biglam/cooper-hewitt-alt-text huggingface dataset:
Sampler
Ann Silver, ca. 1800
silk embroidery on wool foundation Technique: cross-stitch embroidery on plain weave

Dainty rows of soldiers and ladies holding fans, a large bird perched on a stump, and barnyard fowl, embroidered in colored silks on a white ground.
Sample book page
, ca. 1910
cardboard, linen Technique: Levers Machine

Samples of machine-made openwork and several examples of hand made lace mounted on boards. They imitate hand-embroidered net, crochet, or needlepoint.  All are floral patterns plus a few of early 1920's geometric style.
"Embroidered net" produced by the Schiffli Machine.
Sugar Bowl, from a "Topographical" Dinner or Dessert Service ("A Vedute")
Doccia Porcelain Factory, Italian, established 1735, ca. 1810–1820
hard paste porcelain, vitreous enamel, gold
sugar bowl

Four-lobed oval plan with curved walls. Four-lobed dome cover with knob shape of a hip and leaf. Blue-gray body. Bowl and cover each decorated with two oval medallions with polychromed harbor scenes and ruins. Wide blue and narrow gold bands and edges.
Knife with Porcelain Handle (Paired with Fork)
Royal Worcester, English, established 1751, ca. 1765
steel, silver; porcelain, vitreous enamel
knife

Large sabre-shaped blade with plain bolster. Silver ferrule with scalloped edge and horizontal bands. Pistol-shaped porcelain handle, blue floral decoration on a white background.
Study of Sheep
Nicolaes Berchem, Dutch, 1620–1683, ca. 1650
Etching on paper
Print

A sheep stands between two lying down, its head directed slightly to the right.
Rampes d'Escalliers (Handrails), in Nouveau Livre de Serrurie (New Book of Ironsmithing)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Three variations of ironwork for handrails.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Four-sided torch medallions with flowers, floral swag, and geometric shapes. Background has spaced-out green and white dots. Ground is light green. Printed in white, green, and gold mica.
Printed in selvedge: "S. A. Maxwell & Co. 1731"
Textile
, 1830–40
cotton (?) Technique: printed by relief and engraved roller on plain weave

Multicolored pillar print with a single fluted column and capitals of scrolling flower and vine motif in a symmetrical arrangement. Capitals are festooned with flowers like roses and tulips.
Fragment
, 19th century
linen Technique: bobbin lace (late Valenciennes ground)

Floral petals with scalloped edges.
Fragment
, ca. 1800
cotton Technique: block printed for several colors, yellow and blue applied by brush, tan by immersion(?) on plain weave

Flower sprays surrounded by fine leafy sprigs on a black background.
Band
, late 16th century
linen Technique: embroidered

Band of light brown linen with a stylized vine pattern embroidered in brown and yellow.
Frieze
, 1905–1915
Machine-printed paper

Scrolling medallions, alternating between larger and smaller. Printed in burgundy and metallic gold on background that shades from tan to red.
Band
, 19th century
silk, metal Technique: warp-faced plain weave patterned by warp stripes, some stripes are warp-ikat (jaspe)

Narrow woven band patterned by stripes: the center and widest stripe is patterned by ikat in red and white. The narrow stripes on each side are orange, red-orange with gold pinstripes on each side and an ikat patterned stripe in blue and white. Each end is turned under and sewn with a narrow salmon tape attached to one end and a strip of green silk to the other.
Fragment
Gremont et Cie., ca. 1800
cotton Technique: block printed on plain weave

Fragment of printed cotton with an allover pattern of lilacs and large, heavily veined leaves on a black background.
Border
, 1860–80
Block-printed on machine-made paper

Quatrefoil on raised panels. Printed in bright orange, brown, tan and blue on blue ground.

H# 21
Water Engine, Coldbath Field's Prison, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

The water engine, well and trough, center, in a courtyard. Two prisoners at the wheel. Title, artists', and publisher's names below.
Small Study of Many Trees
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Small study with many dark trees.
Sidewall - sample
, 1906–08
Machine-printed

Large bunches of purple grapes hanging from vines. Printed on tan ground.
Fragment
, 19th century
silk on linen Technique: embroidered

Fragment with wide borders showing a mirror image design of symmetrical flowering trees with birds in multicolored silk on linen.
Sketch if Loches and Female Bust
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brwon paper
Drawing

In courtyard, tower, center left. Bust of woman facing viewer, upper right.
Figures from Sistine Chapel ceiling
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Figures from the ceiling of the Sistine Chapel, painted by Michelangelo. The lower figure is directly above and to the right of the Jesse spandrel.
Brooch
, 1750–1800
Rose-cut diamonds, cut silver, gold wire

In the shape of a low, wide basket filled with a floral and foliate arrangement, composed of rose-cut diamonds set in silver and gold. Reverse features closed settings; double-pronged pin, the longer of which slips under c-clasp. Possibly originally part of a tiara or a hair ornament.
Border
, 1875–1910
Block-printed on machine-made paper

Floral band running down center, with a ribbon-twist on either side. Printed on a wood-grained ground.

H#240
Sidewall
, 1880–90
Machine-printed

Aesthetic-style design.  All-over foliate and floral motif. Printed in metallic colors on bright gold ground.
Fragment
, early 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Velvet fragment has a yellow ground with a large-scale floral pattern in red cut and uncut pile.
Study of seascape. Porcupine Islands, Bar Harbor, ME
William Stanley Haseltine, American, 1835–1900, 1859
Graphite on wove paper mounted on board
Drawing

Sketch of a rocky coastline.
Cartoon for a Woven Carpet
, ca. 1848
Brush and gouache on heavy paper, lined
Drawing

Part of a large repeat showing a spray of roses and other flowers on a red ground, framed by foliate cartouches, with blue and green grounds outside enframement.  Continuation of repeat on 1954-23-11 and -12. 
Detached section shows verso has printed design: H. blue-green background with white floral design printed on top.  Graphite line drawn at the top and right edge.
In Cloister of Cathedreal, Le Puy
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Coupled columns, left; capital; right; grillework, center.
Sampler
, 19th century
cotton Technique: embroidered in satin and buttonhole stitches and withdrawn element work on plain weave foundation

Two columns of withdrawn element work pattern in white.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Central band of ribbons with bow knots, dentil molding and cable molding across top. Printed two borders across the width.
Geometric Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

This triple lattice pattern contains a key fret pattern within alternating boxes. The remaining boxes contain a smaller set of lattice weaves. This highly ornate stencil is damaged on the right side and a few other places.
Sampler
, mid–late 16th century
linen embroidery on linen foundation Technique: embroidered with withdrawn element work with needlemade fillings using looping and overcasting. In top three bands elements have been removed in one direction (horizontal) only.

Whitework sampler
Thirteen bands of withdrawn element work with needle-made fillings.
Textile
, 18th century
linen Technique: relief printed on handwoven plain weave

Red ground printed with a design of large flowering vine and blossoms with characters from the Comedie dell'Arte.
Torso
, 1st century
Carved marble

Fragment of a woman's torso with pleated robes. Head, hands and lower body missing.
Knife
, first half of 18th century
ivory, steel, silver, gold (gilt)

Blade straight-sided with rounded end. Flared bolster, silver-gilt ferrule, plain. Ivory handle carved in deep relief with entwined hunting dogs and prey: squirrel, sheep, roe.
Wallpaper Samples
Sears, Roebuck and Co., founded 1886, 1914
Machine-printed on paper
Sample book

Soft covers printed in yellow, green, blue, red, brown and black and showing eight examples of wallpapers, the majority of which are flowered. Inside are one-hundred samples of wallpaper, including samples of oatmeal paper, varnished tile paper, and gilt over-prints. There is one children's paper titled "The Nursery" which is based on Mother Goose nursery rhymes.
Front entrance group stained glass windows
John C. Wolf, 1890–1900
Brush and watercolor on illustration board
Drawing

Six stained glass window designs with curled vines and red tulips.
Box with hinged lid
, 19th century?
tortoiseshell, bone

small rectangular box of bone, black with hinged lid and thin veneer of tortoise-shell on lid. Sides of box are curved from top to bottom (convex, concave, convex)
Purse
, late 17th–early 18th century
silk, metal Technique: woven

Small and flat envelope-shaped pocket book woven in salmon-colored silk, gold and silver thread and small areas of colored silk. Pattern has a square in the center that frames four fleurs-de-lis in the corners. Surrounding area is patterned with birds, medallions and stylized floral forms.
Figure Toy
Harriet Blackstone, American, 1864–1939, 1922
Brush and oil, graphite on board
Paper doll

Paperdoll of a young female figure in yellow dress.
Plate XLIV from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Showing a continuous chain of buckets in well. A frame structure holds chain and cog wheels, turned by a man at right with lever and pendulum. Woman at well. Description in Latin on verso of 1949-152-241.
Design for a Painted Porcelain Plate, Les Greffes (Grafts) from the Service de la Culture des Fleurs (Flower Cultivation Service)
Jean Charles Develly, French, 1783 - 1849, 1821–24
Pen and brown, black ink, brush and brown, black wash, white gouache, red crayon, graphite on tan paper mounted on blue-gray paper
Drawing

Design for a painted porcelain plate, rondel. Scene in garden behind a grand house, right middleground.  The lady of the house, center foreground, discusses the grafting of bushes with the gardener.  A small child plays, right foreground.  Two figures of gardener's assistants in left middleground; one holds the sapling while the other fills dirt around its roots.  An orangerie, left background, amidst trees and bushes, appears behind a low garden wall.
Four Tapersticks
Doccia Porcelain Factory, Italian, established 1735, ca. 1750–1760
hard paste porcelain, vitreous enamel, gold
tapersticks

1987-50-1-a/d: A table centerpiece formed in four sections as flo...;     1987-50-1-a: One of four tapersticks forming part of a table ce...;     1987-50-1-b: One of four tapersticks forming part of a table ce...;     1987-50-1-c: One of four tapersticks forming part of a table ce...;     1987-50-1-d: One of four tapersticks forming part of a table ce...
Border
, 1860–85
Block-printed on machine-made paper

Combines various decorative motifs into a band of continuous, repeating patterns. Pointed quatrefoils with lozenge centers are superimposed over elongated frames which are separated by stylized foliage and daisy-like flowers; printed in greens, tan, yellow and shades of brown.

H# 22
Coffeepot with Battle Scenes (Bataillen-Malerei)
Royal Porcelain Manufactory, Berlin, German, established 1763, 1870–1900
hard paste porcelain, vitreous enamel, gold
coffeepot

Pear-shaped body, slightly compressed in lower part. Open spout, triple scrolled handle. Domed cover with pine-cone knob. Unglazed relief lines, forming four compartments. The area between these, and the edge are painted yellow. Polychrome overglaze battle scene, equestrian scene, and flower clusters alternating in panels on pot and cover. Gold edge and scents on spout, handle and knob.
Sampler
, 19th century
cotton embroidery on linen foundation Technique: embroidered in satin, back, and chain stitches with withdrawn element work on plain weave foundation

Horizontal rectangle divided into three columns of geometric pattern bands, in white withdrawn element work or embroidered in red.
Mustard pot
, 18th century
Tin-glazed and hand-painted earthenware

Sceaux mustard pot with handle. Painted floral sprays.
View of Hanover Square
Robert Pollard, English, 1755 - 1838, 1787
Engraving and aquatint on paper
Print

Cobblestone street around the grass lawn, fenced in, three and four story buildings around, a church beyond. Lower left, man with a hare. A carriage, horses, dogs, a milkmaid, lower right. Title, artists' and publisher's names, date and dedication, below.
Kneeling chair
C. Chevigny, 1755–90
Carved and painted beechwood, silk

Slender, lyre-shaped back on curved molded supports; exposed frame painted gray; bow-shaped arm rest; low rounded seat with exposed frame with simple molding; quatrefoil rosette in square above each short fluted forleg and above side of each sharply slanting fluted rear leg; small square within square above back of each rear leg; peg-top feet.  Back, seat and arm rest upholstered in modern ivory silk with yellow stripe and multi-color bouquets.
Ceiling border
, 1880–1900
Machine-printed paper

Quarter sections of a ceiling motif, forming flattened circle of lotus border, and conventionalized flower in corners. Printed in blue and three browns on ochre. "a" with two pairs of facing sections; "b" with one pair.
Rocks, Low Hills and Ocean
William Trost Richards, American, 1833–1905, late 19th century
Graphite on blue (faded) paper, lined
Album page

Low cliffs and hills in the right middleground; rocks in right foreground with sea to the left.
Sidewall
M.H. Birge & Sons Co., 1834, 1890–1920
Machine-printed on ingrain paper

All-over pattern of tiny stylized flower and stalk, printed in deep red on red ingrain paper.
Box and Cover
, 19th century
Bent and burned wood

Oval bent wood box. Cover with hemispherical handle at center and notches on two sides. Burned wood decoration showing abstracted scattered flowers and a continuous undulating line.
Various motifs and a stamp
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

This stencil consists of a floral motif and geometric pattern over-lapping. There is a stamp on the lower-left corner.
Sidewall
American Wall Paper Manufacturers' Association, 1879–1887, 1879–1887
Machine-printed paper

a) Small clusters of green carnations and tan leaves arranged in a medallion of a sheaf of wheat in white outline. Medallion forms a motif in a diagonal effect. Between them are clusters of five broken lines close together running in vertical lines. The glazed field shows in the medallions and parallel lines; b) Moss rose design in soft colors mixed with sprays of tiny leaves and berries. Embossed field is composed of tiny circles. On margin is printed: "A.W.P.M.A., 472-3"; c,d) M.H. Birge paper with column of daisies on tan ground, from the 1903-04 Birge catalog.
Floral Tailpiece
Jean-Jacques Bachelier, French, 1724 - 1806, 1760
Etching and engraving on laid paper
Print

Third plate from a series of six of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine.  The large circular floral motif is made up of interlaced flowers and leaves with a lyr at the top in the center.  The plate is numbered and signed.
Design for the Stucco Decoration of a Ceiling
, 1578–1600
Black chalk, brush and gray wash, white gouache, graphite on paper
Drawing

Four ornaments with feathered scrolls and foliage.
Sketch for Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on brown paper
Drawing

Studies of the limbs of a nude figure. Shown are the right arm holding something in the hand, the left forearm and hand, both legs, and left foot.
Textile
, 19th century
silk, metallic thread Technique: embroidered

Piece of black silk embroidered in bands for the decoration of costume. Design of leaves, blossoms, and gourds in polychrome silks with couched gold threads outlining the gourds.
Design for a Necklace
, ca. 1790
Pen and black ink, brush and green, gray watercolor on paper
Drawing

Jewelry design for a necklace. The chain consists of a green ribbon, framed by scallops, over which rings are laid. It is fastened by a disk and ends below with a knot; hanging from it a medallion, having inside a green diamond with the engraved black initials: T C E (or F); on top a small knot. Beveled corners.
Madonna and Saints
Sebastiano Conca, Italian, 1680 - 1764, ca. 1730
Pen and brown ink, brush and wash, whitening, on paper
Drawing

Madonna appears in a cloud to saints praying. The saints kneel in veneration. Madonna is looking up to heaven, where the dove of the Holy Ghost hovers.
Veil
, ca. 1860
Technique: machine net with bobbin lace edge

Plain machine net veil with a scalloped border and woven tape on the top edge.
Decorative Panel Design
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for a decorative panel featuring arabesque and floral motifs including festoons of flowers, acanthus leaves (rinceaux), fleurons, and a central vignette with two rabbits or hares framed by fruit, grapes, and tree branches. The plate is numbered.
Portrait of Jean de Boullongne
Johann Georg Wille, German, active France 1715–1808, 1758
Engraving on paper
Print

Set in an arched simulated stone frame is the half-length figure of the sitter, done from Rigaud's portrait of 1735. He is seen facing toward the right, head frontally, his right hand resting on a book.
Ornament Design with Seated Figure
Alexis Peyrotte, French, 1699–1769, mid- 18th century
Etching on laid paper
Print

A landscape design with chinoiserie motifs. A central buddha figure seated cross-legged on a plinth, balancing on a point. Above his head, a basket with leaves, and foliate branches. In the background, leaves, trees, and grass, with buildings in the background lower right. The plate is signed.
Near Meadow Creek, Utah
Thomas Moran, American, b. Britain, 1837–1926, July 25, 1871
Recto: Graphite, brush and black wash and white gouache on gray-green wove paper. Verso: Graphite on gray-green wove paper.
Drawing

Recto: Horizontal view of the valley floor with Meadow Creek, rushing through in cnetral foreground surrounded by hills and mountains in middle ground and distance.
Verso, in opposite direction: View of a mountain.
Sampler
Lucy D. Stickney, American, 1818 - 1902, 1830
silk embroidery, linen foundation, watercolor paint Technique: embroidered in cross, satin, and stem stitches and French knots on plain weave foundation Label: linen embroidered with silk in cross, satin, and stem stitches and French knots, with watercolor paint

Nearly square sampler embroidered in soft shades of browns, blues, greens, and yellow on a natural linen ground. The field contains three alphabets, a set of numerals, a verse and inscription.  At the bottom, a view delicately rendered in embroidery and watercolor of the Charlestown Neck House. On three sides, a deep border of rose garlands caught up with bows of blue ribbon at the upper corners.

The verse reads: 
A Morning in Spring
Lo! the bright the rosy morning
Calls me forth to take the air
Cheerful spring with smiles returning
Ushers in the new-born year

Praise to thee thou great creator
Praise be thine from ev'ry tongue
Join my soul with evry creature
Join the univeral song

Wrought by Lucy D Stickney Charlestown November 16 1830  Aged 12
l’Entrée du Salon de treillage au Jardin de Mr. Le Comte de Morstein a Montrouge (Left Plate)
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Two plates printed on the same sheet, side by side. Both illustrating garden views featuring trellis/ lattice walls, niches, and arches with panels, finials, and other ornamental features. The left plate illustrates a gate with planting in the center and two figures near the open gate. The right plate illustrates a fountain with a circular basin and jet of water, planting, and figures throughout. The plates are signed.
Design for an Iron Banister
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron banister with decorative motifs including rosettes and acanthus scrolls at the terminus. The plate is numbered but not signed.
Study of man
Kenyon Cox, American, 1856–1919, ca. 1878
Brush and oil on wood panel
Painting

Partial sketch of a male figure in costume.
Jewelry Designs
Friedrich Jacob Morison, German, active 1693 – 1699, ca. 1700
Engraving on laid paper
Print

Designs for jewelry, including rings, seals, pendants, broaches, and hairpieces featuring scrolling leaves, flowers, hearts, a mascaron (mask), monogram (royal cipher), quiver of arrows, pearls, and jewels. The plate is signed and numbered.
Male Monkey, Straddling Frame in Prayer
Christophe Huet, French, 1695 – 1759, late 19th century
Brush and gouache over graphite on thin board
Drawing

A singerie, a work from the visual arts genre characterized by depictions of monkeys imitating human behavior, often fashionably attired. A male monkey is depicted in Rococo dress, consisting of red breeches, a green waistcoat, a yellow coat, and a grey wig. He appears in the center of the composition, in profile facing right against a peach-colored background. He straddles a portion of a blue-green-colored frame and raises his hands in prayer. Pink floral garlands and green leaves appear beneath him.
Escutcheon, No 10 from "Raccolta di varii cappriccii et nove inventioni di cartelle et ornamenti"
Stefano della Bella, Italian, 1610–1664, 1646
Etching on paper
Print

No. 11 of the same set as -10, "Raccolta di varii cappriccii," etc.
Design for a Frame or Cartouche
, 18th century
Etching on paper
Album of frames

Design for a frame or cartouche decorated with scrolling leaves, acanthus leaves, vases, flowers, flying putti, shells, diaper and floral pattern, and topped with a ship framed by a round cartouche.
Spoon with Bell-Shaped Bowl
J. M. van Kempen and Sons, founded 1835, 1853
silver
spoon

Bell-form shovel-like bowl twice stamped with scrolls divided by pierced central panel of scrolling foliate arabesques. Bowl with shaped, engraved flange border. Short, slightly curved handle engraved with foliate scrolls.
Candelabrum as part of a decoration
, 1480–1500
Pen, ink, brown watercolor, white heightening on red colored paper
Drawing

Vertical rectangle. Cut along the outlines of the drawing. Supported by a blossum and two lion feet. The lower part has the shape of a pedestal, shown from one corner, the plan being above angular, below circular. Rising rinceaux are in the panels, in tho
Project: A pulpit shown in profile
Carlo Fontana, Italian, 1634 - 1714, 1700–1750
Pen, ink, gray water, and color wash on paper
Drawing

A pulpit is shown in profile fastened to a pilaster and facing right. The lower part of the column stands in front of a pilaster strip at the left.
Design for a Bowl
, 1780–1820
Pen and ink, brush and watercolor on paper
Drawing

Elevation of a bowl with handles and gadrooning at the base.
Sampler
, ca. 1641
linen Technique: counted satin, hem and buttonhole stitches on plain weave

Alphabet and twelve cross borders in geometric and floral patterns.