biglam/cooper-hewitt-alt-text huggingface dataset:
Teapot and cover
, ca. 1800
Enameled and gilt tôle, wicker

Oval, with straight spout and shaped handle. Brown field, with decoration in gilt of festooned foliage. Contains muslin bag for tea leaves.
Teapot
Joseph Angell II, English, 1816 – 1891, 1852
silver, gold, ebony
teapot

Ogival footed silver teapot with hinged lid; pointed handle with ebony insulator strips; elongated spout; conical lid with pointed knob. Engraved with plant forms in cartouche-like areas. Gilt interior.
Sleeve
Unknown, 1836–40
silk Technique: compound weave printed by engraved roller

1960-81-2-d: Sleeve of a dress of printed silk fabric, ivory wi...;     1960-81-2-e: Sleeve of a dress of printed silk fabric, ivory wi...
Tsuba
, early 19th century
Metal, gilding

Surface: MigakiShape: Nade kakuWorkmanship: Kin nunomeDetails: Hitsu: Ryo; sashi ura, han-getsu kei; sashi omote, suhama.Seppadai: Migaki.Mimi: Kaku koniku.Design: Omote: No isho (No play pattern.)Ura: Matsu-ba (Pine-needles.)???
Fragments
, 1775–95
cotton Technique: printed by engraved plate on plain weave

Two fragments showing couples in amorous scenes. In brown on white.
SUITE DE CHEMINÉES DE DIFFÉRENTES FORMES dans le Goût Antique Composées et Gravées par Le Canu
A. Le Canu, French, active 1746 – 1768, 1768
Album

An album of designs for chimneypieces decorated with neo-classical motifs. The plates are titled, numbered, and signed.
Textile
George Washington, American, 1732–1799, 1876
cotton Technique: printed

Commemorative fragment has small offset medallions in a scalloped oval frame containing the portrait of George Washington. Printed on a natural-colored ground, these scalloped medallions have very fine dark branches that radiate outward from each frame.
Album of Prints: Berlines by Janel and Two Other Coaches
Janel, French, active 18th century, 1760-1790
Album

Album of prints containing cahier E (6 prints) from a series of coaches designed by Janel in the second half of the eighteenth century. The album also contains two coaches by an anonymous artist.
Silenus
Minton and Company, British, 1793 - 1968, ca. 1840
Glazed stoneware
Jug

The dark green version of this pattern was issued in 1831 as model number 19.  While many companies produced versions of the "Silenus" jug, the dark green color is unique to Minton.
Button
, 1801–50
Cut Steel

A & B) decorated with engraving and punch work; C) is dish-shaped with facetted bass in center; D) has beveled rim and shallow central depression; E) has scalloped edge with two rings of pierced decoration.

On card 65
Four Continents
Johannes Meyer, 1655 - 1712, 1701–50
glass
Standing cup

Standing cup with medallions of two continents between scrollwork. Europe, crowned, holding scepter and shield with Habsburg coat of arms; attributes: horse, helmet, and banners (after an engraving by Johannes Meyer), printed on a New Year's broadside, "Geographia," for 1706 issued by the Burgerliche Bibliotec, Zurich; Africa, holding tambourine and parasol, attended by buffalo and crocodile. Baluster stem with knob: foot cut and engraved with strapwork.
Tassel
, 17th century
linen Technique: braided and knotted

White linen tassel with long braided stem attached to a pear-shaped base. Core is braided over with linen yarns worked in groups of seven for a basket-weave effect. Around the base hang tiny braided balls and from the bottom hang a few clusters of the tiny braided balls.
Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1662
Engraving on laid paper
Album

This group includes the orginal suite of fourteen plates, including title plate and dedication plate, an additional two plates numbered 15 and 16, and a two-page spread with a portrait of Brisville.
Folding Knife with Gold Plated Silver Handle From Traveling Cutlery Set
, ca. 1827
steel, gold plated silver, brass
knife

Leaf-shaped blade folds into flat, straight-sided handle with rounded end. Silver gilt handle engraved with floral pattern and decorative border. Three brass riverts.
Border
, 1750–99
linen, cotton Technique: bobbin lace made in Lille style with heavy outlining thread

Border of Lille-style lace with stylized floral sprays in a repeat pattern.
Frieze
, 1905–1915
Machine-printed paper

Mission/art nouveau styleStylized tulips, alternating betwen group of three and a single larger tulip. The flowers all shade from light to dark red. They are printed on a strie-like background, with burgundy fills at the bottom. Printed two across.
Side Wall with Doorway
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink and watercolors on wove paper
Drawing

Elevation of a wall with double doors center.  Blue panels with classical motifs above and on either side.
Sampler
Marthe Henry, 1803
silk, wool and linen embroidery on linen foundation Technique: counted cross stitch on plain weave foundation

Two religious verses (The Apostle's Creed and the Lord's Prayer) in French within a border of reversing strawberries.  Band of reversing grapevines at the bottom.
Textile
, 1800–1850
silk Technique: twill weave with continuous supplementary weft patterning Label: silk twill weave with continuous supplementary weft patterning

Pattern of horizontal rows of floral botehs in multicolor on blue ground
Knife
, early 18th century
Steel, horn, gilding

1985-103-283-d: Sabre-shaped blade, the shoulder etched and gilded...;     1985-103-283-e: Sabre-shaped blade, the shoulder etched and gilded...;     1985-103-283-f: Sabre-shaped blade, the shoulder etched and gilded...;     1985-103-283-g: Sabre-shaped blade, the shoulder etched and gilded...;     1985-103-283-h: Sabre-shaped blade, the shoulder etched and gilded...
Jenny Lind Paper Doll Costume, Vielka from the opera "Vielka"
Jenny Lind, Swedish, 1820–1887, ca. 1850
Lithograph on white wove paper
Print

Paper doll costume for the figure of Jenny Lind representing the character Vielka from the opera Vielka.  
Designed to be placed over the doll.
Frieze
York Card & Paper Co., 1891, 1900
Machine-printed

Large lily flanked by fleur-de-lys; leaves and scrolls. Greens and dark red on strie ground, over-printed with pale green at bottom of design.
Sidewall - sample
, 1907–08
Machine-printed

Large medallion with floral bouquet center, set within diaper pattern. Printed in green, pink and metallic gold on dark ground.
Sampler
, 18th century
cotton and linen embroidery on cotton foundation Technique: embroidered in satin, stem, and cross stitches on plain weave foundation

Eighty squares of pattern.
Purse
, 1855–65
silk, metal, glass and ceramic beads Technique: beaded crochet

Large bag of solid beadwork, with a multi-colored floral wreath on each side. Silver-gilt clasp and chain; lined with silk crepe.
Sampler
, 18th century
silk on linen Technique: embroidered on plain weave

Unfinished sampler with many small areas of geometric, figural and bird motifs in multicolored silk on linen.
Design for a Sugar Bowl
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Design for a sugar bowl with two looped handles; lid has a linked finial. Bowl's rim is scalloped; large pink peonies (flowers) against gold and green ground. In graphite, three tableware designs with numbers and Japanese characters.
Swainsonia Violacea, Plate LXIX from Edward George Henderson's "The Illustrated Bouquet"
E. G. Henderson and Son, English, ca. 1859 - 1886, ca. 1857–1864
Chromolithograph on paper
Print

Swainsonia Violacea, Plate LXIX from Edward George Henderson's "The Illustrated Bouquet."
Sidewall
, 1835–45
Block-printed on machine-made paper

Elaborate cartouches enclosing scenes of mounted hunter and dogs pursuing deer.
Study of "Fortune"
Elihu Vedder, American, 1836 – 1923, ca. 1899
Pastel crayon on paper
Drawing

The lower section of a woman's figure, a long section of drapery swirling about her and extending beneath her feet.
Sketchbook Page: Theater Set Designs
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Two theater set designs, one on top of the other. Verso: Verse ending in: "Ay, here's the spring-Bright Venus he may / guide!"
Sidewall
, 1860–1870
Machine-printed paper

Four rectangular landscapes depicting pastoral scenes of figures, horses, cows and dogs. The frames simulate grained molding. Between each frame is a rosette. All frames are heavily highlighted and shaded. The scenes are divided in alternating rows of two each.
Borders
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1900
Machine-printed paper

Two identical borders (to be cut). Clusters and garlands of pink roses surrounded by white lacy garlands on white net; ground shaded from drab to pale yellow.
Tray
Edward Barton, British, active London, England, 1821- ca. 1838, 1823
silver
tray

Broad cast ornamental border bearing marks, and figures and animals of ten classical hunt scenes among flowers and foliations. Four foliated feet terminate in dolphins' heads. Scroll and floral chasing. Engraved with impaled arms, crest, motto, ribbon and supporters of Fuller.
Fragment
, 13th century
silk on linen Technique: counted running stitch on plain weave

Fragment with an embroidered inscription in red that repeats the word "Vigorous."
Sidewall
M.H. Birge & Sons Co., 1834, 1892–1900
Machine-printed on paper

On textured paper, deep turquoise ground, and patterned stripe of small figures in lighter blue. Dominant pattern: foliate arabesques in shades of gold and yellow. Printed in margin: "Process patented July 19, 1892."
Optical Toy: "Mount Vesuvius"
William Spooner, England, active 1830 – 1854, ca. 1838
Lithograph, brush and watercolor on paper with embossed gold paper strips
Print

View looking across the Bay of Naples, with Vesuvius in the distance. When held to the light Vesuvius is seen erupting at night. Below, title and: "Sketched from the Representation of the Volcano at the Surrey Zoological Gardens". Names of publisher and artist below.
Design for a Sofa in the Gothic Revival Style
Augustus Charles Pugin, French, active Great Britain, ca. 1762–1832, ca. 1830
Blue, brown, yellow watercolor, graphite Support: thick white wove paper
Drawing

Couch in Gothic Revival Style, tan wood,rosettes on legs, Gothic design on apron around the seat; upholstered in blue with a roll and a pillow.
Sidewall
, 1840–45
Block printed on paper

Random landscape scenes or vignettes of village life in sepia and chalk. A young girl returns from a journey, village women wash their clothes in a small stream and boys investigate a rabbit cage. Trees and buildings in background. Drop match.
Fragment
, 300–100 BC
wool Technique: embroidered in stem stitch on plain weave

Flying or floating masked human figure holding a wand or a fan and a trophy head.  Embroidered in strong colors of deep brown, tobacco brown, blue, red, and ochre.
Textile
, ca. 1805
cotton Technique: block printed on plain weave

Design shows diamond shaped frame with pseudo-Egyptian hieroglyphics and figures in medallions. Three pseudo-Egyptian animal gods appear within the diamond shapes. The colors - yellow, tan, brown, deep pink, and red - are overprinted on pink, light-blue, deeper blue, green, and gray.  Hieroglyphics and frame are printed in black over a yellow background. In one medallion, kneeling female figure before animal-headed statue is against blue ground, very unevenly applied - possibly by hand. Green is made by printing blue over yellow.  Left selvage present and shows three blue threads.
Angel
Louise Howland King Cox, American, 1865–1945, ca. 1895–1910
Brush and watercolor, white gouache, graphite on cream paper
Drawing

Angel facing front, in red-orange robe. Head indicated only through graphite sketch.
Scarf sample
, mid-19th century
silk Technique: printed on plain weave

Quarter of a printed scarf in blue on white ground. Rounded border with a pendant of chysanthemums crossing it, forming a corner.
Morpeth, Northumberland, from the Liber Studiorum
James Mallord William Turner, British, 1775–1851, 1809
Mezzotint and etching on white paper
Print

Morpeth North[umberland] depicts a town street crossing a stone bridge. In the distance is a ruined square tower on a hill. In the right foreground, workmen plaster the end wall of a house.
Waistcoat
, early 18th century
linen Technique: embroidery and drawnwork

An incomplete waistcoat, formerly with sleeves, of white linen with broad borders of embroidery and drawnwork in white. Pocket flaps and cuffs are separate.
Matchsafe with Chrysanthemums and Butterfly
, late 19th century
brass, silver, copper
matchsafe

Oblong, curved sides and corners, featuring raised ornament of chrysanthemum flowers and foliage, some leaves highlighted with silver and copper, a single butterfly on lid, variation of floral ornament on reverse. Lid hinged on side. Oval shaped striker on bottom.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint verre fixeé, ivory (backing), glass, gilt metal

Circular form with painted scene depicting light skinned woman on left in white, low cut bodice with mid-length, ruffled sleeves, loose white overskirt, longer light blue underskirt, barefeet, white scarf on head, and long, tied black ribbon around her neck. She lifts skirts slightly while gazing at black man to her right; he wears short orange and brown skirt, possibly feathered, with brown strap draped diagonally across his bare chest and tall, orange feathered headdress. His left hand is on his hip while he points downward with his right hand as he gestures to the lighter skinned woman. Behind him to the right are two black women: one wears long orange, white, and black vertically striped skirt, scarf with black and orange stripes, draped head scarf with orange stripes, and gold beaded choker around neck; second woman at extreme right with her back turned to viewer wears long gold, white, and black vertically striped skirt, orange and white scarf draped over shoulders, white blouse with 3/4 length sleeves, tall orange and white turban on her head, and white pendant earrings; both women gaze at the other two figures. Landscape of palms and other plant life in background, as well as indigenous architecture at rear left. Sky painted in pale blue and orange tones. Painting protected by domed glass and framed in gilded metal. Plain metal loop attached to center of reverse side.
Sidewall
, 1880–89
Block-printed on embossed paper

Damask pattern in cream and beige over gold background on textured paper.
Sidewall
, 1780–1810
Block-printed

1968-85-1-a,b: Grisaille paper, white and black pattern on gray. ...;     1968-85-2-a/c: Grisaille wallpaper with attached border. Wallpape...
Doorway—Venice
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Sketch of door and doorway.
The Assassination of the Duke of Buckingham by Felton
Frederick Coffay Yohn, American, 1875–1933, 1900
Brush and black, grey and white oil on canvas
Drawing

Surrounded by a group of astonished courtiers, the Duke of Buckingham slumps to the ground before a curtain.
Ceiling paper
William H. Mairs and Company, Brooklyn, New York, 1905–1915
Machine-printed paper, liquid mica

All-over pattern of medium-sized leafy vine motif. Printed in blue-grey and metallic gold on light blue-green ground.
Waistcoat, uncut
, 1750–1800
silk Technique: embroidered in chain stitch on taffeta

Cream-white taffeta embroidered in colored silks for the front of a waistcoat. Design includes roses, flower sprays and sprigs. Embroidered areas included the design for the front of the coat and three-point pockets. Style is cutaway with no collar.
Fragment
, 16th–17th century
silk Technique: cut supplementary warp pile (velvet) in a satin foundation

Wedge-shaped fragment (stole end?) of dark green cut velvet in a design of palmettes and leafy sprigs.
Decanter and stopper
, ca. 1820–30
Glass

3-part mold blown (very hard to see), bulbous body with central panel in alternate section of vertical fluting and diamonds, fluting above and below 3 triple neck rings, wide lip, molded fluted bulls-eye stopper; pontil mark on bottom.
Fire in London, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Four story building in flames, right, next to the Thames. Fire engines in the foreground and arriving from the bridge at left. Title, artists', and publisher's names below.
Sampler
Rafayla Flores, early 19th century
silk on linen Technique: plain weave foundation with cross, back, knot, double running, satin stitches, and withdrawn element work

Bands of pattern in solid embroidery and in withdrawn element work, with spot motifs, in many colors on a white ground.
Seascape with Sun Breaking through Clouds
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View of ocean from beach with waves coming up on shore.
Fragment
, 17th century
linen Technique: damask

Damask with a stylized floral border surrounding three horizontal rows containing Biblical scenes. The top row has three repeats of the Ascension along the text, "Jesus schwingt die Virges Sohn." The middle row depicts two men flanking a tree with the text, "Simon Petrus" written above. On the bottom row is a city scene with the word "Jerusalem" written above.
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape with connections)

Leaf forms in alternating directions.
Pedestal Designs
Gilles-Marie Oppenord, French, 1672–1742, 1737–38
Etching and engraving on laid paper
Print

Four pedestal (plinth) designs (half views) featuring rococo and classical motifs - masks (mascarons), acanthus leaves, ribbons, scale pattern, fluting, s-scrolls, egg and dart running pattern, fleurons, and shells. The plate is numbered and signed.
Design for the letter S of a primer: Satan
Victor Vincent Adam, French, 1801 – 1866, ca. 1830
Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper.
Drawing

Letter above, flanked by intertwining rinceau.
Sunrise on a Bridge
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

A birds-eye view of a bridge will only a few pedestrians crossing in either direction. This early morning scene captures the sunrise that is gently waking up the land with its pastel yellow light.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Incised line, pen and ink, brush and white gouache on glazed tracing paper
Drawing

A slightly undulated bough with a cluster of flowers, three leaves and a blossom over a stripe. Somewhat over two repeats are shown.
Design for a Diadem
, early 19th century
Pen and ink, brush and sepia wash on light brown paper
Drawing

Jewelry design for a diadem (small crown or tiara). Above a band are two bigger and, outside, two smaller volutes, with the scrolls bending upwards; those are connected by chains with 5 and 3 round diamonds respectively. On the cusps, ovoid diamonds on feet. In the spherical triangles of the intervals, a big round diamond surrounded by smaller ones. Upon the band and the volutes are rows of diamonds.
Designs for Friezes
Pierre Germain, French, 1703 - 1783, 1751
Engraving on laid paper
Print

Rocaille design for four friezes with ornament motifs including scrolling acanthus leaves, scallop shells, branches, torches, ribbons, dolphins, and bow and arrow. The plate is signed.
Decorated Capital Letter H
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter H before St. Helen, kneeling with the Cross.
Studies of the Virgin Mary and a Standing Man
Gugliemo Cortese, 1628 – 1679, ca. 1660
Red, white, and black chalk on gray paper
Drawing

Vertical composition of the Virgin Mary and a standing man. Recto: A kneeling woman turn to the right, shown obliquely from the front. Below, horizontally, a three quarter figure of a man shown in profile from the right back. Verso: Horizontal. In mountainous country, possibly a battle of Alexander the Great with the Persians.
Design for Overmirror Decoration for the Noble Cabinet, Palazzo Altieri
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

An inner circular frame is rectangularly framed. In the center stands an old bearded man, with a bunch of branches in his left hand. On top are probably two bunches of ears of grain. From a bowknot at left hang, laterally, an ax and a mace (?), a basin, at right a wreath, two weapons or tools, and a pitcher. Below are more objects. On the reverse are two drawings referring to the construction of conches, an obelisk, and "6 3 4 1/2". (RB '45)

Blank roundel, flanked by grotesques, for the decoration above the mirror, noble cabinet, Palazzo Altieri. (PDM '91)
Galerie métallique des grands hommes français (Great Men of France)
Jacques-Édouard Gatteaux, French, 1788 - 1881, 1825
Cast bronze
Medal

Bust of Jean-Dominique, comte de Cassini (1748 - 1845), to the right.
Stage Design, Interior of Hall in Antique Style
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of hall decorated in the antique style with elaborate friezes and decorated ceiling.
Fragment
, early 18th century
silk Technique: compound satin weave

Closely-spaced, conventionalized floral design in gray warp satin with green and white silk wefts.
Button
, 1871–1914
Brass,silver plate

Component -a is on card H
Component -b is on card i
Component -c on card 57
Lamentation over Christ
Francesco Saverio Mergolo, Italian, 1746–1786, ca. 1800
Pen and brown ink, brush and wash, black chalk on off-white laid paper, laid down
Drawing

Vertically arranged figure group. In the center, Virgin Mary cradles Jesus' body. Joseph stands on the left with his arms outstretched and several angels fly overhead.
Armoire à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a double door armoire decorated with ornament motifs including bound leaf, acanthus leaf, egg and dart, a mascaron, a rosette, and crossed cornucopia. The plate is signed.
Maple Top on Road to Jackson, New Hampshire
Daniel Huntington, American, 1816–1906, September 11, 1854
Graphite, black crayon, white chalk on brown paper
Drawing

View into the top of a maple tree. Top of a dead pine, left, and a birch, right foreground.
Woman
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Recto: Sketch of a female figure; Verso: Sketch of a male figure in profile.
Rampe et pallier de lintendance
Jean Lamour, French, 1698–1771, 1759–68
Etching and engraving on laid paper
Print

Four sections of a decorative wrought iron banister and balustrade for a landing, with rococo ornament and motifs, including acanthus leaves, palmettes, fleurons, shells, and c-scrolls. The plate is signed and titled.
Two Panel Designs
Bellay, French, active from 1734, ca.1734-49
Etching and engraving on laid paper
Print

Two designs for ornamental panels printed on the same plate, side-by-side. The designs feature rococo and chinoiserie motifs with ornately decorated frames featuring leaves, c-scrolls, feathers, shells, rinceaux, cartouches, bells, fleurons, a bow and quiver of arrows, and vases. In the center of each panel are figures within fantastical landscapes. To the left, a man sits crossed legged on a river bend with canopies and a fantastical monument behind him. To the right, two figures sitting on the platforms/ steps stemming from the borders, one of them holding an axe, with a bird flying above. The plate is signed.
Console table
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Design for a Console Table.
Heur et Malheur (Happiness and Woe)
Raymond Gayrard, French, 1777 - 1858, early 19th century
Cast silver
Token

Octagonal gambling token. Obverse shows the double bust of young Janus. Inscription: HEUR ET MALHEUR (happiness and woe) / GAYRARD-F. Reverse shows Aurora.