biglam/cooper-hewitt-alt-text huggingface dataset:
Rebozo (shawl)
, late 18th–early 19th century
cotton, silk, metal-wrapped silk core threads Warps: cotton, foil-wrapped silk, Weft: cotton Technique: warp resist dyed before weaving (jaspe)

Japse rebozo in shades of tan and navy blue. Braided ends have warp fringe.
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Black crayon. Pen, ink. Brush, bistre. Paper.

Horizontal Rectangle. The goddess came accompanied by the pea hen upon clouds into the cave, where the crowned Aeolus and his sons dwell. She points at a ship on the sea. Caption: written with ink: giuonone prega Exolo per; written with pencil: la rovina di Enea, a second line of the original caption having been cut off.
Textile
, ca. 1720
silk, metallic yarns Technique: compound satin weave with discontinuous supplementary weft patterning (brocaded)

Brocaded silk damask fragment showing symmetrical design with large-scale floral motif derived from the pomegranate, on either side a lace-like serpentine. Rose ground, brocaded with silver and green silks. Both selvages present.
Coverlet
, 1855
wool, cotton Technique: double cloth

Large complete coverlet in navy blue wool and white cotton with two central wreaths enclosing an eight-pointed star. Surrounding these are an array of floral and bird motifs including eagles with wings spread and clutching banners, scrolling acanthus leaves, a small building with cupola, and pairs of reindeer. Date on coverlet appears to read 1855.
Sketch of Drapery for Seated Figure
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper, with watercolor spots below
Drawing

Female figure, seated, facing frontally. Lower part of drapery shaded. Hands together, perhaps holding book.
Fragment
, 14th–15th century
cotton Technique: resist-printed on plain weave

Fragment of border in fine cotton plain cloth.  Design in white on dark blue ground, arranged in horizontal bands.  Vine motif, and geometric ornament formed by blocks of small white squares with blue centers.
Panel
, 19th century
silk, gilded paper strips Technique: sewn pieced work

Large rectangular panel made of many small rectangular pieces of gold cloth. Gold rosettes in squares alternate with elongated hexagons filled with diapers or landscapes. Silks in soft blue, peach and yellow bound in twill weave adn gilded paper strips bound in plain weave fill subordinate areas of these designs. Pulp paper backing; green silk facing.
Trimming
, late 18th century
linen Technique: bobbin lace, Brussels style

Curving branches and bands of openwork.
Edge
, 19th century
straw, silk Technique: bobbin lace

Bobbin lace; ornamented lozenges; scalloped border on one side.
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape

Small fragment in a vine pattern.
Vie de Jeanne d'Arc
A. Henry, French, ca. 1850
cotton Technique: roller printed on plain weave
Fragment

Joan of Arc in armor standing over the crowned King and parts of other scenes. In red on white.
Album of Architectural Plans and Sections of Staircases from the Hôtel de Toulouse and the Palace of Versailles
Jean Mariette, French, 1660–1742, 1713–42
Album

Album of architectural sections and plans of Staircases from the Hôtel de Toulouse in Paris and the Princes' Staircase and the Queen's Staircase in the Palace of Versailles. The plates are titled and signed by the publisher.
Design for Title Page, "Occupations of Women and Their Compensation"
Alice Cordelia Morse, American, 1863–1961, ca. 1899
Brush and gouache on greyish-brown paper, mounted on illustration board
Drawing

A woman in a black dress, with gold bands across her chest and a medallion at the center with the letters "AT," stands holding an open book with a gold cover. A crown of three gold flower blossoms appears on top of her red hair. Flanking the woman are two tall black torches with gold flames. Green scrolled vines are intertwined around the torches and overlap with the woman in the foreground. Above the woman is written in black text: OCCUPATION / OF WOMEN AND THEIR / COMPENSATION.
Embroidered picture
, 17th century
silk, metal Technique: embroidery

Portrait of the queen, set in an oval framing device, surrounded by flowers, insects, etc., embroidered in colored silks and silver purl.
DIXIEME LIVRE des Oeuvres de G.M. Oppenord Contenant des Guaisnes
Gilles-Marie Oppenord, French, 1672–1742, 1737–38
Album

An album containing two series of ornament prints - designs for pedestals and designs for moldings and joinery carved from stone or wood. The plates are numbered and signed. Both series include title pages.
Sampler
Unknown, ca. 1650
linen, silk Technique: embroidered, withdrawn element work with needle made filling stitches

Long narrow band sampler with rows of geometrical designs, scrolling floral vines and berries, and knots on the bottom half. Upper section has a variety of densely worked spot motifs such trees, flowers, and berries as well as geometrical patterns in multicolored shades and white-on-white embroidery. Upper left-hand corner has geometrical bands of openwork.
Tassel
, 17th century
linen Technique: braided and knotted

White linen tassel with two balls (of different sizes) connected into a barbell-shape forming the base. Core is braided over with linen yarns worked in groups of four yarns at the top and more at the bottom for a basket-weave effect. From the base protrude a few knotted elements and from bottom of core hang four separate braided and knotted elements. Two of these elements are smaller braided ball bases hanging from braided stem with further braided and knotted elements ending in tiny braided balls hanging from them. The remaining two are shorter, braided, pear-shaped elements covered in knotted protrusions.
Buttons
, late 19th century
brass and tin

1931-59-402-a: circular button, colored centers surrounded by gil...;     1931-59-402-b: circular button, colored centers surrounded by gil...
Ornament Design with Wheat and Acanthus Leaves over Shell, from Livre des Legumes [Series of Vegetable Ornament], pl. 17 in Oeuvre de Juste-Aurèle Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off-white laid paper
Print

1921-6-212-9-a: A crayfish lies over a shell cartouche and in fron...;     1921-6-212-9-b: Two Fish and a snake (?) lie above a shell fountai...;     1921-6-212-9-c: A rabbit and a bird (up-side down) lay over two cr...;     1921-6-212-9-d: Cartouche framed with leaves and vegetables and ti...;     1921-6-212-9-e: Two birds lie on top of a branch of acanthus leave...;     1921-6-212-9-f: Curving acanthus leaves lie on top of shell.50;     1921-6-212-9-g: Six plates depicting different vegetables. At cent...
Frieze
, 1907–08
Machine-printed

Large medallion with floral center. Printed in green, pink and metallic gold.
Sidewall
M.H. Birge & Sons Co., 1834, 1902
Machine-printed

Floral and foliate pattern in art nouveau style. Printed in green, red, and tan on a yellow ground,.
Commemorative bookmark
B. B. Tilt and Son, 1876
silk Technique: discontinuous supplementary wefts in a plain weave foundation

Bookmark produced by B. B. Tilt & Son of New York and Paterson, NJ, made of woven silk with a portrait of George Washington, commemorating the American Centennial of 1876.
Bag
, 19th century
cotton, glass beads Technique: knitted with beads

Pouch-shaped bag edged at top with pleated brown grosgrain ribbon, brocaded ribbon handles. Pictorial scene of houses, river, man rowing boat, with geometric patterns at bottom.
Sidewall
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

Floral medallions with rose insets and lattice detail from which hang foliate scrolls. Medallions connected by floral swags.Printed in tans, light yellow, metallic gold and white liquid mica on cream ground. Printed in right selvedge: "Robert Graves Co.", and pattern number "4012".
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted silk in dark pink ornamented with cut steel beads in simple geometric pattern. Two faceted steel rings at side opening; a metal drop at each end attaches to tiny tassels of steel beads.
Louis XVI or Trianon
Jules Desfossé, French, active 1851 - 1863, 1851–65
Block-printed paper
Decorative panel

High pilaster in gray and off-white with grisaille trophies and decorations bordered by molding strips of brownish-yellow and further ornamented with leafy arabesques and festoons in the same color, on off-white ground.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On light gray ground, joined squares and circles containing scroll motifs and wreaths in green, white, and pink.
Beadwork panel
, 1696
beads, linen Technique: beads strung according to pattern on linen cord one row at a time, then anchored with red silk around the cord and between each row

Three panels originally made as sides for a beadwork box. The box would have needed several other panels and would have had an irregular shape. Panel B is a rectangle with heart's ease (pansies) facing sideways.
matchsafe
, 1886
silver

"Punch" magazine made by "L.E." Birmingham
Chalice cover border
, late 16th century
linen Technique: punto in aria needle lace

Design of floral and foliated forms with pointed scallops on border.
Fragment
, early 17th century
linen Technique: bobbin lace (continuous braid-like)

Fragment of a geometric lace band with oval tab edge.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Art nouveau design with large lotus-style flower encased in foliage, alternating with smallery floral motif. All-over mottled ground.
Border
, 1815–25
Block-printed and flocked on polished ground

Pattern of formalized symmetrical clusters of acanthus, palemettes, and flowers in pale gray-green with diagonal striations in white and darker green, springing horizontally from centers of four six-petalled flowers in olive green flock. Clusters spaced by rosettes of same striated pale greens. On strong green ground, between narrow bandings along each edge of three lines in same pale striated greens, and bandings of olive green flocked balls.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Very stylized floral deisgn, printed in very muted, subtle colors on tan ground. Scalloped trellis along bottom edge.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Molded, glazed stoneware

Square molded tile made of white clay; reverse has relief design of three concentric circles which framing inscription: "J. & J.G. Low, Patent Art Tile Works, Chelsea Mass. U.S.A., copyright 1881 by J. & J.G. Low". Face of tile decorated with stylized flower with four large blade-shaped leaves, four pointed leaves, dogwood blossom center, and pea green crackle glaze.
Bed finial
, 15th century
walnut

Bed of linen, wood, fold paneling carved
Summer Evening
James Joseph Tissot, French, 1836 – 1902, 1886
Etching on paper
Print

An outdoor scene: a young woman is seated in a wicker armchair, facing left.
Sketchbook Page: Snowballs
Kenyon Cox, American, 1856–1919, June 7, 1875
Graphite on paper
Sketchbook folio

Still life with a vase of snowball flowers in front of open fans on a table.
Fashion Plate from Le Monde Elégant
, 1871
Wood engraving, brush and watercolor on paper
Print

Three women outdoors. Left, in a blue dress with black fringe. Right, in violet with black lace. Center, in brown, gold and black. Title and date below.
Tray
, early to mid 19th century
silver
tray

Four-lobed square form composed of flat base with slightly out-curved, raised scalloped rim; floor of tray and inner and outer rim decorated overall with conventionalized hammered floral motives.
Knife with Agate Handle
, ca. 1700–20
steel, agate, silver
knife

Sabre-shaped blade with curved upper edge. Plain bolster, silver engraved ferrule with scalloped border. Flaring, faceted agate handle, silver conical mount on top.
Design for a Ewer
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Footed ewer with gold handle and rim decorated with three large white flowers and small lavender ones with green leaves and a vine that crosses the body toward the lower section.
Pleated fan and case
, late 19th century
Silk leaf painted with watercolor, pierced, carved and gilded ivory sticks, paste jewel at rivet

Pleated fan. Silk leaf painted with watercolor commemorating the visit to Paris of Czar Nicholas II and the Czarina in 1896. The rest of the leaf painted with sprays of cornflowers. Pierced, carved and gilded ivory sticks. Paste jewel at rivet.
Fragment
, 19th century
silk, metallic thread Technique: woven with continuous supplementary weft

Dark blue fragment with a floral border and a field with peacocks and leafy forms.
Sketchbook of fifty-three leaves of pencil drawings
Bessie Beebe, 1884–86
Soft pencil on white and tinted paper
Sketchbook

Sketchbook of fifty-three leaves, bound in black passe partout binding, showing eighteen figur and still life drawings. Executed in Cooper Union Women's Art School. Inside of cover inscribed: "Bessie Beebe May 1884." Drawings dated from May, 1884, to January, 1886
Salon, with Oriental carpet and grand piano
McMillen, Inc., 20th century
Brush and gouache on cream wove paper
Maquette

Maquette for salon with Oriental carpet, piano, green upholstered chairs, a fireplace, a couch; marble statue with gold snake.
Book cover
, 19th century
Gutta-percha, paper, buckram, leather

Rectangular, front (a) and back (b) book covers of dark brown gutta-percha, each with large circular seal and heraldic device in center, within pierced design of foliage and acorns.  Each mounted on red paper and leather binding.  Marbleized end papers attached.
Fragment of panel
, early 18th century
silk Technique: 5-harness satin damask

Fragment of small panel, pieced, of red silk damask.  Small pattern of flower clusters in all-over asymmetrical design.  One selvage present.
Fragment
, 300–100 BC
wool Technique: embroidered in stem stitch on plain weave foundation

Embroidery in strong colors covering entire surface. Winged figure holding trophy head.
Dado
Joseph Dufour et Cie., French, 1752–1827, ca. 1810
Block-printed on handmade paper

A vase filled with fruit at center towards which two kneeling, confronted maidens reach. They are dressed in flowing classical robes. A stylized Ionic column marks the horizontal repeat. A fabric is draped from the volutes between the two columns. The fabric, trimmed with a Greek key motif with anthemia in the corner, is printed in grisaille with light olive green highlights. A floral garland runs along the top edge while a cable twist runs along the bottom. Printed in grisaille with yellow and ocher.
Shawl
, 19th century
wool Technique: twill tapestry, embroidery Label: wool twill tapestry with embroidery

Predominantly red shawl with a white star shape in the center.
Jar and cover
, ca. 1795
glass

Urn shaped body with cushioned, domed cover. Flat flutes on stem and lowerportion of jar, band of diamond cuts, and wide band containing garland. Repeated in cover. Tall, faceted finial. Square pedestal base.
Tile
Grueby Faience Company, Revere, Massachusetts, 1895–1908, 1905–1909
Glazed earthenware

White lily pad on green background
Sidewall
, 1860
Block printed on paper

Floral stripe design. Band of brightly colored medallions on green background, alternating with medallions on white background.
Frieze
, 1862
Block-printed

Red, pink, white and yellow roses in tight garland, wound with blue ribbon,tied in bows. yellow ground, with bead edge on black, forming circles at each repeat, which are filled with hydrangea in grisaille. Used around spandrels in grand foyer of the Vienna Opera House, 1869, rebuilt (and reprinted) 1955.
Fork from an Ivory Cutlery Set
, 1680–1700
gold plated, steel, ivory
fork

1985-103-146/148: Two long straight tines, curved shoulders, neck wi...;     1985-103-146: Fork with two long straight tines, curved shoulder...;     1985-103-147: Spoon with oval bowl and rat-tail reverse. Pistol-...;     1985-103-148: Knife with blade with straight lower edge, upper e...
Sketchbook Page: Seated Figures
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Two seated figures, shown from behind, one with a long coat and one on a stool. 
Verso: Faint sketch of standing figure, with framing lines.
St. Eustace
Albrecht Dürer, German, 1471–1528, ca. 1501
Engraving on off-white laid paper
Print

In a wooded landscape St. Eustace, with horse and hounds, is seen in right profile kneeling in attitude. of devotion. In the right middle distance appears the stag with the crucifix protruding from the horns.  on a simulated parchment sheet, bottom center, is the monogram "A D"
Portrait fo unknown man
Richard Dighton, British, 1795–1880, 1870–80
Pen and ink with watercolor
Drawing

Vertical rectangle. A man wearing face whiskers, a frock coat, and top hat stands left profile, full-length, holding a copy of a sheet inscribed "Tattersalls" in his hand.
Sidewall
Frederick Beck & Co., 1860, 1890–1900
Printed and embossed design on paper

Damask-like acanthus pattern in large scale regular ogive or diaper pattern. Printed in green on glossy off-white ground.
The Marriage of Figaro
Jean-Baptiste Huet, French, 1745 – 1811, 1794–1800
Material: cotton Technique: printed by engraved copper plate on plain weave
Textile

Two scenes from the Mozart Opera, "The Marriage of Figaro," first produced in 1793.
Two framed circular vignettes illustrating the opera and urns and arabesques. Printed in red on a white ground.
Knife
, ca. 1720–40
Brass, steel

1985-103-279-d: Knife has straight upper edge, lower edge tapering...;     1985-103-279-h: Two tines fork with  V-shaped join, baluster-shape...
Border
, 1700–1750
linen Technique: needle lace with ground of loop and twist with twist return

In the center of the design is a blossom flanked by stylized floral and foliated forms in connecting overall serpentine design. Cordonnet; Fond: petite réseau. Modes: portes, enchainettes, St. Esprit avec Rangs Clairs, gaze quadrillée, réseau mouché.
Sketchbook Page: Cows Grazing
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of two cows grazing.
Fragment
, 19th century
silk Technique: plain compound satin, brocaded

Allover geometrical design in greenish gold and rose with blue outlines.
Sidewall - sample
, 1906–08
Machine-printed

Floral stripe; pink flowers on green stripe. Printed on green plaid background.
Cushion
, 17th century
silk, metal Technique: embroidered

Small rectangular cushion of deep rose satin embroidered in flat gold, gold thread and sequins. Tassels of metallic thread at the corners. Conventionalized floral motifs at corners.
Pheasant on a Scrub-Tree
, ca. 1830
Silhouette of black paper on white paper mount
Silhouette

A pheasant on a scrub-tree.
Sidewall - fragment
, ca. 1850
Block-printed, machine made paper

Vignette with cartouche of lake surrounded by castles and chateaus.
Textile
, 1830–50
cotton Technique: printed by engraved roller on plain weave

Length of printed cotton with half-drop repeat of flowers on a curved branch. Many colors on a tan background, in the style of the eighteenth century.
Frieze
, 1905–1915
Machine-printed paper

An elegant garland of pink peonies is festooned across the bottom of the panel and highlighted by a foliate scrollwork border. A lace-like pattern with vertical striations covers the top of the panel. This design is printed in shades of pink, green and gold on a beige background.
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace edge, floral tab edge; mid-18th century Flemish
Border
, late 18th century
Technique: bobbin lace

Bobbin lace border, floral borders; late 18th century Point de Lille
Sidewall - sample
W.H. Mairs & Co., 1855, 1906–08
Machine-printed on paper

Allover large anthemion motifs in light green outline on dark green ground.
Coverlet
, 1848
wool, cotton

Summer and Winter-style coverlet has a star and flower pattern covering the central field with a rose border. Colors are red and white. Woven inscription reads: "Made by H. Haeseler, Orwigsburg, Property of -----, 1848."
Trees, Lake, and Distant Mountains
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Hill at right in foreground with a stand of trees. At left, starting in foreground and extending back, a pond with bushes on the far shore. Behind, in distance, a large mountain range with two large peaks.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

On gray ground, scroll-like vines in green and gray.
Box or Snuffbox Design
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a rectangular box or snuffbox showing, from top to bottom, the elevation of the lid, with band of lamb tongue ornamentation; the top view of the lid, with a trophy of musical instruments on it; and a slightly angled front view of the box, with lid open at the hinge, and which features a trophy of a quiver and a torch bound with a wreath, and a lozenge pattern on the side. The plate is signed and numbered.
Design for an Earring
, ca. 1775
Pen and black ink, brush and sepia wash, silver paint on paper
Drawing

Jewelry design for an earring. The disk above and the three drops below are framed by leaves in the shape of palmettes. In the center, a knotted ribbon with three flower blossoms and leaves. Beveled corners.
Design for an Altar
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Design for an altar. On the left side of the plate, a large architectural frame with a Corinthian capital has at its center a carved trophy of liturgical instruments hanging from a lion head mascaron. At the pediment is a carved cartouche supported by a winged angel. On the right side of the plate, the large architectural frame stands over an altar with a baldachin held aloft by a winged angel. At the pediment is a kneeling, winged angel who looks up at a scene of Christ's descent from the cross. The plate is signed and numbered, and a graphite inscription at the bottom of the plate indicates that this was a design for the Abbey of the Saint-Germain-des-Prés.
Mount
, early 19th century
bronze (gilt)

Architectural or funiture cornice with lapped tongue decoration of acanthus corners over frieze of pendant tongues over cut-out with laurel decoration
Iceberg, Battle Harbour, Canada
Frederic Edwin Church, American, 1826–1900, July 7-8, 1859
Oil and graphite on paperboard
Drawing

Seascape sketch showing a view of a lone iceberg floating in the waters of St. Lewis Bay near the island and town of Battle Harbour in Labrador, Canada. The dark, brownish-gray ocean waters extend from the foreground to the middle distance, where they form a low, flat horizon. At center left, a craggy, serrated iceberg is rendered in a luminescent hue of blue-green. A nearby island or coastline is visible along the horizon at far right. Above, the sun's light struggles to penetrate thick, dark clouds, resulting in a glowing, yellow-orange sky along the upper margin.
Pendant
, 18th century
Silver, glass

Basket-shape with three suspended drops. Surface covered with small cut glass pieces.
Project for an altar: intended to be executed in colored marbles
Mario Asprucci The Younger, Italian, 1764 – 1804, ca. 1750
Black chalk, pen, ink, brush, and various water colors
Drawing

Horizontal composition of colored marble altar. The upper surface of the altar is tripartite with the central part projecting. In the center there is an opening with an eight-pointed star and a wreath with monogram. Above is a richly moulded ledge. Shadow is cast to the right.
Pulcinella
, 18th century
Carved and painted wood, glass and woven cloth
Puppet

Set of Commedia dell'arte marionettes, each with facial masks and costume of stock character. Pulcinella shown with a drooping mask. White suit with ruffled collar. Black coots. Wooden hands sewn into sleeves.