biglam/cooper-hewitt-alt-text huggingface dataset:
Dress panels
, mid-18th century
silk Technique: painted over printed outline on plain weave

The panels were once part of an 18th century dress. 'A' came from the front of the dress, 'B' came from the back. 'A' has a curved bottom for the dress opening.  The design is of isolated sprigs of flowers and berries.
Corsica
Wood & Challinor, mid-19th century
Earthenware, transfer-printed decoration
Plate

Scalloped-edge plate with green transfer-printed decoration on white ground. Central scene depicting Renaissance couple surrounded by classical architectural structures, columns, urns and mountainous landscape. Border of four alternating cartouches, two with architectural motifs, two with baskets of blooming flowers; between each reserve are dense patterns with alternating decorative motifs.
Textile
, ca. 1810
cotton Technique: printed by engraved copper plate on plain weave

Four scenes illustrating a story or a romance. In one scene a woman put a laurel wreath on a man's head; in another a man overhears the conversation between two women. In purple on white.
NOUVEAU CAHIER D’ARABESQUE A L’USAGE DES ARTISTES
Jean-Baptiste Fay, French, active 1765 – 1790s, 1765
Album

A series of six plates with two vertical ornament panel designs on each, decorated with arabesque and neoclassical motifs.
Allegorical Figure of "Africa"
Meissen Porcelain Manufactory, German, active from 1710 to the present, 18th century
hard paste porcelain, vitreous enamel, gold
figure

Female figure, black, with elephant-head headdress, feather tunic and leggings, holding lemon and sheaf of wheat, seated on crouching lion facing right; in background, a tree.
Scallop Shell
, late 19th century
Brass
Matchsafe

In the shape of a scallop shell, narrower end flips open, hinged on back. Link attached to side. Striker incised in back.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Allover foliage, possibly ferns, scrolling foliage border; printed in white on light gray-silver ground. Two borders printed across the width.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Contains a grouping of three stylized tulip flowers, with hanging pink foliage. Printed in tan, brown, and metallic green on striped green background. Same floral motif as 1979-91-849.
Sidewall
, 1875–90
Machine-printed on continuous paper

On patterned tan ground, diagonal metallic gold trellis frames alternating stylized red cabbage leaf on black ground and metallic gold and shiny white stylized flower.
Inkstand
, ca. 1870
Cast and engraved brass

Flattened cylinder with hinged flip top and box at one end; box also with small hinged lid.
figure study for a fountain design
Elihu Vedder, American, 1836 – 1923, ca. 1890
black crayon, white chalk, on gray paper
Drawing

Vertical rectangle. The nude figure of a boy, standing, turned toward the right. The arms are uplifted. A rapid sketch, details indicated briefly.
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Tall group of three flower clusters, each resembling a ball, alternating with a shorter single cluster of flowers, also shaped like a ball. Floral swags connect the motifs. Printed in reds on deep red imitation fabric background.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted purple silk ornamented with gold beads in diamond pattern.  Two small gold rings control side opening; small gold drops at either end.
Sidewall
, 1800–1825
Block-printed

On ungrounded paper (turned dark) is crudely printed a rosette in pink and dark greenish-blue. Stained, rubbed and torn. a) mounted on stiff paper with onion-skin cover; b) mounted on stiff paper.
Vues d'Italie [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed
Scenic

In sepia tones. Scene contains a triumphal arch along with two women carrying baskets while two women do laundry
Stripes
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Vertical stripes have been delicately carved out with very thin and precise precision.
Sampler
Refugio Gavino, 1852
silk embroidery on linen foundation Technique: embroidered in satin and stem stitches on plain weave foundation

The sampler is divided into 5 panels by striped borders. The largest, in the center, contains a vase of flowers. On each side is a  wreath containing the inscription "Lo izo Refugio Gavino en la enseñanza de la Academia de Puebla en el mes de Agosto del año de 1852. The two bottom panels each contain a floral border design.
Man's cap
, late 16th century
silk and metallic embroidery on linen foundation, metal spangles Technique: appliqued and embroidered in split, back and couching stitches on plain weave foundation; Label: linen embroidered with silk, metallic yarns and spangles in split, back and couching stitches

A man's cap with turned up cuff, of off-white linen embroidered in a pattern of rainbows arching over clouds with rain falling, with snails and caterpillars interspersed. In blue, green, yellow, red and pink silks and silver metallic yarns.
Textile
, 12th–13th century
linen, silk Technique: embroidered

Undyed linen cloth crossed with two parallel bands with stemmed heart forms in blue silk cross-stitch on tan silk chain-stitch and stem-stitch ground; dark brown silk cross-stitch guard borders. One plain selvage with double warps. Narrow hand hem on opposite side.
Design for a Chatelaine with Watch
Alexis Falize, French, 1811–1898, ca. 1875
Brush and gouache, gum varnish, graphite on buff-colored laid paper
Drawing

Design for a diamond-encrusted golden watch hanging from a heavy golden brooch (chatelaine). Ornamented in neo-Renaissance style with pearls and rubies, this stunning jewel features a golden hour-glass and a figure of Father Time holding a scythe. Winged female sea creatures support the brooch and watch case.
Frieze
, 1907–08
Machine-printed on paper

Pattern of roses, leaves and foliage against silhouette of mountain; below band of floral rinceaux. Printed in light green, beige, white, and cream.
Skirt panel
, late 18th century
silk Technique: chain stitch embroidery on plain weave

Rectangular skirt panel with delicate festoons of flowers caught with bows in a symmetrical arrangement. Embroidered in soft pastel colors on a cream-colored ribbed ground. Small scattered sprigs at the sides. Lined with thin cream silk fabric. Row of small scallops indicated at the bottom by discoloration.
Sample book page
, ca. 1910
cardboard, linen, silk, metallic Technique: linen embroidery with ground cloth dissolved Examples of embroidery on net produced by the Schiffli machine Metallic embroidery on net Machine-made openwork in imitation of hand-embroidered net Mostly floral and a few geometric patterns, some designs described as "Spanish" Imitation hand-made filet Machine filet Imitation filet crochet Ploven (burnt-out lace) Fancy curtain lace made on the Levers machines Real filet (handmade) next to Machine-made filet Spotted curtain nets, made chiefly at Nottingham, England and Caudry, France.

Eighty-three samples of machine-made openwork and several examples of hand made lace mounted on boards. They imitate hand-embroidered net, crochet, or needlepoint.  All are floral patterns plus a few of early 1920's geometric style.
"Embroidered net" produced by the Schiffli Machine.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Pink rose vining with blue moires medallions. Small trellis background. Printed in pinks, greens, blues, white and white liquid mica on white ground. Printed in selvedge: "S.A. Maxwell & Co." Water damage and torn pieces along edges.
matchsafe
, late 19th century
Porcelain

Figure of donkey wearing top hat with yellow band. Figure also wears maroon coat with magenta waistcoat and white shirt with magenta dots.
Architectural Details
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Details of stone supports, window with a figure. Right, water pitcher.
Sidewall - fragment
, 1890–1910
Machine-printed

Pale blue crackled ground with drop-repeating scrollwork medallions. Printed in dark blue, white and silver.
Frieze
Liberty Paper & Bag Co., 1905–1915
Machine-printed paper

A repetitive design of bundles of oak leaves interspersed with a geometric floral motif, all connected by oak leaves. Upon a beige ground with a geometric overlay, between complementary borders. Printed in cream, beige, brown, olive green and gold.
Fragment
, 13th century
silk on linen Technique: appliqué and embroidery

Fragment with a multicolored pattern of interlocking diamond shapes with buttonhole details.
Knife with Figural Carved Wood Handle
, ca. 1700
steel, silver, wood
knife

1985-103-49/50: Scimitar-shaped blade with rounded end. Octagonal ...;     1985-103-49: Scimitar-shaped blade with rounded end. Octagonal ...;     1985-103-50: Two-tined fork, baluster shaft. Octagonal plain br...
Border
, 1600–1650
linen Technique: bobbin lace, discontinuous tape

Narrow band with a small, dense pattern of an inverted flower on a stem with curling leaves, which forms  a series of pendants.
Window shade
, 1850–75
Hand painted on canvas support

Parts of four different metallic gold frameworks. Printed on brown ground with fabric support.
Fragment
, 16th–17th century
linen, silk Technique: appliqué and embroidery on gauze weave

Fragment of a floral band with linen appliqué and multi-colored silk embroidery on red gauze weave.
Japanese Characters
, 1780–1830
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

A series of Japanese characters have been carved using thick and thin widths. Large solid ground spaces out the characters which are scattered throughout.
Eraser and Sheath
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, 1894
silver, mother-of-pearl, chrome steel, leather
eraser

Handle with silver overlay on mother-of -pearl, the silver as chased foliage, flowers and vines.
Textile
, 19th century
silk Technique: tied resist patterning in warp (ikat) on plain weave

Vertically and horizontally symmetrical ikat in red, green, yellow and blue with floral towards bottom. Blue vertical line running down the center with circular/bulbous areas that meet diagonal lines with curved/hooked ends in red and green.
Border
, early 19th century
Technique: bobbin lace

Bobbin lace border, floral scroll; early 19th century Maline.
Figure Studies
Carlo Bononi, Italian, 1569–1632, 1600–20
Black chalk on grey laid paper
Drawing

Recto: three sketches of the upper parts of male nudes, one shown frontally, left arm extended, one with hands clasped, and the third, from the back, seated. Verso: reclining male nude, lying on his right side; sketch of a foot.
Frieze
, 1905–1915
Machine-printed paper

Mission style. Border printed two across the width. Alternating rectangular shapes with stylized floral and geometric patterns (key patterns and other geometric designs). The flowers in the smaller rectangles are a set of three tulips and in the larger rectangles are flowering bushes set above two large flowers. The bottom has a scalop design with floral bushes.All forms are outlined in beading. Ungrounded and covered in a grid. Printed in pink liquid mica, green and brown.
Sketchbook Page: Self-Portrait
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist with head in right hand.
Study of Reclining Nude Figure
Louis Schaettle, American, 1867–1917, ca. 1900
Graphite and chalk on grey paper
Drawing

Reclining female nude, head facing front, at left; bent legs extended to right. Right arm curled in lower left, left arm upper left.
Band
, 17th century
linen Technique: needlework on knotted net

Small piece of blue net with a square mesh and knotted at the corners. Embroidered in white showing a conventionalized flower and vine design.
Sampler
Greitje Zwart, 1817
silk embroidery on cotton foundation Technique: embroidered in running (pattern darning) and eyelet stitches on plain weave foundation

Nine darning crosses with crowned pairs of initials at the center.
Band
, 1670–90
linen Technique: needle lace

Band of Point de Venise à Rose with serpentine floral sprays outlined by cordonnet and connected by bars with picots. Solidly worked areas are interspersed with decorative fillings stitches known as gaze quadrillée and portes.
Pleated fan
, late 19th century
Printed, hand-colored and gilded paper leaf, pierced mother-of-pearl sticks with gold foil, gilded metal plaque, mirrors and faceted glass stones on guards, gilt metal bail, silk tassel with metal threads

Pleated fan. Printed, hand-colored and gilded paper leaf. Obverse: a young man and woman receive blessings from a seated man and woman; groups of figures watch from the left, right and backdrop. Reverse: a pastoral scene. Pierced mother-of-pearl sticks with gold foil. Gilded metal plaque, mirrors and faceted glass stones on guards. Gilt metal bail and silk tassel with metal threads.
Les amusemens des gentile douauiers, Plate 11 from "Inconvénient"
Auguste-Xavier Leprince, French, 1799 - 1826, ca. 1825
Lithograph, brush and watercolor on paper
Print

Customs officers looking through trunks, under a man's wig, the dog's collar. Title and artists' names below.
Textile
, ca. 1860
wool (worsted) Technique: block printed on the warp-face float of 5-harness 4/1 satin (Z-spun, S-ply)

Half-drop repeat of hot house type flowers including a palm in bright colors on a plum color background. Fabric cut at edges of pattern repeat. Lengths of fabric would continue pattern.
Knife with Porcelain Handle (One of a Pair)
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1750
hard paste porcelain, vitreous enamel, steel, gold
knife

Saber-shaped blade with drop bolster. Ferrule engraved with animals and flowers; ferrule and bolster both gilded. Porcelain handle tapering, round in section. Floral pattern in blue, red, green, yellow and purple on a white ground. Button cap on top of handle.
Sidewall
Robert S. Hobbs & Co., Brooklyn, New York, 1890–1920
Machine-printed

On off-white ground, green scrolling foliage frames nosegays of lavendar and purple flowers with green leaves.
Coffeepot
Matthew Boulton and Company, England, 1784 – 1932, ca. 1800
copper, silver
coffeepot

Ovoid body, flared slightly at bottom, reeded upper edge; flat domed lid with ball finial; duck bill spout; looped hardwood handle with curled thumb rest.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Coral colored silk, fringed and covered evenly with cut steel beads, which form the outer ends of the bag.  The middle, of crocheted black silk, is sewn to the coral portion; triangular lappets of black silk crochet, with cut steel pendants at each triangular point, overlap the coral.  Two cut steel rings control the side closing.
Study of landscape, Drachenfels, Germany
William Stanley Haseltine, American, 1835–1900, 1856
Brush and oil on paper
Drawing

Sketch of a rock formation and mountain range.
Sampler
, 1762
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Crowned initials and date framed with palm branches at the top; flowers and trees in pots, floral shapes at bottom.
Sidewall
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1875–1900
Block-printed and flocked on flocked ground

Large-scale floral in acanthus medallion. Two-process flock design printed in light olive flock on dark olive flocked ground. Double flocked.
Curtain panel
, 1800–1850
cotton Technique: embroidered

Part of a white muslin curtain embroidered in white. Design has a repeating pattern of vases with flowers connected by garlands. Both edges scalloped.
A View of Florence on the Side of Arno and of Trinity Bridge
Nathaniel Parr, British, active 1742 - 1751, ca. 1750
Engraving, brush and watercolor on paper
Print

Both banks and two bridges of the Arno can be seen. Open and covered gondolas and small sailboats on the river. Title, artists', and publisher's names below.
Textile
, 18th century
cotton Technique: resist patterning on plain weave

Textile with pattern of blue resist on ivory showing alternate vertical stripes, one twisted and one floral. Selvedge on one side.
Sampler
, 1799
silk embroidery on linen foundation Technique: embroidered in cross, stem, satin, knot, chain, eye, four-sided canvas, rococo, herringbone, and half cross stitches on plain weave foundation

Two alphabets at the top (missing the letter J) divided by narrow bands of pattern, then a rococo frame enclosing scattered flowers and the inscription: Vivat MD WD, with initials and animal figures at the sides.
Card case
, early 19th century
bark, straw, cotton Technique: embroidered

Two stiff pieces of bark, hinged and edged with red cotton and embroidered with colored straw in a floral design.
Frieze
William H. Mairs and Company, Brooklyn, New York, 1905–1915
Machine-printed paper

Two bands of a repeating floral design separated by a geometric ornamental band and bordered on the bottom by a similar geometric band and on the top by two thin horizontal strips on a solid ground. Printed in white, metallic gold, beige, orange, light blue, brown and salmon-color.
Ejiri, View Over Mio-no-Matsu-bara, 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

Lower half, roofs of houses beyond which is bay with two groups of boats, some with sails. Upper left, low stretches of tree-covered ground jutting out into the sea and mountains.
Two male figures and a decorative motif
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Two muscular nudes. One raises his left hand in a fist. Below, a decorative motif.
Fashion Plate from Le Monde Elégant
, 1872
Wood engraving, brush and watercolor on paper
Print

Three young women, the one at right in red and white, at a piano. One at left, in pink and white; center, in gray, blue, and yellow dress with black lace. Title and date below.
Textile
, 18th century
silk on silk Technique: embroidered in chain stitch on satin weave

Cream satin ground with vertical pencil stripes of weft floats, embroidered in bright pastels with bouquets tied with ribbon bow in four corners. Holy monogram surrounded by rays and flower sprays, lower center. Piped with bright pink ribbed silk lined with strie silk cloth of period.
Fragment
, 18th century
linen Technique: needle lace with 6-sided reworked ground

Repeat of a basket of frruit alternating with a bird perched in a wreath.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Tile or grid pattern, with a quatrefoil composed of "C" scrolls at the intersection of octoagons. Each octagon contains a larger quatrefoil composed of "C" scrolls and bellflowers.Printed on a tan ground. Selvedge on one edge only.
Textile
, 19th century
cotton Technique: applique on machine net muslin

Applique and embroidery on net. Part of a border with a floral pattern white-on-white.
Portrait of Eusèbe Renaudot
François Chereau the elder, French, 1680 - 1729, 1720–29
Engraving and etching on paper
Print

Portrait of French scholar Eusèbe Renaudot, seated with his left hand holding a book popped up on a table with more books. A column behind him to the left, with a view of Rome (and the Vatican) in the distance, with domed buildings (St Peter's Basilica). The plate is titled and signed.
Case
, 18th century
shagreen, wood, metal

Possibly necessaire or spectecale case
Tree Trunk, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Oil and graphite on paperboard
Drawing

Botanical sketch of the trunk of what is likely a palm tree in Jamaica. Visible from its base, the tree is cut off midway up. Surface of the trunk is marked by lateral gray and brown bands. Behind the tree in the middle distance, a dirt road stretches across the composition. A loosely rendered backdrop of trees and other greenery serves as the background.
Embroidery sample
, ca. 1770
silk, metal thread, metal sequins, metal coils, crimped metal wire, paper Technique: embroidered on uncut voided supplementary warp pile (velvet) Label: Satin and knot stitches embroidered in silk and silver metallic thread; embroidered silver metal coils, crimped strips and sequins on silk uncut voided supplementary warp pile (velvet); paper enclosure

Dark purple ground with a small diagonal design embroidered in a border pattern of heavy foliage sprays in silver sequins and metal wire.
Portail de l’Eglise des Peres de l’Oratoire de Paris
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of a church in Paris featuring columns, pilasters, capitals, a balustrade, sculptures, an arched roof, and a cross finial. A scale along the left margin. The plate is titled.
Designs After Architecture Fragments
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments including pediments and decorative grotesques. The plates are numbered but not signed.
Design for a Salt Cellar in the Shape of a Sleigh
, 1675-1690
Pen and brown ink, brush and grey wash on paper
Drawing

The forward part of the body of the vessel represents a centaur abducting a maiden, and behind, the body is in the form of a boat, over whose side hangs a lambrequin. The single runner shown, encircled by leaves, terminates in the figure of a bearded man with bow and arrow aimed at the centaur.
Pad for workbox
, late 18th–early 19th century
silk, parchment, metal thread Technique: appliqué

Pad covered with blue satin and ornamented with cut parchment stitched with metal thread in design of urn and tomb under palm trees, surrounded by floral border. Lined in white taffeta and edged in satin ribbon, quilled.
Sucrier
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a sugar shaker decorated with ornament motifs including shell and branch forms, and a foot comprised of a dolphin on scrolls. The plate is signed and numbered.
Embroidery sample
, 1790–1800
silk, net Technique: embroidered and appliqued on uncut supplementary warp pile in a satin foundation (velvet)

Multicolored silk embroidery in a floral design and net applique on a dark purple ground with wavy vertical blue stripes.
Design for a Table Centerpiece
Giuseppe Barberi, Italian, 1746–1809, 1790-1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

"Dresser," table center piece for the Altieri family.
Plan de la Sepulture des Roys de Valois a St. Denis
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan for a rotunda with a scale below. The plate is signed and inscribed with a title.
Ornament Design
Alexis Peyrotte, French, 1699–1769, 1740–49
Etching on laid paper
Print

Two designs for rococo ornament featuring shell and scrolling leaf motifs, flowers, and fleurons. The plate is signed
Sketch, Figures with Equestrian Monuments
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Sketch, Figures with Equestrian Monuments.
Designs for Gun Parts and Ornament
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Engraving on laid paper
Print

Designs for gun parts (butt and ornament) decorated with grotesque ornaments, mascarons (masks), fantastical animals, figures, profile portraits, crown, French Royal coat of arms, cartouche, flowers, drapery, angels, flowers, scrolling leaves (rinceaux), and fleurons.
Sample
, late 19th century
cotton Technique: printed on plain weave

Woven cotton textile printed in black and red on white ground showing a grid pattern composed of circles in various shades.