biglam/cooper-hewitt-alt-text huggingface dataset:
Flowers
, 1775-1800
Hand colored engraving, brush and red, green, and yellow watercolor on paper
Print

Fifty four boughs with flowers, disposed in six lines. Two bordering lines, engraved.
Design for a table clock
Daniel Marot, French, active in the Netherlands and England, 1661–1752, 1712
Engraving on paper
Print

Design for a sculpted metal table clock, surmounted by a figure of seated cupid. At top of plate and along sides, various designs for chased ornamentation.
Panel
, 18th century
silk Technique: embroidered on satin weave

Embroidered panel, possibly a table frontal. Motifs include elaborate lanterns, flowers in each corner and scrolling lines.
Box
, ca. 1770
Enamel, metal

Oval: on bottom, a spaniel lying upon a pink cushion: on top, which is hinged, landscape with cottage
Fragment
, 17th century
silk, metallic thread Technique: cut and voided supplementary warp pile (velvet) in a twill weave foundation

Fragment with a cut pile design of a circular composite floral rosette in red and green, alternating with an axial floral staff in red and green, repeated in staggered rows with small four-petal rosettes in orange and blue between each row in the interstices. The ground is yellow compound twill with flat strips of gold placed on alternating warps, which also carry the colored warps used to make the pile.
Fragment
, 17th–18th century
cotton Technique: printed or painted on plain weave with dye, gold powder on wax or gum base

Close-set diagonal repeat of small, pointed leaf outlined in black and decorated with gold dot in lower part, above tiny stem; on dull yellow-green ground.
Fragment
, 1100–1400
wool Technique: slit-tapestry

Fragment consisting of alternating stripes with wave or cuttlefish motifs and feather motifs. Colors are two shades of tan, white, and rose. Fragment was found near Pachacamac.
Fragments
, 16th century
silk Technique: 5-harness satin damask

Gold and green damask with a small-scale allover design in a stylized pattern. Formerly a chasuble. Selvages present.
The Blinding of Samson
Johann Jacobé, Austrian, 1733 - 1797, 1786
Mezzotint in dark brown ink on paper
Print

In a dark tent, four soldiers hold Samson down on the ground, while a fifth blinds him with a stiletto. Delilah flees, brandishing Samson's hair.
Collar
, 19th century
linen Technique: bobbin lace

Collar with an ornamental border and compartments enclosing various grounds.
Les Portiques D'Athenes
Dufour et Leroy, ca. 1810
Block-printed on machine made paper, applied border
Scenic panel

One of series, Les Portiques d'Athénes. In background, waterfall, and rocks on which stand buildings; in foreground, fisherman, and woman with basket. Architectural border in yellow and blue.
Tile
, ca. 1725
Tin-glazed earthenware, underglaze

Part of horizontal rectangular panel of multiple tiles; slight marbelized framework at top and sides, rounded at corners.  Period harbor scene in dark purple (manganese) on white ground, showing anchored and tied-up craft in background, camel and human figures in foreground, trees, right and left, portion of a gateway at left.
Empress Eugénie
, 1850–1900
silk Technique: predominantly warp-faced plain weave (white) with a continuous supplementary weft (black), variously bound on the front, which on the back outside the picture is bound as plain weave
Portrait

Black and white jacquard woven portrait of Empress Eugénie of France (1826-1920). Lower half of the portrait is ornamented with sprays of roses, an escutcheon and a ribbon that reads "Eugénie Imperatrice." At the lower left and right are the woven signatures "Carquillat Tex." and "Bruyas del." Woven by Michel-Marie Carquillat (d. 1884) after a portrait by Marc-Laurent Bruyas (1821-1896).
The Antikamnia Calendar, July and August, 1898: "Ah There! Girls!"
Louis Crusius, American, 1862 - 1898, 1897
Chromolithograph on paper with string binding
Calendar

July and August, 1898.
No. 126
Ludwig Lobmeyr, Austrian, 1829 - 1917, ca. 1870
Mouth-blown crystal, hand-painted gold
Water tumbler

Mouth-blown crystal water tumbler, hand-painted with gold rims.
Sidewall
, 1875–85
Gilded paper, embossed

Imitation leather. The design is composed of continuous parallel diagonal bands of ornament. There are eight different bands before the repeat. Each band is of Chinese inspired motifs, largely of fret work designs, small floral motifs and geometric patterns. This imitation leather paper is made from the pulp of the bark of the mulberry tree. It is covered with Dutch foil which is gilded and lacquered.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Square window in yellow, blue, and salmon; four rhomboids at center.
Sampler
Unknown, 1733
silk, linen Technique: embroidered

Ten different alphabets fill the top half of the sampler, some heavily embellished. Spot motifs below include human figures, flowers, hearts, birds, geometrical shapes, and the large initials AA.
Embroidered picture
, ca. 1840
cotton, wool, silk Technique: counted stitch embroidery on plain weave

Portrait of Queen Victoria as a young woman, possibly at her coronation in 1837.  Unfinished.
Medallion
H.C. Ulrich, ca. 1915
cotton Technique: withdrawn element with embroidery

Embroidered portrait medallion of a woman in profile showing an elaborate powdered wig topped with pearl, plumes and a large bow. Maker's initial "U" inside a small medallion containing a handled basket is on the bottom right.
Bonbonnière
, ca. 1755
Raised and chased gold, carved gray agate, enameling on gold

Egg-shaped form of curving rococo gold cage work over gray agate. Hinged lid with white enameled band showing the phrase, "Eloignez de vous rien n'est agreable" (Separated from you nothing is pleasant).
Pepper Mill
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, 1874
silver, ivory, metal
pepper mill

Cylindrical body with high, concave neck, open on top.  Opening covered by ivory button fastened to wire which goes through the opening.  Pivoting on center axis on bottom three radiating feet ending in ivory knobs. Pivoting cover for opening through which pepper corns are put in.
Ornament
, possibly late 17th century
linen Technique: punto in aria needle lace

One tab from a band with a human figure surrounded by a scrolling vine with flowers.
Cups
, late 18th–early 19th century
Glazed porcelain

A pair of octagon cups with a thin red border around the lip of the cup both painted with a birds in an outdoor scene.
Genius with Alphabet
Hans Sebald Beham, German, 1500–1550, 1545
Engraving on off-white laid paper Support: white laid paper
Print

A winged cupid, seen from the back, holds in his two hands a long, interlaced scroll, on which are shown the letters of the alphabet. Third state.
Border
, 1870–1900
Block-printed on paper

The design consists of a fluted rod wrapped with rose branches against a shaded background and with striped edging. Printed in green, yellow, ochre and brown.

H# 144
Band
, 16th century
linen, silk, metal thread Technique: embroidered

Linen band embroidered in colored silks and gold thread. Pattern is symmetrical with a design of central fountain with birds to the right and left. Above are winged figures with ribbons. Narrow border below of trees and animals.
Fork with Porcelain Handle (Paired with Knife)
, 18th century
gold plated, silver; porcelain, vitreous enamel, gold
fork

Three-tined gilded fork, flaring at the join. Waisted shoulder, flat baluster-shaped neck. Banded ferrule. Irregular shaped white porcelain handle with polychrome decoration. On the front a woman with a basket, on the back a boy on a hobby-horse drinking from a glass, both boy and girl standing in from of a tree. Floral decoration at the top of the handle.
Bowl
Longton Hall Porcelain Manufactory, English, 1749 – 1760, ca. 1755
soft paste porcelain, vitreous enamel
bowl

Dish in the form of overlapping leaves. The upper leaves are left undecorated; the lower leaves are painted with pink veins and green edges. Interior is smooth with painted florals.
Pitcher
Masons, England, founded 1806, ca. 1830
Glazed stoneware (Ironestone China)

Hexagonal in plan; pear-shaped with flaring foot and open spout. Handle in form of dragon. Imari style polychrome overglaze decoration: on blue ground flowers and reserve landscape vignettes.
Sidewall
M.H. Birge & Sons Co., 1834, 1903–1904
Machine-printed paper

a) Sidewall with all-over pattern of tall grass or turf; b) Landscape frieze: central motif contains grouping of trees against clouded blue sky. In front of this is a small body of water. The very front of the scene contains a purple iris at either side.
Textile
, 19th century
silk, paper with applied gold foil Technique: plain compound weave

Black ground with large diaper pattern in green with points punctuated with flowers. Diamonds are filled with smaller diaper patterns in blue, green, and metallic gold. Rows of alternating large flowers, squares, and decorative roundels in yellow, red, green, white, and pink silk.
Sidewall
, 1800–1804
Block printed on handmade paper

Geometric pattern of diamond shapes. Printed in black, white and green on a yellow ground.
Mounted Chinese Vase on a Pedestal, for the Music Room, Brighton, Royal Pavilion
Robert Jones, British, active 1815 – 1833, 1815–22
Brush and water color, graphite on white wove paper
Drawing

A tall Chinese porcelain vase on a porcelain pedestal which is enclosed in an ormolu gallery in two tiers supported by columns, entwined by serpents, the first or lower tier of columns surmounted by a pagoda-like canopy hung with bells. The vases have ormolu-mounted dragon handles.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Fork
, ca. 1650–1700
ivory, steel, silver

Two long pointed tines, curved shoulders and baluster-shaped neck. Plain silver ferrule. Ivory handle carved in deep relief; three putti, one of them kneeling on the ground, the other two climbing on his shoulders.
Walking Dress
Rudolph Ackermann, English, b. Germany, 1764–1834, 1819
Engraving, brush and watercolor on paper
Print

Fashion plate with a woman standig by a railing, facing out to sea. She wears a yellow dress with pink trim, and a pink bonnet. Title below.
Design for a Nymph Comb
Eugène Samuel Grasset, French, born Switzerland, 1841 – 1917, ca. 1900
Brush and gouache, graphite on gray wove paper
Drawing

Design for a comb in gold and enamel.  The upper part represents a nude figure of a woman rising from the waves.
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

Bouquets of flowers, alternating between large and small. "C" scrolls frame the small bouquets and run horizontally across the bottom. Floral swags hang from the top. Printed in gold, silver, and shades of green. Background is a pale green.
Panel
, 18th–19th century
sik embroidery on linen foundation Technique: embroidered in brick and ouline stitches

Small hanging or shawl of fine, loosely woven linen, embroidered in silk in blue, violet, red, olive green, pink and white. Design symmetrically arranged, of stylized plants with spiky, angular outlines. At ends, narrow border of white embroidery, fringe. Pieced in center.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Tall bouquet of red flowers alternating with shorter bouquet. Printed on a tan ground that gets progressively darker towards the bottom. Band of red floral and foliage swag across bottom edge. Printed in red, green and tan on tan ground.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a village in a valley surrounded by large mountains.
Ceiling paper
William H. Gledhill, 1905–1915
Machine-printed paper, textured, liquid mica

Open framework composed of foliate scrolls, with adjacent sections containing a floral sprig. A wreath separates floral sprigs top and bottom and left to right.
Textile
, mid to late 17th century
crewel wool, cotton, linen Technique: stem and running stitch embroidery on 2/1 twill weave

Small curtain of twill weave with linen warp and cotton weft, with all over design embroidered in red wool. From a small semi-circle at bottom springs design of slender ascending vines, with variety of curving pointed leaves showing Indian influence in design. Much interior decoration in leaves, squares, circles, lattice, veining etc. Stems and leaves all edged with feather stitch.
Textile
, 1100–1500
cotton Technique: double cloth, both cloths slightly warp-faced plain weave. 1 to 1 relationship in both warp and weft. Note: selvage on one side intact.

Geometrical standing human figure with headdress holding a staff in one hand and fan-shaped object in the other. Colors are dark brown and tan-brown. Wave scroll border on one side.
Sidewall
, 1880–90
Block-printed paper, embossed, hand-rubbed oil finish

Imitation leather. On light gray-green background, embossed in imitation of leather, large curving foliate pattern, vertically symmetrical along central palmette in brown, with gilded ornamental fill patterns, this palmette enframed in leafy S-curves. Three feathers of junctuire of two opposed S-curves. Scattered symmetrically, blue and white and orange-red and white flower with green leaves. At edges of length, halves of patterns which, joined, form vase of horn containing flowers.
Sampler
, 1796
silk embroidery on cotton foundation Technique: embroidered in cross, satin, eyelet, and double-running stitches on plain weave foundation

Beneath alphabet and numbers scattered motifs including Cain slaying Abel, spies of Eschol, birds and flowers.
Border
, 1670–90
linen Technique: needle lace

Border with twining floral and foliated forms in relief, connected by ornamented bars.
Tile
J.G. & J.F. Low Art Tile Works, 1883 – 1902, late 19th–early 20th century
Glazed stoneware

Square molded tile of white clay, impressed on the back with inscription: "J. & J.G. Low, Patent art Tile Works, Chelsea Mass. U.S.A., copyright 1881 by J. & J.G. Low". Face of tile is stamped with imbricated scale pattern, glazed with a green crackle glaze.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Horizontally-oriented diamond shape at center of page. Diamond shape filled in with foliage and small purple flowersall facing various directions. Guidelines in graphite are visible on the page with the diamond bisected horizontally and vertically.
Sampler
Nancy Keisey, American, 1819
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Curving floral vine enclosing three alphabets and one set of numerals, with an inscription and verse: "For vacant and empty our minutes fly, We may be Negligent but we must die."
Purse
, early 19th century
wool embroidery on linen canvas Technique: counted embroidery (bargello)

Flat rectangular purse with curving design in wool flame stitch in black, tan, green, and white, lined with natural linen. With a dark green plaited cotton cord.
Spoon
, ca. 1750
ivory

Oval-shaped spoon bowl, flat flaring handle, carved on front with floral pattern, on back of join a small leaf-shaped decoration.
Frieze
, 1905–1915
Machine-printed paper, mica flakes

Flitter frieze with large and small floral swags suspended from gold acanthus scrolls, floral-wrapped rod near bottom edge with brown band below.
Ticket for the School of Tiverton, Devonshire
A.M. Ireland, 1794
Etching on paper
Print

In a cartouche frame a view of a library at right; at left two houses. In center, an allegorical female figure (Athena) pointing to the house. With her are two little boys. Another woman with a boy waters a plant at right.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Pink floral bouquets with bows connected by rope-like ribbon between which is a small pink floral motif. Cream ground. Printed in pinks, greens, golden yellow and white liquid mica. Printed in selvedge: "C&W" pattern number "268"
Textile
, ca. 1835
cotton Technique: roller printed

Fragments from a dress. Semi-transparent cotton with self-stripe printed with scattered, widely-spaced naturalistic rosebud in multicolor. Three blue threads in selvages.
Drawing
, late 19th century
Brush and gouache, graphite on cream paper, mounted on cream paper

Two horizontal bands; both bordered by gold frame, purple curved lines around red and gold floral medallion motifs on black ground. Left band is wider.
Textile
, 18th century
cotton Technique: wood block printed on plain weave

Allover design of flowers in red and blue with dark brown outlines.
Textile
, early 18th century
Medim: silk Technique: 5-harness satin damask

White silk damask patterned by a straight repeat of a floral form with large curved leaves.
Plate
Fanny Levine, 1917
Glazed earthenware

Dish with bright yellow well; border of flattened natural-colored blossoms outlined in thick black on yellow ground.
Purse
, early 19th century
silk, metal Technique: beaded crochet

Small purse of white silk crocheted net with clusters of steel beads. Ring of cut steel to close. Top finished with two small bars, steel chain.
Dessert Spoon with Wasp on Handle
Charles Victor Gibert, French, ca. 1890
gold plated, silver
spoon

Oval bowl with plain narrow stem. Stem continues to form leaf shaped handle, with terminal turning downwards. Gold plated wasp applied as if clinging to base of leaf.
Frieze
Potter Wall Paper Mills, 1905–1915
Machine-printed paper

Alternating large and small medallions connected by wavescrolls. Large medallions have two torches, a floral wreath, floral swag, ribbon and a trelis background with floral insets. The small medallions have trelis background wth floral insets. Bottom band of trelis pattern with foliate scrolls. Ground shades dark to light green (bottom to top). Printed in green, cream, metallic red and metallic gold. Printed in top selvedge: "Potter Wallpaper Mills New York-Chicago".
Case for Traveling Cutlery
, second half 18th century
Leather, wood, wool, brass

Box for three implements, follows the shape of a spoon. Lid attached to bottom with two small hinges on back small hooks and rings on front side. Top of lid stamped leather with gold; an urn with flowers in the centre, a laurel wreath and chains on each side, flowers, grapes and pears along the sides. Inside of box covered with green wool fabric.
Cranes at Duisburg
Joseph Pennell, American, active England, 1857–1926, 1910
Etching in black ink on paper
Print

Cranes at right and left. Smokestacks at upper left and in middle background. Railroad cars to left. Two men lower left.
Fragments
, late 18th–early 19th century
cotton Technique: block printed with resist paste, indigo dyed, plain weave

Cotton textile fragments with resist dye showing florals in two shades of blue on white background. Design, incomplete, shows bird in foliage, and large leaf and flower.
Textile
, 1820–25
cotton Technique: roller and block printed

Very fragile fragment of glazed chintz. Fantastic flower design framed by a jagged outline on a brown ground. Printing done by roller and block combination. Green color achieved by printing yellow and blue.
Heralds College, The Hall, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolor on paper
Print

Wigged men, some in red, at a table at left center behind a railing. Others in robes with heraldic symbols. Title, artists', and publisher's names below.
Textile
Arthur Wilcock, ca. 1890
cotton Technique: roller printed on plain weave

Heavy cotton, printed on both sides. Design shows horizontal rows of crocus and daffodils. Shade of yellow, tan, and red for some outlines. Stuff is 31" wide. Both selvedges present.
Mug
, 1820–30
glass

Beaker shape, tapered at middle; scalloped base; loop handle cut with notches; sides cut with band of tall diamonds with central printies, the central panel engraved "Erinerung."
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of rounded form with a flat side.
Band
, mid-18th century
linen Technique: needle lace

Band in an open design of floral sprays.
Sketchbook Page: Portrait of a Man
Kenyon Cox, American, 1856–1919, 1877–78
Black and white pastel, charcoal on blue-grey laid paper
Sketchbook folio

Portrait of a man with a beard and shoulder-length, straight hair, facing frontally and gazing slightly upward.
Sketches of Orléans
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Upper left, sketch of a pair of windows, with details. Below, three sketches of woman with cap and apron doing various activities, sitting, holding groceries, and standing; sketch of dog.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Lag and feather circles with simplified flowers, connected by a simple leaf-sprig motif on all four sides. Printed in white on cream ground.

Printed in opposite selvedge: "Exclusive Design 2357"
Morning Glory and Vines
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Long meandering vines curl and overlap with morning glory blossoms. The diverse leaves are depicted in a multitude of variety from positive to negative. The blossoms are ranging from open to closed. Silk threads are attached to support the strength of the stencil.
Clouds over Mountains
Frederic Edwin Church, American, 1826–1900, March 22, 1856
Graphite on green wove paper; verso: graphite
Drawing

Loose landscape sketch showing a view of a vibrant sunset over a mountainous landscape, seemingly with a lake at lower center.The sky, with its layered, wispy clouds, occupies the upper half of the composition, while the contour of a rugged mountain ridge is visible at center left. Below, the surface of a lake appears to reflect the clouds above.

Verso: List of numbered notations explicating colors and appearances of features in an adjacent drawing.
Robe
, 19th century
silk Technique: gauze weave; woven and embroidered trims Label: silk gauze, woven and embroidered trims

Robe closing diagonally across the shoulder and under the right arm. Made of dark purple silk in gauze weave with medallions of dragons and floral designs. Trimmed with a wide black silk band embroidered in shades of blue with flowers, butterflies, and auspicious symbols; and a narrow green band woven with floral designs. Fastenings are four silk frogs with four spherical brass buttons.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740
Engraving on white laid paper
Bound print

Folio 10, plate 2 of series 7. Design for ceiling with trophy motif. Upper left (presumed central ceiling motif) a cartouche with trophy motifs- horn, banner and garland. Below, at right angle, an asymmetric design of putti riding dolphins (at left hoding a paddle, at right holding a triton), a pine tree in center. A goddess holding a banner (center), a goddess with plumage and two horns, the House of Wittelsbach banner and mask below. A rustic god, a putti riding a dolphin, water plants at right. Sections are connected with dotted lines, presumably as a guide to the stucco decor.
Arabesque Design
Michel, French, active 18th century, 1780-1784
Etching on laid paper
Print

Arabesque design with winged putti in a cloud of smoke in the middle of the composition. Above the cloud is a tasseled canopy with feathers. The cloud falls over a long, octagonal, beaded plaque over which is a garland of roses. The arabesque also features swirling leaves and acanthus leaves, and on either side there is a thyrsus wound with ivy. The plate is not signed or numbered.
Surtout
Jacques III Roëttiers, French, 1707 – 1784, 1748
Etching on laid paper
Print

Design for a centerpiece with two loosely draped female figures holding aloft putti on a shell. The base of the surtout is elevated on scroll feet. The plate is signed and numbered.