biglam/cooper-hewitt-alt-text huggingface dataset:
Four Floating Icebergs, Canada
Frederic Edwin Church, American, 1826–1900, July 4 and 5, 1859
Graphite and white gouache on light brown paper
Drawing

Seascape sketch showing four views of icebergs off the coast of Newfoundland and Labrador, Canada--one situated in each quadrant of the composition. At upper left, an iceberg rendered in white gouache has a tall prominence at right and a shorter, craggy section at left; at upper right, a rectangular iceberg with a rough surface is included; at lower left, the precipitous cliff-edge of a berg is shown; and at lower right, an iceberg resembling a bulging, pyramidal mountain is also included.
Sidewall
, 1790–1800
Block-printed on handmade paper

Horizontal rectangle. Lozenge-shaped framework composed of blue lines running between solid lozenges, and flanked by foliage swags. Enclosed by this framework are alternating rose and tulip sprays.
Designs for Friezes
Henri Sallembier, French, ca. 1753 - 1820, 1777-1778
Etching on off-white laid paper
Print

Four designs for friezes decorated with ornament motifs including scrolling acanthus leaves, winged putti, ribbon twist, and suit of armor. The plate is numbered.
Hilltop at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, June 1870
Oil on off-white paperboard
Drawing

Landscape sketch showing a loosely rendered view of a lightly wooded hilltop backdropped by rosy clouds at sunset, likely on or near the artist's property in Hudson, New York. The foreground and middle distance are comprised of the hill's grassy slope, which ascends to a ridge peppered with trees, at center. In the background, a golden, red-orange cloud backdrops the hill at sunset, while its upper portions are tinged in purple light.
Candelabrum Designs
Giovanna Benati, Italian, 1775 - 1800, late 18th century
Graphite, pen and bistre, brush and wash on paper
Drawing

Three vertical candelabrum designs, each bound within a partially detailed frame.
Ecuelle and lid
H. H. Isenheim, 19th century
Pewter

Bowl with ornamental scroll handles. Cover has three medallions inscribed.
Buildings and Towers
Frederic Edwin Church, American, 1826–1900, June–September 1868
Graphite on off-white wove paper; verso: graphite
Drawing

Architecture sketches showing three views of buildings in Bavaria, Austria, or Switzerland. At upper left, the exterior of a church's apse is visible beside a large chalet with a balcony building upon a cliff with loosely rendered foliage. At lower left and oppositely oriented, a building's pyramidal, pointed roof is shown with two smaller auxiliary towers and a flagpole beside it. 

Verso: Architecture and landscape sketches showing two views of buildings and hilly terrain somewhere in Bavaria, Austria, or Switzerland. A wooded slope gently descends from right to left along the upper margin, with more rolling terrain visible in the distance. At lower left and oriented to the left, a cylindrical tower with a conical roof is visible. At lower right, a chimney is loosely sketched from an oblique perspective.
Sketch for a Painting of the Presentation of the Virgin
, late 18th century
Black and white crayons with gouache on rough paper
Drawing

The Virgin is presented by Joachim to the high priest, who is prepared to write her name in the book of the virgins of the temple.  Anna stands in the rear and all four figures are depicted from the waist up.
Brooch
, 1825–50
Pen and ink, brush and watercolor on paper
Drawing

A stiff ribbon with inlaid diamonds is crossed by its rolling ends to form a knot. Below hangs a diamond.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-5: Part of a set of Italian Minchiate playing cards.50
Doorway Design
D. Antoine Pierretz, French, active 1647, 1647
Etching on laid paper
Print

Design for an exterior doorway or triumphal arch in the style of a Classical temple façade. The doors are left blank and are flanked by two pilasters on either side with a rectangular cartouche with an illegible inscription in the center above the doorway. The tympanum is framed by corbels, with a laurel leaf and ribbon molded frieze below. In the center of the tympanum, a circular portrait bust of a figure wearing a winged helmet (probably the Roman god Mercury or his Greek equivalent Hermes), framed with two caducei (staff with wings and snakes), and a festoon of laurel leaves. The façade is topped with five sculptures of standing female figures. The plate is numbered.
Young Woman Carrying a Basket
Winslow Homer, American, 1836–1910, 1879
Graphite on heavy off-white wove paper
Drawing

A young woman walks through a field carrying one basket in her right hand and another in her left. Trees fill the background.
Timepiece
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined (or mounted)
Drawing

A variation of -2109. The main difference is the disposition of the dial at the front of the pedestal, upon which an Egyptian man stands carrying a measure and two garlands. Above, at right, is another suggestion for the figure: a woman sitting as in -2109, holding the measure which consists of a horizontal board with two hanging leads at the ends. Behind the seat is the lower part of a level. Background and the framing as in -2109. Circle holes.
The Canyon of the Rio Virgin, South Utah
Thomas Moran, American, b. Britain, 1837–1926, 1873
Graphite on tan wove paper
Drawing

Recto: Horizontal view of rock formations seen across the valley and river.  Some plants are in the foreground. Many notations refer to the colors and to the kinds of formations.

Verso: Slightly sketched view of a mountain lake (?)
LA PERSPECTIVE dans la maison de Mr. le Marquis de Dangeau
Nicolas Langlois, French, 1640 - 1703, late 17th century
Etching on laid paper
Print

Side view of the Marquess of Dangeau's (1638-1720) house with a central terrace supported by columns and a balustrade, with statues in niches. A staircase with a balustrade to the right and trees. Above a cloud with figures and a blank tablet or cartouche. In the foreground there are figures below the walls. The plate is titled.
Edging
, 19th century
linen Technique: machine made

Black Chantilly-type edging lace showing a pattern of floral sprays and bow-knots.
Slave from Hero and Leander in the Galleria Farnese, after Annibale Carraci
Annibale Carracci, Italian, 1560–1609, 1650–1700
Red chalk on paper
Drawing

Nude youth reclining, with left hand raised.
ESOPE ET LES ANIMAUX
Jacques Bacheley, French, 1712 – 1781, mid- 18th–late 18th century
etching on paper
Print

Third plate from a series of four, framed within decorative rococo cartouches, with verses lettered below. The figure of Aesop stands in a landscape surrounded by animals. The title is lettered below the cartouche, and the plate is numbered.
Pleated fan
, ca. 1905
Gessoed and painted silk gauze leaf; carved and incised mahogany sticks with stamped gold; silk ribbon

Pleated fan with leaf of gessoed and painted silk. Sticks of carved and incised mahogany with stamped gold flowers. Guards carved à jour with stamped gilt flower ornament. Fan leaf has a slightly arched shape
Tester and Valance Designs
Nicolas Guérard, French, ca.1648 – 1719, late 17th century
Etching on laid paper
Print

Designs for an embroidered bed tester and valance featuring strapwork, fleurons, rosettes, hearts, and foliate scrolls. The plate is numbered.
Designs for Gun Parts and Ornament
François Marcou, French, 1595 – 1660, 1657
Engraving on laid paper
Print

Designs for gun parts (flintlock and ornament) decorated with grotesque ornament, mascarons (masks), fantastical animals and birds, foliate scrolls, scrolling leaves (rinceaux), fleurons, flowers, hippocampus (seahorse), sphinx, and a hunting scene within a landscape on the sideplate of the lower flintlock. The plate is signed and numbered in reverse (counterproof).
Crest of a chair
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Upper row: at left, a pedestal of a kind stands upon the upper part of the door frame. It has at the front an ovoidal medallion with a figure, and on top the tiara upon the crossed keys. Center: the escutcheon stands upon a base, upon which garlands drag. On top are the keys and the tiara
Borders
, 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Flowers and leaves in a variety of ornamental stitches on a serpentine band.
Religious Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Religious trophy incorporating Christian iconography and liturgical objects, tablet, incense burners, paper with writing, chandelier, festoon of flowers, and foliate branches. The plate is numbered and signed.
Picture inventory with 5 table pieces
, 1650
Pen, ink, yellow watercolor wash on paper
Drawing

Two salt cellars and two boxes flank a pitcher. Fragment of a page number, right top corner.
Mirror
, mid- 17th–early 18th century
Engraved and silvered glass

Rectangular panel, broken in irregular edge at bottom. Decorated with figure of "Flora" engraved from back in dull silver heightened with mirror silver. Figure in dancing pose, wearing short tunic with garland diagonally across torso, and holding wreath in upraised right hand and flower in left.
Jar
, 1736–95
porcelain

Ginger jar. Blue and white. Ovoid, the blue underglaze decoration in four bands, the widest through the body consisting of floral scrolls and chrysanthemum blossoms. Lotus petal border at the base. Chien Lung.
Venus
, 1825–1835
Block-printed paper
Decorative panel

Vertical rectangle. Female figure, suggestive of sculpture, in costume of classical antiquity, standing on a pedestal with guilloche decoration. Printed in grays and neutral yellow on gray ground.
Tapa cloth
, 19th century
paper mulberry bark (Broussonetia papyrifera); tapa Technique: beaten bark fiber, rubbed and hand painted

Oblong panel of tapa cloth with a geometric design painted in two shades of brown. Two long borders have squares enclosing trefoils.
Ecrans à l'Italienne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two standing screens. The screens feature carved decoration including pinecones, fluting, scrolls, rosettes, wave pattern, acanthus leaf, and garlands. The plate is signed.
Stage Design, Renaissance Portico
, early 19th century
Pen and brown ink, brush and brown wash, graphite on wove paper
Drawing

Vertical rectangle. Renaissance style portico with two rows of columns one above the other showing view into park with hedgerows.
Mt. Chocorua from Swift River Road
Daniel Huntington, American, 1816–1906, September 21, 1854
Graphite on paper
Drawing

Mount Chocorua in distance, at center. Ridges in front at left and right. Lower right, rock ledge with road bending around it. Fence and meadow at left.
Sidewall
, 1750–1800
Leather, stamped, painted, gilded

Diapered field, varnished silver. Rococo vine, in green, with flowers in red and white.
Design for an Armchair
Giuseppe Barberi, Italian, 1746–1809, ca. 1780–1785
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Seen from the front. Below, the back has a rectangle with a lozenge inside, above an upholstered panel which is bloe rectangular, above circule. Around the top is a scroll. The arms are formed by volutes springing from the back. The lack legs stand nearer together than the front legs. On the reverse, at left, are lines, having been part of an architectural plan.
Elevations de Buffet à dessus de Marbre
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevations of two buffet tables with marble tops. The top buffet features ornament motifs including a scroll brackets, rosettes, and garland. The bottom buffet features ornament motifs including acanthus leaves, rosettes, and egg and dart. The plate is signed.
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 strapwork, rosettes, griffins, scrolls, masks, dolphins, acanthus leaves, medallions, crowns, shells, lion heads, grape vines, and masks. The plate is numbered but not signed.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Entryway to a room at the edge of a garden. The semi-circular doorway is barricaded by an iron gate of swirling ornamentation; the doorway is topped by a pediment that appears draped from a top central mascaron, and which features a sundial of roman numerals on it. To the right of the gate is a statue of Diana the huntress, with her dog. Through the gate one can see the circular space of the room and its domed ceiling, the interior decorated with carved and painted panels. The plate is signed and numbered.
Five corner motifs
Filippo Marchionni, Italian, 1732–1805, ca. 1750
Graphite, pen and ink, brush and gray watercolor on paper
Drawing

Top row: three left corners of entablature, on top of walls, the left edges of which have the shape of a dolphin and a mask, a volute, with the bust of a fantastical woman, being transformed into a dolphin, a volute with a drapery festoon, and a palmette, respectively. Vases below. Bottom row: an entablature is supported by a harpy and a pilaster strip, the upper end of which is square and shows a rosette; a console. On verso: accounting figures.
Design for a Chimneypiece
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

The inner consists of a part of a frame upon a base. Its frieze is decorated with branches which are surrounded by a waved ribbon. Above is a frieze with rinceaux. A bracket is in the center in front of the frame and of the frieze. It is decorated with a trophy of arms. Embedded, fluted Corinthian columns stand laterally. An architrave with a fret band is above them. Cornices of an entablature are on top. Shadow, background, base line, plans, scale, framing as in 1938-88-8211.
Design for a Cartouche Surmounted by a Tiger
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

A tiger holding a thyrsus atop a barrel that is probably pouring wine, his paw resting on the head of a putto. Clusters of grapes and leaves decorate the cartouche. Enormous fish are at bottom foreground.
spoon
, 19th century
silver

Pointed oval bowl; reeded tubular stem with converging leaves at mid-stem with baluster-lobed terminal below quatrefoil lozenge crusher.
Armchair
Georges Jacob, French, 1739–1814, ca. 1790
mahogany, upholstered in nailed leather

Rectangular back.  Flat padded arms curve outward and are supported by their turned stumps which are in one with the front legs, similarly turned.  Bowed front and side seat rails received by rosetted reserves.  Rear legs square and tapered.  Upholstery is black leather nailed to frame.
Architectural details; human figures
Filippo Marchionni, Italian, 1732–1805, 1750–75
Brush and brown wash, pen and brown ink on cream laid paper
Drawing

Designs for entablatures with studies of figures.
Design for Embroidered Coat (upper section), Gilet lapel, pattern 1464 of the Fabrique de St. Ruf
Mademoiselle Montalent, 1785
Graphite, brush and gouache on white laid paper
Drawing

Decoration of the lapel in the scheme of 1920-36-317. Floral design and slope of pearls beneath.
Portrait of a Man
Jean-Baptiste Joseph Wicar, French, 1762 – 1834, 1803–06
Graphite on off-white laid paper mounted on blue wove paper (counterproof)
Drawing

Bust portrait of a young man, seen in profile facing right.
Fragment
, ca. 1850
cotton Technique: printed

Fragment with a wavy vine pattern has yellow lines with yellow and brown dots.
Fragment
, 17th century
silk, metallic thread Technique: plain compound weave

Undulating bands and branching small floral sprigs on a yellow ribbed ground.
Column, Place Vendome, Paris
Dufour et Leroy, 1835–63
Block-printed paper
Decorative panel

Vertical rectangle, with representation of the Vendome Column, surmounted by a figure of Napoleon. Printed in white and browns, on gray ground.
Sketches for “The Prudent Tiger” in “Comic Fables, Out of The World Series”
Frederick Stuart Church, American, 1842–1924, ca. 1877
Graphite, pen and black ink on paper
Ephemera

Two Studies for The Prudent Tiger. Figure in center with hat, with two profiles of tigers by either side. Above study, figure is surprised and drops bag and umbrella. Bottom image, figure has mustache, only drops umbrella. Big cat to the left wears bonnet and nightgown. Tiger to the right, holds piece of paper. Snake, upper right.
LA PORTE ST. ANTHOINE
Adam Perelle, French, 1638 – 1695, 1671–1703
Etching on laid paper
Print

View of a Parisian monument, a triumphal arch - The Porte Saint-Antoine (St. Antoine Gate) - decorated with classical motifs, smooth-faced rustication, statues in niches, friezes with figures. The pediment features the royal coat of arms, and the arch is topped with two obelisks and a statue. The arch is scene from a distance with the road in the foreground and cityscape beyond. The road is filled with figures, horseman, and horse drawn carriages. The plate is signed and titled with a description below.
Panneau avec Porte
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for wall panels with a door at center. The panel above the door features an oval medallion with a bound leaf frame and crossed branches below. The plate is signed.
Ornamental Vase Design
François Voisin, French, active 18th century, 1786-1789
Engraving on paper
Print

Title page for a series of five vases designed by Voisin Fils, Turning Master to the King. The text is lettered within an oval medallion on the belly of the vase. The vase has an acanthus leaf decorated domed lid with finial. The two handles are rectangular and terminate just below the shoulder of the vase within acanthus leaf decoration. The foot of the vase is tall and slender with spiral fluting. The vase is elevated on a tiered socle with a festoon.
Recueil des ouvrages en serrurerie que Stanislas le Bien-Faisant, roi de Pologne, duc de Lorraine et de Bar, a fait poser sur la Place royale de Nancy, à la gloire de Louis le Bien-Aimé, composé et exécuté par Jean Lamour, son serrurier ordinaire, avec un discours sur l'art de serrurerie
Jean Lamour, French, 1698–1771, 1767
Etching on laid paper
Bound print

Designs of three ironwork balconies in the Place Royale, Nancy. At the center of each partition is a coat of arms, monogram, trophy, or scrolling acanthus leaf or rocaille form. The plate is signed and numbered.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Sketch of a gondola and canal in Venice.
Three Men
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1630–1640
Red chalk, pen and ink, brush and watercolor on paper
Drawing

Three men seen from the back. One is sitting on the ground; two are leaning against a low wall, the left one wears a hat, the right one seen in profile.
Elevation de L’entrée de la cour du Chasteau de Maison
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of an exterior facade of the castle of Maison with a scale below, featuring windows, pilasters framing the windows, balustrades, festoons of leaves, and finials. The plate is titled and signed.
Sunset, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch of a dramatic sunset over the mountains of Jamaica. In the foreground, a mango tree and a wooded prominence are visible, giving way to successive mountain ridges that extend from the middle distance to the horizon. The sun has just descended behind clouds on the horizon, producing brilliant crepuscular rays that extend across the sky. Illuminated clouds hang above.
Trimming
, 18th century
White, black, and colored silk in uncut velvet weave.

Three shields, each under a crown, showing a cross (red on white), a horse (?) under a tree (red, yellow, green, and black), and a double headed eagle (red, black, and white).
Ornamental Vase Design
François Boucher, French, 1703–1770, 1738–72
Etching on cream laid paper
Bound print

Vase with a long neck and two handles. The handle at left is composed of a feathered bird stretched across the body of the vase, its neck forming the handle curve and its beak prying open the lid at top. The right handle is of a sharper geometric form resting upon a mask. Leafy garland draped from the right handle to the pedestal. The belly of the vase has a scene of four nude women. There is a garden wall with trees behind indicated in the background. The plate is signed and numbered.
Rectangular Box Cover
Charles Eisen, French, 1720–1778, 18th century
Pen and black ink, brush and watercolor on laid paper
Drawing

An oval medallion showing shepherdess and shepherd.
Lit à la Duchesse preparé de Menuiserie
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for the joinery for the "lit à la Duchesse" (1921-6-279-1), including for the canopy, head rest, and frame. The plate is signed and numbered.
Waves
Frederic Edwin Church, American, 1826–1900, possibly 1860
Graphite on gray-green wove paper
Drawing

Seascape sketch showing a view of undulating waves on the ocean's surface, possibly near Mt. Desert Island in Maine. Resembling a dune in a desert landscape, a rolling wave at left forms a pointed apex. Elsewhere, water flows in ribbons over ocean's surface.
Trophy Design
Jean-Baptiste Huet, French, 1745 – 1811, 1772
Crayon manner etching in red ink on laid paper
Print

Fourth plate from a series of four ornament prints of designs for trophies. Hanging from tied ribbons - foliate branches with flowers, a guitar, tambourine, sheets of music, and two birds. The plate is numbered, dated, and signed.
Ornamenti di fregi e fogliami
Stefano della Bella, Italian, 1610–1664, ca. 1648
Etching on paper
Print

Plate 4
Project: Three flying angels supporting a broad oval frame with the representation of the Virgin with Child
, 1775–1800
Pen and brown ink with brown wash and traces of graphite Support: off-white laid paper
Drawing

Horizontal composition of a shell that frames the Virgin and the Child with three putti and lily stems. The size of the sheet did not allow space for the feet of the angel in the middle. The outline of an angel is drawn on the back.
The Androscoggin River at Gorham, New Hampshire
Daniel Huntington, American, 1816–1906, July 29, 1862
Graphite, black and white crayon on grey-brown paper
Drawing

River foreground and center. Rocks right foreground and at right. Trees on the banks with rock ridge beyond, right.
Tabouret à l'Angloise [...] Chaise de Canne [...] Tabouret à la Dauphine
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two stools and a low cane chair. The English Style stool on the left has rosette covered fabric, fluting and laurel leaf carving, and a garland of leaves; the cane chair has carved rosettes and leaves; and the Daupine stool has striped fabric and carved laurel leaves along its base and legs. The plate is signed.
Fragments
, 18th century
silk, metallic Technique: woven

Fragments of a fabric symmetrical on a center line.
Chinoiserie Rocaille Vignette
Alexis Peyrotte, French, 1699–1769, mid- 18th–late 18th century
Etching on paper
Print

Chinoiserie Rocaille Vignette
Fallen Column at the Temple of Olympian Zeus, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on gray-green wove paper
Drawing

Architecture sketch showing a view of a fallen fluted Corinthian column at the Temple of Olympian Zeus on the Acropolis at Athens, Greece. In the foreground at right, the base of the column stands upright as the various segments of the column, or drums, extend obliquely into the middle distance at left. They are separated at roughly regular intervals. The column's ornate Corinthian capital is visible at far left, while in the background, a mountain is loosely sketched.