biglam/cooper-hewitt-alt-text huggingface dataset:
Fragments
, 1700–1750
silk, metallic thread Technique: satin brocaded with silks and metal

Seven fragments of textile panel, originally made up of three widths of material, edged with narrow strip of brocade with blue ground and backed with blue silk.  White satin ground with gold, red, yellow and white brocade. Irregular-shaped vessels from which flowers emerge.
Design for a Surtout de Table (Centerpiece)
, early 19th century
Pen and black ink, brush and watercolor, gouache, graphite on off-white wove paper
Drawing

A tray, supported by lion feet, whose central pavilion is flanked by vases on columns, by low and by higher bowls, the latter ones are supported by Atlantes standing on round pedestals.  The tray is bordered at its edges by a series of pairs of posts connected by chains.
Sidewall
, ca. 1800
Block-printed on handmade paper

Square composed of stripes of blue and stippled white on blue, with transverse blobs of white in imitation of the effect of a warp print.
Beaded picture
, 19th century
linen, glass beads Technique: embroidered with beads Label: linen embroidered with glass beads

Panel of linen embroidered with colored glass beads to create a landscape scene with a church and a house, and a boy playing pipes under a large tree surrounded by sheep and goats.
Sampler
Harriet Bradbury, American, 1786
silk embroidery on linen foundation Technique: embroidered in cross, satin and stem stitches on plain weave foundation

Large vase of flowers with verse above and inscription below, surrounded on three sides with a border of roses set in octagonal frames. The verse reads: 

The maid who led by wisdom's guiding hand
Seek's virtue's temple and her law reveres
She She alone in honours dome shall stand
Crownd with Rewards and rais'd above her peers
Re cording annals shall preserve her name
And give her virtues immortal fame

And the inscription: 
Done by Harriet Bradbury August 17 1786
Scarf
, 19th century
linen Technique: needle lace with ground of loop and twist with twist return

Three cornered lace scarf. Probably Empire style.
The Four Seasons
, 1770
cotton, linen Technique: plate printed on linen warp, cotton weft
Textile

Country vignettes: Maypole, gardening, Bacchus, skating, representing the four seasons enclosed in floral swags. Height of repeat: 37 1/2 '' Plate break in center of the white scene. Structure/ Technique: Plain weave. Printed by engraved plate. Note: Width of design is not present; plate was wider than the fabric.
Textile
, 14th–15th century
cotton Technique: resist-printed on plain weave

All-over small-scale repeat of joined points with trefoil at tip.
Two Ducks in a Landscape
Jean-Baptiste Huët, French, 1745–1811, 1772
Etching and engraving (crayon manner) in red ink on paper
Print

Two ducks in a landscape with trees, foliage, and water. The plate is signed, dated, and numbered.
LA FAVORITE DE FLORE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a well-dressed woman in a landscape picking flowers and placing them in her apron. This scene is set within an arabesque frame comprised of flowers, scrolls, and reeds. The plate is signed.
Design for a Mass-Operational House Designed by Hector Guimard, Support Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing support construction.
Fringe
, 17th century
silk, metallic thread (gold strips on silk core) Technique: plain weave

Fringe of red and gold threads with a heading and skirt threads cut into points; tufts hanging on red loops between points and at center of each.
Fragment
, 17th century
silk Technique: cut and uncut velvet pile in a satin foundation

Fragment has a design of S-shapes and floral sprigs in rusty brown on white.
Visite de M. de Duc d'Aumale a la Croix-Rousse dans l'atelier de M. Carquillat
Michel-Marie Carquillat, French, 1803–1884, 1841
silk Technique: jacquard woven
Picture

M. le Duc D'Aumale à la Croix-Rousse visits the workroom of M. Carquillat. A group of men stands before the loom as M. le Duc D'Aumale à la Croix-Rousse holds a portrait of Jacquard.
Peep-show, Vüe Perspective du Chateau Royal de Tolede, et de la Grande Place Qui Est Au Devant
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Tile
, 1701–25
Earthenware

Bluish-white field. In centre, woman and triton confronted, on water extending across width of tile. In corners, floral motif.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed; glazed

Ground grey with areas of moire in white. Large diamond shaped frame in blue with zigzag edge. Naturalistic rose sprays printed at points of crossing of blue bars, - glazed.
albarello
, ca. 1700
tin-glazed earthenware

1911-5-9: Drug jar, decorated on one side in blue with figur...;     n-a-378: Partial accession number on bottom: 11-5-50
Textile
, ca. 1750
silk Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Strip of cream-colored ribbed silk brocaded in blue, rose, green, and purple silk - design of swinging slender branches and flowers - made up of five fragments and trimmed with gold ribbon and fringe.
Tumbler
, ca. 1770
glass, cut with gilt decoration

A straight-sided tapered body of fifteen vertical panels, decorated with a rococo scenic fantasy.
''La Sacra Genesi figurata da Rafaele D'Urbino nelle logge vaticane'' (Title Page, Raphael's Genesis Frescoes in the Vatican Loggia)
Francesco Villamena, ca.1566 – 1626, 1625–26
Engraving. support: off-white laid paper, discolored to brown
Print

Four winged putti frame an ornamental escutcheon decorated with shell motifs and mask at bottom. Two hover above, carrying fruited garlands, while two others stand below on long band. A shield with the arms of Cardinal Albrodrandini surmounts the escutcheon.
Both the band and the escutcheon bear text. The band reads: In Roma Apresso Gio Batta de Rossi Milanese in Piazza navona. con licena/de Super- iori somo Pontife MDCXXVI. The escutcheon reads: La Sacra/Genesi/figurata/ da Rafaele D'Urbino/Nelle Logge Vaticane,/Intagliata da/Francesco
Villamena/dedicata Al'Illustrill. e Reverendill./Sig. Card. Aldobrandino. Matted with 1938-88-8444. Condition notes: poor overall condition. Stained. Discoloration. See Nagler 32 [Georg Kaspar Nagler, Die Monogrammisten und diejenigen be-
kannten Kunstler aller Schulen..., Munich: G. Franz, 1858-79. Reprint, 1966.
Figure Study for Mural
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Sketch of male figure with some drapery, arms uplifted.  This is likely a study for a mural showing Christ's Ascension.
Pleated fan
, late 19th century
Painted paper leaf, painted wood sticks

Pleated fan. Paper leaf painted on both sides with spots and silver florals. Wood sticks painted black. Pink silk ribbon.
Bag
, early 19th century
glass beads Technique: beaded knitting

Pale blue ground with naturalistic flowers including roses in pinks, yellow, white and blue.
Album page
, 1690-1700
Pen and ink with watercolors

One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso.
Portrait of Paul Jacques Aimé Baudry
Paul-Adolphe Rajon, French, 1842 - 1888, 1883
Etching on paper
Print

Bust length portrait of the French painter, Paul Jacques Aimé Baudry (1828-1886), facing frontally, his head turned slightly to the right. He wears a mustache and rosette of the Légion d'Honneir in his lapel.
Textile
, late 17th century
silk Technique: brocaded on satin weave

Central field has a repeating pattern of paired confronting birds alternating with floral paisley botehs on a blue ground. Attached border has an off-white ground with pink and green flowers, edged with a metallic cord.
Unterschiedlich Augspurgische Goldschmidts Arbeit, "Ver", Plate 1
Abraham Drentwet, German, 1647 – 1727, 1721–40
Engraving
Print

Vertical rectangle. A large urn with flowers in it set on a pedestal with a ram's head, center, with a large frame around it, scrolls, flower festoons, a half-woman, and above, two putti, with a large urn on either side. All this set in a garden, with Flora lower left, a vase lower right and four putti. Below, the artists' and publisher's names and title.
Panel
, 17th century
silk and velvet on canvas Technique: embroidery using Florentine stitch, cross stitch and petit-point; appliqué

Panel of buckram with ground worked solidly in ivory silk. Design of a horn of plenty, great swinging branches and flowers worked in multicolored thread.
Design for a park entrance
, 1790
Pen and ink, brush and watercolor, graphite on paper.
Drawing

Top: the elevation. Bottom: the plan. Tempietto, octostyle, connected right and left by double hexastyle colonnade to square astylar pavilions.
Portrait of Jean Chapelain
Robert Nanteuil, French, 1623 – 1678, 1655
Engraving on paper
Print

In an oval enframement is the bust portrait of Jean Chapelain (1584-1674), shown wearing two tassels about his neck and a heavy cloack.
Textile
, 1876
cotton Technique: printed on plain weave

Fragment of a centennial print in a design of red and blue stars in vertical columns, each star holding in its center a letter, reserved in white, of the word: CENTENNIAL. Intersecting the stars are two horizontal rows: one with 1776, the other 1876.