biglam/cooper-hewitt-alt-text huggingface dataset:
DANSEURS DE CORDE
Christophe Huet, French, 1695 – 1759, mid- 18th century
Etching and engraving on laid paper
Print

A plate from a series of singerie scenes after Huet. A monkey walks across a tightrope attached to poles on either side. He holds a long stick for balance. A second monkey, to his left, is hanging from the rope. The plate is titled, signed, and numbered.
Study for a group, “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

Three sketches of male figures posing with legs bent and arms raised. Beside a nude maenad in the post of -11 is shown another seated one who sleeps or is drunk. She is shown obliquely from the front and a part of ther right leg is covered by the legs of the left maenad. Bottom: the second maenad is shown somewhat less in profile.
Portrait of Francesco Berni (c. 1497-1535)
Antonio Baratta, Italian, 1724 - 1787, ca. 1760
Engraving on paper
Print

Half-length portrait in frontal view. The head turned to right.
Design for Three Woven Flower Boughs
, 1825–1850
Brush and gouache on oily tracing paper
Drawing

Top row, left: a pending bough with a great blossom. Right: a curved bough with four leaves on top. Bottom: a horizontally dispersed bough with leaves and seeds. Bottom right: an outlined bough.
Mausoleum for family of Alexander the Great
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Distant angle view of the enormous precinct, in which the domed mausoleum stands in a square, the corners of which are marked by pyramids. Figures on foot, on horseback, and beside a camel are in the left nearer distance. In the left foreground stands a dog (?) with his forefeet on a casket. Written there: "Or (?) debbito che mi / da addezzo / Sengo il Grande / e non o quatrini / p[er] Mangiare". Caption under the architecture: "Cappella Sepolcrale p[er] la Fameglia delli Cgni[aro]gni P[resen]ti". Underneath a part of an architectural plan, in graphite, "belonged originally to…".
Two Friezes
Felice Giani, Italian, 1758–1823, ca. 1815
Pen and bistre on paper
Drawing

Horizontal rectangle. Right edge above: windged putto sit upon scrolls symmetrically arranged on stem with blossom, and swan in the internval. From spirals rises stem with leaves. Above interval, bird. Figures 1 to 3, below, at left: "1 fondo bocaro/ 2 ornati bianchi/ 3 putti coloriti." Below: a rectularly broken band entwined with waved flower-stem. Figures 1 to 3: "1 fondo bianco/ 2 linea verde/ [framing lines above and below] 3 meandro di Sacca/ 4 fiori tiuchini semi gialli." Verso: section of room with vaulted ceiling decorated like tent. Below: tablet with inscription:  "Enea oserva li fatti di troia/ con Acatte nel tempio." (Aeneid, Book I, ll 446-519)
Vestibule de St. Remy à Luneville
Nicolas-Jean-Baptiste Poilly, de, French, 1707 – 1780, mid- 18th century
Etching and engraving on laid paper
Print

Vestibule from the church of St. Remy. Double doors, with rocaille paneling with acanthus leaf, cartouches, and shell motifs. An overdoor panel with a trophy of musical instruments. Four fluted columns in the foreground with a balustrade above, decorated with rocaille motifs, a central cartouche, and trophies with two eagles and flags. The plate is titled and numbered.
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1581
Engraving on paper
Print

A pendant suspended from a ribbon with a bow knot. Strapwork forms a fleur-de-lys cartouche with three drop pearls. At center, a seated man and woman flanked by dolphins. The plate is numbered.
Two Waistcoat Designs
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Designs for two embroidered men's waistcoats decorated with floral (flowers) and feather motifs. The design to the right has front skirts and pockets. The plate is titled, numbered, and signed.
Détail de la Chambre à Coucher
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

Two details of a bedroom along with a floorplan for the alcove with Empire style motifs, caryatids, friezes, hanging textiles, and incense lamps. The plate is titled, numbered, and signed.
Figure Studies
François Boucher, French, 1703–1770, 1735
Etching on paper
Print

Figure studies/ sketches on a single plate with various degrees of finish and detail. Seated women (from the front, side and back) pastoral youths and peasants, seated couple, standing woman leaning against a stick with a basket on her back, and the head of a bearded man in profile. Mounds of earth at the feet of some of the figures. The plate is signed and numbered.
Textile
, 15th–16th century
silk Technique: 4&1 satin patterned by plain weave (lampas)

Floral arabesques forming an over-all fleur-de-lys pattern, with green, yellow and white floral detail and filling on a rose-red ground.
Landscapes on Road to Bartlett, New Hampshire
Daniel Huntington, American, 1816–1906, 1850-55
Graphite on paper
Drawing

Two sketches of landscapes, one above the other. Above, coach on road at center, with banks at left and right with trees and wood fences, and Doublehead in distance. Below, white cliffs along the Saco River with mountains beyond, at left. Verso: Above, balancing boulder, with Mt. Kearsage beyond. Below, road at center, with trees left and right.
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 flying birds, a geometric design at bottom. In the arched overdoor above the transom, scrolling vines form a grille with a flower at lower center. A mask above. Scale at bottom center.
Material for artificial flower
, ca. 1830

Seven paper packets containing material for making artificial flowers. Five of the these packets are addressed to Miss Julia Edgar, Greensburgh.
Elevation, End Wall of the Noble Cabinet, Palazzo Altieri, Rome
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Elevation, End Wall of the Noble Cabinet, Palazzo Altieri, Rome.
Suspensoir
Jacques Valentin Fontaine, French, active 1740 – 1760, 1742–55
Etching and engraving on laid paper
Print

Two designs for hanging censers / thuribles or lanterns. A large scrolling stand/bracket decorated with palm and acanthus leaves, fleurons, gadrooning, a rosette and fluting, holding a hanging lantern or censer, adorned with tassels, and a lattice pattern. Below a design for just the lantern or censer, in the shape of a bell, topped with a French royal crown and a fleur-de-lys finial, with fleurons, scrolling leaves, and hanging tassels. The plate is numbered and titled.
Sidewall
, ca. 1800
Block-printed on handmade paper

Vertical rectangle. Design repeating along vertical axis, of foliate and floral sprays and scrolls, with grapes and confronted blue birds. Cream field, with blues, greens, blacks and pinks.
The Awnings of the Fruit Market
Francis Hopkinson Smith, American, 1838–1915, ca. 1890
Charcoal, brush and white gouache on paper
Drawing

Illustration for "Venice of To-Day." An open market in a city square with canvas awnings strung over the stalls. A male figure is seated before an easel in the foreground.
Sepulchral Monument for Poet Tagerini
Giuseppe Barberi, Italian, 1746–1809, after 1795
Pen and brown ink, brush and brown wash, graphite on blued-white paper, lined
Drawing

Three steps from an oval platform. The Bacchus boy seated and leaning upon an urn upon an oval pedestal flanked by girls with vine festoons. 

Inscription:
QUI.GIACE.TANGERINI.CHE/ SCRISSE.BENISSIMO.BENCHE/ SEGUACE.DI.BACHO.MAESTRO/ FU.DEL.INPROVISATORE/ GIANNI.ROMANO.BRAVIS (si)MO.

In landscape. Temple in the right rear.
Fragment
, early 19th century
cotton Technique: printed on plain weave

Fragment shows a Bacchanalian scene with a chariot and an archway of grapevines. In purple on white.
Lunette with the Penitent Magdalene
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580 – 1605
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper Verso: pen and brown ink over black chalk on laid paper
Drawing

Recto: Mary Magdalene, shown with a halo, lies on the ground with her breast bared. She prays before a small crucifix. A skull is on the ground below. 
Verso: A stallion trots toward right, its head turned toward back over its shoulder and right front leg raised.
Two Ornament Designs
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Two plates of ornament designs printed side-by-side on a single sheet. The designs feature female figures, dolphins, shells, a flaming vase, snakes, bird heads, mask (mascaron), festoons of leaves, rosettes, foliate scrolls, and scrolling leaves (rinceaux). The plates are signed and numbered.
Sampler
, ca. 1775
silk embroidery on linen foundation Technique: embroidered in counted satin, stem, cross, eyelet, and overcasting stitches on plain weave foundation

Three sets of alphabets, one set of numerals, and verse, with a floral border on three sides and a landscape at the bottom. The work is embroidered on brown linen; the border and landscape have embroidered grounds. The verse reads: 
The heart that melts at others woes
Will find each selfish sorrow less
The tear which for our neighbors flows
Yields us a source of happiness
Zeuxis painting Helen
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1605
Pen and brown ink, brush and brown wash, with opaque white watercolor, over black chalk on laid paper
Drawing

Recto: Zeuxis in his studio, painting an image of Helen of Troy. Several nude models pose nearby, one upon a platform. Verso: mounted.
Design for a Brocade
, 1825–1850
Brush and lateritious gouache, brush and white, purple paint on oily tracing paper
Drawing

Elongated quatrefoils with four circumscribed lilies and a five-pointed star on dotted ground are staggered in alternate overlapping horizontal rows. The stars rise from crescents and from suns in alternate rows and the quatrefoils are connected by orthodox churches on clouds and mosques upon palmettes in alternate horizontal rows.
Bamboo Grove, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of bamboo groves in the forests of Jamaica. In the foreground at right, a stand of densely packed bamboo plants is shown, with another in the middle distance at center. These groves grow on a dirt or sand slope that gently descends to the right. A curtain of bamboo plants backdrops the scene, while a patch of blue sky peeks through a break in the foliage at upper left.
Classical Figure
Henry Kirke Brown, American, 1814–1886, 1843
Pen and ink, graphite on paper
Drawing

Possibly Flora or Spring.  A running female figure in drapery, shown directed toward left with arms raised over head, holding flowers in each hand. At left, a part of a pencil sketch, with a reclining couple and two standing female figures. Verso: Horiztonal composition with two figures, possibly dancers, turned toward left, not entirely shown.
Designs for Friezes or Panels
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three designs for friezes or panels. The plate features, from top to bottom: a platform with trophy; a grotesque with Commedia dell'arte figures; and a cartouche with ram head. The plate is signed and numbered.
Title Page
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching on laid paper
Print

Title page for a series of designs for ornament with repeating patterns featuring arabesque motifs. The title is lettered below four horizontal designs including festoons of flowers, leaves, fleurons, roundels, flowers, vases, putti, birds quiver of arrows, beads, feathers, and rosettes. The plate is numbered and signed.
Band
, 17th century
silk on linen Technique: embroidered

Background embroidered in red silk; animals, etc. ornamented with red dots. Top border reads "A Creation del Mundo --". At the left there is a narrow strip on white, the design is marked but not embroidered.
Portrait of Hugues Brisville, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1663
Engraving and etching on laid paper
Print

Self-portrait of Hugues Brisville set within an oval medallion enclosed by an ornamental frame composed of grotesques with masks and the heads of various animals; putti and the figures of Time and Minerva terminating in foliate scrolls. Brisville is depicted seated at a table by an open window with a piece of paper and holding a chalk holder and compass in his right hand, a view of a balcony, garden and wrought iron gates beyond. A frame of grotesques with acanthus rinceaux, bird heads, masks, and dogs. At the bottom, two figures with bodies terminating in acanthus leaves, representing Time and Minerva. The left figure, an older man, holds a scroll with a cipher, assisted by a winged child. The right figure wears antique style armor and holds a shield with a coat-of-arms, assisted by the half figure of a putto. At bottom center, an hourglass and owl perched on a flower. At center, the portrait of a man with long hair, seated at a ledge with paper and pen before him. Surrounding him are four winged figures; the one at top left holds a page and draughtman's tools.
Design for a Goblet
Jan Lutma, Dutch, ca. 1584 - 1669, 1650–80
Black chalk, brush and brown watercolor, oxidized white on greyish-blue paper
Drawing

Vertical rectangle showing a woman in profile kneeling upon a rock, carrying a fantastic shell.
Fragment
, 17th century
silk Technique: lampas; combination of two structures 7&1 satin plus twill

Green silk weave, lampas, satin filed with leaf scrolls and details of checker motifs in twill weave. Large scale floral design.
Trees near Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, September 1876
Graphite on gray-green wove paper
Drawing

Landscape and botanical sketch of trees and a wooded island on or by a lake in the Katahdin region of Maine. At upper left, a heavily wooded bank is shown with a fallen birch stretching horizontally over the water's surface. At upper right, an isolated view of three maple trees with billowing canopies is included. At lower left, a lake island is shown with two tall trees and abundant vegetation, while at lower center, a sketch of a barren tree's lower boughs is included.
Dreamers
Frederick Stuart Church, American, 1842–1924, 1886
Etching in black ink on paper
Ephemera

Left, profile of figure sitting by water bend, with staff in hand, facing cranes, right. Right, two cranes standing, facing viewer.
Plate Depicting the Sèvres Porcelain Manufactory
Sèvres Porcelain Manufactory, French, established 1756, ca. 1822
hard paste porcelain, vitreous enamel, gold
plate

Flat marli.  Concentric bands, in gold: plain, advancing wave motif, and scattered stars; enclosing view of the Sèvres porcelain factory in colors after an 1817 drawing by Achille Etna Michallon.
Design for a Candlestick
Luigi Righetti, Italian, 1780 - 1819, 1800–10
Pen and sepia ink, brush and yellow, brown-red watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a candlestick, the base supported by two cowering lions. The base has the form of an open lantern; in its center, the coat of arms of Pope Pius VII. Two cherubium lift curtains of drapery above it. Upon it a capital decorated with three of the signs of the Evangelists--the urn, the ball, and the eagle. They support a globe upon which the figure of Moses and another prophet are sitting; between them, the dove of the Holy Spirit in front of a base from which a column emerges, formed by leaves. Around it angels are standing, the one in front supporting a balm branch. From the bowl below the socket hang garlands.
Arabesque Design
Aubert Henri Joseph A. Parent, French, 1753–1835, 1788
Etching and engraving on paper
Print

Arabesque design with an urn filled with fruit and foliage. The arabesque features lion heads, mascarons, birds, turtles, ivy, a torch, two trumpets, and a relief of a bare-breasted woman, reclining and holding a knife (perhaps Lucretia). Above the arabesque is a crown of stars and a head with wings. The plate is signed and numbered.
Sidewall
, ca. 1785
Block-printed on handmade paper

Square of pieced paper printed with tangent serpentine stripes enclosing irregular ellipses set with single pansies.
Temple of Venus in Rome
Giovanni Battista Piranesi, Italian, 1720–1778, after 1759
Etching
Print

Horizontal rectangle. In mid-distance the ruins of the Temple of Venus; the apse at the right; marble pieces in foreground. A group of figures at left. Inscribed, lower right: "G.B. Piranesi Archt. incise"; along lower margin: "Veduta degli avanzi di due Tricliny ... Campo Vaccino"; lower left: "Presso l'autore ... Mezzo"
Curtain paper
, 1850–60
Block-printed paper, embossed, distemper paints,

Called Anglo-Chinese. Birds, butterflies and bees among various blossoms: magnolia, gardenia, chrysanthemum and pomegranate. The black outline is printed from a key block with metal raised design. Two thicknesses of paper. Top layer of rice paper on a layer of thicker paper. Each curtain made of three widths of paper. All flowers grow from the same curving and continuous vine. Printed in rose, orange, green, yellow, blue, mauve, tan and black on ivory ground. Entire paper embossed in small diamond pattern. (b) is the main body of the curtain.
Mrs. Sheppard Gandy Seated
Daniel Huntington, American, 1816–1906, 1859
Graphite, black crayon, brown crayon, white chalk on blue wove paper
Drawing

Full-length, seated portrait of a woman wearing a shawl and a wide-brimmed hat. She is turned towards the right, examining a piece of cloth in her hands. Verso: Sketch of an elderly man standing and reading.
Plans et Elevations de Retables d'autels Ornés de Colonnes Corinthiennes
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Divided elevation and plan of an altarpiece. The left side features ornament motifs including an urn, ribbon twist, wave pattern, lamb tongue, rondels, bound leaf, drapery, branches, garland, Corinthian columns, and a cross at top. The right side features ornament motifs including bound leaf, garland, egg and dart, a panel of a Biblical scene, rosettes in guilloche, and a cross at top. The plate is signed.
Interior View, La Scala Theater, Milan
D. Landini, ca. 1825
Color aquatint
Print

Horizontal rectangle. Below: "D. Landini incise all'acquatinta. Veduta interna dell'I R. della Scala in Milano." The print corresponds to that of G. Moraszoni "La Scala attraverso l'imagine, Milano 1928, pl. 18."
Bathing at Long Branch, "Oh, ain't it cold !"
Winslow Homer, American, 1836–1910, August 26, 1871
Wood engraving printed in black ink on paper
Print

Horizontal view of three girls in bathing suits in the water, and an indication in the right distance of two more figures in the water.
Haystack and Rail Fence
Winslow Homer, American, 1836–1910, 1869–70
Graphite on paper
Drawing

Recto: Sketch of a haystack and a rail fence, with meadows visible in the background. Verso: Sketch of a girl.
Design for a Bracelet
, early 19th century
Pen and brown ink, brush and gray wash, yellow, plum watercolor on white laid paper
Drawing

Horizontal rectangle. Design for a bracelet intended to be executed in gold with red diamonds and pearls. A series of thin golden squares form the basic band. Each square is ornamented with a pearl at center and framed at top and bottom by a red ovoid.
Pied de table pour entre-croisées
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an entryway table raised on a single leg. The table is decorated with ornament motifs including fluting, floral garlands, and scrolls. The table is topped with a vase with flowers. The plate is signed.
Fragment
, 5th–6th century
wool, linen Technique: tapestry weave

Fragmentary band with red roundels and guard borders in a pointed scroll pattern. Roundels contain animals and a crude winged angel. Triangular shapes fill spaces between roundels and guard borders, and these have geometrical palmettes.
Monument for Pedrosellini of Rome
Giuseppe Barberi, Italian, 1746–1809, 1795–1809
Pen and brown ink, brush and brown wash, graphite on beige laid paper, lined
Drawing

A stream god leans upon an urn which stands upon a base, showing the inscription: "QVI - GIACE - IL ROMANO / PEDROSELLINI - CHE SCRISSE. QVANTITA - / DIOPERE - BVFFE. / E - BENCHE - BELLE. / NON - DIVERTIRANO / LA - MORTE". Bordering line, bottom, remains of each, top, at right.
L’EGLISE DE NOSTRE DAME DE PARIS
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

A view of the front façade of the Cathedral of Notre Dame in Paris, with a square filled with people, and horse drawn carriages in the foreground, and other buildings to the sides. A short description/ history is lettered below. Details are numbered with a legend below. The plate is titled and signed.
Coffre à Bijoux
Jean François Forty, active 1775 – 1790, 1774–88
Etching and engraving on paper
Print

Design for a jewelry box that could be made in silver, gold, or porcelain, decorated with neoclassical motifs and ornament, including a cartouche with a scene depicting women holding cornucopia and vases and a man in a chariot pulled by horses, framed by a floral running pattern, scrolling leaves, (rinceaux), herms, or female terminal figures, rosettes, foliate branches, and cornucopia of shells, and coral. The lid features leaf and gadrooning running patterns. Corners are decorated with putti and the base, a fluted running pattern with fleurons and leaf motifs. The plate is titled, numbered, and signed.
Design with Minerva under an Arch
, 1590–1610
Red chalk on paper
Drawing

The statue and the right of the ornamentation is shown. The architecture is of stone. A canopy hangs over the statue. A putto holds the ends of a bowknot to which a trophy is fastened, in front of the pilaster. The lower right part of the framing of an ovoid is shown over the arch.
Urn Tomb, Silk Tomb, and Corinthian Tomb, Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 26, 1868
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape and architecture sketch from Petra, Jordan showing an oblique view of the Urn Tomb, the Silk Tomb, and the Corinthian Tomb carved into western side of Khubtha Mountain. In the foreground, an large heap of cut stones is shown beside a cliff at right, and leads up to the arched terrace in front of the Urn Tomb. At upper right, the facade of the Urn Tomb includes four columns supporting a pediment, topped with a large urn. Beside it, in the middle distance at left, the two stepped motifs of the Silk Tomb are visible in the mountainside. In the distance at left, the two-storied, ornate facade of the Corinthian Tomb is obliquely visible. A distant, rolling mountain range is included in the background at left.

Verso: Minimal landscape sketch at left showing the outline of a rugged mountain ridge in Petra, Jordan.
Bythos and Aphros
Felice Giani, Italian, 1758–1823, ca. 1800
Pen and brown ink, brush and sepia wash on cream laid paper on a secondary support
Drawing

The twin ichthyocentaurs Bythos and Aphros, from from Greek mythology.