biglam/cooper-hewitt-alt-text huggingface dataset:
Lithophane of David and King Saul
, 1825–1900
biscuit
lithophane

Vertical rectangle with impressed design showing a robed figure with dagger drawn, lamp in left hand. At right, a kneeling man. Background is a wall with man in armor standing within a niche.
Fragments
, 17th century
silk, metallic Technique: plain weave with discontinuous supplementary weft

Small scale all-over repeat of ovals inside diamond shapes in white and silver.
Embossed wool
, late 18th century
wool Technique: "moreen"

Two pieces of stamped wool of type called "moreen" in light faded coral colors. All-over floral design, natural size. B) Shows original color, two selvages present.
Fragment
, 16th century
silk Technique: 5-harness broken satin plus 1/4 twill

Dark yellow-green damask with medium-sized tangent ogives in horizontal rows with stylized symmetrical vase-and-flower motif in center of each.
Key
, 1725–50
Chiselled iron

Below is a baluster, upon which two leaf scrolls stand laterally.  Scrolls which are below leaves stand upon them.  The scrolls are connected below by a clasp, above by scrolls hanging from a crown on top.  A calyx stand upon the clasp.
Angelic Figure
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Angelic figure with drapery, flying upward toward the left, arms stretched ahead.
Border
, 18th century
linen Technique: cutwork, needle made fillings, embroidery

Long narrow border with the lower edge embroidered in a small scale flower design in a symmetrical arrangement. Squares of cutwork with needle lace fillings are at two-inch intervals. Edges of border above and below have circles of cutwork. Lower edge trimmed with narrow bobbin lace.
Drunken Silenus
Jusepe de Ribera, Spanish, active Italy, 1591 – 1652, 1628
etching on laid paper
Print

Horizontal rectangle. Silenus reclines on the ground in front of a vat filled with grapes. At left are two satyrs: one places a crown of leaves on the head of Silenus; the other fills his cup with wine.
Fringe
, 17th century
silk Technique: woven

Pink fringe with a plain-woven heading and thread skirt.
Border
, 18th–19th century
linen Technique: bobbin lace, Mechlin style

Border, linen, bobbin lace, Mechlin. Fond: Vrai Droschel. Pattern of floral sprays. Modes: Réseau mouche.
Designs for Memorial Plaques
John La Farge, American, 1835–1910, 1880–1900
Graphite and watercolor on paper
Drawing

Three projects for trefoil arched memorial plaques. Center (B) completed, shows a tree-of-life motif; left (A) in graphite only, showing three vertical panels; right (C) blank, showing outline only.
Edge
, 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Band with a design of chinoiserie-inspired structures as well as birds, butterflies and foliated branches.
Plate
, 18th–mid-19th century

Embossed and floral borders, "As he grew in strength..."
Album of Ornament Prints: Cartouches, Trophies, Vases, Tables
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Album

Album of ornament prints from various series of designs after J.B. Turreau (Toro). Some series are incomplete. The designs include ornamental motifs, cartouches, trophies, vases, and tables. Many plates are signed.
Table runner
Unknown, ca. 1912
cotton Technique: embroidered on plain weave

Long rectangular white table runner with an embroidered geometrical pattern of green and orange squares and triangles outlined in black stem stitch.
Design for Rolling Serving Table with Three Trays
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Trolley-like serving table on wheels in three-quarter view; three stacked trays, the middle one smaller; handles attached to back of uppermost tray; bottom tray has pair of bicycle wheels attached at front and pair smaller wheels attached at back; long "S"-shaped steering handle attached to lowest tray and extends to just below top tray.
Fitted Case for Six Cloisonne Enamel Spoons
Theodore B. Starr, ca. 1890
leather, velvet, silk, brass
case

case (g): rectangular hinged leather case with silk(?) and velvet-lined interior with six slots for spoons. Exterior stamped with gilt borders and applied with two gilt metal sliding clasp mechanisms, locks.
Border
, 1840–1900
Block-printed

Black lace-like edging with blue, red and brown flowers. Printed on a red ground.
Sidewall
, ca. 1880
Machine printed on paper

Aesthetic all-over pattern with stylized bunches of peony flowers; single-motif diamond-shaped repeat in off-set columns; negative ground speckled with irregularly-sized dots; color scheme of gold on dark yellow.
One of a Pair of Covered Confinement Cups
, ca. 1760
lead glass
drinking glass and cover

2021-9-10-a,b: A pair of covered bell-shaped glasses wheel-engrav...;     2021-9-9,10: A pair of covered bell-shaped glasses wheel-engrav...;     2021-9-9-a,b: A pair of covered bell-shaped glasses wheel-engrav...
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller on plain weave

Seven pieces, same design, different colors. A) Ground printed by "molette" in diamond-shaped design of stripes composed of minute dots in pale blue. Flower clusters in rose and dull greens, printed over background. B) Grey ground and flowers, strong green leaves. C) Grey ground, flowers old rose with green foliage. D) Grey ground, blue flowers, grey foliage. E) grey ground, grey flowers, blue-green foliage. F) lighter grey ground, flowers with strong green foliage. G) Greey ground, blue flowers, green foliage.
Purse
, 1830–60
silk, glass beads, steel Technique: beaded netting

Small shaped purse in an open netting with green, black and gold-colored glass beads, fitted into a plain steel frame.
Pillow cover
, 17th century
linen, silk Technique: plain weave embroidered with withdrawn element work

Woven linen pillow cover showing an allover diamond pattern with dark yellow and blue embroidery.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene of three figures before a seaport.  Man at left in striped turban and coat with red pants, holding a hat in one hand and a staff in the other. He speaks to a standing bare-breasted woman in a white skirt with a child tied to her back and carrying a package on her head. A second woman is seated on the right offering a piece of fruit to the child.
Band
, 1000–1450 (crossed out and marked 'Wari')
linen warp, wool weft Technique: slit tapestry, double faced, wefts perpendicular to warp; sides intact, and ends cut

Narrow band, linen warps and wool wefts in slit tapestry. Dark red background with repeated design unit of stepped cross within stepped diamond shape in yellow, black and red.
Standing Cup Bowl
David Bridge, British, active 1886 – 1897, 17th century
silver
cup

A) egg-shaped bowl and B) cpver from stemmed cup; all-over repousse pineapple pattern.  Bent spikey forms at base and at top where finial with four spiky leaf-like forms joins cover.
Border
, 1820–35
Block-printed and flocked on paper

Flocked rinceau pattern on a wavy background.  Cable molding.  Band of gadrooning motifs and flowers.  Bottom of border has heavy pigment loss but possible egg and dart motif.  Printed in orange, shades of yellow and brown.

H# 318
Bookmark
Phoenix Silk Manufacturing Company, 1893
silk, paper Technique: jacquard woven

Bookmark with writing at top, eagle and flags in the center and a view of Machinery Hall at the bottom. Paper wrapper accompanies bookmark. Woven for the Columbian Exposition of 1893.
Quick Study of Waves on Rocks and Tall Dark Cliffs
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Choppy waves breaking against rocks in right foreground. Behind rocks, at right, cliffs in three sections stretch back towards horizon.
Landscape, Silberhorn, Lauterbrunnen, Switzerland
William Trost Richards, American, 1833–1905, August 4, 1867
Graphite on paper
Drawing

Sketch of a landscape with figures on a path overlooking a ridge and mountains in the background.
The Beneficence of the Law, Design for Mural at Essex County Court House, Newark, New Jersey
Kenyon Cox, American, 1856–1919, ca. 1906
Brush and oil, pen and blue ink, graphite on canvas
Drawing

The figure of Law, with an open book in her lap and a scepter in her left hand, is seated before a curved group of four columns. Peace sits at right with an olive branch, and Justice floats above to the left, holding scales. Below, a half-nude woman gives fruits to cherubs, symbolizing prosperity. Grid for transfer indicated.
Border
, 18th century
linen Technique: needle lace

Border of Point d'Alençon edged on one side by small-scale floral sprays with dots of semé de larmes (sewn with tears).
Academic Study of a Cast of a Bust of a Roman Senator
Giuseppe Longhi, Italian, 1766–1831, 1790–1830
Black and white chalk on brown paper
Drawing

A bust of a bearded Senator is turned one-quarter to his left. His shoulders are indicated in light outline only.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite, charcoal, brush and wash on paper
Drawing

Sketch of a forest beside a pond.
Button
, ca. 1780
Ivory, metal foil, gilt metal, pewter, glass

Four buttons depicting a young woman catching a bird, from bird call to bird cage, all in carved ivory over a colored foil ground.
Study for "Moulin Huet Bay, Guernsey"
William Trost Richards, American, 1833–1905, 1897
Brush and watercolor, graphite on paper
Drawing

View from beach looking toward the sea, with steep cliffs at left receding into the distance. Waves lap against boulder at lower right and onto small stretch of beach at lower left.
Sampler
Mary Mumford, 1738–39
silk on linen Technique: embroidered in cross, satin and eye stitches on plain weave foundation. Counted stitches.

Two alphabets, curving floral band and text: "Fear God and keep his laws and commandments/ Fame, honours and renown/ will the ingenious crown."  Signed "Mary Mumford her sampler aged 8 years and 8 months Jan the 2517389."
Design for a Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gold gouache, watercolor, graphite on cream paper
Drawing

Decoration for plate with rounded corners. Border of plate consists of light green ground featuring pink blossoms with darker green leaves; rimmed with gold.
Border
, 1700–1750
linen Technique: needle lace, 6-sided reworked grounds

Border with medallions containing alternating motifs of a man in Chinese dress, a bird, floral spray and an urn.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Printed two across. Stylized floral medallions alternating large and small. Vertical band behind each medallion. Printed in metallic green, red, olive green on gray/beige ground.
Ewer
, early 19th century
Glass

Tall ovoid body on flat circular stepped base, tapered neck, scalloped lip with pouring spout, loop handle notched for thumb; bottom of vase has deep cut radiating flutes, alternate ones with small diamonds, sides cut with alternate vertical pillar and diamond flutes, neck with same, horizontal.
Sample book
Jacquemart & Bénard, France, 1822–30
Block-printed, gilded, flocked, handmade paper

Volume contains 1,361 woodblock printed samples, 93 leaves. Designs include textile imitations, florals, geometrics, fancy gimps. Swatches detail the company's production from 1822-30.
Band
, 19th century
linen Technique: machine made

Band with large blossom forming tabs in red, blue and natural linen.
Textile
, late 15th–early 16th century
linen, silk Technique: woven

Orphrey with a design of angels bearing a crown.
Decorative panel
Jules Desfossé, French, active 1851 - 1863, 1856–57
Block-printed paper

Urn of flowers sitting on vine-covered pedestal. Burgundy cameo in base. Printed on wood grain ground.
Waves Breaking on Tall Dark Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Sketch of waves and two levels of tall, dark cliffs at right,. Sun coming through clouds above cliffs, at center. Small sketch at bottom of page below image, possibly brief study of mountain, and miscellaneous pen marks in margin below image.
Sidewall
, 1830–50
Block-printed, machine-made paper, distemper colors

Floral stripe design. Wide bands of floral bouquets and vining florwers alternating with small floral motifs and stippled band. Printed on white satin or polished ground.
Textile
, ca. 1785
cotton Technique: copperplate printed

Copperplate print in brown on white. Statue of Shakespeare, on base of which is a medallion of Garrick (1717-1779). A flying muse places crown of stars on Shakespeare's head. Putti carry medallion portraits of Mrs. Siddons and other actors. Weeping putto at base of status holds books inscribed with names of Shakespeare's tragedies. All elements connected by meandering garlands.
Beadwork panel
, 1696
beads, linen Technique: beads strung according to pattern on linen cord one row at a time, then anchored with red silk around the cord and between each row

Three panels originally made as sides for a beadwork box. The box would have needed several other panels and would have had an irregular shape. The shape of Panel A is a combination of a rectangle and trapezoid. The design is of the sacred monogram IHS surmounted by a cross and 1696 and is surrounded with a ring of flowers.
Border
, late 19th century
cotton Technique: supplementary weft pile in a plain weave foundation (velveteen)

Part of a border of a table cover. In blue and green pile a design of palmettes and other Empire motifs.
Farmhouse of H. P. Bottom Near Rousseau's Position
Harry Fenn, American, 1845–1911, 1884-88
Pen and ink on illustration board
Drawing

View of a Dutch farmhouse with a white picket fence
goblet
, early–mid-18th century
glass

Clear glass goblet.  Vessel is inverted bell shape with etched decoration.
Kashmir Design
, ca. 1875
Woodcut on paper
Print

Allover design of bands composed of semicircles and squares filled in with blue, red, white, and yellow floral patterns. Staggered rhomboids colored with stripes on black ground with diagonal stripes.
Waistcoat pocket
, late 18th century
silk Technique: embroidered on taffeta

Front corner of a waistcoat showing a beekeeper in multicolored silk on an ivory ground. Two buttonholes on the left side.
Fruit Platter (One of a Pair)
Longton Hall Porcelain Manufactory, English, 1749 – 1760, 1755–1760
soft paste porcelain, vitreous enamel
platter

Oval platter with undulating edges and molded grape vine form. Small molded shells at four sides. Purple enamel at rim. Painted peacock at center.
Leinster House, Dublin
James Malton, English, 1761 - 1803, 1792
Aquatint, brush and watercolor on paper
Print

Façade of a Palladian palace, with dependencies beyond. Figures, one on horseback in the foreground. Below, title, artist's and publisher's names and the date.
Door knocker
, 16th century
Bronze

Door knocker. Plate in the form of a grotesque face. Handle is a bird with outstretched wings.
Album page

One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso.
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1906–1907
Machine-printed paper

Crown frieze containing floral arch of roses and daisies intertwined with foliage and grape vine. A background of crisscross fine lines. Printed in shades of red, green, beige, brown, white and yellow.
Faneuil Hall, Boston
, ca. 1910
Plated metal
Matchsafe

Rectangular, curved corners, featuring raised decoration of 3/4 view of 3-storied building, with consecutive arched windows, pediment, and spire, inscribed "Faneuil Hall, Boston, Mass.", reverse features obelisk, inscribed "Bunker Hill Monument, Boston, Mass." Both front and reverse decoration on metal panels that may be removed or exchanged. Lid hinged on side. Striker on bottom.
Sidewall
Jeffrey & Co., 1836–1930 London, England, 1875–1900
Block-printed paper, embossed

Striped floral with ellipses and posies. Printed in chartreuse, coral, peach and white.
Sketch of Cliffs and Ocean
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Rough sketch of choppy sea in foreground, cliffs at right.
Beaker with Water Birds (One of a Pair)
Meissen Porcelain Manufactory, German, active from 1710 to the present, late 18th century
hard paste porcelain, vitreous enamel, gold
beaker

Beaker in the form first made in 1737 -1740 for the Swan Service. Painted decoration shows a bird in flight and a house on the shore.
Two of Diamonds
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Two of Diamonds playing card from a pack of transformation playing cards. Vertically, two child figures on a seesaw balanced on a log. Boy at top wears a top hat and is smiling, a red diamond incorporated into his torso. Boy at bottom appears afraid, red diamond integrated into his bag.
Textile
, early 19th century
cotton Technique: printed by engraved roller on plain weave (red and black), block printed on plain weave (yellow), painted (blue/green)

Half-drop repeat of large blossoms in profile on a red background. Outlines of pattern are black. Yellow (and therefore green) very faded. The edges of fabric do not line up with a pattern axis.
Sketchbook Page: Statue on Pedestal
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Sketch of a sculpture of a standing figure on a pedestal.
Frieze
E.V.K., 1905–1915
Machine-printed paper

Very stylized floral motifs arising from urn. In between urns are scrolling acanthus leaves and Queen Anne's Lace. Printed in burgundy, metallic gold and green on a background that shades from light pink to deep red.
The Roosevelt
William H. Mairs and Company, Brooklyn, New York, ca. 1905
Machine-printed on ingrain paper
Sidewall

Damask-type design. Printed in cranberry color on red ingrain paper.
Design for a Pitcher
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Design of a pitcher decorated with white and pink blossoms with brown and tan leaves, one branch reaches the lower part of the body; upper rim is covered in dark brown and then with gold decoration of circles with dots inside.
Urn
Longton Hall Porcelain Manufactory, English, 1749 – 1760, ca. 1755
soft paste porcelain, vitreous enamel
urn

1992-5-5-a,b: Campana urn form with spreading circular foot.  Ra...
Cravat end
, mid–late 16th century
linen Technique: needle lace

Large collar and pair of cuffs. Needle lace, Flat Point de Venise, in all-over branching floral pattern, connected by bride picotées. Portes throughout.
Plate 28, from Neüw Grotteßken Buch (New Grotesque Book)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

Ornamental cartouche composed of auricular, cartilage-like form in a heart shape, surmounted by a half-length female winged figure. At either side, similar forms of volute shape rest on a grasshopper, left, and a tortoise, right.
Dark Landscape with Trees and Dramatic Clouds, probably Newport
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Field with grass in foreground, stand of dark trees at left-center and in center distance. In sky at right, break in clouds reveals bright sky.
Sample book
, 19th century
silk samples, paper book Technique: stencil-resist dyed

Twenty-four double leaves, uncut, on the outer pages of which are mounted rectangles of silk with stencil-resist patterns, six to a page. First leaf marbled in red, blue and gray and inscribed. Patterns labeled in Japanese. Impressed cardboard cover, green silk thread binding.
Fragment
, 17th century
silk Technique: 4&1 satin damask

Cartouches containing birds and plants. Selvage at right side.
Trophy with Implements of the Hunt, Plate 5 from "Suite de Trophées de chasse," Suite VI
Etienne Claude Voysard, French, 1746 - 1812, 1778
Engraving on paper
Print

A boar's head and hunting horn, with other implements of the hunt and flower garlands form a trophy. Below, engraver's and designer's names. From: "Suite de Trophées de chasse," suite VI, planche 5.
Under Horseshoe Falls, Niagara River, Canada
Frederic Edwin Church, American, 1826–1900, possibly 1858
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing a view of Horseshoe Falls on the Niagara River, from the lowered perspective on the Canadian bank. Water cascades in tumultuous ribbons over the edge of the concave falls, which curve into the distance at right and curve back at left, and sends up a towering plume of mist. In the foreground, nearby rocks are visible at right, while the white, churning water of the river is shown at left.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1896–1903
Brush and gouache on paper
Drawing

On black ground, framed in green, white tulips along edges and grouping of tulips upper and lower.
Fragment
, early 17th century
linen Technique: applique and embroidery

Light brown rectangular fragment with a conventionalized design of a bird with a leaf and foliated floral forms.
Trimming
, 1800–1810
silk Technique: woven

Yellow, white and brown trimming fragment in a design of an open flower alternating with lozenges decorated in scroll pattern.
Orizaba, Mexico
Frederic Edwin Church, American, 1826–1900, December 1883
Graphite on light green paper; verso: graphite
Drawing

Landscape sketch showing a view of Orizaba, Mexico and the nearby mountain range known as Sierra Negra, viewed from beside the Rio Orizaba. In the foreground, the roof of a house and vegetation surrounding the river are visible. Other houses and town buildings extend through the middle distance, where the square belltower of the Orizaba Cathedral rises above the other structures. In the background at left, two sharp peaks of the Sierra Negra steeply descend toward the center, where other distant mountains are visible along the horizon. The sharp mountain visible at center right is known as Cerro Tia Simona.

Verso: Landscape sketch showing a loosely rendered view from Mexico of a hill with bushes, in the middle distance at center, and a far-off mountain range, in the background at right.
Design for the Wall Decoration for Marie-Antoinette's Apartment at Fontainebleau Palace
Jean-Siméon Rousseau, 1747 – 1820, ca. 1780
Pen and black ink, brush and watercolor, white gouache on off-white paper
Drawing

An elevation of a wall.  At the center, an arch rising from a dado, is flanked by two folding doors with decorative panels.  The arch is lined inside by a draped curtain.  A chandelier is suspended at the center of the arch.  A panel with a painting is placed above each door.  The scenes in the paintings show Prudence and Justice.
L’Amant Fidel
François-Thomas Mondon, French, 1709 – 1755, after 1736
Etching on laid paper
Print

A print from a series of seven designs for rococo ornament and vignettes. Within a garden landscape a man and woman seated, with a dog. The woman holding a parasol, with trees in the background. To their left a rocaille ornamented garden wall, featuring an arch, acanthus leaf, shell, palmette and c-scroll motifs, and flowers with a vase and basket of flowers above the arch. The plate is titled, signed, and numbered.
Title page of a book
Giuseppe Barberi, Italian, 1746–1809, October 1796
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Two standing women, the left one of whom represents Mathematics. The right one, Painting, supports an ovoidal half-length portrait of a cardinal in front of a column. A dove carrying an olive branch stands on top of the column. An inscription is intended for its oblong pedestal. The setting shows the interior of a hall. The design is placed into the upper right part of the sheet, its left part being drawn over a part of a sketch showing Architecture holding the portrait in her left arm. Colored background.
Textile
, 17th century
silk Technique: plain satin, corded silk

A red satin fragment with heart-shaped motifs, stylized flowers, and scrolls.