biglam/cooper-hewitt-alt-text huggingface dataset:
Exterior, Theatre at Brescia
Antonio Giuseppe Basoli, Italian, 1774–1843, early 19th century
Pen and brown ink, brush and gray wash on wove paper
Drawing

Horizontal rectangle. Exterior of theatre at Brescia with figures standing in street in front of building at left.
Bag
, mid-19th century
linen, copper beads, silk, metal thread Technique: beaded knitting

Ladies bag, knitted in linen with copper beads; silk and metal thread lace at upper edge; lined with yellow silk, drawstring of metal braid; two brass leaf ornaments at bottom.
Study of Covered Wagons
Samuel Colman, American, 1832–1920, 1871
Graphite, brush and watercolor, gouache on cream wove paper
Drawing

Oblique view of a wagon, the wheels, the front part of the frame with the rear of the carriage pole elaborately shown.  The carriage body is slightly sketched.
Long wall of a hall
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

.Long wall of a hall.
Textile
, 17th century
wool Technique: block printed on 2\2 twill

Densely scrolling leaves and flowers in brown on a yellow-cream ground.
Title Page
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching in red ink on paper
Print

Title page and arabesque ornament design featuring winged female torsos, festoon of fruit and leaves, ribbons, fleurons, and scrolling leaves (ricneaux). The plate is titled and numbered.
Two Bath Designs
Juste-François Boucher, French, 1736 – 1782, 1849–66
Etching on paper
Print

Two designs for baths in the shape of chairs with sculpted frames, cabriole legs and upholstered backs. The frames feature fluting, festoons of leaves, scrolling legs, shells, flowers, and ribbon and reed molding. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Figure
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Three sketches of a figure.
Sketch of Horseshoe Falls, Canada
Frederic Edwin Church, American, 1826–1900, 1856 or 1858
Graphite on off-white wove paper
drawing

Landscape sketch showing a loosely rendered view of Horseshoe Falls, viewed from the Canadian bank of Niagara Falls. At center, a tall, billowing column of mist rises into the atmosphere and casts a dark shadow on the churning water below. Behind the mist, the upper edge of Horseshoe Falls stretches horiztonally across the composition, with Terrapin Tower visible at left. The circle of the sun is shown just above the mist at upper center. In the background, the heavily wooded Canadian bank of the Niagara River is hastily rendered.

Verso: Landscape and architectural sketch showing, at upper center, the floorplan of a small building with three rooms, and at lower center and oppositely oriented, a portion of Niagara Falls kicking up a billowing plume of mist.
Design for a Door Frame
Carlo Marchionni, Italian, 1702–1786, 1740–50
Black chalk, pen and ink, brush and gray, black watercolor on laid paper
Drawing

With a circular pediment inside a triangular one. It shows a mask and festoons.
Design for a Reliquary
Luigi Righetti, Italian, 1780 - 1819, 1812
Pen and ink, brush and gray watercolor, graphite on paper
Drawing

Vertical rectangle. Upon a base with lion feet, two angels are standing upon clouds, embracing themselves with their left arms and supporting with their right arms palm branches upon which the oval receptacle of the reliquary is standing. On top a garland and a cross. Scale at bottom left.
Mirror
, 1730–1760
Engraved and silvered glass; carved, gessoed, and gilt wood

Rectangular glass panel withshaped engraved borders on matt ground surrounding engraved subject of the youthful Virgin standing with the seated Saint Anne over the legend: "S. ANNA MAT. M. V."; within narrow scrolled frame of gilded wood.
Trimming
, 18th century
silk, metallic thread Technique: woven

Yellow trimming fragment in a design of open flowers and diagonal lines set between sawtooth borders; gilt picots.
Design for a Chimney Piece and Adjoining Bays with Alternative Suggestions
Nicolas Pineau, French, 1684-1754, 18th century
Pen and brown ink, brush and brown and gray wash on cream laid paper
Drawing

The left half includes a candle bracket showing a child holding two scrolls topped by sockets; a medallion with the bust of a woman under a canopy; a painting with a woman and two children one of whom is Cupid. The decoration is sparser in the right half. Bottom margin; plans of the mantelpiece.
Head of a dolphin
Filippo Marchionni, Italian, 1732–1805, ca. 1775
Pen and ink, brush and gray watercolor on paper
Drawing

Head of a dolphin with an open mouth, turned to the left, looking ferocious.
Gourd-Shaped Vase
, 1670–1680
tin-glazed earthenware
vase

Gourd-shaped vase with a slender, incurved neck and molded lip. Decorated with chinoiserie figures in a landscape bordered above and below with geometric figures. Neck with acanthus leaves and rosettes.
Rugged Tree, Niagara Falls
Frederic Edwin Church, American, 1826–1900, September 1858
Graphite on light brown wove paper
Drawing

Botanical sketch showing a view of a rugged, weathered tree along the bank of the Niagara River near Niagara Falls, which are visible in the background at upper left. Irregularly shaped, the tree is barren on its left side.
Embroidery sample
, ca. 1770
silk, paper Technique: embroidery on uncut voided supplementary warp pile (velvet); in paper envelope Label: Satin, stem, and knot stitches embroidered in silk on uncut voided supplementary warp pile (velvet); paper enclosure

Black uncut voided velvet with a ground of small blue dots embroidered in a border design of large flowers in colored silks.
MONCEAUX
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Bird's-eye view of the chateau of Monceaux within its formal garden and landscape beyond. In the foreground, the courtyard, bridge, and gate leading over the moat through to the courtyard. Formal parterre planting and fountains beyond with trees, avenues, and garden pavilions. Figures and horseman in the foreground and throughout the grounds. The plate is titled.
Competition Design for La Fenice, Venice: Ground Plan
D. Cerato, Italian, 1788
Pen and black ink, brush and gray wash, watercolor on two sheets of white laid paper, laid down on blue paper with added border of blue paper
Drawing

Ground plan of the theatre: horse-shoe shaped space and entry at bottom; exterior spaces (canal?) indicated in green.
Sketches of a Church and Bridge, Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Architecture and landscape sketches showing views of a church, a bridge, and possibly mountains in Mexico. At center, an arched bridge at left leads towards a tall, indistinct building at center. Along the right margin and oriented to the right, a sketch of a church with a central belltower is visible. At upper center, a loosely rendered sketch of what appear to be mountains and a valley is included.

Verso: Mixed sketches from Mexico showing views of a church, a seated figure, and a cross. Situated at center, a church with a tall belltower and dark walls is viewed obliquely. Trees and other bushy vegetation flank it on either side. At upper left, a figure who appears to be a woman is shown seated in right profile as she looks towards us. She wears a dark skirt as she reaches her hand around her back. Beside her at left is a faint sketch of a brimmed hat. Finally, at upper right, a two-barred cross is viewed obliquely.
Sheep Grazing in a Field
Winslow Homer, American, 1836–1910, 1878
Black crayon, brush and white gouache on gray paper
Drawing

Horizontal view of sheep grazing in a field, with a row of trees in background.
A Pair of Salvers
Baldwin Gardiner, American, 1791 – 1869, 1810–20
silver
salver

Oval shape on three pierced legs and ball feet; cast ornamental border in leaf design.
Design for a Centerpiece
Jan Lutma, Dutch, ca. 1584 - 1669, 1630–60
Chalk on tan laid paper
Drawing

Design for a centerpiece to be executed in metal; four intertwined tails of dolphins support four shells. Figures of putti holding reeds sit upon the dolphins' heads. Another child bearing a trident stands upon the shells, above.
View of the Palisadoes from Bloxburgh, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite on gray wove paper
Drawing

Landscape sketch of the thin tombolo of sand known as the Palisadoes outside Kingston harbor in Jamaica, as viewed from the high-elevation hamlet of Bloxburgh. The Palisadoes extend across the water at lower right, with the distant coastline visible in the background. Billowing storm clouds loom in the sky above, at left.
Trimming
, 18th century
silk Technique: woven

Pink and yellow trimming fragment with a central band of alternating flower and line motifs. One red border and one yellow border; picot edges.
Design for a Ceiling with the Ascension of the Virgin
Francesco Trevisani, Italian, 1656 - 1746, 1700–1730
Pen and ink, brush and bistre, white heightening on paper
Drawing

Seated on clouds and attended by angels, the Virgin is raised to heaven.
Cup with "Etruscan" Handles and Saucer (Gobelet à Anses Etrusques et Soucoupe)
Sèvres Porcelain Manufactory, French, established 1756, 1795–1805
porcelain (possibly soft paste), vitreous enamel, gold
cup and saucer

Cup with a gilded, receding foot. Two gilded, horizontal handles in the antique style. Decorated with a purple, gilt borders and two circular reserves with the monogram MC, the latter letter in the form of a garland of roses. Saucer has a tall foot and high sides.
Design for a Standing Frame, Probably for a Screen
, 1780–1790
Black chalk, pen and wash, Chinese black on paper
Drawing

Moulded frame upon two feet shaped like entablatures of a pediment. Birds seated at the top corners support a garland hanging in festoons. The entire width is indicated as 28 po". An ovoid is sketched inside.
Cahier de Theorie 1848
, 1848
paper, bound with buckram covered cardboard with vellum back and corners, containing fabric samples and mises-en-carte
Weaver's thesis book

Uncompleted book written in delicate longhand, labelled on title page: "Cahier de Theorie 1848".  Contains nine samples of fabrics, 12 mises-en-carte, sketches for heddle arrangements and descriptions of fabrics.
Study for woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Black pastel crayon, graphite on paper
Drawing

Two sketches of a female figure; Detail of head and hands and upper part of the bust after the model. A left hand above at right is shown. Below at right the right hand. Written in upper left corner. A rough sketch of a part of a hand and the central part of a seated woman is shown in profile, are in the center above.
Design for Two Bronze Key Plates
Richard de Lalonde, French, active 1780–96, ca. 1780
Pen and black ink, brush and wash, graphite on white laid paper
Drawing

Both key-plates are formed by foliate arabesques; that on the left is decorated with garlands, and that on the right with a wreath suspended at the bottom.
Plan et Elevation d'une Porte avec Croisée en entresol
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation, with plan below, of a door with a mezzanine. The mezzanine has a balustrade and a garland of leaf above. The plate is signed.
Design for the Embroidery of a Man's Waistcoat of Pattern No. 504 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Left bottom corner; slightly rising bottom edge. Row of flower scrolls along the edges. The letter "A" on a support and in a palmette framing forms the central motif in the bottom part. Festoons are suspended from the top center of the palmette and lacy flower boughs are rising from its bottom. A bunch of flowers rises from the bottom center on the pocket.
Two Studies of Cattle
Samuel Colman, American, 1832–1920, 1876
Brush and watercolor, white gouache, graphite on brown paper
Drawing

Horizontal rectangle.  Obverse: at left, head and neck of a standing cow or ox.  The head is shown frontally.  Reverse: top left: a crouching cow, head turned back.
Backdrop of stage setting
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Backdrop of stage setting.
Design for a Buckle
Giovanni Sebastiano Meyandi, Italian, active 1762 - 1794, ca. 1790
Pen and ink, brush and gray, gold watercolor on wove paper
Drawing

Jewelry design for a buckle. Two entwined escutcheons, formed by ribbons; in the middle of the four sides are rosettes. The ribbons are framed by rows of golden beads.
Galerie métallique des grands hommes français (Great Men of France)
Jacques-Édouard Gatteaux, French, 1788 - 1881, 1822
Cast bronze
Medal

Bust of André Masséna, 1st Duc de Rivoli, 1st Prince d'Essling (1758 -1817), to the right.
Sécrétaire à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a desk with a curved cover and small drawers at the front, ornamented with motifs including scrolls, acanthus leaves, and rosettes. The plate is signed.
The Elevation of a Reliquary of a Skull
, 1820-1840
Balck chalk, pen, and ink.
Drawing

Work in a vertical rectangle. Two angels and clouds in the center, support the receptacle. Below is a molded base. Some parts have been erased. Reverse: plan of a base, chalk.
l'Eglise
Pierre-Gabriel Berthault, French, 1737–1831, ca. 1758
Etching and engraving on laid paper
Print

Design of a rocaille frame with scrolls, flowers, and ecclesiastical attributes, including cherub heads, a cross, a Bible, and a mitre. The plate is signed and numbered.
Design for a Candlestick
, early 19th century
Pen and ink, brush and yellow, red, gray watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a candlestick, the base supported by two crouching lions. The foot consists of scrolls beside a central pedestal, upon which the allegorical figure of Hope sits at left, Faith at right. The knob with two prophets is supported by the symbols of the Evangelists and is drawn upon a piece of paper separately mounted to the primary support. Around a smaller second knob is a frieze with Christ and the Apostles. The socket is supported by a baluster, from which hang garlands. Burning candle at top. At bottom, scale with inscriptions.
Vase
, 17th–18th century
Enameled glass

Oblate body, receding foot. Tall cylindrical neck with broad trumpet mouth. All over lattice in gold, divided into four bands, the squares filled with star-shaped figures and pale green dots at the intersections. Green annular fillet base of neck.
Design for a Mantelpiece
Robert Adam, British, 1728–1792, ca. 1765
Pen and black ink; brush and brown and gray wash; black chalk
Drawing

Front view of a mantelpiece with frieze of decorative figures . Additional ornamentation is added on right half, including a winged gryphon at lower right.
Lampe
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a pendant lantern decorated with ornament motifs including branches on the chains, winged cherub heads, fluting, garland, rinceaux, and grapes. The plate is signed and numbered.
Sidewall
, ca. 1885
Flocked

Full width giving less than one repeat of vertically developed symmetrical design of flowers and bands of lace, suggesting a brocade of the 18th century. Printed in green flock on dark green flock, creating a damask-like appearance.
Matinée d'Hiver sur les Quais
Félix Hilaire Buhot, French, 1847–1898, 1877
Etching and aquatint in dark brown ink on white paper
Print

A small packet steamer is tied up at a quay, with the sea, left. Figures stroll on the quay, seen in the snow. A sign, center distance, reads: "Havre".
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1815–1815
Brush and white gouache on glazed tracing paper
Drawing

Rinceaux with alternating cone leaves and ears of grain over a row of perspectively shown lace blossoms.
Alps over Abtenau, Austria
Frederic Edwin Church, American, 1826–1900, August 5, 1868
Graphite, brush and white gouache on light blue wove paper: verso: graphite, brush and white gouache
Drawing

Landscape and architecture sketch showing a view of an rugged mountain range with craggy pinnacles--almost certainly the Tennengebirge--above a house in the town of Abtenau, Austria. In the foreground at lower right, a house with a chimney and weathervane is viewed obliquely. Behind it, a steep mountain ridge abruptly rises to three sharp and rocky peaks in the background at upper right. This ridge extends into the distance at left, where another mountain range with towering pinnacles forms a serrated horizon. 

Verso: Landscape sketch showing a focused view of an extremely rugged mountain ridge in the alps near Abtenau, Austria. In the middle distance at left, a heavily wooded hill with a sharp summit frames a view looking up at several sharp, rocky peaks and pinnacles. The mountainsides at right are highlighted with white gouache.
Title Page
Pietro Metastasio, Italian, 1698 – 1782, 1755
Etching on laid paper
Print

Title page for the second of ten volumes of poetry by Metastasio. The title, address and date are lettered within a rocaille ornamental border, featuring trellis, c-scrolls, shell, and acanthus leaf ornament, fleurons, garlands of flowers, an urn, flowers, palm leaves, and three winged putti.
Wall Clock (Cartel) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching and engraving on paper
Print

Design for a wall clock (cartel) before lettering incorporating a round clockface with a central rosette and roman numerals, topped with the head of Apollo framed by sun rays and festoons of flowers. Flanked by winged putti, with scrolling leaves (rinceaux), and foliate branches.
Embroidery sample
, ca. 1770
silk, paper Technique: embroidered on cut supplementary warp pile (velvet)

Multicolored silk embroidery in a large-scale floral design of leaf clusters, a yellow rose and other small blossoms on a black ground.
Altar to Apollo from the Villa di Cicerone, after a print by Piranesi
Donato Vaselli, Italian, late 18th century
Pen and ink, brush and watercolor on paper
Drawing

Perspective view of the Apollo altar, decorated with the heads and feet of lions, figures, a crab, fruit, and ornamental patterns. Rendering shows effects of light and of the floor. Two framing lines.
Entablement avec Modillons [et] Cornice architravée
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for an entablature with brackets and an architraved cornice. The plate is signed.
Fragments
, 17th century
silk Technique: 4&1 satin damask

fragments from a chasuble.
Palmette shapes within checkerboard strapwork in green.
Fan leaves, Eighth and ninth plates of the set, "Divers Desseins de grands Eventails, Encrans, et autres Ornamens, inventés et gravés par Nicolas Loire"
Alexis Loir, French, 1640 - 1713, ca. 1670
Etching, engraving on laid paper
Print

Europa upon the bull, crouching at the shore. Half-figures of children growing from spirals.
Project for the Stucco Decoration of a Circular Ceiling
, 1700–1725
Pen and ink, brush and sepia, on paper
Drawing

The decoration is intended for the framings of polygonal panels, as well as the space above and between them. On top of the panels - an escutcheon. In the intervals - a vase upon a console, above it - a shell. Rinceaux and volutes are distributed in front of imaginary panels. One eighth is extended, a right half.
Plans Coupes et Elévations d’une Maison Bâtie par Mr. Juve Architecte dans sa c-devant propriété du bas Meudon sur le bord de la Riviere
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a house with two exterior elevations, one sectional view of the interior, a general plan view of the gardens and house, and two floor plans. The houses feature neoclassical motifs, frieze, and a domed coffered ceiling with rosettes.  The plate is titled, numbered, and signed.
Scene from Desmarets de Saint-Sorlin's Play "Ariane"
Abraham Bosse, French, 1602–1676, 1639
Engraving on paper
Print

Four women, three soldiers and another man are in a small boat near a rocky shore with a castle. Night scene.
Niagara Falls, Part Two
Frederic Edwin Church, American, 1826–1900, probably September 1856
Graphite, brush and white gouache on off-white wove paper
Drawing

Landscape sketch showing the second part of a panoramic view of Niagara Falls from the Canadian side. This description addresses the entire view, with the other portions continuing on 1917-4-721-a and -c. In the foreground, Table Rock is visible at lower right, with its craggy, serrated edge. From there, Horseshoe Falls curves from the foreground into the middle distance before extending horizontally across the scene to the heavily wooded Goat Island at left. Terrapin Tower is visible just before this billowing mass of vegetation. Voluminous ribbons of speeding water cascade off the edge of the Falls, simultaneously churning up the frothing waters below and kicking up a plume of mist. Across Goat Island, in the distance at left, the American Falls are included. Multiple spires and buildings of the town of Niagara Falls in New York are visible just beyond the American Falls in the background at left. In the background at right, the heavily wooded Canadian shore of the Niagara River is shown with sporadic structures as it extends into the distance, before vanishing. The lower portions of a double rainbow are faintly visible at far left and far right before arching out of view along the upper margin.
Plate XIV, from the "Exercitatio Alphabetica"
Clément Perret, 1569/71–?, 1568–69
Engraving on white laid paper
Print

The lettering consists of a sentence: "Make not thy boaste of tomorrow," etc., an alphabet.
Sunset at Sea, Ecuador, Part Five
Frederic Edwin Church, American, 1826–1900, May 1857
Graphite on white wove paper; verso: graphite
Drawing

Meteorological sketch showing part five of a panoramic view of billowing rain clouds over the ocean near Ecuador. Below, in the foreground, the ocean surface extends to the horizon. Above, a large thunderhead pours rain and casts a shadow on the water at center right. At left, the clear sky is visible through several other large, puffy clouds.

Verso: Landscape and botanical sketches showing views of a hilly coastline in Ecuador with two structures, visible along the upper margin, and three different palm trees--one with a looped trunk--visible center and center left.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two cartouche designs: on the left, with putti and an eagle, and on the right, with braided tassels. The plates are signed and numbered.
Stage Design of the Interior of a Temple
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and bistre, brush and wash on paper
Drawing

Interior of temple with barrel-vaulted arches and apses showing niches for sculptures.
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wools. Technique: slit tapestry with supplementary weft wrapping

Small fragment with a long-necked crested bird swimming within a circular frame. Border of hearts.
Designs for Carved Reliefs
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for panels of carved relief. The upper panel features a portrait medallion surrounded by winged putti, draped garland, and a helmet. The lower panel is semi-circular in shape and features an urn with lightly draped women reclined on either side. The panel in framed by garlands and bound leaf. The plate is signed.