biglam/cooper-hewitt-alt-text huggingface dataset:
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. rust color warp and gold color weft
b. rust color warp and gold color weft
c. rust color warp and blue weft
Sarong
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

A sarong with cream ground and highly conventionalized large-scale floral and foliate design in blue, white, and brown.
Fragment
, 19th century
linen Technique: bobbin lace (Lille-style with heavy outlining thread)

Fragment  of Lille style bobbin lace with slightly scalloped edge.
Fragments
, 17th century
silk, linen(?) Technique: combination of two structures

Probably fragments from a chasuble. Green selvage on A and B. Design of diagonal branches in yellow and tan.
Glass Beaker, from a Buen Retiro Porcelain Tea or Coffee Set
, ca. 1803
glass
See 1931-41-7-a/d

Beaker with flaring rim. Heavy channeled base surmounted by a facetted diamond-patterned band. On one side, engraved shield with letter C, floral sprays. On opposite side, a cherub drawn by two flying birds. Engraved rim with alternating group of 5 circular rounds and horizontal lozenge shape.  See also 1931-41-7-a/c.
The Proposal
Albrecht Dürer, German, 1471–1528, before 1495
Engraving on laid paper
Print

Exterior scene, with man and woman seated in foreground. At right, a horse is tied to a tree. Buildings are seen at left in background.
Fragment
A .G. Jennings & Sons, American, ca. 1884
cotton Technique: machine made lace

Edging lace in Mechlin-style with one scalloped border formed by flower.
Fragment
, 16th century
linen Technique: bobbin lace

Edging lace fragment with small points, each containing five radiating spokes.
Mourning Over the Dead Christ
, 1750–1800
Red chalk on paper
Drawing

Fragment with dead Christ's right arm being lifted by Mary Magdalen.  Other figures, including the Virgin, whose body supports Christ, in upper left corner.
Design of a Centerpiece
, 1827-1835
Pen and ink, brush with light blue, light brown washes, graphite on paper
drawing

Boys with raised arms support a basket standing on top of a column with a glass shaft. Two branches with sockets are fastened to the capital. Fastened to the shaft are a bowl, two stoppers, and a mustard bowl. Two glass bottles stand laterally in silver frames.
The Wedding Procession: Couple walking left, woman wearing a wreath
Hans Sebald Beham, German, 1500–1550, ca. 1545
Engraving on laid paper
Print

Vertical rectangle. At right, a peasant, facing slightly to left, makes a gesture with his left hand; with his right he grasps the wrist of the woman standing beside him.
Project for a Ceiling
, 1800–1830
Graphite, brush and ink on paper
Drawing

Angel flying in clouds with two figures blowing wind. A putto beside the cloud pours water from a jar. Framing pencil lines.
The Deposition
, 1840s
Wood engraving on paper
Print

Mary Magdalene kissing the hand of the lord whose head is held by the Virgin. St. John and two more women are present.
Textile
, 1800–1830
linen Technique: hand woven plain weave with supplementary weft patterning

Section of a white table napkin with a broad allover chevron and diamond pattern. Borders have rows of elongated hexagons. Narrow hand hem with linen thread on all sides.
The Lamentation
Albrecht Dürer, German, 1471–1528, ca. 1498
Woodcut on laid paper
Print

The body of Christ is seen in the foreground supported by St. John. The Virgin  kneels and holds His hand. Landscape background.
Fragment
, 17th century
silk Technique: float patterned 7&1 satin

Diagonal bands and lions rampant in yellow and blue. Selvedge on one side. Piece is cut as if for a chasuble.
Textile
, 1830–1840
cotton Technique: intaglio printed on plain weave

Pillar print with stylized Corinthian and Ionic capitals of flowers and leaves. An eagle in profile has a shield flag between outstretched wings.
Textile
, 19th century
linen Technique: knitted

Large, loose overblouse of patterned knitted lace. Trimmed at standing collar and cuffs of long sleeves with machine lace edging. Possibly a surplice.
Trimming
, 18th century
linen, silk, metal, chenille

Woven openwork band of linen cord wound with pink silk and edged with pink chenille. Multicolored silk floss flower cluster stitched on at intervals, each topped with a rosette of broad membrane strips wound with pink silk, with blue silk and metal flower in the middle.
Fragment
, 17th–18th century
silk Technique: cut and uncut supplementary warp pile in a plain weave foundation (velvet)

Blue-green detached leaf motifs on beige foundation.
Towel end
, 19th century
linen, cotton Technique: braiding

This fringe was probably cut from towels and was originally the ornamentation made by weaving and braiding the warp ends. Design of zigzags and rosettes.
Figure
, ca. 1840
composition board (possibly paper mache), molded & painted. Possible masonite base

Standing figure of young woman in greyish blue dress, on octagonal base. Pannier and skirt with ruffles. Jacket with white collar, two rows of buttons. Sleeves wide at cuffs, trimmed with lace. Coiffure with long curls at back, two brought forward. Yellow gloves. Flower at waist.
Textile
Louis-Marie Lanté, French, 1789–1871, ca. 1827
cotton Technique: printed by engraved roller on plain weave

Cotton length printed with four vignettes of groups of women in Norman costume with large headdresses. Floral sprays and the words Costumes Normands in the interstitial spaces.
Tile
, late 18th–early 19th century
Earthenware, glazed, high fire decorated

Fish swimming toward right.
Button
, late 19th–early 20th century
Ceramic, silver, glass

1959-66-297-b: On card 550;     1959-66-297-c: On card 550;     1959-66-297-d: On card 550;     1959-66-297-e: On card 550;     1959-66-297-f: On card 550;     1959-66-300-b: On card 550;     1959-66-300-c: On card 550;     1959-66-300-d: On card 550;     1959-66-300-e: On card 550;     1959-66-300-f: On card 550;     1959-66-306-b: On card 550;     1959-66-306-c: On card 550;     1959-66-306-d: On card 550;     1959-66-306-e: On card 550;     1959-66-306-f: On card 550
Table runner
Unknown, ca. 1910
cotton, silk embroidery Technique: embroidered on plain weave

Light brown table runner with a pair orange pinwheel-like flowers on pale green stems set with a geometrical framework. Geometrical pink flower head is in the center. Fringe on both ends.
George James Drummond's Room at Oxford, 1853
George Pyne, English, 1800 – 1884, 1853
Brush and watercolor, gouache, graphite on white wove paper
Drawing

In this view, one of two by the artist depicting an undergraduate's room at Oxford College (probably in Christ Church), bright sun entering through two windows on the right casts a shadow on the furniture. Between the windows, a rococo cabinet is placed above a book cabinet. A window seat, valance and curtains are upholstered in the same fabric. A partial view of another building at Oxford College is seen through the rightmost window.
Border
, 1872–1900
Machine-printed in oil colors with engraved copper rollers

Intaglio print or sanitary paper with alternating motifs of flowers on stems, narrow band at top and wider band across bottom. Printed in shades of brown on tan ground.
Basting spoon
Ebenezer Coker, British, active ca. 1738 - 1783, 1743
Molded, raised, and engraved silver

With ovoid bowl with arced stem and Old English curved handle engraved with initials.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache on paper, mounted on illustration board
Drawing

Design of concentric vertical rectangles in olive green, yellow, and pinks with a central floral motif with green.
Drawing Room
Unknown, English, ca. 1842
Brush and watercolor, white gouache on white paper
Drawing

This drawing room, typical of the early Victorian period, shows the intimate comfort of a well lived-in room.  The ladies of the house are about their pursuits; the gentleman attends his dog.  Pictures line the walls, and a piano, a large round center table, a vase of flowers, a bird in its cage, a curious stuffed leopard, and shelves of books create an atmosphere of quiet relaxation. Books hanging on the door of the room are a seldom-depicted feature.
Sauce tureen and lid
, 1760s–80s
Tin-glazed earthenware

Shaped ovoid tureen on three feet; stepped, domed cover with central knop; green and ochre decoration of birds, flowers and foliage.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache on paper, mounted on illustration board
Drawing

Design in vertical format of chartreuse and light blue geometric pattern.
Wild Goose Chase
Martha Brownlee, 1825–1850
cotton Technique: pieced and sewn patchwork of printed and unprinted plain weave fabrics
Patchwork quilt top

Patchwork quilt top in "Flying Geese" pattern in unbleached white cotton with roller-printed green cotton in a small-scale floral pattern. The white fabrics appear to be flour sacks or other wrapping fabrics, with fragments of printed text. 

W (on front) and YOMING (on back) in gold
FIN LONG CLO in blue and 36 YARDS on same square
E  TH in blue (forming FINE LONG CLOTH)
RAFT A in blue, type similar to FINE LONG CLOTH
G (on front)
Design for a Rectangular Dining Table on Ball-Shaped Feet
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular molded top with dividing stretcher running across center and acanthus-leaf motifs at corners, raised on support of  4 [3 shown] clustered columns, sitting atop molded base terminating in 4 [three shown] short splayed legs on ball-shaped feet.
Design for Four-Door Sideboard in Elevation and Plan
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Elevation view: oblong sideboard with tri-partite front on low conforming platform; at center front, 2 doors below 2 drawers, flanked by 2 fluted pilasters and a door topped with single drawer and with molded decorative panel at center; low back splash.
Plan view: shows oblong sideboard with rounded corners; indistinct sketch above probably meant to indicate dimensions of central front section.
Design for Lobby, Possibly the Ante Room to the Music Room
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and ink on paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. Perspective view of the end of a corridor, with a doorway on the wall facing the spectator, a section of another doorway at left, a long window at right. The wall covering: a bamboo in a geometric pattern. A marbleized dado; trellis design on cove of ceiling.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Border corner
, 1830–45
Block-printed

Border corner used for occasions when borders serve to outline panels or dados. Oak leaves and ribbon with bead molding. Printed in gray and pink on white ground.
Design for Wallpaper and Textile: Flowers and Birds
, 19th century
Brush and gouache on cream paper
Drawing

Branches with foliage, berries and birds perched and flying around them. Composition organized in a vertical oval shape.
Textile
, late 18th century
cotton Technique: mordant for 2 reds and purple applied by pen and brush; madder dyed; blue applied by brush; yellow applied over blue for green; chintz on plain weave

Grid of curving stems containing cartouches of dancing figures on a red background. Made for export to Thailand.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Large beaded quatrefoils with small five-petal flower motif and fleuron insets connected by larger fleurons. Printed in white liquid mica and gold liquid mica on pale blue ground.
Bottle
Grieksche A [de] (the Greek A Factory), Delft, Netherlands, founded 1658, 1678–1686
Tin-glazed earthenware

Twelve-faceted body with short square-sided neck on a 4-sided domed foot with knop; painted in underglaze blue on white with chinoiserie designs of flowers and birds, leaves, pseudo-Chinese characters in reserve on base.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

On tan ground, treillage in scrolls with large floral and scroll motifs at interstices composed of pink and white flowers.
Sidewall
S.A. Maxwell & Co., 1905–1915
Machine-printed paper, liquid mica

On dark gray ground, white scrollwork with some shaded branches.
Miser's purse
, early 19th century
silk, metal, glass beads Technique: beaded crochet

White crocheted net miser's purse with cut steel and gold colored beads; top of soft green satin with scalloped edge, ornamented with triangular groups of gold and white beads. Edged with gold beads and tipped with gold bells, which hang down over net section. With a gold bell at each end of the drawstring.
He Sat Still, Studying His Mother's Strong, Lined Face
Elizabeth Shippen Green, American, 1871–1954, 1913
Charcoal, brush and grey oil paint on paper, varnished and mounted on illustration board
Drawing

A young man is seated beside an elderly woman asleep on a sofa.
Miser's purse
, 1830–60
silk, glass beads, metal Technique: bead-linked mesh

Strings of tiny opalescent beads form a network of mesh.  A gold bead is centered at each intersection of the mesh.  Two honeycombed gold rings control side opening; two gold drops, also honeycombed, are at each end.
Frieze
William H. Gledhill, 1905–1915
Machine-printed paper

Borders printed two across the width. Alternating larger and smaller foliate medallions. Smaller medallion has surround of connected scrolls that enclose a fish-scale fill. Petite metallic gold scrolls along top, and gold beading at bottom. Printed in shades of blue, white, and metallic gold on blue ground.
Border
, 1825–40
Block-printed paper

This border consists of bands of varied patterns. At the bottom edge is a band of dentilling below a wave pattern, which in turn is below a narrow band of alternating X's and four-petalled flowers. The upper half of the border is occupied by two bands: a wider one of floral motifs on a lambrequin, and the top edging of a foliage background decorated with simple rosettes. Printed is blue, shades of yellow, apricot, black and brown. Printed highlights and shadows create a trompe l'oeil effect.
Pleated fan and case
, early 20th century
Silk net leaf embroidered with gold spangles, carved, pierced and gilded bone sticks, mother-of-pearl washer, gilt metal bail

Pleated fan. Gold net leaf heavily embroidered with variously shaped gold spangles. Carved, pierced and gilded bone sticks showing scrolls and flowers. Mother-of-pearl washer and gilt metal bail.
Frieze
LINCOLN, ca. 1800
Block-printed on handmade paper

Horizontal rectangle. Four bands of festooned roses and pink cord with simple edging designs at top and bottom. Across the face of "a" is written "J.B. Lincoln Hingham" in black ink; "b" has "J.B. Lincoln" written vertically in an upward direction. Joined sheets of paper. Printed in white, green, orange and pink on gray ground.
Sea Weed
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave
Sarong

Batik sarong in brown, pink, and dark blue. Dark blue seaweed pattern placed freely over the pink-brown ground in the body or 'badan' of the piece. The head or 'kepala' (broad band with different coloring and pattern than remainder) shows dark ground with floral pattern.
Plate VI, Design for Gentleman's Costume, Journal des Luxus und der Moden (Journal of Luxury and Fashions), Vol. 1, No. 2
Georg Melchior Kraus, German, 1737–1806, 1786
Engraving, hand-colored with brush and watercolor on cream paper
Print

Engraved, hand-colored fashion plate featuring a full-length figure of a man wearing a white wig, facing left in profile. He wears a purple coat and breeches with yellow trim, a white waistcoat with yellow trim, and a white cravat. His right arm is positioned across his body, with his right hand in his waistcoat pocket. He holds a black hat with white fringe under his left arm. Appeared in Journal des Luxus und der Moden (The Journal of Luxury and Fashions), Volume 1, No. 2, February 1786, after p. 96.
Sidewall - sample
, 1906–07
Machine-printed

Stylized tulips, printed in metallic tans, rust and green shades, alternating with small stylized gold floral motifs, on striped brown background.
Mounted Vase
, 18th century
porcelain, bronze, gold
vase

Large deep blue jar with high shoulders and a short neck. Base set in gilt bronze mount with six feet, decorated with ribbon-bound reeds and swags. Set in mouth is shallow gilt-bronze container with ribbon-bound leaf band, from which are suspended lambrequins and swags.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Small floral clusters tied with bow knot and connected by cord or ribbon.
Design for wallpaper and textiles, flowers
, 19th century
Brush and gouache on blue paper
Drawing

Cluster of white and yellow flowers with brown-orange foliage behind them at center of page. Four clusters of flowers surround central cluster, clockwise from top: small cluster of pink flowers facing right, cluster of white flowers facing downward, cluster of light purple flowers facing down and to the left, cluster of white flowers facing left. on blue ground.
Hounds at Play
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Graphite on paper
Drawing

Circular design for a ceramic plate with an ornamental border. Within the plate, two barking hounds, one standing on stairs. At left, a figure in a top hat peers from behind a wall.
Study of figure
Elihu Vedder, American, 1836 – 1923, ca. 1885
Pastel crayon on paper
Drawing

Head of a female figure, facing right in profile. Her left arm is also shown in detail, resting on a circular object.
Mackerel Cove
William Trost Richards, American, 1833–1905, 1877
Pen and black ink, brush and watercolor, gouache, crayon, traces of graphite on heavy gray wove paper
Drawing

At the left, a rugged, rocky hillside, studded with pine trees, slopes down toward an inlet that opens out to the ocean in right distance. A small gaff-rigged boat sails near a rocky outcropping in the center, middle-ground.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Several indistinct sketches. At left, a carrot.
Five of Diamonds
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Five of Diamonds playing card from a pack of transformation playing cards. Portrait of a pirate in profile, facing left. He has a large moustache, smokes an elaborate pipe and wears a hoop earring and hat. Red diamonds integrated into the design.
Plate IX, from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Lathe for making large wooden screws. A system of weight and pulleys controlled by the man's foot (height of screw), and hand (turning), center, works the machine. Description in Latin on verso of 1949-152-206.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on cream paper
Drawing

Cluster of flowers and foliage at center of page. Five purple flowers facing various directions, four green leaves facing various directions, three branches with white blossoms radiating from center, and three branches with pink blossoms and tuft-like foliage facing various directions.
Folding Spoon (Part of Traveling Cutlery Set)
, 1790–1800
steel, silver, gold
Folding spoon

Oval spoon bowl, flat curved neck. Handle attached to neck with a hinge, a small locket slips over the hinge. Handle flaring towards the end. Engraved floral decoration inlaid with gold leaves. Gold inlay inscription "Souvenir de Carlsbad " on the front side. Spoon bowl folds towards the handle.
Le Guet du Chien
Charles Francois Daubigny, 1817-1878, 1851
Etching in dark brown ink on paper
Print

A flock of grazing sheep, with a dog seated on a grassy hillock, at left, watching over them. A running dog is seen in the right distance.
Chintz fragment
, 18th century
cotton Technique: mordants for 2 reds, purple and black applied by pen and brush; madder dyed; blue applied by brush? chintz on plain weave

Curving stems with umbrella-like blossoms. Three pieces glued together. (chintz)
Bedcover
, late 18th century
silk Technique: embroidered in chain stitch

Bedcover embroidered in multicolored silk with a flowering tree in a field and floral vine border with birds. On a tobacco-brown ground.
Sampler
Briegitt Friederici, 1869
silk embroidery on wool foundation Technique: embroidered in cross stitch on plain weave foundation

Alphabets and numerals with crowned monograms at the bottom.
Textile
, late 17th century
wool on cotton Technique: crewel embroidery with knots, chain, stem, cross, back, running, roumanian, speckling buttonhole, daisy and thorn stitches with couching and laid stitches on a 2/1 twill foundation

Large panel of cream colored cotton embroidered in wool yarns in a large, dynamic pattern of vines and leaves in blues and greens. Each face of the twisted leaves has a different filling stitch.
The Death of Julius Caesar
Antonio Giuseppe Basoli, Italian, 1774–1843, 1800–20
Pen and black ink, gray, red, and yellow wash on white laid paper, laid down
Drawing

Brutus stands in profile in the right foreground over the dying Caesar to his left. Caesar shields his head with his tunic and lies before a classical statue representing Imperial Rome. A throng of angry senators are shown, with knives upraised and with fasces in the background. On the upper right, a plinth with S.P.Q.R. (in reverse) appears.
Textile
, 19th century
silk on linen Technique: embroidered

Long rectangular cover showing star-like pinwheels. Red silk on linen.
Landscape
, 1650-1700
Etching on paper
Print

Within a horizontal oval is a hilly landscape, with a bay in te middle and far distance. In the left foreground are two trees.
Sketchbook Page: Portrait of Man, Marionette Puppet
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: At right, portrait of a seated man with picture hung on wall in background, enframed. At left, oriented differently, sketch of hanging marionette puppet. 
Verso: Contour drawing of figure with anchor tied to ankle. Suitcase at right.
Sidewall
, 1840s
Machine-printed on machine-made paper

Alternating vignettes of Alpine village beneath tall mountains and river city.
Royal Institution, Albemarle Street, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Library room, windows at the right. Men are reading, choosing books, and conversing. Title, artists', and publisher's names below.
Rendering for Bliss Family Mausoleum
Hughson Hawley, American, 1850–1936, 1901
Brush and watercolor, graphite on heavy drawing board
Drawing

An octagonal domed mausoleum in the Renaissance style, stands on a terrace, approached by a wide flight of steps flanked by potted trees.
Fragment
, early 10th century
cotton Technique: warp-faced plain weave with warp ikat patterning, painting and gilding

Fragment of a fabric patterned by a group of fine light blue, ivory and light brown stripes alternating with a group of slightly wider ikat stripes either light blue and ivory. Part of a rectangular panel with a gilded Kufic inscription outlined in black. Warp fringe, about 3 1/2 inches long at the bottom.
Moulin de la Galette, Paris
Whitney Warren Jr., American, 1864–1943, April 1887
Brush and watercolor on paper
Drawing

View of the street and gateway of the Moulin de la Galette showing the windmill towers. Several "jeunes de joie" on their way in.
"He is the image of you"
Arthur Ignatius Keller, American, 1866–1924, ca. 1901
Brush and watercolor, gouache on illustration board
Drawing

A young man and woman are seated on the floor of an attic.  The man looks over her shoulder at a book in her lap.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on off-white paper
Drawing

Clusters of pink roses with stems and foliage outline an upside-down teardrop shape. In faded, lighter colors, white or yellow clusters of roses with stems and foliage are in background.
Spoon
, ca. 1675–1700
ivory

Integral. Elongated oval bowl, small rib reverse. Flat stem with feather ridges midway; spread oval terminal.