biglam/cooper-hewitt-alt-text huggingface dataset:
Button
, 19th century
Steel

1931-59-247: On card 6650;     1931-59-248: Octagonal button ornamented with gouges at edge an...;     1931-59-249-c: Flat buttons ornamented with eight pointed star wi...;     1931-59-250-b: Flat buttons with central knob and edges cut in fa...;     1931-59-251-c: Flat buttons ornamented near edge with ring of dot...;     1931-59-257-b: A) Flat button with bevelled edge and central, fac...;     1931-59-265-b: Component -a is on card 59
Component -b is on car...;     1931-59-270: On card 6650;     1931-59-271: On card 6650;     1931-59-272: On card 6650;     1931-59-273: On card 6650;     1931-59-274: On card 6650;     1931-59-276-b: Component -a is on card 59
Component -b is on car...;     1931-59-278: On card 6650;     1931-59-281-a,d: Components -b,-c,-e on card 59

Components -a, -...;     1931-59-295: On card 6650;     1931-59-297: On card 6650;     1931-59-298-a: On card 6650;     1931-59-298-b: On card 6650;     1931-59-299: On card 6650;     1931-59-328-a: flat, circular buttons with ornament representing ...;     1931-59-436: On card 6650;     1931-59-502: On card 6650;     1931-59-503: On card 6650;     1931-59-504: On card 6650;     1931-59-505: On card 6650;     1931-59-506: On card 6650;     1931-59-507: On card 6650;     1931-59-508: On card 6650;     1931-59-509: On card 6650;     1931-59-510-a: On card 6650;     1931-59-510-b: On card 6650;     1931-59-510-c: On card 6650;     1931-59-511: On card 6650;     1931-59-512-a/c: steel buttons with decoration in blue tinting - a/...;     1931-59-513: On card 6650;     1953-59-251-c: Flat buttons ornamented near edge with ring of dot...
Inkstand
Varages Pottery Factory, French, active 18th century, ca. 1770
Tin-glazed earthenware

Heart-shaped inkstand (a) with two cylindrical containers (b,c) at top left and right, and circular depression at bottom center; green foliage decoration throughout, figure in depression near point.
Button with Painted Lady and Dog
, late 18th century
porcelain, copper, glass, tin
button

Button showing a female figure in costume of late 18th century; covered with glass; mounted in copper rim; back with tin.

On card 69
Sidewall
, ca. 1800
Block printed on handmade paper

Pillar and arch design, featuring a memorial to George Washington. A bust of Washington is centered on a pyramid upon a pedestal. Trophies of war sit upon the plinth, including cannon cannon balls, drum, and flag. Many symbols of the Masons are contained in this design, including the all-seeing eye and the checkerboard floor. The pedestal sits between two columns. To the left are floral vines forming a pointed arch.
Miser's purse
, early 19th century
silk, metal Technique: beaded crochet

Crocheted miser's purse in dark brown silk with small gold colored beads. Two bars at the top with bell-shaped mother-of-pearl ends. Gold ring with open-work design to open and close. Bell-shaped mother-of-pearl drop at the bottom.
Bourges
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on blue-grey paper
Drawing

View from a window to a street corner, with store opposite, store name.
Album page

ne sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso
Oddington Church Yard, Gloucestershire, North East View
Unknown, English, 1843
Pen and black ink; brush and black and gray wash; graphite on cream wove paper
Drawing

View of one side of the church and part of the graveyard. Verso: in graphite: linear sketch of the centeral church tower
Frieze
Becker, Smith & Page, Inc., founded 1899, 1905–1915
Machine-printed paper

A repeating design of cartouches filled with bouquets of flowers interconnected by flowering vines upon a coffee brown blending into pale beige ground. Between borders of tan, yellow and green. Printed in celadon, forest green, yellow, ocher, brown, beige, white and pink.
The Union Cavalry and Artillery Starting in Pursuit of the Rebels up the Yorktown Turnpike
Winslow Homer, American, 1836–1910, May 17, 1862
Wood engraving in black ink on paper
Print

The Union Cavalry, mounted on their horses, charging up a road in pursuit of Confederate troops at Yorktown.
Ceiling paper
, 1905–1915
Machine-printed paper, ungrounded, applied mica flakes

Trellis form made up of cloud-like green and pink vines and scrolls outlined in red on a tan ground.
Sketchbook Page: Queen Venus Poem
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Page of poetry about the sea and the birth of Queen Venus.
Study of foliage
William Trost Richards, American, 1833–1905, 1865–1870
Graphite on paper
Drawing

Sketch of a tree with foliage.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Grid or trellis pattern formed by Eastlake-like flourishes. A square medallion with pointy projections on four sides contains a quatrefoil composed of a flower and four leaves which sits at each intersection in fills the voids. Printed in green and brown on a moire-patterned yellowish background.
The Statute Law, Study for Right Panel of "The Reign of Law," Frieze for Appellate Court, New York
Kenyon Cox, American, 1856–1919, 1898
Brush and oil, pen and red ink on canvas
Painting

The central alleogrical figure represents The State, robed and cronwed, pointing to the statue book. Her supporters hold the ballot box and the sword. The allegorical figures to either side represent Liberty and Force, the foundations of the state. Liberty is shown releasing birds from a cage. Force appears in an helmet, bearing a bough of oak. Wreaths with emblems in the corners.
Street Scene with Medieval Houses
Arnold William Brunner, American, 1857–1925, ca. 1885
Graphite, pen and ink, brush and watercolor on greyish paper
Drawing

Street scene with a wall enclosing the court of a medieval house with an open staircase and projecting ones. A woman is seen carrying a basket.
Border
, 16th–17th century
linen Technique: cut-fabric work with needle lace fillings

Wide scrolling floral center with a smaler scrolling band at the top and bottom.
Kain panjang (long sarong)
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Long batik sarong (kain panjang) in dark blue, light brown, and white. Dark blue ground showing numerous white dots known as "gabah sinawur" or 'grains of rice'. Also shows an all-over pattern of heraldic motifs "semen" (curling tendrils and other non-geometric forms) and "sawat" (wings and tail of Garuda, mount of Vishnu) as well as mountains .
Album page

One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso
Beaker
Isak Sauer, Swedish, 1718 - 1786, 1760
silver, gold
beaker

Tall flaring body with punched lambrequin motif above engraved shell and scroll band and initials E.H.S. Wavy relief band at top and bottom.  Flaring gadrooned foot, with traces of gilding. Interior gilded.
Coverlet fragment
, early 19th century
wool, cotton Technique: plain weave with supplementary weft patterning (overshot)

Squares with various geometric fillings formed by dark blue pattern wefts on a cloth ground of undyed cotton. Reversible.
Purse
, early 19th century
silk, metal Technique: beaded crochet

Small sac of dark red crocheted silk with gilt beads, with a ring of plain gold to open or close. Top finished with two gold bars with gold knobs, single gold drop at bottom.
Sidewall - sample
, 1907–08
Machine-printed

Stripe design; band of moire design alternating with band of solid blue-green.
Baseball Player
, ca. 1890
Silver-plated metal
Matchsafe

Oblong, with curved sides, slightly concave lid, slightly convex bottom, featuring large reserve with ragged edges, in the center of which is etched a baseball player at bat, a fence and tree in background. Lid features similar reserve with ragged edges in which is a baseball bat and ball. The reverse features a woven or mesh-like decoration with wavy lines and irregular reserve, in which is inscribed the name J.H. Eustace. Lid hinged on side. Striker on bottom.
Study of foliage
William Trost Richards, American, 1833–1905, ca. 1865
Graphite on paper
Drawing

Sketch of a tree with foliage.
Sampler
, 1712
silk embroidery on linen foundation Technique: embroidered in running, cross, buttonhole, chain, and wrapping stitches on plain weave foundation, edged with picots

Eight darning crosses; one set in patch; three repaired tears.
Head ornament
Tinfook, ca. 1890
Gold, jade, pearls; velvet-covered silk-lined case

with original box
Jug
, 1550–80
Glazed earthenware

Cylindrical, with cut slab handle running top to bottom on one side. Large all-over diamond-shaped motifs repeat around middle, narrow patterned bands at top and bottom. Buff clay with overglaze, painted green, blue, and terra-cotta.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, textured

Floral bouquet set within a foliate medallion. The medallions are connected by green floral swags. The background consists of a bold stripe pattern, printed in tan on beige ground.
Bishop with a Group of People
, 1650–80
Pen and black ink, brush and sepia wash on paper
Drawing

A bishop seated in a large chamber appears to be giving instruction to a group of people, including servers and acolytes gathered about him. The scene is framed by spiral columns and drapery with putti above.
Ceiling paper
, 1905–1915
Machine-printed paper

Grid or trellis pattern composed of scrolling acanthus foliage, having a square acanthus medallion at the intersection of lines. A floral sprig fills the center of each void. Printed in yellow and metallic gold on tan ground.
Plate 6, from Recueil d'ouvrages curieux de mathématique et de mécanique, ou description du cabinet de Monsieur Grollier de Servière
Etienne Joseph Daudet, French, 1672 - 1730, 1732
Engraving on paper
Print

A design for an urn, probably to be carried out in metal or ivory. The design is in ridges running vertically the height of the urn. The urn has three small legs at the base. Purpose unknown.
Carpet fragment
, 1880–1910
cotton Technique: machine made

Fragment in a pattern of varied stripes of geoemetric patterning in reds, browns, green, black and white.
dado
, 1800–1830
Block-printed on joined sheets of handmade paper

Brown floral/palmette motif with border; wave pattern at top and bottom edge, on off-white ground.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

On green ground, white scroll treillage with anthemion motifs composed of green rinceaux, scrolled white frames green and gold, and bouquet of cream flowers at center.
Plaque
, 17th century
Tortoiseshell, pewter, brass, bone

A. On a tortoise shell ground the Laocoon Group inlaid in pewter (bodies), brass (pedestal and snakes) and bone (drapery), engraved with hatchings and cross etchings. B. Frame with three undulating moldings. Brass suspension ring on back.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

On tan ground, treillage composed of fluffy scrolls in white, green, and pink, containing scrolled rounded crosses.
Textile
, early 19th century
cotton Technique: plain weave block printed in lapis technique; three different sets of blocks were used; blocks for outer edge of paisley border: 7 1/2 x 10 in.; blocks for inner edge of paisley border: 9 3/4 x 10 in. Blocks for field: 9 3/4 x 7 1/2 in. Label: block printed on cotton plain weave

Length of fabric with a deep border of paisley shapes and a field of smaller paisley shapes. The fabric is three directional.
Palampore
, mid-19th century
cotton Technique: mordant-painted, resist-dyed (chintz) and quilted

From a large mound, painted in shades of red, brown and black, rises a cluster of eight bamboos, which branch toward the sides and top.  Bamboos are twined with vines bearing flowers. From the corners of mound grow flowering trees in branches of which parakeets and squirrels disport themselves. The bamboo trunks are alternately red and brown. Most of flowers in shades of red except for a few large blossoms which are white, with veins of black, but tree trunks at sides are brown and foliage yellow-ish brown with dark brown veins. In upper branches, several large birds in black and brown, identified as babblers, and the parakeets are red, with tails in light and dark brown. In the mound, which is painted in detail in conventionalized paints and curves to suggest hillocks, ar eseveral large blossoms in red, one in browns, and groups of animals (deer?) in red.
The entire background is painted with a minute feathery pattern of foliage in a light yellowish-brown.  
A border, 17 1/2 inches wide, in formal design of flower garlands and ribbons, edges the entire quilt, except lower corners, left and right, where it has been cut away to fit a bed. Originally the border was painted in one with the main design, as seen at the bottom, but the cover has been shortened at top, thus clipping off the tips of the bamboos, and cut into at the sides. Where these alterations have taken place the border is sewn by hand to the body of the quilt.
Colors: two reds, dark and light brown, pale yellow-brown; remains of light blue in a few large flowers and a few border flowers, black.
Case from Traveling Cutlery Set
, 18th century or 19th century
sharkskin, silver, wood
case

Sharkskin case for two implements. Silver cap at tapered end. Silver mount with curved borders around rim with two octagonal openings to separate channels. Channels lined with soft, thin wood.
Textile
, ca. 1845
cotton Technique: printed by engraved roller on plain weave

In red on white foundation. Romantic scenes of three couples in lattice of scrolls and cartouche. If lengths were sewn together side-to-side, design would repeat as a half drop. About 1 inch of design on roller is missing.
Ersten Ausgab seines vorhabenden Wercks
Johann August Corvinus, German, 1683–1738, 1728–31
Engraving on cream laid paper
Print

Plate 1. Design for bedroom and elaborately carved and draped bed which is decorated with flaming hearts and topped with a crown above an escutchen. The room contains a table upon which an ornamental sculpture and a candlestick stands. A low section of grill work is at lower left.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

Scrolling foliate medallions with bright red accents. Printed in two shades of green, gray, and red on a very pale green ground.
Sidewall and border
, 1820–39
Block-printed and flocked on handmade paper

On tan ground, an irise or rainbow design of arabesque-style motifs shading from light blue-green to yellow to off-white; accompanying flocked two-banded border: clusters of white flowers and orange leaves below and alternating white and orange leaves and orange leaves above.
Chrysanthemum Pattern Mustard Spoon
Charles T. Grosjean, American, d. 1888, ca. 1880
gold plated, silver
spoon

Deep round gold plated bowl with spout. Tapered gold-plated neck, widening to silver handle of curving, ungulating shape, covered in a relief pattern of overlapping foliate scrolls and chrysanthemum buds, with engraved "B" in the central reserve in terminal. Rounded terminal, topped with chrysanthemum flower. Reverse side densley decorated with overlapping foliate scrolls and chrysanthemum buds.
Sidewall
F. E. James Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

Circular motifs connected by blue floral vining. Background of simplified spaced-out flowers. Ground is beige. Printed in blue, gold mica, silver mica, cream, and grey. 
Printed in selvedge: "The F. E. James Co. 270"
The Luxembourg Palace, Plate 31 of Vues Pittoresques de Principaux édifices de Paris
J. A. Campion, French, active 1750 - 1800, 1792
Engraving, brush and watercolor on paper
Print

View of the Palais du Luxemburg, from the right front, across the street. A few people and a man on horseback before it. Title, artists' and publisher's names below.
Sweetmeat glass
, ca. 1800–20
Glass

Deep flute-shpaed bowl, short tapered stem, slightly domed 8-sided foot; lip scalloped with fan cutting, below that cut drapery swags with narrow vertical flutes above and wider flutes below, foot cut with facets at edges
Border
, 1850
Block-printed paper, flocked

Grisaille laurel leaves, horizontal and overlapping, within a gilt-lined and beaded frame. Below, warm red flock strip, finished by a graded gray line.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

yellow roses in clusters at regualr intervals along length of a single stem. Narrow solid band or stripe at either edge of both borders. Printed in white, greens, cream, ivory, khaki, and brown. Two borders printed across the width.
Border
, 17th century
silk on linen Technique: embroidered

Long narrow border with a pattern of stylized plants at one edge in a row. In red silk on linen.
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile in a plain weave foundation (ciselé voided velvet)

Rows of diagonal motifs: one a lozenge with two vine appendages in green formed by cut velvet, the other a lozenge with vine scrolls in yellow green formed by the foundation fabric (voided velvet) on a green ground of uncut velvet. Diagonals reversed from row to row. Interspaces are filled with tiny diamonds.
Darning Sampler
, 1830
cotton, wool Technique: embroidered in running stitch (pattern darning) plus loop and twist on plain weave foundation

Twenty squares of darning in red, blue, and white.
Ceiling paper
Smith Campbell Co., 1905–1915
Machine-printed paper, liquid mica

Foliate scrolls and vines form a diamond diaper or grid pattern. Moire-like elements set within each diamond.
Ceiling Design for the Salone di Stupinigi (Main Hall of the Hunting Lodge)
Filippo Juvarra, Italian, 1678 - 1736, ca. 1730
Graphite, pen and brown ink on off-white Turin paper
Drawing

Ceiling decoration with sketches of figures, cartouches, and rounded designs.
Edging
, late 18th century
Technique: bobbin lace

Bobbin lace edge sample, wave band and blossom border; late 18th century Valenciennes
Study of Waves on Dark Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

View of ocean crashing against rock in left foreground and four layers of cliffs, at left.
Miniature brisé fan
, 19th century
Painted and gilded ivory sticks, paper ribbon, rivet set with a stone, gilt bail

Miniature brisé fan. Painted and gilded ivory sticks. Obverse: landscape with figures in tones of green and gold. Reverse: ruins in a landscape. Guards painted black, red and green. Paper ribbon. Rivet is set with a stone. Gilded metal bail.
Gloucester Harbor, from Harper's Weekly, September 27, 1873, p. 844
Winslow Homer, American, 1836–1910, September 27, 1873
Wood engraving in black ink on newsprint paper
Print

Horizontal view showing in the foreground seven boys sitting in and on dories moored side by side, while in the background a number of sailboats in full sail coursing through harbor.  Information from David Tatham's Winslow Homer and the Pictorial Press (Syracuse, NY: Syracuse University Press, 2003).
Fragment
, 19th century
silk on linen, mirrored glass Technique: ladder, buttonhole, surface, stem and satin stitch embroidery on plain weave

Red silk ground fabric pieced with red, yellow and blue cotton and embroidered with a design of stylized flowers and narrow borders.
Sidewall - fragment
, 1860–70
Machine-printed, glazed

Gray stripes on either side of wide oyster white band decorated with small clusters of darker gray flowers and pendant of green and gray, repeating vertically. Identical to 1907-33-1.
Archivolte et Imposte Composite. Balustre Corinthien. Balustre Toscan.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

From left to right, an archivolt and impost designed in the Composite order, with a scale bar of "2 Modules."; a baluster in the Corinthian order, with spiral fluting and acanthus leave; a baluster in the Tuscan order, with a smooth surface. The plate is signed and numbered.
Design for a Sepulchral Monument to King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The structure is on top of steps, the column standing upon a flat roof. Upon the entablature above the door stands a tablet in the shape of the elevation of a sarcophagus, intended for inscription. The correspondent lateral motifs are not clearly distinguishable. The band around the column and the group on top are similar to 1938-88-1329, the upper part of the cross is not visible. On the reverse are accounts.
Designs After Architecture
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including facades, pediments, aedicules, cartouches, and an arcade. Both plates are numbered, neither are signed.
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
bowl

Gold and blue rimmed bowl; at center, a view of a white brick palazzo, flanked by two towers, facing a garden with figures.
Escutcheon for a Coat-of-Arms
, 1600–1625
Charcoal, pen and ink, brush and watercolor on paper
Drawing

At center, a crowned escutcheon with pairs of putti and caryatids. On either side, figures in sculpture niches. Above, two floral vases.
Fragment
, 18th century
cotton Technique: plain weave; block printed using mordants and immersion dyeing

Poppy-like plants arranged in staggered rows on a red with white dotted background.
Sidewall
, 1920
Block-printed, flocked, embossed

Simulates a damask design drawn in a large scale. Rococo and acanthus leaf scrolls forming medallions which contain clusters of single roses of five or six petals. Wool flock design is on a field of fine embossed horizontal lines; red two-toned wool flock on glazed embossed field.
Woman
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Sketch of a female figure seated dressed in a gown with collar and hat.
Galerie métallique des grands hommes français (Great Men of France)
Armand-Auguste Caqué, French, 1793 - 1881, 1821
Cast bronze
Medal

Bust of Henri François d'Aguesseau (1668 -1751).
Frieze
, 1815–25
Block printed and flocked on handmade paper

Horizontal rectangle. Across top, border design of wreaths enclosing oak leaves, alternating with palmettes, printed in black and red on yellow field. Below, festoons of white roses held by violet tasseled cords, with embroidered net valance and, behind, festooned purple velvet edged with black meander, printed on blue ground.
View of Cartago, Colombia
Frederic Edwin Church, American, 1826–1900, July 23, 1853
Graphite, brush and oxidized white gouache on tan wove paper
Drawing

Landscape sketch showing view of Colombian city of Cartago in a valley bounded by tall mountains. A road winds through hills in the foreground, with wooden structures visible lower right. Plantain farm next to road at center. In middle distance, various structures of the city spread across the flat land. Beyond, the plain extends to the feet of tall mountains, which make up background.
Fragment
, late 18th century
silk Technique: satin weave with supplementary warp pile (velvet), warp-printed

Fragment of a ribbon with a wide velvet center, warp-printed with simple simple profiles of French kings within medallions labelled with Roman numerals. Bordered by narrow vertical stripes of shaded rose at the sides.
Collar
, 19th century
cotton Technique: bobbin lace, peasant style

Peasant-style lace.