biglam/cooper-hewitt-alt-text huggingface dataset:
Unfinished cartoon for an alternate design for cotton printing: La Vie de Bélisaire
B. M. Lebert, 1759–1836, ca. 1820
Pen and grey washes on cream-colored paper (mounted)
Drawing

A central island and four smaller ones illustrate legends from the later life of the blind Byzantine general, Belisarius (ca. 505-565), of Macedonia: upper left, the dream of Belisarius; upper right, Belisarius recognizing a friend; center, Belisarius setting free the Visigoths; lower left, Belisarius begging alms at the gates of Constantinople; lower right, Belisarius' dream of Justice. Alternate suggestions of a patterned ground given.
Massacre of the Innocents
Hendrik Goltzius, Netherlandish, 1558 – 1617, ca. 1585-86
engraving on paper
Print

Vertical rectangle. Unfinished composition showing a group of nude and semi-nude figures being massacred by the soldiers of Herod.
Christ and the Woman of Samaria Among Ruins
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1634
Etching on laid paper
Print

Christ, seated left, at a well among the ruins. Woman stands, holding the well rope in her right hand. A group of men are coming up the hill to the right.
Study of Woman's Hair
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Hair bound loosely with scarf or ribbon. Face and shoulders indicated. Head bent to the left.
Color Olivi (Invention of Oil Painting), plate 14 in the Nova Reperta (New Inventions of Modern Times)
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1596
Engraving on laid paper
Print

A busy art studio, with a group of artists and students at work. At the center, a painter works on a large canvas where an image of St. George and the Dragon is visible. Assistants prepare pigment. A student in the foreground copies a sculpture; another painter at background left portrays a seated woman from life.
Sketch of Bust of a Woman
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Bust of a woman in classical style. Hair parted in the center, with headress and veil. Head turned slightly to the right.
Peep-show, Vue du Grand Canal, du Palais Balbori, du Pont Realto, et de la Fête des Condoles a Venise
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook paper
Print

Peep-show print
slashed silk satin
, 17th or 18th century
silk Technique: flocked satin weave

Red satin patterned by flocking and small cuts in fabric.
Fragment
, 17th century
silk Technique: 4&1 satin damask

Small detached leaves in olive green.
Pair of trays
, ca. 1820
Enameled tôle

Rectangular, with convex raised sides, pierced; a) has two cast brass handles. Black field, painted in color with scattered flowers.
Fragment
, 16th century
silk, metallic Technique: woven

Branches with leaves facing in alternate directions on alternate rows.
Design for a Playing Card: Queen of Spades
, 1825–1850
Graphite, brush and watercolor on paper
Playing Card

A queen in medieval attire is shown standing, holding a book with both hands.
Drawing
Felice Giani, Italian, 1758–1823, 1801-1805
Pen and brown ink over traces of graphite on cream laid paper

At left: a woman carrying a filled cornucopia and a turnip(?) approaches an altar from left. She is followed by a girl carrying a basket upon her head. At right a woman holding a cymbal with both hands approaches an altar from right. She is followed by a boy blowing a double flute. Written above as in 3437: '' Ercole.''
Fragment
, late 17th–early 18th century
silk, metallic thread (frisé and filé) Technique: warp-face of an eight-harness satin patterned by warp-faced ribbed plain weave which is in turn patterned by one extra weft and extra-weft brocade

Fragment of brocaded silk in the 'bizarre' style. Two hooked spirals placed side by side formed by two motifs, one a left curve and the other a right curve, repeated alternately the length of fabric. The major element of one motif is two wing-like leaves elaborated by geometric spirals, floral appendages, etc. in silver. The major element of the second motif is two feather-like leaves elaborated by a lace-like grid in silver. Incorporated within each motif are polychrome floral sprigs and vines which help to fuse the two motifs to form the hooked spiral as do other secondary elements in silver. The above pattern, which is mainly brocaded, stands out and is complementary to the monochrome woven pattern of the background (foundation fabric) in pink. With the exception of the green, which is an extra weft selvage to selvage, the silver and polychrome wefts are brocaded.
Romulus and Remus, Thirteen Paintings for the Sala delle Origini di Roma, Faenza
Felice Giani, Italian, 1758–1823, 1803
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Horizontal rectangle. Top row, left: a hexagon; the conception of Romulus and Remus. Mars descends upon a cloud to Rhea Silvia, who is seated upon a chair in front of a temple or inside it. Center: an oblong: Amulius consecrates Silvia as a priestess of Vesta. The pair ascends the steps of the platform in the temple of Vesta, upon which a priestess is seated before an altar. Veiled Vestals kneel in the right foreground. Attendants of the temple are shown in the right rear, at left the crowd. Right: a hexagon: Silvia with the twins, in prison. Silvia is seated, with the twins in her lap. Second row: two octagons: 1) Remus accused as a robber by shepherds before Amulius The King is enthroned, at left. He looks at the fettered youth. The shepherds are in the right rear. 2) Faustulus brings Romulus and Remus to his wife Acca Larentia. He offers the basket with the babies to his ???
Fragment
, 17th century
silk, metallic Technique: plain weave with supplementary wefts

Cone-shaped plant forms framed by green vines .
Fragment
, 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Louis XV pattern, Binche or old Valenciennes ground; ''fond à cinq trous''.
Chestnut bowl, cover and plate
, ca. 1790
Lead-glazed earthenware ("cream ware")

Basketwork on all three pieces. Plate has openwork border of adjoining loops and an ogee foot with openwork. High ogee domed cover surmounted by handle in the form of a marigold. Ladle opening in cover.
Fragment
, 17th century
silk Technique: supplementary warps forming uncut raised pile in plain weave foundation (velvet)

Fragment of green velvet has diagonal leafing scrolls facing in alternate directions to form a diamond grid.
Fragment
, 16th century
silk, metallic Technique: cut and uncut pile velvet

Stripes of grey and mauve with cut and uncut pile.
Silversmith's model
, mid-19th century
ivory

1958-90-1-a: Ninety-five carved ivory models for silversmiths50
Band
, 17th–18th century
linen Technique: bobbin lace, Binche style with no ground

Band with an open, leafy scrolling pattern.
Fragment
, 19th century
linen Technique: bobbin lace (Valenciennes ground)

Design shows flowering stems at border with flower sprays above on a field of ''wire'' ground.
Textile
, 1775–85
cotton Technique: printed by engraved plate on plain weave

Narrow stripes with architectural objects, plants and ornament filling the space betwen the stripes. In red on white.
Sidewall
, ca. 1845
Block-printed on paper

Landscape views with figures; scenes are separated by trees. Printed in grisaille on light gray ground.
Proof for exhibition catalogue, "Jockeys," Kingore Galleries, New York, NY
William Hunt Diederich, American, b. Hungary, 1884–1953, 1920
Offset printing on fabriano cotton wove paper
Book

Full page proof for text layout. Left, image of a balcony railing with hounds surrounding a stag.
Decorative panel
M.H. Birge & Sons Co., 1834, 1910–15
Block-printed paper, embossed, glazed

Panel of imitation leather paper with heraldic shield printed near top edge. Shield is enclosed within ribbon and floral wreath. Red and brown shield, green ribbon and blue flowers, hand-printed on brown paper embossed to resemble leather.
Button
, late 18th century
Copper

1931-59-219-d: Four flat circular buttons decorated with fine eng...
Set of Four Buttons
, 1840s
porcelain?
buttons

Four small round white buttons with purple printed design of tiny raved circles and dots.  Four holes for sewing.

On card 6
Fragment
, 1770–80
linen warp, cotton weft Technique: block printed on plain weave

Stripe of a floral motif in straight repeat at the left. At the right an alternation of two figures; a woman playing on a  stringed instrument and a harlequin. Both appear to be on a stage. Black, two reds, lavender, blue and yellow ocher.
Hanoverian Pattern Syle Table Spoon
Marmaduke Daintry, 1749
silver
spoon

Hanoverian style pattern. Oval bowl, thin neck and stem, widening to rounded upturned terminal with central ridge, which splits outwards at terminal. on reverse side of terminal, flattened. On reverse side of bowl, at join with neck, short, wide, rattail, with central ridge.
Plate 6, from a series of eight pendant designs with the cardinal virtues
Johann Theodor de Bry, German, 1561 - 1623, 1616–1623
Engraving on paper
Print

Pendant design with bird motifs and hanging pear-shaped pearls.  Central Image: Justice,  nude women holding scale and sword.  Inscribed below image: "IVSTITIA".   Surrounding the pendant are blackwork ornament designs for enamelists, mostly showing possibilities for the top and sides of rings.  (Matted with 6161.1-5,7/8.2000)
Page from Ackermann's "Repository of the Arts, Science etc,"
, 1810
f.) paper, cotton, silk

Component "f" is a page from Ackermann's Repository, August 1810. Page contains printed graphics and three textile swatches: one printed floral and two woven in white.
Cup and saucer
, 18th–mid-19th century
Black transfer on stoneware

Yellow cup and saucer with black transfer images. Cup depicting a lady playing a piano. Saucer with flared sides, interior with allover floral motif.
Panel
, 19th century
silk, metallic thread, cotton backing Technique: compound cut voided velvet cloth bordered with silk and metal compound satin and backed with cotton twill

Vertical rectangle. Red velvet background with all-over repeat of single blossom framed by long pointed leaves with serrated edges. Center of blossom border on each side of dark blue satin with cone design in coral silk and gold. Edges piped and faced with printed cotton. Backed with red cotton twill. Velvet portion of panel composed of several pieces carefully sewed together.
Sidewall
, ca. 1800
Block printed on joined sheets

Floral stripes with alternating thin and thick bands.  Thick bands contains alternating water mills and floral designs.  Printed in varnished green, red and white on gray ground.
Four Knives with Porcelain Handles
Chantilly Porcelain Manufactory, French, active ca. 1725 - ca. 1789, ca. 1735–1740
soft paste porcelain, vitreous enamel; steel, silver
knives

1985-103-230: Blade has slightly bent upper edge, lower edge tap...
Jeweled Sculpture of Antony, Cleopatra, and Attendant
, late 19th century
silver, diamonds, rubies, sapphires
sculpture

Cast silver, jewel encrusted tableau showing Roman soldier in full regalia seated opposite Egyptian woman reclining on couch, and fanned by standing servant; small tripod table to right of couch, holding bowl of fruit or flowers and urn on shelf below. All on rectangular plinth.
Sketchbook Page: Cows from Nature
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of cows, with several laying on the ground.
Sampler
, 19th century
silk and linen embroidery on linen foundation Technique: embroidered in deflected and withdrawn element work, and needle lace stitches on plain weave foundation

Rectangular sampler with many small bands and squares of geometric patterns, in blues, greens, yellows, pinks and reds on white. The right side is dominated by two large areas of deflected element work in red and green.
Dessert Dish
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 19th century
hard paste porcelain, vitreous enamel, gold
dish

Dark blue ground with gilded floral relief ornament.
Border
, 1905–1915
Machine-printed paper

Leaf and bead twist narrow borders. Printed eight across.
Snuff box
Johann Martin Heinrici, Swiss, 1711 - 1786, ca. 1745–1755
Inlaid gold and mother-of-pearl, chased gilt-metal, enamel

A dark blue snuff box with a decorative inlayed top depicting a winged sitting figure.
Sidewall - fragment
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1890–1910
Machine-printed

Large gold medallions, containing gold motif on deep red, printed on greenish-brown background imitating grasscloth.
Sidewall
, 1880–90
Machine-printed

All-over floral and foliage pattern, printed in deep yellow ochre on salmon-color ground.
knife
, late 17th century
silver, steel

1985-103-254-a/h: Handle in the shape of female caryatids, handle ca...;     1985-103-254-b: Handle in the shape of female caryatids, handle ca...;     1985-103-254-c: Handle in the shape of female caryatids, handle ca...;     1985-103-254-d: Fork has four curved tines, waisted neck ending in...;     1985-103-254-e: Oval-shaped rattail spoon-bowl, waisted neck, endi...;     1985-103-254-f: Plain, pointed skewer, screw thread on one end.50;     1985-103-254-g: Leaf-shaped blade, plain bolster, handle in the sh...;     1985-103-254-h: Silver handle in the shape of a female caryatid, h...
Border
, early 17th century
linen Technique: bobbin lace, continuous braid-like

Border of almost circular pendants attached to narrow border of squares filled with circular motifs.
Europe
Martin Engelbrecht, German, 1684–1756, 1717
Engraving on paper
Print

Scene representing Europe.
in Aesthetic Style with Diagonal Opening
Tiffany & Company, American, established 1853, ca. 1875
Silver
Matchsafe

Rectangular, with rounded corners, featuring alternating, applied, diagonal bands of bead and leaf ornament, a horizontal band of bead and flower motifs directly beneath, as well as intersecting horizontal bands of bead and spiral motifs at opposite mid-section. All ornament wraps around box body. Undecorated surfaces are slightly mottled. Hinge located on lower corner so that box opens on the diagonal, seperating the bead, leaf, and flower ornament from the bead and spiral. When opened, an unadorned, interior match container is revealed, also attached at corner hinge, so that it may swing from side to side. Striker attached to one side of interior container.
Pleated fan
, late 18th century
Gilded parchment leaf painted with watercolor; carved and pierced mother-of-pearl sticks with gold foil, pin set with a faceted stone

Pleated fan with a gilded parchment leaf painted with watercolor. Obverse: figured in 18th-century costume in landscape. At left, a mother and child with hoop. Reverse: paper painted with scenes of youth and maiden seated in landscape. Carved and pierced mother-of-pearl sticks with gold foil, obverse decorated with medallions and cartouche. Pin is set with a faceted light blue stones.
Fragment
, 19th century
silk Technique: cut voided supplementary warp pile in a plain weave foundation with supplementary weft (velvet)

Voided pattern of Chinese motifs on a yellow-gold cut velvet ground.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Pink rose trellis with floral medallion centers. Adorned with foliate scrolls and floral swag. Yellow ground. Printed in pinks, red and white liquid mica.
Textile
, late 18th century
crewel wool on cotton Technique: chain stitch embroidery on plain weave

Fragment, very fine white cotton, plain cloth, probably Indian, embroidered in detached flower designs, natural size, in wool. Yellow, red, orange, rose, white. Chain stitch. Selvage at left side.
Tortoiseshell matchsafe
, late 19th century
Tortoiseshell, gold
Matchsafe

Oblong, with curved lid and rounded corners, semi-transparent, featuring gold piqué work in cross-like pattern all over box body, small gold shield attached to front. Lid hinged on left side. Gold release button on right side. Striker carved into box bottom.
Unfinished Cliff Study
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Rough sketch of several cliffs.
Flounce
, 1700–1750
linen Technique: bobbin lace, Brussels style

Flounce patterned by five symmetrical plants at the bottom, a floral wreath enclosing a fantastic bird pulling a chariot with a seated chinoiserie-style figure, a diamond floral frame enclosing a symmetrical plant on the same vertical axis as a plant at the bottom.
Orphrey
, early 16th century
linen, silk Technique: woven

Orphrey with a design of cherubim heads.
Side chair
, late 17th–early 18th century
Fruitwood

This chair consists of two pieces of hard wood (seat and back) jointed at the back of the seat.  The back tapers slightly and is characterized by leaf-like carvings.  A small heart is cut out of the upper, central area of the seat back.  The chair's seat is a simple slab of wood.  The chair has four legs, each flaring outwards and tapering as they meet the floor.
Textile
, early 19th century
cotton Technique: relief printed, colored ground

Part of a small valance in coarse cotton printed in red with a pattern in white of a trellis of leaves with a rosette center.
The Turkish Family
Albrecht Dürer, German, 1471–1528, ca. 1495
Engraving on laid paper
Print

The man wears a turban and carries a bow and arrow. The woman wears a turban, is barefoot, and carries the baby.
Madame Unzelmann in the Part of "Nina"
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1799
Engraving on paper
Print

The seated figure of the actress, Madame Friederike Unzelmann is seen seated in a landscape in a scene from the first act of Armand's play "Nina," in the part of Nina. She covers her face with her hand in despair.
Goblet
, ca. 1790–1810
copper, silver, gold, lead
goblet

Semi-elliptical bowl on hollow seamed spool stem with circular foot; gilded interior; base filled with lead-tin alloy.
Fragment
, 17th century
silk, linen hand knotted net Technique: needlework on hand knotted net

Design of scrolling stem with leaves and flowers in pink, blue, green and yellow silk.
Tinsel Picture: Edmund Kean as Richard Coeur de Lion
Edmund Kean, British, 1787–1833, 1830–1840
Hand-colored engraving, embossed foil, fabric on paper
Picture

The actor, Edmun Kean, is shown on horseback, clad in armour. The horse and actor's face are engravings, cut out, the trappings silk and embossed metal and paper, and the background, shown an encampment, an original drawing.
dado
, 1820–30
Block-printed on handmade paper

Wallpaper dado, illusionistically shaped to simulate architectural ornament. Maroon background; between brown, ocher and yellow borders of flowers and leaves (top), and acanthus (bottom): horizontal rectangles with convexly chamfered corners bordered by ocher bands dotted yellow and brown, fill of gray on gray powdering of spots in groups of four, centered with floral wreaths, maroon fill, around daisy-like flower. Between rectangles, stylized, symmetrical groupings, vertically oriented, of leaf and flower shapes.
Toby
, late 19th century
Painted wood, cotton, other materials
Puppet

Sun-nosed head with red cheeks and open mouth. Crepe hair. Printed shirt, blue vest, red trousers, black boots. Blue fringe at ankles and waist. Blue, white and gold scrolled collar.
Band
, 17th century
linen Technique: punto in aria needle lace

Border of small scale floral and foliated forms in intricate repeat designs. Patterns connected by brides picotées and outlined by cordonnet.
Band
, 16th century
linen Technique: bobbin lace, continuous braid-like

Fragment of a band with a row of diamond shapes.
Blue-Cheeked Bee-Eater, Plate 7 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

A green bird with partially brown wings and brown tail and throat. Seated on a tree branch with tropical scene beyond. Title and artists' names below.
Brisé fan
, 1810–30
Silver wire filigree sticks, silk ribbon and tassel

Brisé fan. Elaborate sticks composed entirely from scrolling silver wire filigree, aside from small gorge of solid silver. Silk tassel and connecting ribbon.
Sidewall - fragment
, ca. 1840–60
Machine-printed

Variant of a brick or ashlar block pattern, printed in reddish-brown, blue and gray on white polished ground, horizontal rectangles arranged like stones in a wall, made up of scrollwork.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Floral medallions connected by foliate scrolls, creating a treillage pattern. Background of dots. Ungrounded and printed in teals, green, white mica, blue, and blue mica.
Vues d'Italie
Jean-Gabriel Charvet, 1810–15
Block printed on handmade paper
Scenic - panel

Twenty-two pieces of French scenic wallpaper showing scenes of Italy. The seventeen largest pieces of the paper form four scenes, together filling a space approximately 87" high, of approximately 43 running feet. Plus about 12 unnumbered small fragments of various sizes to be used in remounting the scenes.
Venus
Wedgwood, English, established 1759, before 1900
Glazed earthenware, transfer-printed decoration
Plate

Plate with blue transfer print showing figures and swans in a fantasy landscape. Scrolling border with a striped ground.
Valentine Greeting
, ca. 1850
Embossed chromolithograph on double-folded embossed cut paper
Greeting Card

On cover, bunch of flowers in the center. Inside, oval frame, left blank, and sticker inscribed: "I love thee my sweetheart". Enframement of blue and white embossed paper.
Brooch in the form of a pansy
Tiffany & Company, American, established 1853, ca. 1900
Cast gold, fired enamel, cut diamonds
Brooch/pendant

Enameled gold brooch in the shape of a flower with diamonds along the perimeter of "petals" and diamonds in the center. On reverse: gold bar pin and small collapsible ring for hanging as pendant.
Sidewall - samples
Robert Graves Co., New York, New York, 1890–1920
Machine-printed

Affronted lion set within medallion stripe. Printed in metallic gold and ocher on tan ground.
Sampler
Geertruida H. Bontkes, 1844
silk embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave foundation

Motifs of flowering urns with a rooster in the middle with an elaborate border and corners.  All black on natural ground.
Head of a Fury
, 1750–1800
Red chalk on cream paper
Drawing

Head of a Fury, one of the creatures in Greek mythology that was responsible for exacting divine retribution from those guilty of wrong-doing. She is seen from above, grimacing and looking down, with her head turned slightly to the left.
Cuffs
, early 18th–19th century
cotton on linen Technique: deflected element work

Pair of openwork cuffs, each in the shape of a trapezoid. Each cuff has a design of a cartouche enclosing a ribbon tied bouquet of flowers and an ornamental scroll at the bottom.
Design for Berlin Wool Work
Nathaniel Currier, American, 1813–88, ca. 1860
Brush and gouache on pre-printed squared paper
Drawing

Design on graph paper for Berlin wool work, a band of flowers and leaves in color.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

A quatrefoil motif composed of scrolls and floral motifs, with a floral sprig center, alternates with a floral wreath, also having a floral sprig in center. Ribbon bow ties or knots each with a small floral sprig separate each of the two motifs. Printed on a tan or off-white ground.
"In This You'll Find a Match"
, ca. 1890
Cast and engraved silver
Matchsafe

In the form of a clenched fist and forearm, the front, or inside of forearm, inscribed "In This You"ll Find A Match," the reverse, outside of forearm, inscribed "Quarter mile run, BAC (partly decipherable monogram), Aug.30,90." Lid (top of forearm) hinged on left. Striker on top of lid.