biglam/cooper-hewitt-alt-text huggingface dataset:
Box or Snuffbox Design
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a round box or a snuffbox featuring, from top to bottom, a view of the top of the box with a rosette, bead course, and branches; an elevation of the rim of the box lid, with bead course and fluting, and an elevation of the box with lid open at the hinge, and which has bands of wave, bead course, swirling acanthus leaves, and bound leaf ornamentation. The plate is signed, and numbered.
Pedestal and base of a pillar in a church
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The pillar stands at the inner side of a pillar which divides two naves. Below is the common base. Above it stands the pedestal, consisting of a fluted panel with a broad band in front, evidently decorated with a coat of arms between two flying angels. Above is another framed panel with a figure in it. The dimensions for the single parts are inscribed.
Christ Appearing to the Apostles at the Sea of Gallilee (Lake Tiberias), the Miraculous Draught of Fishes
Jacob Jordaens, Flemish, 1593 - 1678, ca. 1650–1670
Charcoal, brush and grey wash, light brown goache, with white heightening on brown laid paper
Drawing

Christ, at left, talks to the sinking Peter. Two boats full of people float directly behind Peter.
Figure of a Bolognese Terrier
Meissen Porcelain Manufactory, German, active from 1710 to the present, 19th century
hard paste porcelain, vitreous enamel
figure

Small long-haired dog, sitting, head slightly turned; white with brown patches.
Vignette with Gourd and Watering Can
D. P. Pariset, French, 1740 - ca. 1783, ca. 1769
Engraving on paper
Print

Vignette with Gourd and Watering Can
Bandbox
, ca. 1830
Block-printed on handmade paper, pasteboard support

Blue field, red and white trees, with figures grouped about a wagon.
Study for vase, "The Sources of Wealth, "Union Trust Company Building,Cleveland, OH
Kenyon Cox, American, 1856–1919, ca. 1905
Graphite on paper
Drawing

Sketch of vase with ornamental details around handle.
Fragment
, 19th century
silk Technique: damask

Nineteenth-century copy of a sixteenth-century Italian damask with a green satin ground with yellow silk weft twill patterning. Design consists of large, circular medallions with pearl roundels and S-shaped forms. Medallions connected by shorts bars containing three dots. Quatrefoil motifs between the medallions. Both selvedges present.
A Lady's Head, from Scribner's "Eighty Drawings including the Weaker Sex"
Charles Dana Gibson, American, 1867–1944, ca. 1897
Pen and black ink on glossy white board
Drawing

Head of a young lady seen frontally, wearing her hair in the "Gibson girl" manner. Illustrated used in Charles Dana Gibson, "Eighty Drawings including the Weaker Sex," New York, Scribner's, 1903.
Serrure Gotique pour un Coffre, Chez l'Auteur de ce Recueil
Jean Lamour, French, 1698–1771, 1759–68
Etching and engraving on laid paper
Print

A design for a gothic lock for a chest, with the locking mechanism to the left and the key to the right of the central design. The lock is decorated with gothic strapwork, with fleurons and acanthus leaves, and religious imagery, a cross, with skull and bones, and two male figures as herms, flanking the cross, with a lamb above. Below the design is the outline of the shape of the lock as seen from above, with the description lettered below. The plate is signed
Four Floating Icebergs, Canada
Frederic Edwin Church, American, 1826–1900, June-July 1859
Graphite on light brown wove paper
Drawing

Seascape sketch showing four views of floating icebergs off the coast of Newfoundland and Labrador, Canada. One iceberg is situated in each quadrant of the composition: at upper left, a sprawling iceberg with steep cliffs and a craggy ridge of ice; at upper right: a relatively low iceberg with a long, flat prominence; at lower right, an iceberg and a nearby piece that both resemble shark fins; and at lower left, an iceberg with a flat, cylindrical prominence that makes it resemble a cowboy's hat.
Standing Bearded Man
, early 19th century
Pen and ink, brush and wash on paper
Drawing

Barefooted man with beard standing with arms at breast.
Textile
, ca. 1781
silk Technique: embroidered in chain stitch on satin weave

Shaped fragment of white satin is embroidered in colored silks and chenille yarns with a design of floral sprays enclosed by flowering vines.
Design for Silk Brocade
, ca. 1750
Pastel, India ink squaring on bluish-grey paper
Drawing

A variation of the scheme of 1914-21-47. The sprays start from four boughs which project from the bands. One completely shown, and part of another one.
Two Peacocks in a Landscape
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Black crayon and pastel on three pieces of paper
Drawing

The birds stand opposite each other.
Design for a Coronet
, mid- 19th century
Pen and ink, brush and sepia wash on paper
Drawing

Design for a small corwn or tiara. Converging at the center are two branches, each consisting of alternatively at one side a stem with two leaves and a round bead and one leaf, and vice versa. In the center, a round diamond with a frame of a row of small round diamonds with bigger ones in the shape of a cross.
Artist in the studio
Robert Frederick Blum, American, 1857–1903, 1879–1880
Graphite on wove paper
Drawing

Recto: A crossed out sketch of an artist in the studio; Verso: Sketch of two male figures in costume and a sail boat.
Cartouche Design
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Asymmetrical blank upright rocaille cartouche with a large tree at upper right; a fox or squirrel sits upon the top of the ornamental frame. A leopard at the base with a bone; additional animal figures in background.
Fragment
, 17th century
silk, linen Technique: plain compound satin (brocatelle)

Addorsed and confronted lions with checkered band motif and flowers in red and yellow.
Fragment
, 5th–8th century
medium: Warp; S-spun linen. Wefts; S-spun linen, S-spun wools Technique: supplementary weft loops in a plain weave foundation

Lozenge forms and a band created by supplementary wool pile.
Panel Design with a Landscape
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Panel design with a landscape in an octagonal frame in the center featuring two figures and a dog. The two sides of the panel have two different designs featuring satyrs, female figure, putto, mascaron (mask), scrolling leaves, draped textiles, fruit, festoons of leaves, and foliate branches.
Coverlet fragment
, 19th century
wool, linen Technique: jacquard woven doublecloth

Geometrical framework with floral ornaments in spaces separating these elements. Light brown ground with pale pink and pale yellow vertical bands; pattern in deeper colors of red, orange, brown, and dark brown.
Façade d'un Pavillon de 7 Toises de face
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a pavilion facade decorated with engaged columns with Corinthian capitals and a sculptural group at top with two seated, draped women, a crowned coat of arms with fleurs-de-lys, and lion head. The pavilion is 7 toises; 1 toise equals about 3.799 square meters. The plate is signed.
Zimmerman Fountain, Clifton, Canada
Frederic Edwin Church, American, 1826–1900, October 1856
Graphite on gray-green wove paper
Drawing

Landscape and architecture sketch showing a view of what is likely the Zimmerman Fountain in Clifton, Canada, near the city of Niagara Falls. At center, the fountain features two basins and several ornamental figures and is situated in a circular pond. It is backdropped by rising terrain wooded with lush trees.
Figural Studies
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1625–1650
Red chalk, pen and ink, brush and watercolor on paper
Drawing

At top, a group of three figure. The one at left stands, leaning upon his elbows; the two to the right are seated and wear brimmed hats. Below, to smaller figures kneel facing one another. To the left, a larger seated figure.
Fragments
, 16th–17th century
silk, linen, metallic Technique: combination of two structures, satin and twill

Formal pattern of ogives framing central field, red and gold predominate.
Plate from 12 Stick Zum Verzaighnen Stechen Ver Fertigt (Set of Twelve Designs for Engraved Vessels)
Bernhard Zan, Germany, active ca. 1580, 1580
Punch engraving, pen and black ink, graphite on cream laid paper
Print

Scrollwork frieze with a carnation in the center.
Sidewall
, 1700
leather, stamped, embossed, painted, gilt

Gilded field, diapered, tulips, carnation, roses, with a bird. Red, green, brown.
Edging
, 19th century
linen Technique: bobbin lace (Valenciennes ground)

Design of scalloped border with bow knots and flowers on diamond mesh.
Botanical Sketches along the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray-green laid paper
Drawing

Botanical sketches along the Magdalena River, Colombia, featuring a champan canoe in the upper left corner. At right, a mass of trees and vines along the riverbank is visible, with two sketches of trees at lower left.
Classical Scene with Seated Leader and Figure Fleeing on Foot
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Seated ruler or leader at left, with upraised left hand and foot on block inscribed "LETA / RIPOSO" while draped figure with crook flees rightward and right. Additional figures in audience and on stairs in background. Classical architecture.
Plan general d’une Maison sise à Neuilly près le Bois de Boulogne dont Mr. Bélanger, Architect, à augmenté et ajusté les Batimens tant à l’extérieur que dans l’intérieur et dont il a fait les Jardins anglaise pour Mr. de Saint James maintenant à Mr Basan
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

A general plan for a house and surrounding gardens and landscape with a legend in the upper left corner. The plate is titled, signed, and numbered.
Scarf
, 19th century
silk Technique: machine knit

Scarf in a dense Chantilly-type pattern of flowers and sprigs with a scalloped border of scrolls and leaves.
Fragment
, possibly 18th century
silk Technique: raised pile of supplementary warp (cut and uncut) in satin foundation

Elongated palmettes and scrolls in red. Floral forms have zigzag motifs.
Pair of Dishes
Sèvres Porcelain Manufactory, French, established 1756, ca. 1770
soft paste porcelain, vitreous enamel, gold
dishes

Oval slightly scalloped sides. Decorated with floral sprays. Slim blue band on inside edge. Top edge gilded.
The Yule Guest Frontispiece, Illustration for The Cosmopolitan (XIV, No. 2, December 1892, p. 163)
Frederick Stuart Church, American, 1842–1924, December 1892
Printed in black ink on paper
Ephemera

Frontispiece for a poem. A woman sits on a bench facing away and turning her head back towards the left towards the viewer. Around her, goblins run, play music, and dance.
Mr. Elsgood as Quicksand
A. Park, London, England, 1859
Engraving, embossed foil, fabric
Tinsel picture

Vertical rectangle. The full-length figure of a man, facing the spectator, his head turned toward the left. He holds a sword in his right hand; a shield in his left; Those areas including the costume and accessories have been cut out and replaced by tinsel and satin.
A Locality in Southern France
Charles Nicolas Ransonnette, French, 1793 - 1877, 1860-1870
Graphite, brush and brown watercolors on paper
Drawing

A street which is flanked at left by a garden wall, at right by a terrace, leads backwards to a house standing in front of a classical aqueduct.
Road in a Mountainous Country
Carlo Marchionni, Italian, 1702–1786, 1770–1786
Black chalk, pen and ink, brush and watercolor on paper
Drawing

Small figures among trees. Tree bare of branches at left.
PORTIQUE DE TREILLAGE du Jardin de Mr. de Montigni
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of a garden framed by a trellis/ lattice portico with a central arch framing a statue on a pedestal. The façade of the portico features four pilasters, a pediment, and vase finials. Trellis/ lattice walls framing an inner garden featuring small trees in square boxes, parterre planting, planted vases, and figures strolling throughout the paths. The plate is titled.
Three Frieze Designs
Jean Le Pautre, French, 1618–1682, 1655–82
Etching on laid paper
Print

A large frieze above a smaller frieze design and molding design with scrolling leaves (rinceaux), foliate branches, cornucopia of fruit, and an eagle holding a snake from a Gorgon's head mascaron (mask). The publisher's address is lettered below.
Ornamental Capital Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for 12 ornamental capitals featuring motifs such as dolphins, shells, fleurs-de-lis, masks, garlands, acanthus leaves, crowns, lion heads and feet, angels, and rosettes. The plate is signed and numbered.
Drawing for a candelabrum
Jean-Louis Prieur the Younger, French, 1759 – 1795, 1780–90
Ren and ink, brush and water color, pencil on paper
drawing

Design for a marble and bronze candelabrum.  On a marble pedestal with bronze swag decoration is mounted a sphinx, seated facing left in profile.  On the head of the figure a basket of flowers form which springs a torch and a two branched candelabrum.
Street in Mompox, Colombia, Viewed from the Cemetery
Frederic Edwin Church, American, 1826–1900, May 13, 1853
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of a street in the town of Mompox (now Santa Cruz de Mompox) along the banks of the Magdalena River in Colombia, viewed from the town's cemetery. In the foreground, a nearby path next to weeds and flowers extends into the middle distance and merges with the wide road, which is lined with houses with thatched straw roofs. At right, several tall trees are visible around the homes. Situated in the middle of the street at left, the Church of Santo Domingo with its square, dual-windowed belltower. The other square tower, visible at center, may be that of the Oratorio Inmaculada Concepción, which was possibly under construction at the time.
L'Air
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Allegorical print representing Air with three putti sitting in a landscape. The central putto holds a bow and arrow while the putto to the right reaches towards the bow. The putto to the left, holds a shield with a heart in the center, with two arrows sticking out from it. A bird is between them with quivers of arrows at their feet. The false title of Earth is inscribed in graphite. The plate is signed and numbered.
Gateway of a villa
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash, red pencil on beige laid paper
Drawing

The gateway is framed by two niches with fountains. These are flanked by pedestals with crouching lions shown in profile. The inner ones are in front of railings. The two wings are flanked by figures standing upon pedestals. Measurements are indicated. Above is a sketch of a left wing with a gaine with the bust of a bearded man carrying a flower basket upon the head, upon the pedestal. Below at left is a palm for a niche. Verso: sketches of plans in ink.
Arabesque Design
François Voisin, French, active 18th century, 1788
Etching and aquatint on laid paper
Print

Arabesque ornament design with neoclassical motifs. A central shallow vase with scrolling acanthus leaves, fleruons, beading and gadrooning, sprouting foliage and four birds and a butterfly on the sides of the vase and above. Below the vase a frieze, crickets, a festoon of laurel leaves, a draped textile decorated with a head and similar motif. Below more scrolling acanthus leaves, rosettes, and foliage. The plate is signed and numbered.
Design for a Lunette with Allegory of Poetry
Felice Giani, Italian, 1758–1823, ca. 1813
Pen and brown ink (iron gall ink) on off white laid paper
Drawing

Within a hemisphere are three figures. The center figure wearing drapery plays a lyre and opens their mouth in song.
Numa Pompilius Worshipping Jove on the Aventine, Ceiling Design for the Sala di Numa Pompilius, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and brown wash over black chalk on white laid paper
Drawing

Jupiter, seated upon clouds before slope, extends right hand over Numa who kneels in magic circle. Eagle stands beside Jove, rural gods Pius and Faunus converse in left middle distance. Pitchers from which Numa poured wine into brook  beside him; brook runs in right foreground.
L'AUTONNE
, 18th century
Etching and engraving on paper
Print

Vignette of attributes of Autumn, including harvest tools, a sun hat, a basket, and an urn. The plate is not signed.
necessaire
, late 18th–early 19th century
Laquered paint over shagreen; Vernis Martain

a: necessaire
b: turquoise file
c: ivory writing board
d: sissors
e/f: glass bottles ( bottles with glass stoppers and silver caps)
g: funnel
h: etui
i: pick
j: hook
k: tool
l: necessaire top
m/n: necessaire bottom and top trim
Ewer Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Design for an ewer with grotesque motifs including mascarons (masks), dragons, putti, cartouches, festoons of leaves, mythological creatures, oval female profile portrait framed by palm leaves, gadrooning, fluting, c-scrolls, fleurons, scrolling leaves (rinceaux), and fish scale pattern. The plate is signed and numbered.
Design for a Fountain for the Palazzo Corsini, Rome, Italy
Ferdinando Fuga, Italian, 1699 - 1781, ca. 1743
Pen and black ink, brush and gray wash, traces of graphite on off-white laid paper
Drawing

An aedicule (small temple/shrine) with a broken pediment frames a fountain. Water flows from the mouth of a mask into a shell-shaped basin supported by entwined dolphins. Scale below.
Design for Mechanical Furniture: Secretary Desk
, ca. 1805
Graphite, pen and ink, brush and watercolor on paper
Drawing

Design for a secretary desk with a fall-front on hinges, and cabinets above and below. Elevation at left with desk open, revealing the inner compartments. At lower left, detail of construction, section through top. At right, side elevation, showing construction details.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and scientific trophy design incorporating foliate branches, flowers, a festoon of leaves, two birds, telescope, measuring devices, caliper, globe, and thermometer. The plate is titled, signed, and numbered.
Design for a Title Page
Jean-Laurent Legeay, French, ca. 1710–86, ca. 1740
Etching on paper
Print

An escutcheon stands in a landscape with classical ruins. Printed on it: "RECUEIL / de differentes Etudes / de Testes / Gravées d'apres les Desseins / d'Excellens Maitres des / differentes Ecolles"; signed, bottom left, on a stone slab: "J Legeau inv. Et. Sculp." Bottom Margin: Another signature of Le Geau's is hardly visible, and the address of a publisher deleted. Instead: "A Paris chés Le Pere et Avaulez rue S. Jacques."
Sampler
, 17th century
linen embroidery on linen foundation Technique: embroidered in satin, stem, cross and darning stitches on plain weave foundation

Vertical rectangle embroidered with seventeen horizontal bands of geometric or stylized floral design, in blue, green, pink and cream, now faded.
Trimming
, 19th century
silk Technique: cut supplementary warp pile (velvet) on compound woven ground

Red silk trimming fragment in a design of leaves on an angular stem.
Table Design with Vases
Pierre Lepautre, French, 1652–1716, late 17th–early 18th century
Etching on laid paper
Print

One and a half console table designs with garniture of vases placed on top. At the left, only the right half of the table is shown. The table on the right has a divided design. The cornice on the left is fluted; the cornice on the right has repeating scallop design. The left half of the cartouche in the middle has a scallop shell at top; the right side has a mascaron. The left leg of the table has a stylized floral motif on the capital; the right leg of the table has a mascaron on the capital. The bottom of table are two satyrs carrying vases. The vases on top of the table are mirrored in form with variations on the design. The plate is not signed or numbered.
View of Athens, Greece, Part Two
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on light brown wove paper
Drawing

Landscape and architecture sketch showing the second part of a panoramic view of Athens, Greece, and the Acropolis from the southeast. This description refers to the entire view, comprising two leaves with 1917-4-650-a. In the foreground, a large, cylindrical, stone windmill is perched atop a prominent hill at right. Just beyond it, at far right, the ruinous structures and still-standing columns of the Temple of Olympian Zeus (beside the Arch of Hadrian) are visible beneath the Acropolis, which looms over the scene in the middle distance at upper right. The fragmented Parthenon is clearly distinguishable on top of it and viewed obliquely. At the base of the left slope, the Odeon of Herodes Atticus is shown with its tall walls. In the middle distance at center, the Philopappos Monument is clearly visible atop a prominent hill known as the Hill of Muses, or Philopappou Hill. Between this hill and the Acropolis, the Pynx ceremonial hill is also visible. The terrain at left is marked with several small hills, one of which hosts a windmill, before reaching the seashore at far left. In the background, the rugged mountains of Salamis (at left) and the Egaleo range (at right) form a serrated horizon.
Console table with timepiece
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The table has four legs. Frame and top are an entablature with festoons in the frieze. The time piece has a base below with the dial, above a round colonnade with a cupola. Inside is a female figure. Usual background.
Design for the Elevation of the Entrance Wall of a Salon
, ca. 1790
Pen, brush, Chinese black, and light blue and yellow watercolor washes on paper
Drawing

A wall panel with a looking glass is flanked by panels with panoplies and folding doors. Another wall panel is beside the right door. It is decorated with an arabesque, in which doves are billing before the foot of a burning lamp.
Textile
, 17th–18th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Panel made up of three sections pieced together with bands of linen bobbin lace. Embroidered design of vases, two with handle and spout, containing flowers and flanked by peacocks, birds and animals. Narrow floral border on right and along bottom. One end has linen bobbin lace edging. Embroidery in red, blue, green, yellow and white silks.
Sepulcher with Death Seated and Crowned
Louis-Jean Desprez, French, active Sweden, 1743–1804, 1779–84
Pen and black ink, brush and brown, gray, blue-gray wash, graphite on off-white paper
Drawing

Architectural fantasy.  Sarcophagus stands in a niche which contains on right wall an inset occupied by an owl. The figure of Death sits before the tomb bearing royal devices.
Design for a Four-Legged Rectangular Mahogany Dining Table
A.N. Davenport Co., September 24, 1903
Graphite on thin, cream paper
Drawing

Rectangular molded top with dividing stretcher running across center raised on 4 fluted and turned tapering legs on casters.
Ornament
, late 16th century
Technique: punto in aria needle lace

Corner ornament with floral forms with the figure of a siren in the center. Modes: cordonnet, brides.