biglam/cooper-hewitt-alt-text huggingface dataset:
Border
, 1880–1920
Machine-printed, mica flakes

Flitter frieze with brightly colored floral motifs having the appearance of a poinsettia. Printed in green, blue and orange with red berries, outlined in gold and silver mica flakes.
Cap
, 18th century
silk Technique: knitted, passementerie

Cap of coral silk with a chenille tassel in the same color. Knit with altnernating bands in a simple goemetric patterns.
Sketchbook Page: Columns of Numbers
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Columns of numbers labeled K C S. Possibly scores for a game.
Plate XXVI from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machine for grinding, probably grain. Above, two funnel pins pour  grain into covered cylinders, coming out of them into another box, center. Grinding done in cylinders, driven by four men on wheels, below, attached to an axel and other cogged wheels. Description in Latin on verso of 1949-152-223.
Fragments
, 16th–17th century
silk Technique: plain compound satin with supplementary weft

Allover design of stylized leaf motifs and birds in yellow and green on a red ground.
"Charles Baker & Company's Stores: Match & Pin Box"
Thomas Turner & Company, ca. 1885
Plated metal
Matchsafe

Rectangular, curved corners and sides, the front inscribed "CHAs BAKER & Cos Stores, Match & Pin Box, Price Two Pence, 271 to 274 High Holborn, 41 & 43 Ludgate Hill, 137 to 140 Tottenham Court Rd St.  [T.Turner's manufacturer's trademark stamped on lower left; Rd. 26844 on lower right.] Reverse inscribed "Gentlemens & Boys Superior Clothing, Hosiery, Shirts, Hats, Boots & C. 25 Per Cent Under Usual London Prices to Keep Pace with the Civil Service Stores." Interior match container revealed when inscribed exterior sheath is pulled open at side; both exterior and interior pivot on attached pin at bottom center. Striker recessed on side.
Border
, 1835
Block-printed, flocked, stencilled, handmade paper

Strapwork in gray between gray-bordered cartouches with Chinoiserie vignette: Chinaman with stringed instrument, on curved bridge amidst flowers, trees, birds, parasol, on gray background. Gray ground, largely covered by maroon flocking with foliate motifs, and outlinings of cartouche and of strapwork in black flocked thin lines.
Border
, 17th–18th century
linen Technique: embroidered

Fragment of an embroidered border made of brown linen raised stitches on linen ground.
Livery trimmings
, 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Eight fragments of trimmings for coach or livery in multicolored velvet with the heraldry of family, profession or Catholic Church.
Border
, 1875
Block-printed

Narrow border, printed two across, each a mirror image of the other. Cabled fluting, with acanthus boss at regular intervals.
Plate XXV from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Pulley system for raising buckets of bricks on a pipe to the top of the wall, masonry. Seven men at work. Description in Latin on verso of 1949-152-232.
"Le Jardin d'Armide" [The Garden of Armida]
Desfossé et Karth, French, 1863, 1854
Block-printed paper
Scenic panel

Semi-circular free standing arcade at back surmounted by a trellis roof. Suspended from a gold chain in foreground, a hanging vase filled with very large roses and other flowers. Sepia architectural dado with acanthus enrichment, at bottom. This is one of two pictures that go to make up the scenic.
Design for the Base of an Oil Lamp
, ca. 1855
Brush and gouache, watercolor, graphite, and pen and brown ink on cream tracing paper, lined
Drawing

The body of the lamp is a blue porcelain vase, with a central field depicting a young girl seated in a landscape, enclosed by a gold foliated frame. Mounted on a rocaille bronze base, flanked by handles with peacocks, surmounted by a fixture intended to hold a glass globe.
Posey holder
, ca. 1850
Silver

tapering tubular handle curving to a small ball, with chain and ring attached. Oak-leaf and acorn ornamentation at base of filigree.
Costume accessories (uncut)
, late 19th–early 20th century
silk Technique: plain and slit tapestry weave

Uncut pieces for costume accessories have a yellow and blue ground with dragons, clouds, rocks and waves in many shades of gray.
Allegorical Figure of Winter
Limbach Porcelain Manufactory, German, 1762 - 1939, 18th century
hard paste porcelain, vitreous enamel, gold
figure

Allegorical figure of Winter in the form of a woman with an ermine muff.
Sketches of Orléans
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Upper stories of a house shown, a doorway. Two sketches of a woman sitting on identified object.
Funffte Ausgab seiner vorhabenden werckes...Unterschiedliche Neu Inventirte Verkleiden Zu Modernen und Astonmischen Perpendicul-Uhren...
Johann Jakob Schübler, German, 1689–1741, ca. 1720
Engraving on cream laid paper
Print

Plate 4. Design for a large, free standing case clock with inscription"1724/21/ IVNIVS on separate section. Clock placed at rear of room, across from French doors.
Figure in antique military dress
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Figure in antique military dress. Figure is wearing a helmet and breastplate and carries a sword and shield.
Floral Design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on blue wove paper
Drawing

Corner floral design on royal blue ground. C-shaped feather motifs of white, yellow and red. Suspended from yellow vines three pink stylized flowers, small geometric square at right center.
Study of doorway
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and watercolor, graphite on paper
Drawing

Sketch of a doorway in shadow with a vine growing on left.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Repeating design of a single floral motif, surrounded by foliate scrolls. Motifs are connected by vining foliate sprigs. Printed in green, yellow and off-white on terra cotta/brown ground.
Drawing
, late 19th century
Brush and gouache on cream paper, mounted on cream paper

Large red abstract shape surrounded by delicate black rinceaux patterning, stylized fleur-de-lys-like flowers in red, blue, green, and cream on green ground.
Square
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Cotton square, possibly a head cloth (kain kepala), showing a "wayang" figure (a puppet acting out the heroic poem of the Mahabharata, describing the battle between Rama, God-hero, and the demons of Rawana) encircled in the center. All four corners ornamented with the stupa motif. Colors: black, brown, and white.
Rough Contours of Ocean and Beach
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View from the beach, rough contours of ocean coming up on shore.
Sidewall - fragment
, 1860–80
Machine-printed

Very irregular shape. Possibly a floral stripe design. Cluster of bright blue flowers alternating with small blue quatrefoil-like motif. Very fine gray framework. Printed on a white ground.
sidewall
, ca. 1750
leather

Central motif of a floral bouquet in an urn, on top of a lambrequin. This is enframed by scrolling strapwork and foliage. The background is filled with varying forms of trellis work.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On light gray ground, vertical stripes with floral motifs in blue framed by circular border.
Sampler
Mary Bridge, American, 1838
silk embroidery on linen foundation Technique: embroidered in cross and marking cross stitches on plain weave foundation

The field is filled with scattered motifs of flowering trees, urns of flowers, birds, stars, and an angel. In the lower right corner, Adam and Eve flank the Tree of Knowledge, with the inscription: The serpent beguiled me, and I did eat. 
In the center is a four-verse hymn: 
HOW beauteous are their feet,
Who stand on sion's hill;
Who bring salvation in their tongues,
And words of peace reveal.
How cheering is their voice
How sweet the tidings are; 
Sion behold thy savior king;
He reigns and triumphs here.
How blessed are our ears
That hear this joyful sound,
Which kings and prophets waited for,
And sought, but never found.
How blessed are our eyes
That see this heavenly light,
Prophets and kings desired long
But died without the sight.

And the inscription, with a curving floral vine border on four sides.
Sidewall
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed paper, liquid mica

On green ground, treillage of floral rinceaux in white and pink, scrolls in green and gold; at center vase of bouquet of white and pink surrounded by black trellis, framed by gold beads.
Sampler
, 1745
silk embroidery on linen foundation Technique: embroidered in cross, back, satin, eyelet, and square stitches on plain weave foundation

Ten alphabets, large monogram at bottom and ship full of people at lower right.
Square
, 19th century
silk Technique: printed on plain weave

Kerchief or square with a pink ground containing scalloped forms, each containing stylized multicolored floral spray on a dotted ground. Narrow floral border on four sides. Silk fringe knotted at one inch intervals.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Borders printed two across (mirrored). Alternating large and small stylized floral medallions separated by pink and gold mica scroll patterns. Bottom has dark red  and gold mica stripes, with a band of pink stylized fleur-de-lis and gold mica dots. Top has discontinuous dark red line and pink dots. Grounding shades from dark pink (bottom) to light green (top). Printed in dark red, pinks, white, beige, and gold mica.
Printed in selvedge: "S. A. Maxwell & Co. New York & Chicago." Pattern No. "2946"
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Series of vertical rectangles, alternating between large and small, topped with a large, white rose. Stylized leaves outline the rectangles which are framed by intertwining geometric motifs. A series of flowers and leaves run in a straight line across the bottom. The background has brown, horizontal striations. Printed in brown, white, and shades of green.
Designs for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on cream paper
Drawing

Six clusters of blue and purple flowers of different types with stems and foliage scattered at center of page. Also scattered are beige stems of various sizes with foliage of the same color.
Design for Ceiling Decoration, for condervatory/music room or perhaps dining room
Frederick Crace, English, 1779–1859, 1802
Brush and watercolor, graphite on paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Design for a ceiling divided into three compartments; a square and two half-oval sections. The square contains a painted representation of a clouded sky, surrounded by a balustrade, and a wide border of bamboo motifs. The oval sections have bamboo arranged in trellis-work patterns.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Trellis design with large-scale diamond shape at intersection, with crystalline shape filling center void.
Border
York Wall Paper Company, 1895, 1890–1900
Machine-printed paper

Narrow green band top and bottom. Design: "Rose of Sharon." Flowers alternate, one facing top of border, the following one the bottom. Occasional leaf touched with silver. The entire paper, design and field, is slightly embossed with a woven linen effect. The entire colored printing process too is printed in coarse textured linen. Printed in selvedge: "York Wall".
Design for Painted Decoration of a Wall
, 1825–40
Brush and gouache, watercolor, graphite on paper
Drawing

Three pilaster strips, standing upon a dado, support the entablature. They have volutes as capitals, above which arches rise, and eagles are perched. They carry flower festoons. Yellow curtains hang in the two panels between the pilasters.
Le Gout
François-Thomas Mondon, French, 1709 – 1755, ca. 1736-55
Etching and engraving on laid paper
Print

An allegory for the sense of taste featuring figures seated in a landscape around a fantastical rococo ornament with c-scrolls, roundels, shells, and flowering sprigs. In the center, a flow of water and figures seated on rocks on either side of the ornament. To the left, a palm tree with coconuts, and a man drinking from a jug seated next to a woman. To the right another couple, seated on a rock with the man holding fruit. Trees and shrubs behind them and in the foreground a basket of fruit with vegetables on the ground, and a rake. The plate is titled and signed.
Developpement et aßemblage de plusieurs espèces de Ponts construits en Charpente
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs and frameworks for bridges. The plate is signed and numbered.
Design for a Candlestick
Jacques III Roëttiers, French, 1707 – 1784, 1770–80
Pen and ink, brush and sepia wash, graphite on paper
Drawing

Two oak boughs rise along the sides of a gaine which, standing on a calyx, forms the shaft. A garland hangs from the top of a medallion, which is fastened to the shaft, and around the boughs. Blossoms form the sockets. Two putti top the gaine, one of them shoulders a sword, the other puts a helmet on his head.
Designs for Gobelins Tapestry, October (Les Mois Grotesques par Bandes)
Claude Audran III, French, 1658 - 1734, 1709–10
Red chalk, pen and brown ink on cream laid paper
Drawing

Three vertical panels depicting the months of April, June and October, in reverse from the engraved designs for tapestries. "April" shows the bull in a wreath medallion at top, with Venus and Cupid in a frame at the center of the drawing. Below the frame is a swan between billing pairs of doves, all resting on a pedestal supported by dolphins. In "June", Cancer is omitted. Mercury is placed in the central framing structure surmounted by a cock.  A ram is below. "October" shows Scorpio in a wreath at top, Minerva in the central frame, and Arachne(?) making a tapestry below.
Fragment
, 16th century
silk, metallic Technique: cut and uncut supplementary warp pile (velvet) with supplementary weft

Fragment of green cut and uncut velvet on a yellow silk and metallic ground with some details in silver metal thread brocade. Design of tiny flowering branches in horizontal rows alternately leaning left and right.
Armoire à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Double door armoire decorated with ornament motifs including bound leaf, wave pattern, egg and dart, and rosettes. The plate is signed.
Design for a Ewer with Handle in the Shape of a Lion
, ca. 1550–1600
Black chalk, pen, ink, and wash on paper.
Drawing

Shown in profile. The handle formed by a lion is at left; the lion stands on the face of a mask, which corresponds to another mask at the opposite side. The decoration consists of several bands and, at the bottom, of teams with lion heads which are connected by festoons and by ovoids containing alternatively a tree as in the Rovere coat of arms and a lion rampant.
Design for Garden Architecture with Colonna Arms
, 1600–1750
Pen and ink, brush and wash on paper
Drawing

Elevation of garden architecture with statue of a youth within an archway. Above, a broken pediment with the Colonna family coat-of-arms: a crowned column.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two cartouche designs. The cartouche on the left is surrounded with attributes of the hunt. The cartouche on the right is set upon water and is framed by anguipeds. The plates are signed and numbered.
Wall Clock (Cartel) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching and engraving on paper
Print

Design for a wall clock (cartel) before lettering, with a round clockface framed by flowers with a winged man (angel) holding the clockface and incorporating foliate branches, scrolling leaves (rinceaux), and ribbons.
Moon Cape (Tsuki-no-misaki) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

This scene is divided in half. The upper half is tranquil and still. Showing Edo Bay with cargo ships anchored for the night, the full moon lights up the night sky as a flock of birds fly by. Within the foreground appears uneaten sashimi remains on the red plate from the lavish dinner. The sake bottle is floating, and the napkins lay strewn about with a half-opened fan resting on the green tatami mat. Guests have left the room as two silhouettes remain. On the right side, a geisha has put down a shamisen (musical instrument). The left side shows the shadow of a prostitute taking off her kimono. From right to left, the direction in which Japanese is read, Hiroshige visually tells us a story. The meal and music have ended (past), admiring the moon (present) as the prostitutes prepare for the immediate future.
Design for the Embroidery of the Top Part of a Man's Coat (Lapel), Pattern No. 1510 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

A bunch of flowers apparently sticking in the lapel. Dry boughs beneath.
Trophy of Arms
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

A trophy of arms with a putto in the center holding a feathered helmet above his head, surrounded by weapons, banners, spears, an ewer, quiver of arrows, shields, a gorgon's head, scrolling acanthus leaves, armor, foliate branches, and a mascaron (mask). The plate is numbered and the publisher's address is lettered below.
Design for Three Pendants with Rinceaux
, 16th century
Pen and ink, brush and watercolor, sepia on paper
Drawing

Three pendants, each with a ring above. At left, three pearls in rinceaux, with a hanging one. At center, a large diamond or pearl is framed by rinceaux, with small pearls at the top. At right, two entwined rinceaux, each having a pearl in the center, another hanging.
Sketch of the Sky
Frederic Edwin Church, American, 1826–1900, 1860–75
Graphite on off-white wove paper
Drawing

Atmosphere sketch showing a view of the sky filled with diverse clouds above an undulating and wooded horizon. Several bands of puffy cirri clouds hover above this horizon, while numerous other hazy clouds are stacked on top of them. At center and center right, columns of shadow and light punctuate the busy sky.
City of London, United Kingdom, Part One
Frederic Edwin Church, American, 1826–1900, June 15, 1869
Graphite, brush and white gouache on gray-green wove paper; verso: graphite, brush and white gouache
Drawing

Landscape sketch showing, at extreme right, a small portion of a distant, panoramic view of the city of London, United Kingdom. In the foreground, a rectangular building is nestled amongst streets while multiple church spires are visible extending into the distance.

Verso: Landscape sketch showing a portion of a panoramic view of London, United Kingdom. In the foreground, a fence and a river stretch horizontally across the composition. Beyond the opposite, wooded bank, the roofs of a few buildings are visible, nestled among trees and other vegetation. In the background, past a treeline, a skyline of London is shown stretching across the composition with several notable domes and spires at right, including those of St. Paul's Cathedral.
Figure Sketches, Colombia or Ecuador
Frederic Edwin Church, American, 1826–1900, 1853
Graphite on white wove paper
Drawing

Mixed figure sketches showing a scene of two women and an infant interacting. Woman on right is seated and viewed in profile as she speaks to the woman at left. An infant sits beside her with its back turned. Other woman at left stands with a pot on her head and holds something in her left arm. In opposite direction, rough sketch of the upper part of a figure wearing a broad-brimmed hat is visible. Possible sketches of bushes in upper and lower corners. Entire composition marked by pencil scratches.

Verso: Architectural studies showing views of windows and details of trim. Mathematical calculations visible at bottom right.
Possible Design for Relief; Scene in Circle, Ornaments in Corners
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and sepia wash on paper
Drawing

Square rectangle. Stage scenery inscribed in circle, two actors in square with palace around. Ornaments in corners of drawing. Possible design for relief.
One set of trophies of weapons of war as a decoration for horizontal panels
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

The drawing has two borderlines, the background bearing horizontal lines. Intended to be engraved
Cartouche Design with Putti
Robert Menge Pariset, French, active 1732 – 1762, mid- 18th century
Etching on laid paper
Print

A design for rococo ornament, a cartouche flanked by two winged putti, a crown of flowers, c-scrolls, shell, flowers, clouds and rinceaux. The plate is signed.
Bird Hunting
, 1750–1800
Etching on paper, mounted
Print

A man, left, fires at a bird in a tree; a groom holds a frame to which dogs are fastened and on which falcons sit. At center is a lady on horseback with a falcon. A man primes a gun, at right. In landscape with a bridge and castle. Bottom center: "LA CAZA DE AVES / Venatio Avium".
Rendering of Two Stone Lanterns, from the Castle in Amboise, France
Whitney Warren Jr., American, 1864–1943, June 14–15, 1888
Graphite, brush and watercolor on paper
Drawing

Left, elevation showing three sides of an octagon with pointed base and roof. Upper center, detailed view of two panels with iron door and stone tracery; below, half of the section of the base.
Waistcoat
, 1780–1795
silk Technique: satin stitch embroidery on a satin foundation

Man's waistcoat of white satin embroidered in muted tones of dark pink, green and yellow-green. Design of conventionalized flowers and leafy stems.
The Archangels Michael, Gabriel, and Raphael Adoring the Madonna and Child
Diana Mantuana, Italian, ca. 1547 - 1588, ca. 1588
Engraving on laid paper
Print

Vigin and child, seated on a cloud, admired by the archangels Michael, Gabriel, and Raphael. Cut within platemark.
Study of a Saint During a Plague
Mariano Rossi, Italian, 1731–1807, ca. 1790
Brush and black wash, pen and black ink, black chalk on paper
Drawing

A saint is shown praying in the moat of a town in the right foreground.  Dead and dying persons lie in the moat and are thrown into it.  Framing stripe and line.
Design for a monument to R. Clefeort
Giuseppe Barberi, Italian, 1746–1809, after 1795
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Shown from the right hand corner against trees. Animals courch at the corners of a pedestal from which a columnar support rises topped by a woman with arms (?).
Ornament Designs
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

A plate with vertical ornament designs featuring arabesques and grotesques motifs, scrolling foliage, masks, rosettes, terminal figures, fleurons, fruits, mythological figures, winged female figure of Victory, an owl, and birds. The panels and friezes are divided by lines. The plate is numbered and signed.
Design for a Silk Brocade
, 1775–1790
Graphite, brush and gouache, brush and oxidized white on paper
Drawing

One repeat is shown consisting of two bunches of flowers which are intended to alternate in vertical rows and to alternate in horizontal rows with a bunch of flowers and ears of grain which is loosely connected with a flower bough.