biglam/cooper-hewitt-alt-text huggingface dataset:
Study of Pendentive Figure for Electricity, Dome of the Manufactures and Liberal Arts Building, World's Columbian Exposition, Chicago, IL
J. Carroll Beckwith, American, 1852–1917, 1891–92
Pen and ink, brush and oil, gold tone on canvas
Painting

Outline of a pendentive with woman in green shirt and red skirt.  Left arm raised, left hand holding telephone receiver to ear; right arm at side.  Behind, to right, a ticker, from which come two strands of tape that are wrapped about figure and then end in a waste-basket to left.  Gold background.
Project for the Decoration of a Bed Alcove
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown, bistre wash, on off-white laid paper, lined
Drawing

Edge to edge, the paper is filled with a depiction of the elevation of the front side of an alcove. The left pole of the alcove is in the shape of a column with a running putto; the right is like a plant, held by a boy. Inside this alcove is an image of another elevation, within the central arcade. There, the poles consist of plants rising from vases standing on pedestals, with curtains above all. At left, parts of a pilaster decorated with rinceaux and of a coffered arch appear inside the left arcade.
Figure and Amphora from the Museum at Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-25, 1869
Graphite on gray-green wove paper
Drawing

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 wide and tapers down to a narrow neck. One elaborate handle is shown at right. Above the amphora and oriented to the right, a sketch of a figure wearing a broad, billowing coat is included.
Tile panel
, late 18th century
Glazed earthenware, painted wood frame

Vertical panel consists of twelve tiles, three tiles wide by four high. Decoration consists of an urn in blue and manganese violet, with yellow drapery swag, filled with flowers and foliage. About border runs a twisted baguette motif in yellow and blue, with black accents. Each corner of the panel has a yellow and black rosette on square blue field.
The Presentation of the Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

Simeon, and two companions, stands at right, on steps, extending his arms toward the Child brought by the Virgin. She is followed by Joseph with the two doves. Behind him are two women. In the center of the background is a niche with a rectangular opening through which a landscape is visible. Hanging from the ceiling a lamp bearing the letters: SALVEZZA as a cresting; DEL MONDO O IN / FERNO is written at the wall of the niche. Framing line.
Grotesque Design
, 18th century
Engraving on paper
Print

At top, a half figure of a soldier dressed in the antique style, his body terminating in an acanthus leaf. Below, a lion holds a key.
POELE formant colonne tronquée, cannelée, à bandeaux, orné de bas-reliefs et surmonté d’un vase antique
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form a fluted column with two friezes of figures, topped with a two-handled vase decorated with repeating patterns (gadrooning, and leaf motifs), and a frieze with figures. The base of the column is decorated with repeating pattern moldings of leaves. The column sits within an arched niche, on a pedestal.
Landscape near Guayaquil, Ecuador, Part One
Frederic Edwin Church, American, 1826–1900, May 21, 1857
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing the first part of a panoramic view of the terrain near Guayaquil, Ecuador. In the foreground, cattle graze at center. A sharp, wooded hill rises in the middle distance at center. Distant mountains and mixed clouds comprise background.

Verso: Botanical sketch of a copse of bamboo tress, at center. Individual trees blend into a fuzzy mass of greenery.
Plan de la Place de LOUIS LE GRAND
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Plan for two pavillions to be set up in the Place Louis le Grand, on either side of the equestrian statue. The plan includes annotations for where the tables, orchestras, and lights would be placed.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1938-88-1309. At the corners of the steps are the relevant motifs 1938-88-1315. The pedestal stands on top of the steps. The base below the mouldings, is heightened. The decoration of the front of the sarcophagus is a variation of that 1938-88-1297, a fleur-de-lis being inside the wreath. The decoration of the upper panels of the lateral parts, the figures sitting upon them and the entire upper part are variations of 1938-88-1315. At right is the sketched plan.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

All that remains of design is some red scrolling foliage on an embossed background.
Trophy of Weapons
Romolo Achille Liverani, Italian, 1809 - 1872, 1830–1850
Black crayon, pen and black ink, brush and bistre on paper
Drawing

Upright a cuirass with a helmet upon the club and many other weapons. At the left is a pennon with R.R, while the right one has S.P.Q.R (Senatus Populus Que Ravennations).
Ecussons et Armoiries
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for coats of arms. The top design features a coat of arms with fleurs-de-lys, crowned, and framed by bound leaf; it is surrounded by military attributes including flags, fasces, and quivers of arrows. The lower design features a crowned coat of arms with fleurs-de-lys surrounded by lions. The plate is signed.
Design for an Embroidered Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and gouache on glazed tracing paper
Drawing

Two strips and a leaf row, at left. An undulated flower stem rises at right. Nearly two repeats are shown. Written in ink, top right: Po 73[?] (the last figure is missing)
Chrysanthemum crane
, 17th century
Iron, shakudo (a soft copper and gold alloy)
Tsuba

This Kyo-sukashi (Kyoto openwork) style tsuba takes the form of a tsuru maru (crane circle). At the center is the nakago-ana, an opening through which the sword passes, with traces of sekigane (plugs added to fit the tsuba to a sword) made of shakudo (a soft copper and gold alloy). The surrounding seppadai (flat oval area) forms the body of the crane; it is elegantly long and narrow, with a migaki (burnished) surface. The head of the crane has kebori (line carving). Flanking the body are ryo-hitsu, openings for the kozuka (utility knife) and the kogai (skewer tool). At right is sashi ura, the side which faces the blade, whose opening takes the hangetsu-kei (half moon) shape. Opposite is sashi omote, the side which faces the sword hilt; its tri-lobed opening is of the suhama type, and symbolically represents the coastline of Horai, the holy island of the Immortals. The surrounding openwork forms symmetrical feathers with a sense of movement.
Plan et Elevation du Kiosque de Commercy dont les huit croisées ne sont garnis que de Stors d'eau.
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving
Bound print

Plan (at bottom) and elevation (at top) of the kiosk. The elevation depicts the kiosk with an undulating roof covered in fish scale tiles and a balcony with balusters on top, and hemicycle niches on the facade topped with rocaille cartouches.
Handscreen
, early 19th century
Stenciled and painted paper leaf with applied lithograph, turned wood handle

Handscreen with a hexagonal leaf, round center medallion of cupid, surrounded by hand-painted and stenciled borders in the neoclassical style.
Navalis praelii adspectus (View of a Naval Battle)
Hand-colored etching on paper
Bound print

Perspective view of a naval battle scene. At left, a fleet of ships with blue and yellow flags float in the water, appearing undamaged and shrouded slightly in smoke. At right, a ship is engulfed in flames, with a high tower of smoke extending up from the burning boat. A fleet of ships topped with red and white flags form a line behind the flaming ship. In front, several figures dot the waters, along with two wooden lifeboats and scattered debris. A light blue sky fills the top margin. Printed along bottom margin: Navalis praelii adspectus. / Veduta d'una Battaglia di mare.
Dedication
Simon Julien, French, 1735 - 1800, 1777
Etching on paper
Print

Vignette with an angel offering picture to France above engraved text of the dedication, all within a border.
Frame
, ca. 1760
Cast and gilt bronze

Horizontally oriented rectangular form, shells at the corners and cabochons in the center of each side; small circular ring at top.
Henry IV
Frederick Marschall, ca. 1885
Brush and watercolor, gold on heavy paper
Drawing

Overdoor painted panel containing portrait of the King facing right almost in profile. It is set in an oval frame, flanked by two winged putti, holding swags of fruit. Lower, coat of arms in gold.
Fragment
, ca. 1725
Carved wood covered with gesso and gilded

Trophy composed of musical attributes: harp, tambourine, sheets of music, with garland of flowers.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1891–1892
Brush and gouache, gold paint on paper
Drawing

On greenish ground, in upper half a cartouche in dark blue framed by gold curls, leaves.
Adoration of the Shepherds
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1585 – 1605
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: Pen and brown ink, brush and brown and black washes on laid paper
Drawing

Recto: Nighttime scene with an open structure at right, where the Virgin kneels, looking down at the Christ Child. A group of worshippers approach from the left. The angel appears in the background at left, announcing Christ's birth to the shepherds. The scene is lit by heavenly light from the sky at upper left and from the Christ child himself. 
Verso: A statue of the god Mercury, with winged hat and caduceus, stands upon a pedestal in a densely wooded landscape. People surround, including two small male figures in the center foreground and other figures on horseback at left and at right. The lower half of the sheet is blank.
Letter case
, 17th century
paper, silk, gold-wrapped silk, gold wire, foil, and spangles on silk foundation Technique: embroidered on paper faced with silk plain weave in surface satin and couching stitches with attached coils of gold wire and foil, flat strips of gold foil, flattened loops of silver and gold spangles on plain weave foundation

Letter case with embroidery in colored silks and metallic thread in design of flowers and a coat of arms.
Sketches of the House of Semon the Tanner, Jaffa, Palestine (Tel Aviv, Israel) and Fishermen on the Rocks at Beirut, Syria (Lebanon)
Frederic Edwin Church, American, 1826–1900, January 1868
Graphite on off-white wove paper
Drawing

Architecture and figure sketches showing views of the House of Semon and a bay window in Jaffa, Palestine (present-day Tel Aviv, Israel) and fishermen in Beirut, Lebanon. Depicted at upper center, the front doorway of the House of Semon is an arched portal made of large stone blocks. A figure sits beside it against the wall of an adjacent building at right. At lower left, a bay window in Jaffa made of stones is included. Finally, at lower right, a fisherman on the coast near Beirut, Lebanon, is shown from the rear fishing with bare legs. At lower center, the same figure is outlined from the front.
Elevation of a Chapel
, ca. 1750
Pen and black ink, brush and wash, graphite on cream paper
Drawing

Large opening flanked by pilasters and wall panels which show the coat-of-arms of a prelate over inscription tablets upon which the letters DOM are visible. Triangular pediment with a cherub. Base line. Scale below.
Design for a Fountain in a Pavilion
Carlo Francesco Barabino, Italian, 1768 – 1835, 1785–90
Pen and ink, pen and brown, gray wash, graphote on white laid paper, laid down
Drawing

The elevation is on top. The design of the pavilion is a variation of that of -2126. Projecting volutes upon bases and groups of pilasters are suggested, respectively, to flank the arches. The upper basin of the fountain is supported by a shaft. Half of the plan is shown at the bottom. Its right half has been worked over in order to become similar to that of -2125. The left side of a corresponding elevation is sketched at the bottom, right. The vases are not shown.
Floating Iceberg, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil and graphite on tan paperboard
Drawing

Seascape sketch showing a view of an immense, white iceberg floating on sea around Newfoundland and Labrador, Canada. Dark blue, rippling ocean waters extend through the foreground and into the middle distance, where they encounter the base of the iceberg. The berg itself is characterized by its many furrows and ridges, its tall, sheer face, and its craggy, undulating ridge--which culminates in a tall, triangular peak at center left. The flat ocean horizon is visible in the distance behind the iceberg. The sky above is rendered in a gradient from blue-green to rosy-blue.
Storm in the Mountains, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Landscape and atmosphere sketch showing view of storm clouds over the Blue Mountains, Jamaica. In foreground, brown, rugged mountains extend toward the horizon as they descend to sea level. A hazy, moisture-laden atmosphere obscures mountain contours past middle distance. Above, the sun illuminates the atmosphere in a glowing cream color while a dark, low storm cloud stretches across the upper margin.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1938-88-1306, the plan of the structure being octagonal. The inscription stands in the entablature, above which are the crestings in the shape of those of a sarcophagus. The short shaft of the pedestal stands upon high moulding; a convex one of them is fluted. On the top very sketchy a group as in 1938-88-1329.
Cartouche with Dragon and Bird
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Asymmetrical oblong rocaille cartouche topped with a dragon; a large bird perched on the frame at upper right. Vegetation at the sides. At left and right, two winged putti support the ornamental frame. Within cartouche, a landscape scene of a figure in a clearing within a town--a church building visible at right.
Elevation of a Room
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink on off-white laid paper
Drawing

Page divided into two designs. At top, a wall with two sets of doors connected by a dado. Above an entablature with rinceaux. Below, a room with two sets of doors. Above these, dentil molding.
Design for a Monochrome Painting, Church of Corpus Domini, Bologna, Italy
Marc Antonio Franceschini, Italian, 1648 – 1729, 1689–94
Pen and ink, brush and black wash, black chalk on paper
Drawing

Figural group surrounding an urn on a pedestal. Three blindfolded children surround the vase, each clutching it. A flying putto, who has uncovered his eyes, holds a ball above. In an escutcehon at the pedestal is inscribed: "MVNIFICENTIE / ET / MAGNIFICENTIE / DECVS." A woman standing at left embraces the vase and holds a cornucopia under which the foreparts of a griffin are shown. A woman, at right, holds a mace and a crown over a circular domed architectural structure carried by a child. Framing lines.
Ornament Panel Design
Nicolas Pierre Loir, French, 1624 - 1679, 1660–1716
Engraving and etching on paper
Print

Ornament panel design with a central cartouche of two naked women seated with jugs of water spilling over, framed by foliate scrolls, festoons of leaves, female portrait busts on pedestals, monkeys, snakes, grape vines, fruit, putti, and fauns/satyrs (men with goat legs). The plate is numbered.
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry with supplementary weft wrapping

Monochrome. A circular medallion containing two figures within a square frame.
Ceiling Design
Jean Lemoyne, French, 1638 – 1715, 1700–15
Etching on laid paper
Print

Plate from a series of seven ceiling designs, showing half of an ornately decorated ceiling cornice with cartouches and roundels with scenes and portraits, with vases, baskets with flowers, grotesque and arabesque ornament, masks, trophies, putti, garlands of flowers, c-scrolls, friezes, rosettes, fleurons and fretwork. The ceiling itself is blank. The plate is signed.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of crossing ribbons in lavender on a yellow ground with white stripes; picot edges.
Sketches for Mr. Winthrop's Portrait for the Historical Society, Mass.
Daniel Huntington, American, 1816–1906, 1885
Graphite on paper
Drawing

Man seated in an armchair, facing frontally, a table to his right and an open book on his lap. He looks toward the left. Verso: Unfinished sketch of same position, with jacket unbuttoned.
Venetian Architecture Capriccio with the Colleoni by Andrea Verrochio
Felice Giani, Italian, 1758–1823, 1800–1825
Black chalk with traces of graphite on laid paper
Drawing

Very high somewhat altered monument of Colleoni, seen from right corner of back with mourning figures beside. In background, fantastical Venetian structures; at left, sepulchral monument  at wall of church. At right, monument with equestrian statue in front of upper part of structure which has appearance of mausoleum. Front, variation of monument to Nicola Orsini, Church of St. John and Paul in Venice. Framing lines. Inscribed by Giani in graphite: Piazza per sepolchri. Written in upper right corner, horizontally in ink: 14.
Peep-show Section: Coffee
Martin Engelbrecht, German, 1684–1756, ca. 1750
Hand-colored etching, with engraving Support: white laid paper laid down on thick gray paper
Peep-show

Interior of three rooms, furniture and costumes of the times. Men and women engaged in drinking coffee, smoking, and gaming.
Hercules renders Horn from Bull Achelous
Felice Giani, Italian, 1758–1823, 1805
Pen and brown ink over traces of graphite on cream laid paper
Drawing

Bull shown running toward right. At left, pen sketch of similar representation with Hercules shown in profile instead of from front.
Thunder Clouds, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil on paperboard
Drawing

Landscape and atmosphere sketch of distant, billowing storm clouds above lush jungle terrain in Jamaica. Likely taking place during the afternoon or midday, the clouds are illuminated along their fringe in a luminous silver and constitute a towering mass in the otherwise blue sky. In the lower portion, dense trees extend from the foreground and into the middle distance.
Ornament Panel with a Double Cartouche Showing a River God, a Nymph, and a Fountain
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on off-white paper
Print

Oranament panel design with a double cartouche, a river God, a nymph, and a fountain. The design is comprised of motifs of the sea: seafans, a swan, and reeds. The plate is signed.
Stage Design
, ca. 1760
Pen and ink, ink wash on paper
Drawing

Sketch in perspective of vestibule with coffered ceiling, beyond which is a large hall with vaulted ceiling.
Design for a Cornice
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a cornice decorated with ornament motifs including acanthus leaves, scrolls, rosettes, egg and dart, and wave pattern. The plate is signed and numbered.
Orphrey band fragment
, 15th century
silk, linen, metallic Technique: complementary weft twill

A flowering tree and wreath in green, red and white on a light brown ground. Inscriptions in blue.
A Corner of a Pond
Frederic Edwin Church, American, 1826–1900, 1855–65
Brush and oil on white paperboard
Drawing

Landscape sketch showing an intimate, detailed view of the corner of a pond and the foliage on its banks. At lower right, a spit of grassy earth extends into the placid pond, which reflects the spindly branches of two bushes visible at upper center. Lily pads gather on the water's surface beneath these bushes, while a smaller, orange-brown plant is included at center. The background is a dark green haze, while the light gray ground is visible in the lower right corner.
Elevation of Altar Screen
François Boucher, French, 1703–1770, ca. 1770
Pen and ink, brush and gray and black wash on paper
Drawing

The proportions are stressing the height. In the left half the upper part of the apsis is indicated. Captions above either half, written with ink.
Designs for Vertical Friezes or Pilasters
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three designs for vertical panels or pilasters decorated with, from left to right: a male term holding a flag-bearing putto on his shoulder; a grotesque column with father time holding aloft a portrait medallion above which is a horn-blowing angel; and a grotesque with a female caryatid on top of which is a putto holding a trophy. The plate is signed and numbered.
Design for Embroidered Waistcoat
Mademoiselle Favel, ca. 1785
Brush and gouache, watercolor on white laid paper
Drawing

The pentagonal design similar to 1920-36-42. Green edges with strips of triangles along those of the waistcoat and the lateral and bottom ones of the flap of the pocket. Boughs rise from them. A plant and festoons decorate the flap, festoons the field beneath the pocket. The upper field is intended to show rows of boughs of different designs and directions in alternate horizontal rows.
Sketch for “The Kangaroo and the Camelopard” in “Comic Fables, Out of This World”
Frederick Stuart Church, American, 1842–1924, ca. 1878
Graphite on paper
Ephemera

Left, giraffe with head lowered to look at kangaroo. Lower center, kangaroo with head turned to face giraffe.
Button
, 19th century
Steel

1931-59-257-b: A) Flat button with bevelled edge and central, fac...
Ceiling Vault Decoration, Camera da Letto, Sala di Cornelia di Palazzo Cavina, Faenza
Felice Giani, Italian, 1758–1823, 1816
Pen and ink on laid paper
Drawing

Decoration for vaulted ceiling. Fret band and frame subdivided into nine panels. Lower rows: quadrangular panels decorated with flying genii; central panel shows seated woman  and putto.  Top row: triangular panels decorated with wreaths and masks. Inscribed in ink, above drawing: Camera da letto. In right corner, sketch in octagonal panel; Cornelia sitting in room with two standing figures. Inscribed above, in ink: corneglia madre dei/ grachi. Verso: sketch with variation of decoration. Below, one more framing frieze with rinceaux. Central panel, second row: Venus with putto holding looking-glass. Bottom row: panels decorated with dancing women and children beside candelabrum.
Pot à Oille
Jacques III Roëttiers, French, 1707–84, 1748
Etching on white laid paper
Print

Tureen body, foot (shaped like fishtail), and lid made of shells ornamented with various kinds of leaves, handles made of twisted vines. At center, a crown and finial made of a plumed helmet, alongside a headless fish and arrows. The plate is signed and numbered.
Chair
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash, red ink on off-white laid paper, lined
Drawing

Armchair with stiles in the shape of semi-nude figures. Crest is a helmet in the antique style. Armrests terminate in masks. Baluster form legs decorated with acanthus leaves. Inscription in ink, at bottom.
Bracelet
, ca. 1850-1875
tortoiseshell

Bands of tortoiseshell curved to form bracelets; tag attached reads: "Pair of tortoise shell bracelets worn by Amy Hewitt (Mrs. J. O. Green oldest daughter of Mr. and Mrs. A.S. Hewitt) when a child."