biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, late 17th–early 18th century
linen Technique: needle lace

Fragment of Point de Venise à Rose with foliated and floral forms in asymmetric design. Pattern connected by brides picotées, outlined by cordonnet, interspersed by gaze quadrillée. Style of lace commonly called Rosaline.
Ceiling Paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Repeating quatrefoil motif with foliage. Printed in shades of red, gold, green, and liquid mice on a pale yellow ground.  Pattern number 627 2.
Fork with Agate Handle
, ca. 1720–50
agate, silver, steel
fork

Fork has three short tines, curved shoulders, long baluster shaped neck. Silver ferrule with horizontal bands, plain silver band on the handle. Agate handle oval in section with rounded top, small metal mount on top.
Border
, 16th–17th century
linen Technique: grid of laid cords with needle lace, reticella style; edge of punto in aria

Broder with pointed tabs and a very open zigzag lattice pattern.
Lauffenbourg on the Rhine
James Mallord William Turner, British, 1775–1851, 1811
Etching and mezzotint on white paper
Print

A bridge of wood on stone piers crosses a rapid stream. A town is clustered on steep banks at either side, and figures are seen on rocks, left of foreground.
Textile
Arthur Wilcock, ca. 1890
cotton Technique: printed by engraved copper roller on plain weave

Printed textile showing life-sized pattern of yellow wild roses, daisies, cornflowers, in white and ochre with green foliage on an aqua ground.
Franz Joseph, Emperor of Austria, King of Diamonds from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Franz Joseph, Emperor of Austria, King of Diamonds from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Border
, 1850–75
Block-printed on machine-made paper

Narrow border, with wide band of vining flowers, alternating between lavender and pink flowers. A green band along bottom edge. There is a burgundy flock background behind the wide top band. Printed in burgundy flock, lavender, pink and green on a white ground.

H# 367
Berry Server with Leaf-form Bowl, Red Enameled Strawberries and Dragonfly
Charles Victor Gibert, French, ca. 1890
silver, enamel
server

Bowl formed of three large leaves in trefoil shape, open at base where stems converge. At base of neck two relief enameled strawberries are attached by thin vines which coverge and contiue spiralling around until halfway down handle. Relief dragonfly ornament applied perched midway down handle. Handle slightly widens towards plain rounded terminal.
Sampler
Annette Genet, French, 1852
silk embroidery on cotton foundation Technique: embroidered in cross stitch, half cross, and back stitches on plain weave foundation

French verse "a mon cher papa," Michel Genet.  Surrounded by a floral border of a repeating motif.
Striped-Throated Lapwing, Plate 27 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Long-legged, three-toed bird, predominantly brown, with white and black bands. Near a lake. Title and artists' names below.
Frieze and border
S.A. Maxwell & Co., 1907–08
Machine-printed paper

Interweaved floral and foliate pattern, composed of top frieze and matching chair-rail border.
Salon Interior
A. Redkovsky, Russian, active mid–19th century, 1858
Brush and watercolor and gouache over graphite on white wove paper
Drawing

This is an interior view of a salon with a high ceiling, a doorway on the left and a three-columned alcove at right with a curtained window behind. A large carved settee is placed against the back wall beneath a mirror, extending the full length of the settee, and flanked by military figures on wall brackets; in front of the settee is a table.  A corner etagere in the left rear displays glass and silver objects. A series of low side chairs with high backs are arranged at left and right. The walls are painted sky blue and the floor is of diamond-patterned marble.
Sample sheet
, 1700–1775
wool, paper Technique: fulled

Sheet of paper pasted with double row of 12 samples of wollen cloth with felted surfaces in reds, greens, browns, grey, and blues. Stamped heading: "LONDRINS SECONDS DE GUILLAUME BESAUCELE DE CARCASSONNE. BALLOT. No 519."
Textile
, ca. 1820
cotton Technique: printed by engraved roller on plain weave foundation

Design of hunters on horseback, dogs and deer all in isolated islands on a background of diagonal squares. In dark reddish brown on white.
Portrait of Louise King Cox
Kenyon Cox, American, 1856–1919, ca. 1892
Graphite on cream wove paper
Drawing

Portrait of a woman in profile, facing left, wearing a wide-brimmed hat.
Charm in the form of an egg
, 1880–1900
Gold, enamel
Pendant

Egg-shaped, enameled with white hearts on dark green background.
Textile
, 18th century
cotton Technique: printed and resist printed on plain weave Label: printed and resist printed cotton

Design of overlapping circles with rosettes. Fustat.
Edge panel
, 19th century
silk, metal thread Technique: applique and embroidery on brocaded damask ground

Square panel of gold tan fine silk damask with Buddhist decorative arrangement in silk damasks in blues, cream, shades of pink, tan, green: waves at bottom, mountain with flowering tree on either side, holy object in flame halo in center, Eight objects of Happy Augury accross top. Ground has big dragon medallions with mongram brocaded in silver in center of each, scattered cloud-bands. Faded from some shade of red to deep golden tan.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Two bands of mirror-reversed repeating design of a flower bouquet supported by a fleur-de-lis bridged between a bell-like acanthus leaf design having acanthus and flower interior decoration on a ground which becomes darker towards the base, separated and bordered by thin horizontal strips. Printed in greens, white, cream, gold, mica and brown.
Waves and Rocks
William Trost Richards, American, 1833–1905, 1890–1905
Pen and black ink on off-white wove paper
Sketchbook folio

Waves crashing against three rocks in left foreground. Miscellaneous pen strokes in below and to right of image.
Sketchbook Page: Figures
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Three sketches of figures, possibly in 17th-century costume.
New York, from Governor's Island, 1820
I. Hill, ca. 1825
Black, colored inks, on paper.
Print

Horizontal rectangle.  Panorama of the city in the background.  A section of Governor's Island in the foreground, right, showing part of Castle Williams.  Below, center:  "New York, From Governor's Island / No. 20 of the Hudson River Port Folio. / Published by Henry I. Megarey New York."
At lower left:  "Painted by W. G. Wall."  
At lower right:  "Engraved by I. HIll."
Sampler
, ca. 1830
cotton, linen Technique: embroidery, needle lace, cutwork on plain weave foundation

White on white sampler with six floral borders of graded widths.
Britannia
, ca. 1765
Block printed on handmade paper
Sidewall

Pillar and arch design. "Britannia" enthroned amidst Corinthian columns, arches and urns. Corinthian columns support alternatively large and small arches. An urn on a pedestal beneath each of the smaller arches. Under larger arches: concave colonnade of Doric columns, topped by a statue of Britannia, facing left, holding spear, resting on shield, printed in black and white on gray ground.
Sidewall
S.A. Maxwell & Co., ca. 1915
Machine-printed paper

Floral stripe, floral bouquet with pink flowers on gray stripe. Background fill of small floral motif. Printed on white ground.
Sketches at Lausanne
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Top, tower at Lausanne. Below, sketches of wooden posts.
Fables of Fontaine
, ca. 1780
cotton Technique: printed by engraved plate on plain weave foundation
Textile

Two scenes illustrating the fable about wolf and the stork separated by an elaborate curve decorated with flowers. In red on white.
Cigar Butt
, late 19th century
Gold, metal
Matchsafe

In the form of a short cigar butt, with leaves defined on realistically cast body in gold, the tip with ashes in silver metal. Tip hinged at side and opens as lid. Tip also likely intended as striker.
Design for Lidded Jar
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Lidded bulbous jar decorated with two red cherries and three pink cherry blossoms and green vines and leaves. Neck and lid have gold wavy lines.
Sidewall - sample
, 1906–07
Machine-printed

Vertical stripes of stylized tulips connected to each other by 1 1/2 inche straight lines (stems). A fine line texture covers the entire background.
Bonad
, 1774–1825
Hand painted on paper

Contains single row of two different scenes: left scene contains four figures each holding a book, seated at table; right scene contains two female figures, the left one seated.
Fragment
, 1740s
silk Technique: 4&1 satin damask; warp float face of the satin as background

Dark green silk with two curving floral sprays vertically offset.
Frame with Blank Oval, and Elaborate Foliage Scroll Decoration, in Dessins d'Ango Ornements et Architecture (Drawings of Ornaments and Architecture by Ango)
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, 1760–69
Red chalk on cream laid paper
Bound drawing

Architectural elements, framed empty oval and scroll decoration with cupid.
Cap streamers
, 1850–1900
linen Technique: bobbin lace with needle ground

Cap streamers in a design of large-scale floral motifs and swirling scrolls.
Sidewall
, 1825
Block-printed on joined sheets

Vignettes in browns, green, blue and white against an ocher background diapered with three-dot pattern in light brown; between vertical brown stripes bordered by white lacy pattern.  The scene contains a seated maiden holding bird in nest, with stone bench and basket of flowers, alternating with a smaller floral bouquet.
Sidewall - fragment
, 1875–85
Machine-printed

Metallic gold grains on gray ground
Worn Shoe Sole
, late 19th century
Silver, glass
Matchsafe

In the shape of an old shoe, with leather collapsed and folded, featuring a sole and heel with red glass beads along perimeter to simulate raised nail heads, parts of sole and heal also appear worn away. Sole flips open to reveal match compartment. Striker set inside shoe, beneath laces on reverse side.
Sidewall
Dufour et Leroy, 1810–12
Block printed and flocked on handmade paper

"Ridde satin blanc." On rust-colored flock ground, simulated draped white fabric or drapery on each of two wallpaper panels. Fabric panels suspended between golden horizontal rods, cinched in centers with golden medallions, with masks, from which hang tassels. Neoclassic figures rising from oak foliage, bearing cornucopias and flowers, spaced between "fabric" panels. Golden leaf decorations bordering white "fabric."
Miser's purse
, 1830–60
silk, steel beads Technique: knitted using openwork stitches

Knitted miser's purse of tan silk with cut steel beads, with beaded tassel at rounded end and bead loop fringe at flat end. Plain cut steel rings to fasten.
Cover
, 16th century
silk, metal thread Technique: embroidery with appliqué

Embroidered cover with religious scene, perhaps the Annunciation.
Textile
, 1800–1850
cotton Technique: block printed, painted

Printed fabric, quilted and lined, in the shape of a chair back. Spray of naturalistic flowers in reds and blues, foliage in brown. Background has a sprig design in light brown against a dark brown ground. Some of the blue color appears to be painted in.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace edge, floral unit border; early 18th century Maline
Inkwell and stand
, 18th century
Glazed earthenware

Earthenware box with two cups for ink at top and shelf at bottom; decorated with orange and blue flowers on white background.
Sketches of an Altar, a Chapel Section, a Capital and Profiles of Cornices
Gilles-Marie Oppenord, French, 1672–1742, 1692–99
Pen and brown ink with gray wash; verso: pen and brown ink
Album page

Recto: Vertical rectangle. Top left, corner of a sarcophagus; below, an altar conceived as an a piece of Baroque architecture. At right, the partial elevation of a small chapel with sculptured frame surrounding an altar painting. Below a composite capital and two profiles of cornices and one of a base, developed into Suite VIII, plate 5 and Suite IX, plate 3. 

Verso: Horizontal rectangle. Stage designs: a vaulted gallery and a grotto. Figures shown in both sets. A vertical line divides the two scenes.

One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso.
Border
Wm. Campbell Wall Paper Company, 1872, 1904–15
Machine-printed on paper

Imitation architectural dentilling and molding in shades of green on maroon with metallic gold highlights.
Sidewall - sample
, 1906–08
Machine-printed

Landscape scene, including large red flowers and foliage, a ruin, and three trees. Printed in red, green and tan.
Textile
, 16th–17th century
silk, metallic yarns Technique: two integrated structures: 5/1 satin patterned by 3/1 twill

Woven textile with overall large-scale ogival medallions on a red ground. Each ogee containing a symmetrical arrangement of tulips and carnations in red, yellow, and light blue on a silver ground, surrounded by a floral vine border.
Elevations et Profils de Portes Cocheres sous un Imposte avec Entre-sol, et Fenetre en Oeil de Boeuf
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Divided elevation and plan of an entryway decorated with a small round window at top and ornament motifs including flowers, garland, egg and dart, lion head knocker, and carved panel with trophy of war attributes. The plate is signed.
Design for an Ovoidal Tureen
Pietro Belli, Italian, 1780–1828, early 19th century
Pen and ink, brush and gray, yellow watercolor, graphite on paper
Drawing

Vertical rectangle. Design for an ovoidal tureen intended to be produced in partly gilt silver. Below is an ovoidal base of two sections, the lower one showing a fret band with a Greek key motif. Four standing displayed eagles carrying festoons are intended upon the upper section, three are depicted. A cylindrical pedestal rises in the middle. Upon it stands upon four curved legs the bowl, described with nine festoons hanging from Medusa masks at the upper ends of the legs. Pairs of snakes rise from the lateral masks, serving as handles. The upper part of the cover is shaped as a shell. Upon it stands a running girl with a flower basket in her left arm, raising a bunch of flowers with her right hand. Framing line.
The Sorceress, Illustration for Harper’s New Monthly Magazine (LXXVIII, No. CCCCLXIII, December 1888, p. 56)
Frederick Stuart Church, American, 1842–1924, December 1888
Printed in black ink on paper
Ephemera

On the left, a group of alligators swimming towards a girl on the right. On the right is a girl sitting on her knees, her head turned towards the alligators.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs decorated with cartouches, shells, sirens, scrolls, vases, flower bouquets, rondels of scenes from mythology, and mascarons. The design on the right is divided to offer variations on either side. The plate is signed and lettered "H."
Commode à la Romaine
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a dresser raised up on legs with spiral fluting. The dresser has three drawers: two small ones on top, and a long single drawer at bottom. The dresser is carved with ornament motifs including rosettes, leaves, lamb tongue, and crossed branches. The plate is signed.
Plan general du Chasteau du Duc de Latrimouille à Touars
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

An architectural plan for a castle and gardens within its landscape and a river nearby with a scale below. The plate is titled and signed.
Winding Mountain Road in Berchtesgaden, Bavaria
Frederic Edwin Church, American, 1826–1900, July 1868
Graphite on tan laid paper; verso: graphite
drawing

Landscape study showing a view of the mountains around Berchtesgaden, Germany. In the foreground, a road curves around a ledge at left and extends into the middle distance. At center, a small structure is visible, surrounded vegetation. Massive, steep mountains backdrop the scene, with a tall, sharp peak in the background at center. 

Verso: Landscape sketch showing the mountainous terrain near Berchtesgaden, Germany. Steep, wooded mountainsides at left and right descend into a mountain valley. In background at left, a tall, craggy peak is visible.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and four ornament designs for flower and fruit arrangements and motifs. Upper left: a basket of flowers with a festoon of flowers. Upper right: a bouquet of flowers and foliate branches. Lower left: foliate branches of fruit and flowers. Lower right: a double-handled vase decorated with gadrooning with flowers, fruit, and foliate branches. The plate is titled, numbered, and signed.
Playing card
, ca. 1855
Red and black ink, paper

At top: M 6 C; below central image: 3
Trompe-l'Oeil Étui and Seal
, mid- 18th– late 18th century
porcelain, vitreous enamel, gold, metal, possibly glass (seal)
Ã©tui and seal

Étui and seal (artifact) in the form of an asparagus stalk. Green stone intaglio with a profile bust, set into the hinged top.
Pleated fan
, mid-nineteenth century
Paper leaf with gilded and hand-colored lithograph; carved and pierced ivory (or bone) sticks

Fan with paper leaf with hand-colored and gilded lithograph print depicting lovers (or shepherd and shepherdess) in a pastoral landscape. Floral decorations frame the scenes to left and right, gilded bandwork at the edges; verso: a classical landscape in gouache. Pierced ivory (or bone) sticks and guards with seaweed design.
Cayambe, Ecuador
Frederic Edwin Church, American, 1826–1900, August 29, 1853
Graphite on white wove paper
Drawing

Landscape sketch showing a view of the volcano known as Cayambe from a nearby town in Ecuador. Situated prominently at center, the mountain's snow-capped peak and rugged slopes are framed between a sloping hillside in the middle distance, below, and a a dark bank of clouds that obscures the summit, above.
LE CAMOUFLET ou le DORMEUR
Christophe Huet, French, 1695 – 1759, mid- 18th century
Etching and engraving on laid paper
Print

A plate from a series of singerie scenes after Huet. A monkey lies sleeping against some rocks, while another to his right blows smoke into his face from a pipe. Both monkeys are dressed in trousers and shirts. The plate is titled, signed, and numbered.
Design for a mantelpiece
Jean Berain, the elder, French, 1640-1711, 1700
Pen and brown ink, gray wash, graphite on paper
Drawing

The over mantel shows a clock upon a bracket over a flat pedestal upon which a masked figure and musicians. Half-figures project out above the over mantel; the left one is a girl with a violin, the right one, a man playing a flute.
Sunlight Cresting a Wooded Ridge
Frederic Edwin Church, American, 1826–1900, 1844 - 1846
Graphite on white wove paper; verso: graphite
Drawing

Small landscape sketch showing a view of sunlight cresting a dip in a wooded mountain ridge and extending in beams toward the viewer. 

Verso: Sketch of a horse walking to the left, viewed obliquely from behind. The upper portions of the horse are loosely struckout.
Cartouche with Hunting Motifs
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738–45
Engraving on cream laid paper
Bound print

A dead horned animal, boar, hare, and stag lay in a rocaille form, decorated with horns, spear, putti, dog, hunting female figure; large tree at left and shield. Cornucopia with dead birds on right. On right begins border design leading above and left. Building in background.
Sampler
Agnes Hodge, 1723–24
silk embroidery, linen foundation Technique: cross, eyelet, and shaded satin stitches on plain weave

Alphabets, numerals, "Agnes Hodge, February the 5 1723-4 in the 9th year of my age" and the Lord's Prayer surrounded by a floral frame.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Design for an altar set within a church apse. At the center of the altar is a large painting of the Virgin Mary with hands outstretched; above her is a dove radiating light. The painting is set within a large architectural frame, flanked by fluted columns with Corinthian capitals. The title of the series is printed at the top of the plate. The plate is signed and numbered.
Sepulchral Monument for Poet Pietro Giodani
Giuseppe Barberi, Italian, 1746–1809, 1795–1809
Pen and brown ink, brush and brown wash, graphite on laid paper, lined
Drawing

Oval platform with three steps. Two dancing girls with a vine garland flank the monument composed of an urn on an inscribed plinth. Atop the urn is a bearded bust, and beside a robed woman. Scene set in landscape.
Anneaux de Clefs
Richard de Lalonde, French, active 1780–96, 1775-1784
Etching on off-white laid paper
Print

Designs for four key tops and two key ports. The one at top left features leaves sprouting a basket of flowers; the one at top right has a scrolling leaf motif with a garland of beads; the one at lower left is oval and features varying bead designs; the one at lower right is a trefoil with two parts featuring bead course and the third a stylized leaf. The plate is signed and numbered.
Porte dans le grand Appartement des Tuilleries.
François Chauveau, French, 1613 – 1676, 1710
Etching on laid paper
Bound print

Fifteenth plate from a series of prints depicting the ornament and interiors of the King's apartment at the Royal palaces of the Louvre and the Tuileries, part of the Cabinet du Roi (King's Cabinet) series published by the Imprimerie Royale. The plate illustrates a double door from the Grand Apartment of the Tuileries Palace. The doors each have five ornamental panels and framed with egg and dart and wave running patterned borders. The panels feature heraldic devices, floral garlands, interlaced L's, fleurs-de-lys, Apollo's head with sun rays, shells, acanthus leaves, fleurons, military trophies featuring shields with a horse and alligator, trophies representing the arts and the sea, cornucopias, ribbons, and rosettes. The locks are highly decorative with similar ornament. The plate is titled, signed, and numbered.
Fragment
, ca. 1850
cotton Technique: printed

Fragment with a pattern of pointed medallions ornamented with geometric forms in bright red, blue and yellow on a brown ground.
Portrait of Bartolomeo di Miniato (d. 1548)
, 1730-1750
Engraving on paper
Print

Bust-length portrait in side view facing right, of a young man wearing a high cap. The oval portrait with the simple frame is standing on a base between two columns. From upper left hangs a curtain.
The Catskill Mountains from the Village of Catskill, New York
Frederic Edwin Church, American, 1826–1900, 1844–46
Brush and oil, graphite on cardboard
Drawing

Landscape sketch showing view of the village of Catskill and the Catskill Escarpment, featuring the Catskill Mountain House. Homes and other structures are situated on a partly wooded prominence in the middle distance. Beyond, the mountains of the Catskill Escarpment are rendered in tones of purple and gray. Kaaterskill High Peak and Round Top visible center left and Catskill Mountain House visible center.
Coupe, ét Profil sur la largeur du Batiment
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Cross-section and profile of a country house, showing the interiors of the basement, ground floor, and first floor. The plate is signed and numbered.
Fragment
, late 18th century
silk Technique: plain compound weave

Light green ground with supplementary silk warps in pink, rose, white, and yellow forming pattern of vertical stripes and floral forms.