biglam/cooper-hewitt-alt-text huggingface dataset:
Chinoiserie Fantasy
Jean-Baptiste Pillement, French, 1728–1808, ca. 1780
Graphite on laid paper
Drawing

A tree with two birds upon a pole is shown at left.  A Chinese man with a bow is running at its base toward some decayed planks leading to rock.  Motifs of Chinoiserie landscapes are distributed in the middle distance, in the center of which a Mandarin gets his tea on top of a tree.  The zigzag boardwalk leads on from there toward a tent with worshippers before an altar.
Group of Three Male Nudes
, 1825–1850
Black crayon on paper
Drawing

Three figures; one shown from the back, another upwards.
Sidewall
, 1875–85
Embossed paper, gilded

Imitation leather. Floral design done entirely in Dutch foil which has been gilded. The field is in paint. The entire paper has been lacquered. This paper is made of pulp of the bark of the mulberry tree. The design is assymetrical. The design is embossed and gold finished. The field is deep mustard color.
Sketch, Sycamore, Santa Barbara, California
Samuel Colman, American, 1832–1920, ca. 1888
Black crayon, pen and dark ink, brush and brown watercolor wash on light cream paper
Drawing

The lower parts of two trees, turning away from each other, are shown. "Santa Barbara" is written in ink beside the roots of the tree in the foreground.
Stage Design: Vaulted Interior
, 1650–1700
Pen and bistre, brush and sepia wash on paper
Drawing

Vertical rectangle showing an interior space with a high vaulted ceiling. In foreground, a rounded arch supported by Tuscan columns. Walls on either side show alternating windows and pilasters. At rear, a triple arch decorated with swags.
Memorial to the Napoleonic Naval Heroes Admiral Federico Carlos de Gravina and Rear-Admiral Don Antonio Escaño, Defeated at the Battle of Trafalgar
Giuseppe Valadier, Italian, 1762–1839, after 1805
Pen and black ink, gray, green, blue watercolor, over graphite Support: white laid paper
Drawing

Vertical format; standing in a park; it consists of a fluted monumental column of Doric style, with a genius raising a torch with her right hand and holding a torch in her left hand; two lateral groups, with a genius standing in front of a panopoly and pointing at a scroll across one of the shields - that at left bears the inscription: A GRAVINA; that at right: A ESCANO. Column and groups stand upon a terrace to which steps lead; the groups have angular pedestals; the column rises above a broad and high base, having a door in the center and a frieze, representing at left, the reception of a warlord by savages, at right the reception of a lady; upon a narrower base, around the pedestal of the column, are the figures of three women; the one at the front holds a paper sword, the one at right, probably a sword, the one at front wares a helmet and is surrounded by unidentified elements. (RB '45) Identification of the Naval heroes Admiral Federigo Carlos de Gravina (who died of wounds received during the battle of Trafalgar and Rear-Admiral Antonio don Antonio Escaño by Phyllis Massar, 1992 (see 1938-88-7180 file within Valadier artist file). Attribution to Valadier by Rudolf Berliner, 1945. Previously titled (by Berliner) "Project for a Monument."
Kite Scene
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

The scenic view of the moat around the imperial palace shows kites flying in the air. Either side of the print are two kites; one is decorated with a bamboo shoot while the other had a portrait of a woman. Perhaps this is a new years print since Mount Fuji is entirely covered with snow.
LA MAISON DE MR. DE BOISFRANT
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

A view of a country house with the garden in the foreground, a circular basin with a fountain and formal parterre planting. In the foreground, a river with boats and barges. Figures in the grounds and on the boats. In the background trees and a townscape. The plate is titled.
Title Page, from "Fleures Persannes"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1765
Etching on paper
Print

A flower branch, the larger blossoms of which are shaped like disks and edged with tiny blossoms. Enriched by a bough is the title.
Black Basalt Bulb Pot
Wedgwood, English, established 1759, 1780–1800
stoneware, enamel slip ('encaustic') decoration
bulb pot

Four-sided, serpentine sides, front longer than back; shaped edges, scrolled feet.  Cover set on angle, with five cups for bulbs and two piercings.  Relief panels in front and two sides, with putti bearing garland, against orange field; borders filled with floral forms in pink and white, inside glazed.
Brooch
, 1825–50
Pen and ink, white heightening on paper
Drawing

An escutcheon with a vase on top and two scrolls forming the sides. Below hang three pearls.
Cartoons of Death of Ananias and St. Paul, after Raphael
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and dark ink, brush and sepia wash over traces of graphite on laid paper
Drawing

A haloed figure gestures to a woman and two men.
Design for Four Festoons
Giuseppe Bernardino Bison, Italian, 1762 - 1844, ca. 1780
Pen and brown ink, brush and grey wash, graphite framing lines on cream laid paper
Drawing

Horizontal rectangle showing design for four festoons. At top, a shield with crossed swords; at center left, a fasces and shield; at center right, a resplendent crowned eagle; at bottom, a perched crowned eagle. Verso, in pen and ink: the top of a hill and garden.
Design for Brooch with Gems and Hanging Diamonds
, 16th century
Pen and ink, brush and sepia on paper
Drawing

A big round diamond surrounded by six small ones and two square gems. At top, a mask and festoon. Below, a shell and three drops.
Design for a Memorial Tablet
Giuseppe Barberi, Italian, 1746–1809, 1775–1800
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Part of the inscription is intended to be in a central horizontal ovoid, which is out of an oblong. In front of its top part is a coat of arms; the inscription is in the bottom part. Molded frame. Underneath escutcheon with obliquely braided field. Top right: "118".
Japanese Man
Robert Frederick Blum, American, 1857–1903, 1892
Graphite on wove paper
Drawing

Recto: Sketch of a male figure; Verso: Sketch of a group of figures.
Design for Dedication Page to Charles III of Spain and the Two Sicilies
Giovanni Battista Tiepolo, Italian, 1692 - 1770, ca. 1762
Pen and brown ink, brush and wash, black chalk on white laid paper
Drawing

At center, a winged figure of Glory alights from left and places the sculpted bust of King Charles III on a pedestal decorated with swags and a cartouche. In the foreground, a putto seen from behind sits amid symbols of the arts and war.  Another putto hovers in mid-air to the right of the pedestal. In the background, a group of figures stand beneath a partial view of colonnaded temple and figure in upper left corner. This design was made for a book on the ruins of Paestum, which was commissioned by Charles III of Spain and published in 1770. The dedication page was engraved by Volpato after this drawing.
"Les Medallions"
, ca. 1825
cotton Technique: printed on plain weave
Textile

Pattern is composed of eight-sided lozenges and circular medallions enclosing pastoral scenes on a ground of large-scale flowers. On a stone in one of the medallions is the name "Feldstrappe".
Two Arabesque Panel Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Two vertical arabesque ornament panel designs featuring winged female torso, squirrels, mask (mascaron) of Hermes/Mercury with his winged helmet, birds, vase, cartouche, festoons of leaves, foliate branches, scrolling leaves (rinceaux), and fleurons. The plate is numbered.
Subdued, Illustration for Harper’s New Monthly Magazine (LXXVIII, No. CCCCLXIII, December 1888, p. 55)
Frederick Stuart Church, American, 1842–1924, December 1888
Printed in black ink on paper
Ephemera

On the left, three lions laying on ground facing right. On the right, profile view of girl sitting and playing a flute, leaning against a tree.
Design for clock
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red watercolor, black wash, graphite, on cream laid paper
Drawing

Clock sits on footed base, lower front panel shows relief scene of Cupid ferrying Chronos, bow of boat is swan-shaped. Clock at right, with wreath, bowl and box above. At left, a woman holding flowers, gazing in a mirror.
Trophy Design
François Marie Isidore Queverdo, 1748 - 1797, 1768
Etching on paper
Print

An ornamental hanging trophy design with pastoral attributes including baskets, flowers, a birdcage, hat, staff, bagpipe (musette), and foliate branches and grasses. At the top, an oval medallion with a putto shepherd playing a musette/ bagpipe, with animals in a landscape with a house. The plate is signed and numbered.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

Boughs with leaves and two pomegranates each, of which three are shown, stand over two staggered rows of three rosettes.
Project for an Engraved Ornament
, 1650–1675
Black chalk, pen and bistre on paper
Drawing

A plant with a calyx. The central motif consists of a heart form with leaves outside and a blossom in the center. On either side is a branch curved downwards with a blossom at its end, and a blossom in the angle formed with the heart form.
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 scrolling leaves (rinceaux), foliate branches, ribbons, rosettes, fluting, laurel leaves, festoons of flowers, cornucopia, and a lyre. The plate is titled, numbered, and signed.
In the Maine Woods
Frederic Edwin Church, American, 1826–1900, probably 1876–1881
Oil and graphite on tan paperboard
drawing

Landscape sketch showing a view of a large tree in the dense woods of Maine. In the foreground, a tree with a slender trunk grows between two large, moss-covered boulders, at left. Dominating the composition at center, a colossal tree trunk with in immense diameter rises out of the forest floor and extends out of view. Dappled sunlight falls upon portions of the tree and the moss beside it. In the background, several dark tree trunks are loosely rendered among a mass of green vegetation.
Women
Robert Frederick Blum, American, 1857–1903, 1884
Graphite on wove paper
Drawing

Sketch of two female figures.
Embroidery sample
, 1790–1800
silk, glass, metal sequins, metal foil, metallic threads, paper Technique: embroidered and appliquéd on cut voided supplementary warp pile in a satin foundation (velvet)

Floral pattern embroidered in green and white silk, green and silver sequins, colored glass, and pink and blue foil on a black ground patterned with dots and dashes of blue and orange.
Mt. Katahdin from Turner Mountain, Maine
Frederic Edwin Church, American, 1826–1900, probably 1877
Oil and graphite on paperboard
Drawing

Landscape study showing a view of Mt. Katahdin in Maine from Turner Mountain to the east. The lush, wooded slope of Turner Mountain ascends to the right in the immediate foreground. Across a loosely-rendered and heavily wooded valley with a pond (likely Whidden Ponds) in the middle distance, the rugged and steep eastern face of Mt. Katahdin rises into the sky. Baxter and Pamola peaks are visible at left while Hamlin Ridge is shown at right. Above, dark clouds hang in what appears to be a twilight sky.
Title Page
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Title page with the title lettered in the center of a cartouche framed by putti, mascarons (masks) sun rays, incense burners, profile portrait, mythological creatures, palm leaves, shells, scrolling leaves (rinceaux), foliate scrolls, ribbons, scythe, diaper pattern. Below a coat of arms with birds, scrolling leaves, rosettes, vase, and foliate scrolls.
Trophy Design
François Marie Isidore Queverdo, 1748 - 1797, 1767
Etching on paper
Print

An allegorical hanging trophy design representing sculpture with its attributes, including female portrait busts, part of a frame or sculpted frieze with a scrolling leaf running pattern, flowers, foliate branches, a hammer and a chisel. At the top, an oval medallion with a seated woman holding a medallion with a profile portrait, with a bust at her feet. The plate is signed and dated.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Trophy ornament design incorporating flowers, foliate branches, festoon of flowers cage, drum, hat, bagpipe or musette, and a horn. The plate is numbered and signed.
Sidewall
, 1890–1900
Machine-printed

Horizontal rectangle, printed in shades of green, with simulation of lawn.
Design for an Earring
, ca. 1800
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Above a disk, in the center two butterfly wings with a disk upon their joining point; three drops below. Rows of balls, between bands, a jour. Bevelled corners.
Chair
Giuseppe Barberi, Italian, 1746–1809, 1780–90
Pen and brown ink, brush and brown wash, graphite, on off-white laid paper
Drawing

Frontal view of a side chair with an oval back connected to an oval seat with addorsed C-curves, and standing on tapered legs.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and yellow, blue, red, and white gouache on glazed tracing paper pasted on paper
Drawing

Rinceaux with clusters of flowers and leaves, two of which show rows of seeds at one side. Two rows of beads and a stripe are at the bottom. Somewhat more than one repeat is shown.
Ornament Design
Jean-Bernard Turreau, French, 1672 - 1731, 1716-19
Etching on laid paper
Print

Ornament design featuring grotesque motifs including winged putti, herm, mascarons (masks), griffins, a vase on a plinth, draped textiles with tassels, foliate scrolls, scrolling leaves (rinceaux), and festoons of leaves. The plate is signed.
Title Page and Design for the Letters A and B
N. Bruchon, French, active 18th century, 1775–87
Etching and engraving on laid paper
Print

Title page and design for a series of letters. In a central oval, within a rectangular frame, the interlaced designs for the letters A and B. The A is made up of flowers and leaves and the B of thin parallel lines. The title is lettered below, and the plate is numbered.
Inkstand for the Viceroy Eugène de Beauharnais of Italy
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash, graphite, on off-white laid paper
Drawing

Intended to be executed in marble and gilt bronze. Below, an oblong pedestal, upon three steps supported by calices. Alternative designs are suggested for the protruding corners of the pedestal. Above these are standing women with cornucopias. The front of the pedestal is decorated like an entablature; in the frieze hang festoons with circular portrait medallions above them. In the center is an oblong pedestal with two griffins disposed obliquely at the corners, carrying a festoon. Between them is a tablet with relief showing two women, the left of whom wears a crescent in her hair. Above, sculpture in the round of two seated captives supporting a globe, showing Europe, upon their shoulders. At top, Saturn stands on one foot, supporting a dial marked with Roman numerals. Plan at upper right and inscription throughout.
Temple of Curiosity
Etienne-Louis Boullée, French, 1728–1799, ca. 1790
Pen and black ink, brush and brown wash, blue watercolor, graphite on off-white laid paper
Drawing

Steps lead to a platform with seated warriors at the corners, more steps lead to the colonnade surrounding the bottom part of a circular temple.  The top of the wall at the rear of the colonnade is surrounded by a frieze.  Steps rise over the entablature upon which a tambour supports a dome.  Festoons connect bull's eyes in the tambour.  A group of figures supporting an eye sphere is shown on a pedestal at the front side of the dome.
Border
, ca. 1870
Machine-printed paper

Small portion of a paper, probably for a border, showing simple floral forms. Printed in cream, green, pink, white and black, on orange ground.
Milk Jug
Charles Nicolas Odiot, French, 1789 – 1868, 1825–1838
silver, gold, wood
milk jug

Ovoid body on domes foot, with helmet-shaped open spout.  Leaf-and-dart molding on foot, shoulder and around rim; laurel wreath around body.  Wooden handle curving high above the spout, set in leafy tubes.  Engraved shield, crowned, of Borghese family.
Goblet Gantière &c
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a goblet and split platter decorated with ornament motifs including branches, quivers, flowers, coat of arms, garland, basket weave, and bound reed. The plate is signed and numbered.
Designs for the Letters X, Y, Z
Jean Baptiste Piauger, French, active 1760s, 1767
Etching and engraving on laid paper
Print

A plate of six designs for the letters ‘X', ‘Y' and ‘Z', from a series of decorative letters, published in Pouget's ‘Dictionnaire des chifres […]'. The plate features six ornamental inhabited letter designs, two per row, featuring a winged putto, a male figure by a river, a horse, a quiver with arrows, clouds, and pastoral landscapes, with rococo ornament, acanthus leaves, rosettes, scrolling foliate, garlands of flowers, and friezes. The plate is numbered.
Two Alcove Designs
Jean Le Pautre, French, 1618–1682, 1665
Etching on laid paper
Print

Two half scenes with figures and beds in alcoves. The alcoves and surrounding walls feature hanging curtains, leaf pattern moldings, ornate paneling, rosettes, festoons of flowers and leaves, mascarons (masks), vase, fluting, putto, scrolling acanthus leaves, and palm leaves. The right alcove includes a standing female figure holding a basket above her head. The left alcove features two men, one tying the curtain back. The plate is signed.
Design for Salt Cellars, from Dessins d'orfèvrerie (Designs for Metalwork)
Léonard Thiry, Flemish, 1550, 1540–1560
Engraving on laid paper
Print

Fontainebleau school. Design for two salt cellars. The base of the left salt cellar is made of intertwined bodies, and a pair coupling under a watchful mask. On the top is Cybele, the many-breasted goddess of fertility, wearing a turret crown and surrounded by animals. The base of the right salt cellar shows sphinxes, pearls and a grotesque mask. Above is Neptune with his trident, in a reclining posture, accompanied by his horses.
Design for an Earring
, early 19th century
Pen and ink, brush and gray, olive watercolor on wove paper
Drawing

Jewelry design for an earring. Three diamonds on the front of the double-sloped ring. The main body is formed by two curves of diamonds, one below the other, in "S" forms. Below, a hanging diamond.
Title Page
Louis Denis Fossier, French, 1744 – 1781, ca. 1765
Etching on laid paper
Print

Title page and ornamental trophy design featuring birds, flowers, palm leaves, crown of laurel leaves, clouds, book, quiver of arrows, bow, and a lyre. The title of the series is lettered below.
Siren Earrings
Fortunato Pio Castellani & Sons, Italy, founded 1815, ca. 1870
Gold
Pair of earrings

Each earring with circular ornament in open-daisy design from which hangs a fantastic figure (head and upper body, human with wings and feet of a bird).
Design for carved panel
Gilles Paul Cauvet, French, 1731–1788, ca. 1770
Pen and Chinese ink, brush and watercolor, graphite on laid paper
Drawing

Sphinzes, with rinceaux tails and carrying fruit baskets, crouch beside a censer.
Heur et Malheur (Happiness and Woe)
Raymond Gayrard, French, 1777 - 1858, early 19th century
Cast silver
Token

Octagonal gambling token. Obverse shows the double bust of young Janus. Inscription: HEUR ET MALHEUR (happiness and woe) / GAYRARD-F. Reverse shows Mercury and reclining Faun, and inscription: LE PLVS VIGILANT EST TROMPE.
Horseshoe Falls and Table Rock, Niagara Falls, Canada
Frederic Edwin Church, American, 1826–1900, 1856
Graphite, brush and white gouache on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of Horseshoe Falls and Table Rock from the Canadian Side of Niagara Falls. In the foreground at right, the craggy edge of Table Rock visibly extends toward the middle distance, where ribbons of foaming water pour over the curving edge of Horseshoe Falls, kicking up a plume of mist when they meet the basin below. The Falls extend out of view at upper left.

Verso: Landscape sketch showing a view of American Falls and Goat Island from the Canadian Side of Niagara Falls. Positioned on the right side of the leaf and framed by a dividing line at left, Goat Island is visible in the middle distance at right beside the American Falls, at left. The waters of the Niagara River comprise the foreground while a rainbow begins to arch over the scene at left, extending out of view at upper center.
Profil du Palais d’Orleans bastie par la Roine Marie de Medicis
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of an exterior façade of a Parisian palace with a part sectional view and a scale below. The façade features arches, windows, sculptures, niches, portico, pilasters, cartouches, and horizontal banded rustication. The plate is titled.
The Virgin and Child with Saints, Study after Gerolamo Marchesi
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and light brown wash over black chalk on white laid paper
Sketchbook folio

Enthroned Madonna sits at center left, with child standing beside her. Kneeling bishop saint at lower left. At right, St. John standing with kneeling saint, or perhaps, donor. Painting which has arched top, formerly in Basilica of S. Mercuriale, Forli.
Design for Parts of a Coach
, 1835–40
Pen and sepia ink, graphite on paper
Drawing

Vertical rectangle. Design for parts of a coach more probably of Pope Gregory XVI (1831-1846) than Pope Pius IX (1846-1878). Profile view of the side of the body opposite the entrance side.  In the center of the frieze, papal escutcheon.  Three windows with angels as caryatids upon columns at the frame.  Below, a frieze with putti supporting garlands, as written at right: "fondo cremisi con ornat/ putti di relievo dorati." [crimson background with ornaments/ guilded cherubs relief] Below sitting- "Figure dispinte in fondo d'oro." [figures painted on gilded background.] Religion or Faith with Tiara, a nimbus of rays, the cross and chalice and Host, between Strength at left, Wisdom with the mirror at right.  At the sides one flying angel with a tablet is drawn.  The papal throne is visible.  Beside the frieze is written: "fondo cremisi." [crimson background] Below the scale: "Palmi sette Romani." [Romans seven palms]
Trimming
, 18th century
Grren silk and silver and gilt thread.

Design of bird with spread wings alternating with flowering spray; set between narrow borders and edged with picots in silver and gilt thread.
Ornamental Medallion Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornament design with a quatrefoil medallion depicting a rural landscape framed by a running pattern of leaves, and a festoon of flowers and leaves, hanging from an acanthus leaf clasp and ribbon tied to a larger frame made of scrolling leaves (rinceaux), interlaced leaves, flowers, and hanging festoons of flowers and leaves.