biglam/cooper-hewitt-alt-text huggingface dataset:
Rooftops, Rome, Italy
Frederic Edwin Church, American, 1826–1900, November 1868 - April 1869
Oil and graphite on tan paperboard; verso: graphite
Drawing

Landscape and architecture sketch showing a view overlooking buildings and roofs in Rome, Italy. Roofs and exterior walls are shown in the foreground at left and right, likely houses flanking the street shown in the middle distance at center. At right, a large figural statue rises above a house. It stands upon a globe, which itself is supported by a column capital. In the middle distance, the cityscape extends to a smoky and indefinite horizon. A blue sky shines above a red and yellow layer of haze that blankets the city. 

Verso: Architecture sketch in graphite of the statue and adjoining roofs shown on the recto.
Salzburg, Austria, viewed from the Kapuzinerberg
Frederic Edwin Church, American, 1826–1900, July 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view overlooking the city of Salzburg and its castle from a nearby hill called the Kapuzinerberg. At center, the hill known as the Festungsberg is shown crowned by the sprawling Hohensalzburg Fortress, or "High Salzburg Fortress." Numerous city buildings, including church domes and spires, are visible around the base of the hill. In front of the Festungsberg, the Salzach River flows through the wooded landscape. At left, the detail of an onion shaped steeple is shown. 

Verso: Landscape and architecture sketch showing a view of a ruinous castle gate and churches in a city whose exact location is unclear. At right, a large stone or brick building in shown with vegetation growing on its walls. A tree grows from the top of a tower attached to the wall at right, which appears to be arched or have a gate. In the middle distance at center, a large church with a rectangular, flat-topped belltower is visible, while another pointed tower is included at left.
Enormous Structure Situated on a Stream
Giuseppe Barberi, Italian, 1746–1809, 1780-1800
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

The plan of the structure is octangonal. It has an enormous dome and is surrounded by water, with protruding bastions at its corners. The stream is surrounding the structure; four rowing boats, one of them loaded with sacks. Two sailing ships. In the background are the outlines of what seems to be a wall or mountains.
FLORE
Claude Gillot, French, 1673–1722, 1729–37
Etching on laid paper
Bound print

Plate of arabesques with the figure of Flora at the center under a baldachin. The plate is signed and numbered.
Design for an Incense Boat
Filippo Marchionni, Italian, 1732–1805, ca. 1750
Pen and ink, brush and wash on paper
Drawing

Shown in full length, an empty escutcheon is in the middle. The end of the shadow cast by the thurible -1145 is at the left edge. The color stripe at bottom in -1145 has been cut off here.
Miroir de Toillette., Mirior de toilette, 5th Plate
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1740
Engraving on white laid paper
Print

1921-6-212-30-a: Mirror with cartouche at top center, a crown above...;     1921-6-212-30-b: Side view of inkstand composed of an arrangement o...
Title Page
Antoine Jacquard, French, active ca. 1616 – d. 1652, 1615
Engraving on paper
Print

Title page and design for a keyhole escutcheon plate featuring grotesque motifs including animals, scrolling leaves, creatures, mascarons (masks), and cornucopias. The title is lettered above. The plate is signed and numbered.
Design for a Ceiling
, ca. 1800
Pen and brown ink (iron gall ink) and traces of graphite on off white laid paper
Drawing

Corner of a ceiling decoration. In lower right corner, classical architecture. At upper right, part of a circle with zodiac signs.
Sampler
Maria Rosa Mazzullo, 1828
silk embroidery, cotton foundation Technique: half cross, tent, and back stitches on plain weave

Within a floral border are detached motifs and an inscription.
Ornamental Vase Design
A. Panier, French, active 18th century, 1772-1793
Crayon-manner engraving with red ink on paper
Print

Vase in the shape of a lidded pitcher, with the lid open. The handle of the pitcher, to which the lid is attached, has spiraling striations. A garland of fruits (pomegranate, grapes) and leaves is draped from a point near the lip at the center. The rim of the vase has a beaded pattern. The belly of the vase has a faint drawing of a mythological scene, of what appears to be a triton and nymphs among reeds. The bottom of the vase has gadrooning and a tapered foot. There is indication of vegetation below the vase. The print is engraved in red ink (sanguine) crayon manner. The plate is titled and numbered.
Trophy of Arms (Un trophée d'armes au-dessus d'un cintre)
Jean Le Pautre, French, 1618–1682, 1645
Engrapving on off-white laid paper
Print

Winged figure at center with armaments and shields at eith side all above a curved arch..
Windmill and Rail Road
, ca. 1830
Block-printed on handmade paper, pasteboard support
Bandbox and lid

Windmill and railroad, three loaded cars drawn by a horse, on side. Top has houses and trees, with a border of flowers. Printed in sky: "Windmill & Rail Road". Printed in red and green on yellow ground.
Landscape with a Cottage and a Large Tree
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1641
Etching on laid paper
Print

A cottage with a large tree extending beyond the plate, left. A canal in front of the house and to the right. Windmill in distance.
Chinese Export Vase
, late 18th–early 19th century
Enamel on copper
Vase

A copper vase with floral enamel decoration.
Title Page
Jean Mondon, French, fl. 1736 – 1745, ca. 1740
Etching and engraving on laid paper
Print

Title page for a series of carriage designs. The title and dedication are lettered in the lower center framed by a cartouche within a larger for the back of a carriage featuring the coat of arms of the dedicatee within a landscape surrounded by spears with flags, griffins, a bust, paint palette and brushes, with a fountain in the background. The frame is decorated with rococo motifs and ornament, c-scrolls, shells, cartouches, festoons of flowers, scrolling leaves, and fluting. The plate is signed.
Necklace design: Project for a rincauex to be engraved on metal
, 16th century
Black chalk, pen and ink on paper
Drawing

Necklace design: Project for a rincauex to be engraved on metal.
The Epitaph
Thomas Gray, British, 1716 – 1771, 1753
Letterpress and etching on laid paper
Bound print

Page titled 'Epitaph'. The text is letterpress printed with an etched and signed tailpiece below, depicting a funerary procession, within a landscape, with a church to the left. Below a ribbed arched gothic ceiling with branches and foliage.
Design for a Decorative Panel (with Nymphs and Garlands)
Gilles Paul Cauvet, French, 1731–1788, ca. 1775
Red chalk on paper
Drawing

A design for a decorative panel with vertical composition. From the bottom up: a ram's head supports an elaborate pedestal upon which sit two girls.  They carry children on their shoulders.  The children, standing, fasten festoons to bars, which are projecting laterally from an octagonal frame.  At the center of the frame is a representation of a sitting woman and child.  This is the central motif on the entire panel.  Above, a half figure of a winged girl stands upon the frame.  She carries upon her head a basket with long tree branches and vegetal scrolls.  The composition is inscribed within a frame.
Design for a Pendant with Cross
Girolamo Venturi, ca. 1740
Pen and ink, brush and sepia, green watercolor on paper
Drawing

Large to small bows with green stones leading to hanging cross below.
Stage Design, Stairs Between Tombs
Pietro Narducci, Italian, active 1809 - 1841, early 19th century
Pen and sepia ink, brush and wash on green paper
Drawing

Horizontal rectangle. Path leading up stairs runs between tombs, buildings in background, trees in foreground.
Elevation of an Alcove
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Tented alcove. The central portion is circular and lateral ones straight. Supported by two posts. The roof is pointed, with a cresting of feathers. The wall behind is draped with textiles.
Clock Case Design
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Design for a pendule, or clock, elevated on feet with lion feet and heads, and decorated on the sides and tops with scrolling acanthus leaves, cornucopia, and a shell with putti. The plate is signed and numbered.
Vase and Flowers in a Landscape
Pierre Ranson, French, 1736–1786, ca. 1770 – 1786
Etching and engraving on laid paper
Print

Design for a two-handled vase on a grassy mound next to flowers, leaves, grass, fruit, a stick, hat, and pan flute. The vase is decorated with gadrooning, a trianglular (possibly sunflower leaves) repeating pattern, and scrolling leaves (rinceaux) as handles.
Decorative door boss and nail
, 16th century
Wrought iron

Pierced mount in eight part design of projecting barbs and petals.
Ceiling Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Square ceiling design with circular frame and a rosette in the center. From the sight edge, the frame features bands of lamb tongue, bound leaf, and bead and dart course. The vertical panel on the left features a guilloche of leaves interspersed with small floral drops, and a vase at top. The vertical panel on the right has, from bottom to top, horns of plenty, a two-handled vase, and a floral wreath with a torch and bows behind it. The plate is signed and numbered.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a bridge and canal in Venice; Above, partial sketch of two figures.
Fragment
, 17th century
silk Technique: cut and uncut pile in a plain weave foundation (velvet)

Floral sprigs facing in alternate directions. Green on yellow.
Two Half Panel Designs
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Two half panel designs featuring a male and female figures, putto, scrolling leaves, acanthus leaves, a vase, profile portrait, festoons of leaves and fruit, and textiles
Icebergs at Sunset, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil on tan paperboard
Drawing

Landscape and seascape sketch showing a view of immense icebergs at sunset, witnessed during the artist's expedition to Newfoundland and Labrador. In the foreground at left, a dark wall of ice descends vertically to a flatter, craggy section at center, which immediately ascends again to form a kind of rounded pillar at center. Behind it, a tall and massive iceberg extends diagonally into the distance, forming a sort of canal at right, bounded by another craggy ice cliff at far right. Sky above filled with rosy red clouds illuminated by the setting sun, whose red-orange light reflects off of the bergs throughout the scene.
Ceiling Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Rectangular ceiling design. The ceiling is split along the vertical axis to offer two designs. The left-side ceiling frame has gadrooned burners in the corners, and bands of flowers and lamb tongue ornamentation. The right-side ceiling frame has eagles clutching branches in their claws in the corners, and bands of leaves, lamb tongue, and garlands of flower ornamentation. The plate is signed and numbered.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for trophies incorporating leaves, flowers, fruit, baskets, wheat, wool, scythe, tambourine, music, horns, scissors, birds, bow, target, quiver of arrows, hat, and a bagpipe or musette. The plate is numbered.
Panel of Arabesques for the Hôtel de Salm, Paris
Jean-Guillaume Moitte, French, 1746–1810, 1785
Pen and black ink, brush and gouache, black chalk on toned paper, lined
Drawing

Design for a wall panel.  At the bottom, two satyrs sacrifice flowers at the foot of a burning candelabrum. The satyrs support, with their heads, two half female figures (half female and half flower stem).  The figures hold a medallion with a maenad.  A putto, supporting a vase, stands on top of the medallion. At the very to center of the composition are two billing doves and at the edges two putti.  The putti hold festoons and garlands from which then flower baskets are suspended.  The doves hold long garlands, which are then connected to two female figures (one at each side of the central composition).  These female figures in turn stand on long decorative spears, which rest on the end tips of the half female figures.
Design for a Triumpal Arch for Napoleon I, Bergamo, Italy
Giacomo Quarenghi, Italian, 1744 - 1817, 1800–12
Pen and ink, brush and sepia wash, gray watercolor, graphite on cream laid paper
Drawing

Architectural design for a triumphal arch. Within the archway stands a group of two adult figures and a boy with a dog. Alternatively suggested on the arch are a coat-of-arms upon an eagle at left and a tablet for an inscription at right. Pediment above. At right, some bushes and indication of landscape. Below, the scale.
Standing frame
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

A molded oblong upon a molded base. In the center, on top, are a pair of scales, a military flail, fasces surrounded by a wreath, and below a prelate's hat. Hanging garlands springing from cornucopias, laterally. Indication of an inscription inside. Colored background.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-30: Part of a set of Italian Minchiate playing cards.50
Two Horses, One Mounted
Winslow Homer, American, 1836–1910, 1862
Graphite on paper
Drawing

Recto: Vertical view of two horses, the lower horse having a rider.
Verso: Several sketches of cavalrymen.
La Mere Gireaud
Mortimer L. Menpes, Australian, active London, England, 1860 – after 1915, 1880
Black ink on light brown paper
Print

An old woman leans out of a window facing fontally. The wall below is stone; the shutters are open.  She wears a white cap and checkered shawl.
Plafond de la chambre de Mr.le Prince de Rohan
Germain Boffrand, French, 1667–1754, after 1745
Etching and engraving on laid paper
Bound print

Decoration of the ceiling of the room of the Prince de Rohan in the Hôtel de Soubise, currently a part of the French National Archives. The rectangular ceiling is edged with a cornice of dense c-scrolls and scrolling acanthus leaves, and with cartouches in the corners and in the center of the edges. At the center of the ceiling is a large fleuron comprised of c-scrolls, s-scrolls, flowers, and cartouches. The plate is signed and numbered.
Fragments
, 17th century
silk Technique: supplementary warp forming raised pile in satin foundation

Twice colored silk velvet with detached leaf pattern in green cut pile on a red background W: 0.23.5 (9 1/4) L: 0.35.5 (14) Ex Vives Coll.
Design for a Painted Frieze
, ca. 1790
Graphite, brush and gray watercolor, Chinese black on paper
Drawing

A frieze consisting of rinceaux motifs with three spirals connected by a bead festoon and a peahen eye. Reverse: Satyrs in landscape. Three Satyrs blow musical instruments, two Satyr children play tambourines. A Satyr carries a dead lamb to an altar, at left. A Satyress mixes a drink in the center. A terminus stands at right of her. Framing mouldings on top, at bottom are shown in the left part.
LA PHILOSOPHIE
Clément Pierre Marillier, French, 1740 – 1808, 1759–80
Etching and engraving on laid paper
Print

Allegorical vignette representing philosophy from a series of twelve (including title page). The title is lettered in the center, within a partly ruined arch, surrounded by trees and plants. A sun dial above on the center of the arch with a barometer along the right side of the arch. Below the arch a putto sits holding his head in his hand, reading a book with a quill in his other hand, surrounded by scientific instruments and devices, a microscope, mirror, shells, coral, a lobster, fossils, with a bookcase behind him. A roundel portrait of Descartes is in the center below the putto. Lettering below the vignette and the plate is signed.
Nevado de Toluca, Mexico
Frederic Edwin Church, American, 1826–1900, January 1893
Graphite on beige wove paper
drawing

Landscape sketch showing a view of the mountain known as Nevado de Toluca in Mexico. In the middle distance, a craggy and rocky prominence rises at right and descends toward the center, where another rugged mountain rises at left. In the background at center, the rugged, serrated ridge of Nevado de Toluca is visible with a tall, sharp peak at right.
Design for a Brooch
, late 18th century
Pen and black ink, brush and gray watercolor on off-white laid paper
Drawing

Jewelry design for a brooch. A knot of laced ribbon, à jour. In the center, a rosette. The inside of the ribbon with blossoms and leaves. Beveled corners.
Venus Picking Flowers
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

Standing toward the right, her breasts seen frontally. She gathers f lowers in a cloth wound around her hips, and raises her right arm in which she carries a bunch of flowers. The soil is indicated.
Ribbon
, early 19th century
silk Technique: warp printed

Ivory ground with groups of flowers warp-printed in rose, blue, brown and green. Brown picot edges.
Sidewall
, 1860–90
Machine-printed on textured paper

Complete width. Faint grisaille pattern of flowers and foliage, with over-printed gilt sprays of small branches with leaves, and stripes of short transverse lines in gilt. Printed in gilt, gray and white on white ground stamped with serpentine lines.
Project for a Fountain at a Wall
, 1850–75
Pen and brown ink, brush and gray wash, white heightening, traces of graphite on off-white laid paper
Drawing

The water is pouring from a head in a shell into a basin and into a larger basin below. In front, an ascending way. Below, the scale. Two framing lines. Indication of the walls and clouds.
Elm Tree, Hartford, Connecticut
Frederic Edwin Church, American, 1826–1900, October 1845
Graphite on light brown wove paper; verso: graphite and white gouache
Drawing

Botanical sketch of an elm tree in Hartford, Connecticut. Dominating the composition at center, the tree has a lush canopy, roughly spherical in shape, with lower boughs that nearly reach the ground. Its dark branches are visible throughout. 

Verso: Mixed sketches showing views of two 17th-century English women in Puritan dress beside a horse viewed from the rear (both drawings are preparatory sketches for the artist's finished work, "Hooker and Company Journeying through the Wilderness from Plymouth to Hartford, in 1636" from 1846), as well as a view of St. John's Church in Hartford, Connecticut (demolished). At upper right, two women are shown frontally as they are adorned in the wide-brimmed hats and frilly collars (known as ruffs) typical to 17th century English Puritan dress. Below them at lower right, a horse is viewed obliquely from the rear as it is highlighted in white gouache (this is the central horse in "Hooker and Company"). At center left, the tall, tapering, and extremely sharp spire of the now-demolished St. John's Episcopal Church in Hartford, Connecticut, is shown beside other rooftops and beyond a lush tree at right.
Pied de table pour entre-croisées
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an entryway table. The table is decorated with ornament motifs including floral garlands, bound fluting, acanthus leaves, and gadrooning. The table is topped with a vase; at its base is a censor. The plate is signed.
Imaginary Landscape with Castle
Frederic Edwin Church, American, 1826–1900, 1870–75
Pen and dark brown ink on off-white laid paper
Drawing

Landscape and architecture sketch showing an imagined view of a landscape with a medieval castle and a cottage, derived from the artist's view of Château de la Bâtiaz in Martigny, Switzerland. In the foreground, a river flows horizontally across the composition, with the nearby grassy bank visible in the lower left corner. Across the river at right, a small cottage with a thatch roof is illuminated in a patch of light beside several trees. Looming above it in the middle distance at upper left is a medieval castle with a tall, circular tower that is perched atop a lofty and abrupt hill. Storm clouds appear to gather over the castle in the upper left corner.
Ceiling Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Rectangular ceiling design. The ceiling is split along the vertical axis to offer two designs. The ceiling frame on the left has bands of leaves and lamb tongue, and a carved central panel with torches, quivers, baskets, and wreaths of flowers. The right side has a larger band of carved scrolling acanthus leaves, thinner bands of lamb tongue and oak leaf, scallop shells in the corners, and a shallow vase filled with flowers in the center of the right edge. The plate is signed and numbered.
Design for brooch with diamonds and pearls
, 16th century
Pen and ink, brush and sepia on paper
Drawing

In oval escutcheon with two pearls and four brilliants upon a frame. Space at the center.
Inventory of Paintings
Frederic Edwin Church, American, 1826–1900, January - April 1869
Pen and ink on gridded laid paper; verso: pen and ink
Drawing

List of paintings purchased by Church while in Italy.

Verso: Continuation of the list of paintings purchased by Church while in Italy.
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) on satin ground

Fragment of red cut and uncut velvet on white satin ground. Portion of large-scale floral motif at top right. Stem and foliage below.
Embroidery Designs for a Carriage
Bernard Picart, 1673–1733, 1713
Engraving on laid paper
Print

Embroidery designs for the interior of a carriage, decorated with ornament motifs including strapwork, beading, rinceaux, acanthus leaves, branches, flowers, putti. At center is a scene of Juno with a peacock next to her.
Madonna and Child in Glory, Study after Mastelletta; Angel Gabriel Driving Lucifer from Heaven, Study after Marcantonio Franceschini
Felice Giani, Italian, 1758–1823, 1821–22
Pen and ink, brush and brown wash, over black chalk on heavy white laid paper
Drawing

Upper drawing of Madonna and Child, seated on clouds supported by five angels. Lower drawing of winged male figure in classical armor with spear and shield flying in air pursuing figure with pitchfork-- Lucifer(?) ["Lucifer" seems to have an extra head and pair of arms?].
Two escutcheons for coat of arms of Pope Benedict XIV
Carlo Marchionni, Italian, 1702–1786, 1740–58
Pen and ink on laid paper
Drawing

In the left one the charges are outlined. In the background, on top of both, are shells.
Design for a Pendant
, 1875–1900
Pen, brush and sepia on paper
Drawing

A rectangular diamond framed with columns. Above, chains suspending from a ring attach to dolphin tails. Below, a shell with a round gem.
Canoe with Three Men
Winslow Homer, American, 1836–1910, 1897
Crayon on paper
Drawing

Sketch of three male figures in a canoe.
El Altar from Riobamba, Ecuador
Frederic Edwin Church, American, 1826–1900, September 14-17, 1853
Graphite on white wove paper
drawing

Landscape study showing a distant view of the dormant volcano El Altar from the nearby city of Riobamba, Ecuador. In the foreground, several trees reside in relatively flat terrain that extends to the middle distance, where it meets a mountain ridge that rises to the right. Behind this ridge, the sharp peaks of El Altar are visible. The rising sun floats just above the jagged mountain, partially obscured by clouds or mist.