biglam/cooper-hewitt-alt-text huggingface dataset:
Coverlet fragment
, 19th century
linen warp, wool and cotton weft Technique: plain weave with supplementary weft patterning (overshot)

Fragment of traditional woven coverlet with an overall grid of varied supplementary weft patterns in red, grey and dark blue.
Textile
, late 18th–early 19th century
cotton Technique: stencil resist (katazome) on plain weave

Flat all-over design of large compound flower-heads and various small leaves in golden tan, white, and blue on blue ground. Breadth with two plain selvedges.
Portrait of Sir Herbert von Herkomer
Sir Herbert von Herkomer, 1849 - 1914, 1879
Etching on paper
Print

Head portrait of the artist, his gaze directed forward, head tilted slightly to the left. Lower left, a remarque of two children, one embracing the other. Sitter's name below and at top, publisher's name.
Border fragment
, 3rd–4th century
Warp; S-spun linen. Weft: S-spun linen, S-spun wools Technique: slit tapestry

Border of overlapping leaves.
Fringe
, 17th century
silver foil on a silk core Technique: woven

Silver fringe with a plain-woven heading and a skirt of twisted loops.
Clouds on a Blue Sky
Walter Clark, American, 1848–1917, ca. 1885
Pastel on grey paper
pastel

Blue sky is shown with white clouds.
Fragment
, 16th–18th century
silk Technique: woven

Red and white bands of Kufic inscriptions and arabesques. Very abraded.
Fragment
, 1750–1800
silk Technique: compound weave with discontinuous supplementary weft (brocaded)

Fragment has umbrella shaped flowers and leaves in greens, blues, reds, and browns on a patterned white background.
Punch
, late 19th century
Painted wood, cotton, other materials
Hand puppet

A red-faced, long-nosed man in brown flannel peaked cap, brown coat, blue and brown shirt, plaid trousers and black boots. Lace at the neck.
Edge
, 18th century
Technique: bobbin lace (Valenciennes ground)

Narrow border in small scaled floral pattern.
Portrait of Laevinus Torrentius, Bishop of Antwerp
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a fur collar. Below, his escutcheon and motto, and inscription.
Cap
, 9th–12th century
linen, silk, wool Technique: embroidered and quilted plain weave

Skull cap with flat circular crown, band around the head, of double thickness of undyed linen with embroidered, couched, and quilted decoration. Diamonds around headband with various fillings in forms of herringbone stitch; double guard strips at top and bottom enclosing what may be Islamic inscriptions. Crown divided into four irregular squares containing illegible motifs in forms of herringbone. In natural and blue linen, blue and yellow, pink silk thread; thick bunches of black silk floss caught down by linen thread around borders and crossing crown of hat.
Lithophane of a Domestic Scene
, 1825–1900
biscuit
lithophane

Vertical rectangle with impressed view of an interior with family group of four figures, the mother seated in a ladder-back chair at right.
Fragments
, mid- 18th century
silk Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Fragments of woven brocade showing flower stalks on lattice in navy, pale blue and cream.
Ewer
Ansbach Pottery and Porcelain Factory, active 1708–1860, ca. 1750
Tin-glazed earthenware, pewter
ewer

Jug on a spreading circular foot mounted on a pewter ring. The body is bulbous, with a tall neck showing horizontal ribbing, terminating in a flaring mouth and open spout. Braided loop handle. Creamy- white crackled glaze, with underglaze blue and green decoration showing flowers and clustered dots. Flat gadrooned cover mounted on handle.
Cover
, 16th–17th century
linen Technique: withdrawn element work

Oblong table cover of white linen with a band of cutwork used as a border. Edged with narrow needle lace worked in small points.
Raccolta di teste
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1757
Etching on white laid paper
Print

Man in a turban with full beard, full face, looking right
Six Landscape Studies, New Milford
Leon Dabo, American, 1868–1960, ca. 1890
Pen and black ink, graphite on paper
Drawing

Six studies of heavily wooded landscapes. Lower left, an open quarry with figures and horse-drawn wagon. Lower right, a woodland stream.
Textile
, 9th century
cotton, silk Technique: circular textile, appliqué

Large rounded applique in cream and two shades of blue. Border design includes stylized forms and small discs, one of which retains red color. Center medallion is blue with pattern suggesting leaves or wings reserved in cream ground; plus remains of inserts of white, blue and red silk are visible.
Textile
, 11th–13th century
wool Technique: slit tapestry: use of nonhorizontal weft, wrapping of single warps for verticals

On brown linen warps, two rows of abstracted small birds in profile. In pink, magenta, purple, ochre and brown on mustart ground.
The Grand Staircase, Palazzo Contarini
Francis Hopkinson Smith, American, 1838–1915, ca. 1890
Charcoal, brush and wash on paper
Drawing

View of the staircase with the garden wall in the background. A part of the wall is shown in the left foreground
St. James's Palace
Ernest Clifford Peixotto, American, 1869–1940, 1899
Brush and grey and black watercolor on paper
Drawing

The palace is seen in the background. Houses, left and right, in the foreground. Pedestrians, hansom cabs in the street between them.
Earring
, ca. 1840–50
pinchbeck

Earrings in design of rosette with two cone-shaped six-sided pendants.
Fragment
, 18th century
linen Technique: bobbin lace, Lille-style with heavy outlining thread

Lille-style fragment with a conventionalized pattern of large curving leaves and small flowers. Narrow edging sewed to either end of the fragment.
Panel
, late 19th century
cotton, mercerized cotton Technique: cotton machine net embroidered in mercerized cotton

Design showing Columbus at the Court of Spain and three borders representing architectural mouldings.
Textile
, mid-18th century
cotton Technique: block-printed resist, vat-dyed in indigo on plain weave

Curving stripes with flame-like flowers. In blue on white.
A Salon in a Residence of the Duke of Leuchtenberg
Otto Wagner, German, 1803 – 1861, 1850
Brush and watercolor, gouache on paper
Drawing

This large salon is sparsely furnished in the Biedermeier style. Atop the blond wood secretary is a gilt bronze lyre clock, flanked by classical busts. The upholstered banquette-and-matching-wall covering is a device used by Leo von Klenze, architect, and originally by his mentor, Schinkel. Mid-century porcelains, placed on Empire consoles, are reflected in tall mirrors. A great porcelain stove at right is partially concealed by a needlepoint fire screen.

The portrait on the center wall (upper row, second from left)  probably depicts of Eugene de Beauharnais, son of Josephine.
Dinner Knife with Green-Stained Ivory Handle
, late 18th century
green-stained ivory, steel, silver
knife

Part of a set of knives and forks (1959-56-1-a/f). Knife (b): tapering, green-stained ivory handle with beaded silver cap terminal and ferrule and steel blade.
Pillow case
Unknown, ca. 1910
linen, cotton Technique: embroidered on plain weave

Light brown pillow case has a trio of stylized oval forms topped with plume-like clusters embroidered in black, orange, dark yellow, blue, green, and brown.
Rangoon
Francis. J. Emery, English, ca. 1878–85
Glazed earthenware with transfer-printed decoration
Plate

Six-sided form with circular caveto, the cream-colored ground with brown transfer-printed decoration of three birds in flight among a tree and flowers, above a geometric-patterned band and a section with flower decoration.
Design for Rectangular Table on Carved Animal Paw Feet
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Large molded rectangular table top with dividing stretcher running across center, raised on plain straight columnar support with molded double band around bottom, sitting atop "X"-shaped molded base terminating in 4 molded and carved animal-paw feet.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Design in square filled with tan leaf scrolls with small green leaves, framed by mosaic-like border in tan.
Candelabrum
Pierre-Philippe Thomire, French, 1751 - 1843, 1815–25
Gilt and patinated bronze

1999-15-1,2: A standing female figure of patinated bronze suppo...;     1999-15-1: A standing female figure of patinated bronze suppo...;     1999-15-2: A standing female figure of patinated bronze suppo...
Sidewall
, ca. 1800
Block-printed on handmade paper

A diamond trellis or plaid design, with floral rosettes at the intersection of the finer lines. (a) is very abraded with almost no pigment (other than white) remaining. Printed in white, black and green on a gray ground.
Table round
Unknown, ca. 1910
linen, cotton Technique: stenciled and embroidered on plain weave, crocheted border

Light brown table round with a wide painted border in dark green with black embroidered lines that suggest moving water. Within this border is a random arrangement of painted orange toadstools outlined with orange stem stitches and filled with multicolored knot stitches. Toadstool stem in reserve and outlined in black. Crocheted border.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Three-quarter-length sketch of a female figure standing, facing right. Emphasis is on the draped sleeve of her costume. At right, a study of  folded hands.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Guidelines in graphite are visible on the page with the diamond bisected horizontally and vertically. On light blue and white vertically striped ground. Blue leaves in center diamond with yellow stems and centers, all facing different directions. Each leaf has two smaller light blue leaves at its base.
Collar
, 16th–17th century
Technique: embroidered

Embroidered collar for religious garment mounted on light blue silk with a dark green velvet border.
Design for main entrance door for the Bankers' Trust Company, New York, NY
Christian Francis Rosborg, 1881 – 1953, 1922
Graphite, brush and watercolor, gold tempera on illustration board
Drawing

Elevation of design for main entrance to the bank building. A pair of bronze doors surmounted by grille panels, enclosed within a monumental stone frame composed of classical motifs and borders. A projecting entablature above with a clock supported by two winged figures. Lettered, lower center: MAIN-ENTRANCE.DOOR / FOR. THE . / BANKERS' . TRUST. COMPANY. / No 501-Fifth Ave-N.Y. Inscribed in lower right: C. F. Rosborg. and . / Montague. Flagg. Archts. / No 42-E. 57th St. N.Y.
Textile
, early 19th century
cotton Technique: printed on plain weave; mauve.

Seven allegorical scenes, architecture, trees, floral motifs. Printed in mauve.
Sketches of Mouldings on Capitals
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Acanthus lead motif in capitals, left, and moulding, right, with colors marked.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a satin foundation

Small fragment of red cut and uncut velvet on a white satin ground in a pattern of flowers, rosettes, leafy sprigs and rampant animals.
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed
Scenic

In sepia tones. Plain gray panel with no printed or painted design.
Sampler
, 19th century
cotton, glass beads Technique: withdrawn element work on plain weave foundation

Unfinished sampler with five withdrawn element patterns in white, beadwork, and needle lace edge.
The Discovery of America, plate 1 from the "Nova Reperta" (New Inventions of Modern Times)
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590
Engraving on laid paper
Print

Amerigo Vespucci is seen standing holding a banner and sextant, conversing with a nude indigenous woman seated in a hammock. Animals and cannibals in the distance; a ship at the left. Inscribed below: AMERICA (Americen Americus retexit -- Semel vocavit in de semper excitam)
A Lady Greeting a Gentleman
, 1820–30
Silver leaf, etched, and black paint on glass
Silhouette

A lady greets a gentleman who bows, hat in hand, under a spreading tree.  A small dog sits on a chair under the tree, left.
Sketch of Horizon for Seascape
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Box with horizon line, small beginnings of sky detain at left horizon, unfinished.
Stained glass: hall window
John C. Wolf, 1890–1900
Brush and watercolor, white gouache, graphite on illustration board
Drawing

Oval stained glass window composed of vegetal design in blue, yellow, pink, and red, surrounded by green frame.
Sidewall
, 1804
Block printed on handmade paper

Lattice work in diamond diaper pattern with white lacy bands edged with deep red, on yellow ground séme with red crosses and white dots. Workbook, inside, loose title page signed "M. Warren", and 34 pages of exercises in arithmetic.
Fragment
, 17th century
linen Technique: needle lace

Fragment with a fine blossom and vine pattern and slightly raised three-dimensional details. Pattern areas connected by brides with wheels and picots.
Salesman's sample book
, 19th century
leather, paper, wool, cotton Technique: plain and twill weave, some printed

Red, straight-grained Morocco leather portfolio with gilt stamped edges and lettering; green Morocco leather lining; accordion-pleated structure containing 14 panels with 10 samples on each panel and  a top panel of red straight-grained Morocco leather; 16 panels of 10 samples each on other side. Samples are plain and twill weave wool, wool and cotton twills, cotton cloths and twills; some sized and printed with fine check print.
Okitsu River, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print in colored ink on paper
Print

Two wrestlers crossing the stream, one in litter and one mounted. Left, rocks and pine trees in a marsh. Sea seen in distance with sails of boats.
Panel
, 17th century
silk and linen on linen Technique: embroidered on plain weave

Panel of linen divided into squares by bands of drawn-work; each square ornamented by drawn-work and embroidery in red silk. Toggles of red and yellow silk are fastened at the edge of the pillow cover by braided ornaments of yellow silk. Stitches using silk: back for linear pattern. Withdrawn element work with overcasting and interlacing using silk.
Fan leaf
, 18th century
linen Technique: embroidered with deflected element work with overcasting and looping, buttonhole, overcast cord, stem, satin, chain, looping, darning, surface satin, and herringbone stitches on plain weave

Fan leaf. Linen embroidered in white on white in the Swiss Appenzell style. A pastoral scene with a shepherd tending a flock of sheep, in front of a barn and a tree. Flanked by large cornucopias from which spill floral sprays in scrolling patterns, birds and two large praying mantises.
Textile
, ca. 1820
cotton Technique: roller and block printed

Meandering vine pattern with floral springs in red, blue and light brown on a beige ground.
Textile
, ca. 1790
cotton Technique: block printed

Sprigs of red and blue flowers scattered over a ground print of fine foliage patterns densely drawn in brown on a black ground. Right selvedge intact.
Soupe à trois sous
James McNeill Whistler, American, 1834–1903, ca. 1859
Etching and drypoint on Japanese paper
Print

A scene in a restaurant or inn in which five men are seated at tables, a gas fixture above illuminates the scene.
Opera Dress
Rudolph Ackermann, English, b. Germany, 1764–1834, 1811
Engraving, brush and watercolor on paper
Print

Fashion plate of a woman sitting in a box with a young boy in a pale blue suit standing by her left. She wears a white dress with a purple bodice. Title and publisher's name below.
Fragments
, 5th century
wool on linen Technique: embroidered on plain weave

Fragments of wool embroidered on linen. Triangular fragment shows design of a standing woman with her arms raised. On either side of her head are two inverted triangular shapes filled with geometric patterning. Other fragments have rectangles with scrolling borders and serrated edges.
Ornament
Xavier Mader, 1810–20
Block-printed on handmade paper

Trophy, at top of which is bird on nest. Below are crossed musical instruments and flowers.
Ceiling paper
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper, liquid mica

Large foliate scroll quatrefoils with floral medallion insets, foliate vining and beading that creates and X pattern, connected by large floral medallions.  Printed in tans, tan-pink, green and white liquid mica on light beige ground. Printed in selvedge: "Imperial Wall Paper Co." "SandyHill N.Y. 3"
Bowl
, 1680–1720
Tin-glazed earthenware

Deep circular bowl with flaring sides on short foot rim; painted in underglaze blue on white, on outside with overall floral pattern between scroll bands top and bottom; on inside with central circular panel of floral pattern, scroll border, stylized floral/scroll motifs interspersed along walls.
Architectural Details
Arnold William Brunner, American, 1857–1925, 1879
Graphite and white heightening on beige paper
Drawing

Left, upper portion of capital with leaf motifs. Right, center portion of arch moulding. Both ornamental decorated.
Waistcoat
, late 18th–early 19th century
silk, cotton, linen Technique: cut supplementary warp pile on satin ground (velvet)

Short waistcoat in reddish-pink satin with small, dark green cut velvet repeating buds in a heart-shaped framework. Printed cotton facing to fronts in multi-colored stripes and white lotus shapes. Undyed linen for lining and back. Hand-finished button holes.
Dessert Fork and Knife with Accompanying Case
Francis Higgins III, 1884
gold plated, silver, leather, velvet, silk, satin
fork, knife and case

Fork (a) with three tines, angular root, and tapering to baluster shaped neck. Knife (b) with ridged diagonal heel and bolster and rounded tip blade. Both fork (a) and knife (b) handles decorated with series of patterned bands flanking top and bottom of the central decorative field. Central field decorated with scrolling foliate design with a sparrow on both obverse and reverse sides, and daisy flowers on each side. Terminal decorated with shell motif fanning out from central point on end of terminal. Case (c) with fitting for fork and knife in velvet lining. Case closed with button closure. Interior of lid stamped with gilt lettering for retailer G. Wilson Barrett & Co.
Designs for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache, graphite on white paper
Drawing

Horizontally-oriented diamond shape outlined in graphite visible. Clusters of plants in three corners of diamond. Top corner: light blue-gray and green stems with foliage with tops facing right. Right corner: light green, gray, and brown stems with foliage with tops facing upwards. Bottom corner: three stems with flowers along length and foliage. Top is longer with yellow flowers, bottom two are shorter with purple flowers. All three curve with tops towards the left. Left corner empty. Guidelines in graphite are visible on the page with the diamond bisected horizontally and vertically.
Low Tide, Annisquam
Walter Shirlaw, American, b. Scotland, 1838–1909, Probably after 1900
Brush and watercolor, black crayon on paper
Drawing

Figure in foreground, standing on a grassy patch surrounded by water and sand. Buildings, beyond, center.
Kettle on Stand from Chrysanthemum Tea Set
Tiffany & Company, American, established 1853, 1891–1902
silver, ivory
kettle, stand

1978-6-1/7: Kettle on stand (-2a/d) : kettle of squat globular...;     1978-6-2-a/d: Kettle (a) of squat globular form with reeding, wa...
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Maple leaf design, blue and white flowers on dotted brown and black ground.
Writing kit
, 19th century
Copper-colored metal inlaid with white metal

Rectangular box with hinged lid, chamfered corners, fittings for missing handles at either end. Inlaid pattern of triangles on top, raised bandings around sides, top and bottom. Interior divided into three compartments; the two smaller compartments covered by hinged lids with raised "X" decoration.
Revenge
, late 18th century
Lacquered boxwood and paper
Patch box and cover

A: Circular box, lacquered black; B: cover, lacquered black, with engraving pasted on top, entitled "Revenge" and showing interior of a modest house, with dressed female lion sitting on edge of bed, while a male lion is about to cut off the tail of a monkey escaping through a window.
Sidewall
York Wall Paper Company, 1895, 1905–1915
Machine-printed paper

Large-scale foliate medallion on stripe pattern. Small medallion motifs fill the background. Printed in metallic gold, pink, and red on red ground.
Plate LIII from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Dredging machine over a wreck, picking up bales. The machine on a framework across two barges. Turned by two men on a wheel on a top platform, raising a screw with hooks. Description in Latin on verso of 1949-152-250.
Male Arm
Flora M. Dow, ca. 1896
Charcoal on paper
Drawing

Vertical rectangle. Drawing of a male arm, hand clenched, from a cast (possibly the Borghese Warrior in the Louvre).
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Asymmetrical scrolling foliage. Background shades from tan at top to dark brown at bottom.
Fragment
, 19th century
silk, cotton, linen, metallic thread Technique: bobbin lace (?) probably machine

Straight border with an allover design of small diamonds within zigzags. Scaled and with wide slits in silver on a yellow silk ground.
Sketchbook Page: Standing Male Figure
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Faint sketch of a male figure, possibly in 17th-century costume, standing with a sword or cane.
Textile
, 1700–1799
silk Technique: resist-printed on plain weave

Long panel of printed silk. Design reserved in yellow against a dark blue-green ground. Probably resist-printed in indigo over yellow. Center, a square arrangement with triangular sections framing stylized animal and geometric forms. Nine horizontal bands of varying widths cover both ends, showing highly stylized animal and geometric forms, trees, and human figures. Edges bound in cord; fringe on two ends.
Lamentation over the Dead Christ
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580 – 1605
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper Verso: pen and brown ink over black chalk on laid paper
Drawing

Recto: Lamentation scene with Mary holding the body of Christ at the base of the cross. His body is presented frontally at center. Other figures gather closely around, weeping, praying, and embracing him.  

Verso: View of a sideboard with dishes, seen at an oblique angle from the left.
Man's mantle (hinggi)
, 19th century
cotton Technique: plain weave with tied resist patterning in warp (ikat) Label: cotton warp ikat

Rectangular panel with fringe at ends. Dyed in warp ikat technique in indigo blue, dark brown, red, and (reserved) white. Alternating blue and red horizontal bands with figures in white and red: rows of stags, snakes (naga), and roosters, and lobsters. Patola-inspired center band.
Two Sketches, Scott Cottage
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite and white heightening on gray paper
Drawing

Left, view on porch, open at left. Chair and hammock. Right, a window with shutters and notes on colors.
Bracelet
, 19th century
Gold

Gem-set gold disc bracelet.