biglam/cooper-hewitt-alt-text huggingface dataset:
Ishibe: Guests at the Inn (Ishibe, ryosha tomarikyaku) from the Series 53 Stations of the Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This print depicts guests at an inn show multiple views of hotel service from various windows. Servants well dressed are hosting and providing excellent service to the visitors who are sitting and relaxing as they eat.
Bull Drinking and a Yoke, Catskill, New York
Frederic Edwin Church, American, 1826–1900, August 1844
Graphite on off-white wove paper
Drawing

Sketches showing views of bulls drinking water and a yoke in Catskill, New York. At center left, a cow is sketched in right profile as it lowers its head. Another, at right, is showed entirely from the rear. At upper center, the rear of a cow is sketched beside two views of a bull's head in left profile. At lower center, a yoke lies on the ground.
Sugar Bowl, from a Miniature Tea Set
Du Paquier Porcelain Manufactory, Austrian, active 1719 – 1864, 19th–mid- 19th century
porcelain (probably hard paste), gold
sugar bowl

Sugar bowl and lid, belonging to a tiny porcelain tea set with gold detail.
Stage Design, Group of Palace Buildings
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Group of palace buildings with three triumphal arches, column with sculpted figure behind, large buildings in background.
The Three Graces
Felice Giani, Italian, 1758–1823, ca. 1813
Pen and brown ink, brush and brown wash, black chalk over traces of graphite on cream laid paper
Drawing

Three Graces and two cupids. Typical pose of Three Graces which shows two sporting veil, while central Grace shown with wreath. At left and at right, putti playing cymbals. On verso: graphite sketch of similar compartment. In center, woman sitting on pedestal. She is turned towards left and extends a thread supported by left hand of dancing girl, raising wreath.
Cup and Saucer
Sèvres Porcelain Manufactory, French, established 1756, 1787
porcelain (probably soft paste), vitreous enamel, gold
cup and saucer

Short, cylindrical cup (a) with scroll handle; enamel and gilded decoration consisting of gilt dots picked out in black, on blue ground; large, central, gilt-bordered oval cartouch with spray of three tulip blooms (red/cream, yellow/red, purple/cream) tied with pink ribbon; narrow gilt bands at mouth and base. Saucer (b) with everted rim decorated en suite with cup, the circular well with spray of vari-colored, petalled flowers tied with yellow ribbon.
Sketch for “The Socratic Chimpanzee and the Shadow Baboon” in “Fables, Out of This World”
Frederick Stuart Church, American, 1842–1924, ca. 1877
Graphite on paper
Ephemera

Boarder for short story in "Fables". Top, various monkeys sitting on a branch. Left, profile of monkeys sitting on a tree reading a book. Bottom, monkeys reading, book cover facing audience, covering body of monkeys, tops of heads seen.
Two Arabesque Panel Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Fifth plate from a series of ornament panel designs. Two vertical panels with arabesque and neoclassical motifs including vases, flowers, festoons and garlands of flowers, branches, leaves, and beads, birds, butterflies, banners, tassels, ribbons, fleurons, rinceaux, and rosettes. The plate is signed and numbered.
Chair
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Seen from the front. The back is an upholsered broad oval framed by a quatrefoil with separating angles. It is supported by two boards. The panel between the boards and those between the upholstery and the moldings are filled by straw plaiting. The seat is a cushion with lateral tassels. Unusal background.
Tile
Sadler and Green, English, ca. 1760
Tin-glazed earthenware with transfer-printed decoration

Red transfer decoration on a white ground, showing landscape with mountains in left background; foreground with lion standing before a tree at right, and looking at a frog to its left; the scene surrounded by a framework of rocaille scrolls.
Title Page for "The World's Almaniac for 1879"
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Title page for, The World's Almaniac for 1879
St. Aloysius Gonzaga is received in Heaven by the Christ Child
, 1770–1790
Pen, brush and sepia on paper
Drawing

Two angels lift the cloud with the saint. The Christ Child sits above on a cloud. Beside is an adoring angel. At left are two groups of two cherubim.
Design for an Earring
, ca. 1780
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring, a disk above and three drops below, each having outside rows of round diamonds. In the center, an escutcheon in the shape of a heart with a small knot below; inside rows of two disks, one above the other, alternating with a drop. Upper corners slightly bevelled.
Draneil (Seine-et-Oise)
Charles Nicolas Ransonnette, French, 1793 - 1877, 1840
Graphite, brush and bistre wash on paper
Drawing

The place is shown from the highway leading into it. The signature is similar to 1931-73-155.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for two rectangular decorative panels featuring arabesque motifs including scrolling acanthus leaves (rinceaux), flowers, festoons of flowers, ribbons, and fleurons. The plate is numbered.
Design for Stucco Decorations of Panels
, mid- 18th century
Red crayon on paper
Drawing

Vertical format design for stucco decorations of panels. A similar escutcheon (to 1940-21-39-1) is suspended from a clasp and is supported by two harpies with fishtails. Another escutcheon at the bottom.
Side chair
, ca. 1800
wood (walnut), paint

Front legs straight, turned, diminishing toward foot, with ten channels; back legs rectangular in section, curved, with three channels on each face - back curved, styles terminating in volute with rosette, with turned cresting partly channeled spirally - large upper rail in back, with two drapery festoons, resting on arcade of four colonnettes with small rail below. Painted cream and green.
Spoon with Flower-form Terminal
, ca. 1700
silver
spoon

A spoon with rounded fig-form bowl, the flat stem flaring to flower-form terminal. The obverse of the stem engraved with scrolling foliage topped by engraved flower head. The reverse of the terminal engraved with flower heads and foliage. The reverse of the bowl with foliate terminated arc.
Design for Doors for a Porte Cochère
Louis Crépy, French, 1680?–1760, 1680-1718
Etching and engraving on laid paper
Print

Elevation of a set of arched double doors for a porte-cochère decorated with ornament motifs including shells, rinceaux, and scrolls.
Sophonisba, with a Bowl
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

Sophonisba sits at a table, in front of a curtain. The crown is on the table, far right; a bowl in both her hands, resting on the table. She looks slightly to the left.
Design for an Overdoor and Chimney
Nicolas Pineau, French, 1684-1754, ca. 1740–1750
Pen and ink, brush and brown watercolor, graphite
Drawing

Three putti are shown in the overdoor. A pair of billing doves, a quiver and a torch are in the top center of the frame of the mirror over the chimney.
Tile
, late 18th–early 19th century
earthenware

Standing man, dressed in green short skirt and scalloped blue coat, wearing black coolie hat; his left hand is raised, the right points downward. Chinoiserie type of decoration.
Spandrel Decoration: Fame and Truth Applauding Louis XV
François Boucher, French, 1703–1770, 1753
Black chalk, pen and brown ink, brush and pale pink wash on white paper, lined
Drawing

A putto, companion of Fame, directs the attention of Truth to a portrait of Louis XV.  The women are seated in the foreground above a pedestal before which stands an incense burner.
Design for Embroidered Gilet, pattern 1730 of the Fabrique de St. Ruf
Mademoiselle Montalent, 1785
Brush and white gouache on glazed tracing paper
Drawing

Two Chinese and a fantastical serpent in a landscape. Houses and a garden decorate the oblong pocket. Five buttonholes.
Project for an Altar
, 1750–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

The Virgin of the Seven Swords is shown in a medallion with rays and cherubim glories. The altar stands before the convex wall. Laterally are balconies and walls with doors.
Designs for Chairs and Footrests
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for two chairs and two footrests decorated with ornament motifs including scrolls, branches, fluting, rinceaux, drapery, lozenge with bead. The plate is signed and numbered.
Paper Doll Costume in Pink with Black Lace and Yellow Bodice
, 1876–80
Lithograph, brush and watercolor on cream heavy wove paper
Print

Pink shell with black lace trim and yellow bodice. Doll holds bouquet of roses in her right hand, and a handkerchief in her left.  Both back and front of dress are represented.
Jupiter Sending Mercury to Priam
, 1590–1620
Black chalk, pen and ink on paper
Drawing

Jupiter sitting on a cloud above a landscape, pointing to Mercury, who has outstretched arms.
Bag (tobacco pouch)
, 1815–40
silk, glass beads, linen lining Technique: knitted in crossed stockinette stitch

Drawstring pouch with floral patterns. Center band has blue, red and yellow flowers on a white background. Bottom of pouch has blue flowers on a dark red ground. Serrated border separates the bands.
Arabesque Ornament Design
Etienne de Lavallée, French, 1735 – 1802, 1788–89
Aquatint and etching on laid paper
Print

Arabesque ornament design featuring vases, flowers, foliage, fleurons, scrolling acanthus leaf motifs, rosettes, mermaids, fauns, and festoons of flowers. The plate is numbered and signed.
Ornamental Vase Design
François Boucher, French, 1703–1770, ca. 1738
Etching in red ink on cream laid paper
Bound print

Vase in the form of a ewer. A shell-shaped lid is attached to the left handle by a chain. The chain connects to a knob handle composed of a ram's head decorated with snakes; this motif is repeated on the opposite side. The vase is elevated on a small, stepped plinth. The plate is printed in red ink (sanguine). The plate is signed and lettered.
Design for a Console Table with Alternate Suggestions
, 1810–30
Pen and brown ink, brush and brown, yellow and gray wash and traces of graphite on off-white wove paper; verso: graphite
Drawing

Vertical rectangle. Above is the plan of the top, elevation of the table below. The top is convex, as is the main part of the plinth. The legs are chimaeral, shown from the front and standing straight; at left, standing obliquely at right. A slightly sketched palmette motif is suggested as a decoration of the back. Verso: part of a plan in horseshoe form, pencil-inscribed segments.
Design for a Sedan Chair
, 1775–80
Brush and yellow, brown, blue, purple, rose, and other colors of watercolor, pen and Chinese ink on paper
Drawing

Shown in profile turned toward right with one bar. A pineapple stands on top of the vaulted roof which is decorated with festoons and other floral ornaments. It is bordered by rows of leaves. Masks are at the corners from which the tassels hang. The panels are framed by intertwined branches. That beside the window shows an ovoid with a coat of arms hanging between festoons from a bow knot; azure bandlet sinister scarlet between three bezants 1, 2 a gyron white, ermine. Garlands dragging over disks decorated the other panels. The bar shows and oblong somewhat broader than the chair; it is framed by garlands and contains a "running dog" of leaves.
L'Abside de Notre-Dame de Paris (The Apse of Notre-Dame, Paris)
Charles Meryon, French, 1821–1868, 1854
Etching on white paper
Print

View of the apse of the Notre Dame cathedral in Paris from the banks of the Seine River. In foreground are small boats, a cart, horses and figures. Beyond are three arches of the Pont-au-Choux. The old Hotel Dieu, at left.
Belt
, late 19th century
silk, silver thread, silver buckle, silver ornaments Technique: satin weave ribbon

Ribbon belt in silver cloth with black silk strips and figures. Six convex buttons and two-part buckle ornamented in scrolling stem and leaf design and the word "Kavkaz" (Caucasus) in niello work. Four marks: 84, an angel, TH 1864, XC." Belt is lined with white satin ribbon.
Sampler
T. Jäckel, 1830
cotton embroidery, linen foundation Technique: satin, stem, eyelet, buttonhole and overcasting stitches on plain weave

Alphabets, numerals, four crowns and a peacock in red; poodle with a basket, birdcage, lake with a boat, lake with a windmill, ornaments with names and date.
Two Waistcoat Designs
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Designs for two embroidered men's waistcoats decorated with floral (flowers) motifs. The design to the right has front skirts, both designs have pockets.  The plate is titled, numbered, and signed.
Mary Washing the Feet of Christ
Daniel Huntington, American, 1816–1906, July 19, 1852
Graphite on light green paper
Drawing

Woman with a tray, at far left. Christ seated next to her, with Mary at his feet, center. A bearded man, at right, and other figures in back. Note on verso.
Plate, from the series Ornamenti o grottesche (Ornaments or Grotesques)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on off-white laid paper
Print

A child holds a leopard kitten and nuzzles his face into its back. Directly behind the child lies a leopard, which turns its head toward the child and extends its tongue. In the background are large acanthus leaves and swirling arabesques.
The Watzmann and Königssee near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June - August 1868
Graphite and white gouache on light brown wove paper
drawing

Landscape sketch showing a view of the Watzmann beside the Königssee, as seen from an elevated perspective near Berchtesgaden, Bavaria (present-day Germany). A hewn tree stump is shown in the immediate foreground at center, while, just beyond it, a small house provides scale for the massive mountains that surround it. At left, a steep, diagonal mountain ridge descends to a gently rolling landscape in the middle distance at center. In the distance, rugged, snow-strewn mountains of the Bavarian alps are shown--notably the Watzmann at right, and in the background at left, the granite pinnacle of the Schönfeldspitze. In the steep valley to the left of the Watzmann, a patch of the Königssee is visible. 

Verso: Unfinished sketch showing the outlines of snow-capped mountain peaks and a nearby wooded ridge.
Two Medallion or Frame Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for two medallions or frames, oval and round, decorated with moldings and topped with trophies of Christian iconography and liturgical objects, and flowers. The ornament and motifs include festoons of leaves, flowers, foliate branches, scrolling acanthus leaves, tablets, snake in a tree, incense burner, and a hat. The plate is numbered and signed.
A Female Martyr, Saint John the Baptist, and Two Devouts
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

In the center, at right, stands a nude young woman, her hands bound across her back, and a cloth around her hips. At right kneels a devout, at left another one whom the woman addresses. Behind him st ands Saint John as a young man, the cross staff in his left hand. Framing line.
The Virgin Placing the Christ Child in the Manger
Giulio Carpione, Italian, 1613 - 1678, ca. 1650
Etching on paper
Print

The Virgin places the infant Jesus in a manger, placed on a step. An angel stands near Mary, and St. Joseph is behind her, at right. God the Father and angels in the sky.
Elevation of a church
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Design for a steeple. Below is the entablature of a square part. Above rises a story like a circular pavilion upon a dado with embedded columns supporting the entablature. At the front are a window and an escutcheon above it. The upper story is shaped like a similar open pavilion. On top is a dome of a kind, with a band aroudn the tambour, and a cross colored background.
Chimneypiece Design
N. Bruchon, French, active 18th century, 1775–87
Etching and engraving on laid paper
Print

Design for a chimneypiece with an overmantel mirror and panel with neoclassical ornament. The mantel features fluting on the sides, with a floral arch and dart frieze above and laurel leaf crowns in the corners. The overmantel mirror is framed by interlaced branches of flowers and leaves. Above, a rectangular panel featuring a trophy with a crown of leaves, a flaming torch, and quiver of arrows with scrolling acanthus leaves and drapery, framed by a lamb's tooth repeating pattern. Below the design, two plan details of the chimneypiece, with a scale below. The plate is signed and numbered.
Mount
, ca. 1810
Gilt bronze

Profile bust of Juno with peacock hairpin.
Allegorical Frontispiece
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Allegorical frontispiece with a portrait bust of Stanislaw Leszczynski (1677-1766), Duke of Lorraine. The bust is being crowned with a laurel wreath by Minerva; female figures representing the arts stand about the base: Architecture unfurls a plan of the château of Lorraine, Sculpture carves the dedication on the plinth, and Painting stands behind a canvas depicting the château. Meanwhile, winged Time with a scythe lies fallen to the ground. This plate is the verso of 1921-6-209-1 and faces the dedication page, 1921-6-209-3.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of lozenge shapes and crosses.
Fireplace fenders
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Fireplace fenders.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decorated

Standing man, dressed in long white trousers, fur trimmed yellow coat and headdress; his right arm slightly raised. Chinoiserie type of decoration.
Clouds over East Hampton, New York, Part Two
Frederic Edwin Church, American, 1826–1900, July 29, 1858
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch showing a view of billowing clouds over East Hampton, New York. In the foreground along the lower margin, a sandy shoreline is shown with some vegetation at left. Above, the puffy, bulging mass of cumulus clouds dominates the composition.

Verso: Loose landscape sketch showing a view of distant puffy clouds with indistinct terrain visible below.
Interior of a Gothic room
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Vaulted Gothic interior with roughly sketched ornaments and furniture.
Design no. 10 for an Embroidered Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1780–1790
Graphite, brush and gouache on two pieces of paper pasted together horizontally
Drawing

A fantastic palm tree and a mound of earth with plants, and a shell from which water pours, alternate with a tree and a fantastic plant containing coral stems. Bottom: strips with leaves and beads between lentils. Written at left: "No 10 S. R." over struck out: "No 3".
Vase
, 17th–18th century
dark blue glass

Cadet blue glass
A Seated Muse
Fortunato Duranti, Italian, 1787 - 1863, 1800-1825
Pen and bistre ink, brush and gray wash on paper
Drawing

A muse seated in a landscape with one hand resting on a bust of a warrior. Beside her, a genius presents a relief panel. In the right background, a classical temple. Ink framing line.
Trimming
, early 19th century
silk Technique: cut supplementary warp pile (velvet)

Trimming fragment in a design of flowers sprays and scrolling leaves in red cut velvet on a yellow checkerboard ground.
Landscape Sketch, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite on gray wove paper
Drawing

Landscape sketch of mountain ridges in Jamaica. A tall, sharp mountain peak is visible at upper right, situated along a rugged ridge that slowly descends to the left across the composition. A shorter ridge is visible in foreground at left. Above, wispy clouds stretch across the sky.
Allegory of Painting and Ornament
Jacques Fouquet, French, active 1685 – 1704, 1707–44
Etching on laid paper
Print

An allegorical print depicting the genius of painting. A winged male figure sits painting ornament on a panel in the foreground with a standing female figure behind him holding a palette and paint brushes. Several putti surround them, including a flying putto holding a basket of flowers above his head. A Triumphal arch behind them with the figure of Apollo and his muses and a Pegasus in the background, visible through the arch. A descriptive text is lettered above the arch within a central cartouche, framed by putto, C-scolls, flowers and a central mascaron within drapery. Trees on either side of the arch.
Fragment
, 17th century
silk Technique: 4/1 satin damask Label: Silk damask

Crowned double-headed eagle with arrows in its talons. Just below is a large blossom.
Kakegawa: Foring the Forty-eight Rapids on the Akiba Road (Kanagawa, Akiba michi shijuhachi segoe)
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

The scene depicts travelers crossing the river. There was a fixed fee to be carried across on porter's backs, but it was not uncommon for the porter to stop in the middle of the river and demand more money.
Decorative Monogram Design
Pierre Ranson, French, 1736–1786, ca. 1780
Etching and hand colored in watercolor on paper
Print

Design for a decorative monogram for the letters S and D, featuring flowers, leaves, and ribbons. The letters are topped with a crown of flowers. The plate is numbered, signed and hand colored.
Portrait of Emperor Leopold I (1640-1705)
, ca. 1700
Engraving on paper
Print

Bust-length portrait in three-quarter view to right. The emperor wears a laurel wreath, armor, and a drapery around his shoulders. The portrait in a wreath frame; above, an eagle with sceptre; below, two putto holding the label of the portrait.
Textile
, 19th century
cotton Technique: printed by engraved roller on plain weave

Bunches of roses and other flowers in red, tan, and black on light background with stippling. Color in leaves has faded out. Probably had glaze but it is now worn off.
Designs for Ornament Motifs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off white laid paper
Print

Designs for ornament including scrolls, garlands, and rinceaux composed as cartouches, brackets, vases, gueridon, and free motifs. The plate is signed and numbered.
Sampler
, 18th century
silk embroidery, linen foundation Technique:

Sampler divided into horizontal bands showing birds, Crucifixion, animals, floral and geometric borders.  In compartments on one side, alphabets, numerals and crowns.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

Diapered field, varnished silver, scroll of blue foliage, with red carnation. Brightly painted.
Shawl
, late 19th century
Technique: machine woven

Allover pattern of two alternating bands. Pattern derived from Spanish ornament of the 13th century. Dominant color is a shade of rose-red.
Dining Room Light Standard, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on cream tracing paper
Drawing

Front and side colored view of standing lamp with rectangular frame and shade and planter in between frame and shade. Below colored drawing there are two elevations sketched in graphite.