pen and brown ink, green wash, in Piede di Bologna
Choux de Suede
Charles-Germain de Saint-Aubin, French, 1721–1786, 1755-68
Etching on laid paper
Print

A bouquet of flowers lightly held together by a single ribbon at the stems. The flowers branch in every direction; they include several single-bulb, large-petalled flowers, as well as thinner stems with multiple flowers at the tips. The plate is not signed or numbered.
Allegory on Good Government
Reinier Vinkeles, Dutch, 1741 – 1816, ca. 1790–1800
Engraving on paper
Print

Allegorical figures of Monarchy entrhoned, attended by Justice, Architecture, and Warfare.
Design for Cartouche with Central Vignette
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a cartouche with an upper and lower compartment. The upper compartment contains a scene of two boys hunting for birds with an owl. The cartouche is comprised of ornament elements including branches, scrolls, rinceaux, mascaron, shells, dolphins, and music trophies. The plate is signed and numbered.
Two Frame Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Two designs for frames or framing devices featuring foliate branches, festoons of flowers and leaves, scrolling acanthus leaves (rinceaux), basket of flowers, cornucopia, rope with tassels, and a caduceus. The plate is numbered and signed.
Tassel
, 18th century
metallic thread on wood core

Tassel with a skirt of metallic threads with collar at top. Head of wood painted gold (vase above hexagon) and covered with metallic threads in knotted design; knob at top and loop of cord bound with metallic threads.
Card with Verse
, before 1916
Printed black ink, brush and red paint on paper
Playing card

Card with verse.
Project for a Painted Oblong Ceiling
Flaminio Innocenzi Minozzi, Italian, 1735 – 1817, 1800–1815
Pen and brown ink, brush and green, gray, and brown wash on paper, lined with white heavy textured paper with lithographed frame and geometric lines in pen and black ink over graphite
Drawing

Depiction of a quarter of a ceiling viewed from below.  View into a cupola with a fluted tambour.  The dome rests on the octagonal entablature.  Its sides are supported by arches through which landscapes can be seen.  The panels of the parapet at the sides are decorated with pairs of festoons supporting each other.
The Last Iceberg, Canada
Frederic Edwin Church, American, 1826–1900, July 16, 1859
Graphite on light brown wove paper
Drawing

Seascape sketch showing an oblique view, at upper left, of a long, rectangular iceberg with a top that slopes upward to the right like a ramp, seen off the coast of the Newfoundland and Labrador, Canada. Layers of melted eroson, like rock strata, are shown as long, diagonal lines on the side of the iceberg.
Coffre à Racine
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a box decorated with ornament motifs including floral finial, bead and bar course, ribbon, and scalloping. The plate is signed and numbered.
Trial-proof for a printed vertical border
, 1780–1800
Brush and watercolor on paper
Drawing

Right, blue and yellow iris blooms (some printed without color) rise vertically among heavy foliage; left, scattered flowers (some indicated in outline only).
Door Knocker and Metal Purse Frames
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The doorknocker: a female griffin with fishtail legs, shown in profile. Left part of metal frames, composed of snakes, florals and vines.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1738-1749
Etching on laid paper
Print

A krater form with crossed oars on the body of the vase, below which is a grotesque mask. The foot of the vase is of an organic, spiraling shape. The lip of the vase has a scalloped rim emerging from the interior, and there are knob handles derived from coquillage forms. The plate is lettered and numbered.
Design for a Dressing Room
, 1790
Pen and ink, brush and watercolor, black crayon on paper
Drawing

Medallion portraits with dragging garlands and suspended from brackets serve as overdoors.
A Bouquet of Flowers
Jean-Baptiste Pillement, French, 1728–1808, 1760
Etching on laid paper
Bound print

Sixth plate from a series of designs for bouquets of flowers. In the center a bouquet of flowers, four large flowers, with smaller ones, on their stems with leaves and foliage. The plate is signed.
Border
, ca. 1860
Block-printed on paper

Green bands of advancing wave motif on cream field, printed in colors.
Frieze
, 1890–1900
Block-printed, flocked, mica flakes on embossed paper

b) Three vertical stripes to be cut into three friezes. Field tobacco brown flock. Design leaf scroll in metallic gold with flock black outlines in parts. Both edges of each stripe have metallic gold and black bands. Design embossed; a) Same design on darker brown flock field, design in metallic copper bronze and gold mica used in small medallions on borders and dark red flock outlines around leaf design. This piece has been cut into one stripe. Design embossed.
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 mounted to board
Drawing

Sketch of a female figure. The bust, the head, the left arm and the right forearm are not shown. The girl walks towards the left, the right arm is stretched.
Six Mask Designs
Johann Leonhard Eisler, German, 1672 – 1733, 1720-25
Etching and engraving on laid paper
Print

Six grotesque mascarons or mask designs featuring scrolling acanthus leaves, fleurons, flowers, shells, rosettes, wings, a tassel, and sprigs.
Textile
, early 19th century
silk Technique: 7&1 satin with weft floats bound by supplementary warp

Green and white panel with equestrian and mythological figures, animals and stylized floral motifs. Two attached pieces represent a portion of a larger repeat. The lower panel has addorsed figures of Pan piping along with stylized frames, flowers, medallions, water birds, and a lion. The upper portion depicts a central group mounted on horseback within a frame. Flowers and garlands surround the sides of the frame.
Two Cliffs in Grand Canyon, Arizona
Thomas Moran, American, b. Britain, 1837–1926, July 12, 1908
Pen and brown ink on white wove paper, laid down at corners
Drawing

Horizontal oblique view of two cliffs in Grand Canyon, diagrammatic sketch.
Decorative door boss and nail
, 16th century
Wrought iron

Square mount, pierced and shaped to eight part design of projecting barbs and petals. Nail with square molded head on a square shank.
Child's dress
, early 18th century
silk Technique: damask Label: silk damask

Child's dress of coral-colored silk damask with floral pattern in white. Bodice cut square at neck and edged with pink ribbon; elbow length sleeves; full gathered skirt.
Entablement avec Console
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an entablature with brackets decorated with acanthus leaves, interspersed with carved rosettes and framed by bands of lamb tongue and egg and dart. The plate is signed.
Sidewall
, ca. 1730
Leather, stamped, silvered, painted

Stamped field, silver varnished, rococo scrolls of foliage and flowers. Printed in green, blue and red.
Design for a Waistcoat
, 1780-1790
Pencil and various gouache colors on paper
Drawing

Design for the embroidery at the left bottom corner of a man's waistcoat. The left edges of the waistcoat and of the pocket and the latters bottom edge are shown, brown stripes. The flap is outlined with pencil. Four bunches of flowers, each at the bottom of a wreath are beneath the bottom edge of the pocket. Three leaf pyramids are in the intervals. A garland connecting two alternating bunches of flowers is shown beside the rising edge of the waistcoat.
Study of Cosmos
Sophia L. Crownfield, American, 1862–1929, late 19th century
Brush and watercolor on white paper
Drawing

Vertical sheet depicting studies of cosmos from different angles and in different directions across the sheet including nine pink examples, and one orange one.
Border
, 18th century
linen Technique: bobbin lace, Mechlin style

Pattern shows rose spray and cartouche forms with scalloped outer edge.
Fragment
, 12th century
silk Technigue: compound weft 1&2 (Z) twill (samite)

Double headed eagles with outspread wings grasping a lioness attacking a gazelle in each claw. Wings have Kufic inscriptions.
Drawing
Felice Giani, Italian, 1758–1823, 1800-1810
Pencil. Pen, black, ink. Purplish grey water-color wash. Paper

The youth kneeling between the legs of his seated mother Julia is stabbed with a sword by his brother. A troup of soldiers follows Carcalla.
Drawing
Felice Giani, Italian, 1758–1823, 1780-1790
Pen and dark gray ink, gray wash, over black chalk. Paper.

Vulcan raising the curtain points at the couple in the bed. The procession of the gods is at right, preceded by Jupiter holding the thunderbolt and Juno by the hand. Cupids try to prevent his approaching as others busy themselves around the bed. Reverse: unfinished pencil sketch, a couple upon a bed in a room in oblong.
Study for "Zodiac"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper
Drawing

Sketch of a reclining female figure with wings.
Fragment
, 17th century
Medium; wool. linen Technique; two partially integrated fabric structures, plain weave plus plain weave

A formal repetition of lions, birds, and floral figures.
Sewing instruction book samples
, 1829
Purple and gold-colored silk

Mat made of purple and gold-colored silk in open-work pattern; edged with fringe; a tassel in each corner.
The Peasant's Feast, or, The Twelve Months
Hans Sebald Beham, German, 1500–1550, 1547
Engraving on off-white laid paper
Print

8 in a series of 10 plates
Two Knights in Armor Confronting a Crocodile and a Boar
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and brown ink on white paper
Drawing

Two knights in armor riding horses in right foreground confront a beast standing in left middle ground. Beast resembles crocodile. Background in a landscape with a hill in middle dominated by a tree. Ink border.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Two broad stripes, molette printed in blue in minute dot patterns, are separated by a narrower stripe consisting of a pink lattice pattern and small pink and green floral sprays on a white ground. Over-printed on the blue molette ground are natural scale, realistic azalea blossoms and foliage in pink and green.
Triumph of Mordecai
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1640
Etching on laid paper
Print

Within a low archway, Mordecai, on horseback, is surrounded by a large group of people. In the foreground, left, a turbaned figure moves forward, gesturing to the viewer.
Portrait of Nathanael Greene
Alonzo Chappel, 1828 - 1887, 1862
Steel engraving on paper
Print

Full length portrait of the American Revolutionary general, Nathanial Greene (1742-1786), shown standing before his horse in an open mountainous landscape. He wears a long cape.
Design for a Woven or Embroidered Horizontal Border, of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Brush and gouache on glazed tracing paper, laid down on paper
Drawing

Two pears hand from a bough over the hollow of a scallop. Seven repeats are shown.
Water jug
, 19th century
Terracotta

Tall neck with angel head applications around the body.
Bird Hunt
Jean-Baptiste Scotin I, 1678 – after 1738, 1730–50
Engraving with etching with some green and blue watercolor washes on paper
Print

A young man standing at left takes aim at a flock of birds at right. A boy holding dogs and a decoy stand beside him. A lady on horseback holds a falcon. She stands in the center under two trees. A man charges his gun, at right. Two groups of buildings in the distance.
Perpetual calendar
, early 18th century
Brass

One large brass disc and one small on either side, pivoting on center nail. Top engraved: Calendarium Perpetuum" and days of the week in German, together with their symbols. Cut-out edge adjustable to date engraved on large disc. Back disc has two cut-outs, adjustable to show holidays, month, sign of zodiac, sunrise and sundown, length of days and nights.
Print
, About 1720
Black ink on white paper

Vertical rectangle. A small curved writing desk is placed near an open window; another window before it. Awnings project from the windows. Writing implement on the desk. Below, a two line inscription (in German), and designer's names, and the number, ''2'', lower right.
"Democracy, or a Sketch o
James Gillray, 1756 – 1815, 1800
Etching Support: white wove paper laid down on beige wove paper
Print

Support: white wover paper laid down on beige wove paper
Page Two from "Cinquième Livre Contenant des Cartouches Inventés par G. M. Oppenort Architecte du Roi et Gravé par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three cartouches in sequence. First is flown by two small angels; second on ground flanked by two seated nymphs. Third with a dog. Inscribed, upper left: "E"; upper right: "Q"; lower left: "Oppenort inv."; center: "Avec privilege du Roi"; lower right: "Huquier sculp. et ex."
Sampler
Ellen Maria Odiorne, American, 1812–1845, 1822
silk embroidery on linen and cotton foundation Technique: embroidered in satin, cross, eyelet and stem stitches on plain weave foundation

Rectangular sampler worked in black, purples and greens on a natural ground. Three alphabets, a set of numerals, a signature and a verse are surrounded on three sides by a wide grapevine border. At the bottom, a basket of grapes and four trees.
The inscription reads: Ellen Maria Odiorne's Work Wrought by her in the 10th year of her age in the year of out Lord 1822

The verse reads: 
How various her employment whom the world
Calls idle and who justly in return
Esteems that busy world an idler too
Friends, books, her needle and perhaps her pen
Delightful industry enjoyed at home
Can she want occupation who has these?
Textile with chef de piece
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1770–75
linen warp, cotton weft Technique: block printed on plain weave

Pattern of three floral stripes alternate with three geometric stripes. Colors are: deep red, pink, blue, olive, and black.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

light blue/green with pinks and oranges, columns of ribbons and flowers
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1903-04
Favrile glass

Bulbous base of gold Favrile glass, sprouting long slender clear (greenish) neck culminating in a cream-colored bud with slightly flared mouth.  Neck and bud have five slender green stems and leaves.
Ribbon
, 19th century
silk

Blue-violet ribbon with ribbed and picoted gray borders. Just inside in the borders are three thin black stripes.