biglam/cooper-hewitt-alt-text huggingface dataset:
Hunt Trophy and Floral Arabesque
Jean-Baptiste Réveillon, French, 1725–1811, ca. 1785
Block printed on handmade paper
Sidewall

Vertical rectangle of joined sheets of paper. Alternating medallions: one shows two dogs guarding the carcass of a deer hanging head downward from a tree on which hangs also a hunting horn; the other shows a tripod urn containing flowers, flanked by peacock feathers, below which is a nest with three young birds.
Wall Decoration, Plate XI from Le loggie di Rafaele nel Vaticano (Raphael's Loggia in the Vatican)
Giovanni Volpato, Italian, 1733 - 1803, 1772–1777
Brush and watercolor, gouache over etching on white wove paper
Print

Grotesque decoration.
Lamp shade
Tiffany & Company, American, established 1853, 1907
Favrile glass

1968-55-3-a: (a) Flower bud form glass shade for sconce. Over-a...;     1968-55-3-c: (a) Flower bud form glass shade for sconce. Over-a...
Set of Five Lancets
, late 18th–early 19th century
leather, tortoise shell, metal
lancet

Cylindrical case with 5 tortoise shell tools ( files and knife) and one mother of pearl tool..
Vignette
Federico Mastrozzi, Italian, active 18th century, ca. 1710
Etching on paper
Print

Two putti upon a bracket support an opened book, one of them beside a sword. Two flying ones hold the tiara and the keys over the book. Candelabra with the coat of arms of Pape Clement XI (1700-1721) stand laterally.
Costume Design: A Captain for a Ballet
, ca. 1720
Pen and brown ink, brush and violet watercolor over black chalk
Drawing

Vertical rectangle. A man in the attire of the late sixteenth century, and carrying a sword, is shown in profile, moving toward left. His right had rests on his chest, the left on the sword hilt.
Fragment
, 17th century
silk Technique: 5-harness satin damask

Yellow damask showing parts of a long symmetrical repeat of foliage and large-scale plant forms.
Inventory of the estate of George Fox
, 1804
Rag paper

Folded paper booklet handwritten on rag paper and stitched in silk upfold at left side. Top sheet with title; 4 pages listing materials - Inventory of Goods in the store of George Fox deceased taken; 3 pages - Inventory of the Household Furniture of George Fox deceased taken and appraised by Gilbert Everingham and Robert Wardell; 4 pages - Amount of Debts due to the Estate of George Fox Deceased; Inventory of Notes Due..., Cash on Hand
Fringe
, 16th century
silk Technique: woven

Red fringe with an ornamental heading and a skirt of looped and twisted threads.
Portrait of a Woman
, before 1908
Pencil on parchment
drawing

Circular. Bust of young woman, turned towards the left.
Letter G, from Baluze's "Histoire générale de la Maison d'Auvergne"
Sebastien Leclerc, French, 1637–1714, 1707–08
Etching with engraving on white wove paper
Print

A shield, bendy of ten pieces, is suspended from the top of the G. Two tiaras, two croziers, a pope's and an archbishop's crosses are shown in the rear.
Clasp
, 1860
silver
clasp

Shaped purse frame with inner frame, pivoting on two pins. Engraved with scrolls and oval medallions, front and back.
Embossed wool
, 18th century
wool Technique: moire

Fragments of red wool, in moire pattern.
Bodice panel
, 18th century
cotton Technique: mordant painted and dyed (chintz) on tabby weave

Roughly v-shaped front panel of bodice of fine white cotton cloth with painted and dyed design of variously decorated flower heads, pointed clusters of flowerets, and various leaf forms, on freely twining stems; in blue, red, green, yellow, with much reserved filling decoration. Remnants of accents of gold leaf on wax or gum base. Lined with white silk cloth; boned; buttons of self material down front center. Two fronts of a woman's bodice, with eight buttons made from the chintz; buttonholes worked in white. 
Design: Various flower heads on slender stems, largely in shades of blue with red centers; sprays of smaller flowers in red and blue; some yellow is left in two notched leaves of green. Much veining in flowers by wax resist. Outlines of larger flower heads show gold leaf and accents for petals and veining. Bodice front lined with white silks and boned.
Fragment from a cope
, 17th century
silk, linen Technique: woven

Panel of brocatelle in rose, yellow and white.
Panel
, 17th century
Medium; silk, linen technique; woven

Ogival pattern in red and yellow.
Study of Hand and Wrist
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Study of a hand and wrist. The hand holds a staff, lower left.
Title Page and Three Paneling Designs
François Marie Isidore Queverdo, 1748 - 1797, 1788
Etching and engraving on paper
Print

Title page and three designs for decorative paneling (boiseries) featuring arabesque motifs. Each panel is titled. The upper square panel is a design for the front of a fireplace. It features scrolling leaves, flowers, a vase, and two female figures. The middle small rectangular panel is for an overdoor, featuring grape vines, an ewer, and musical instruments. The lower and largest panel is intended for a dining room and features a pavilion structure topped with a Bacchus figure holding a glass of wine, scrolling leaves, and a basket of fruit. Below, there are ram's heads, festoons of leaves, mascaron (mask), rosettes, and a female figure playing a tambourine, next to a satyr playing a horn. The plate is signed, numbered, and dated.
Weaver's thesis book
, 1829
cardboard, paper

Book bound in gray cardboard and containing some seventy-six pages of diagrams and descriptions of loom setup for different silks. Missing title page. Dated at top of page four "Janvier 5, 1829." Forty-two small samples of the weaves are attached to pages.
Fragment
, 19th century
wool, linen Technique: complementary weft

Coarse wool and hand-spun linen in brown, yellow, red, and white. Patterning of simple geometric bands and lozenges. Patterned by weft floats that hide warps entirely. Heavy woolen wefts used two at a time in contrasting colors rise from the face to back of fabric in a compound weft satin.
Kain
, late 19th century
hemp, metallic threads, ramie Technique: embroidered on plain weave

Warp surfaced cloth (kain) with black stripes alternating with broad group of red and yellow stripes of various widths with a few black pencil stripes. Various stripes sewn with rosettes, row of sequins, rosette-and-diamond pattern, etc. in gold thread and gold sequins.
Textile
, ca. 1740
wool on cotton Technique: crewel wool embroidery on plain weave

Floral pattern embroidered in stem, herringbone, buttonhole, French knot and other stitches.
Sketch of an Angel
Francis Augustus Lathrop, American, 1849–1909, 1880–95
Black and blue crayons on tracing paper
Drawing

Winged figure blowing a trumpet, directed toward left. The bust, the head, parts of the right arm, the right wing are shown.
Fragment
, 16th century
linen Technique: bobbin lace (continuous braid-like)

The tab-edged band is made up of six four-element braids. Geometric design and small picots throughout.
Buildings on a Lake
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on white paper
Drawing

Landscape scene of a series of small domestic buildings on a lake. A vertical and horizontal axis drawn slightly left of center. Mountains slope down to the shore, with a few buildings along the shore.
Fragment
, mid-18th century
linen Technique: bobbin lace (Brussels-style)

Fragment with a delicate smallscale conventionalized floral design and scalloped edge. Some decorative filling stitches as well as small holes in the clothwork areas of the design; picoted bars connect the different elements.
Tailpiece
Homer Wayland Colby, American, 1874–1950, ca. 1910
Pen and ink on illustration board
Drawing

A motif composed of a lyre and branches of leaves, arranged in a symmetrical design.
Fragment
, 18th century
linen Technique: bobbin lace, continuous tape with bars added

Scrolling tape pattern.
Trumpeting Angel
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite, brush and brown wash, white gouache on brown paper
Drawing

Angel in clouds, moving toward the right, with trumpet to lips.
Trimming fragment
, 19th century
silk Technique: woven

Pale floral forms on a dark background.
Domino paper
, 1715–25
Block-printed, stencilled

Vertical rectangle. Lower left corner of a design similar to the type used for decorative leather wallhangings, with acanthus rinceau, portion of a vase, and half of a drapery swag, all in reserve against a black field. At bottom, No. 46. White margin on left side and bottom.
Fragment
, 19th century
silk Technique: painted

Flowers and leaves on branches.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-ccc: Aesthetic all-over pattern of stylized leafy vines...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...
Textile
, early 19th century
cotton Technique: block printed on plain weave

Framed pair of lovers with a cupid overhead set in a floral background. Red on white.
Border
, 1850–1900
Block printed and flocked paper

Printed architectural molding with gild edge bands at top and bottom edges, green flocked center band. 

H# 177 (B)
H# 179 (A)
H# 180 (C)
H# 181 (D)
Textile
, late 18th century
cotton Technique: block printed on plain weave

Lozenges formed by drapery containing person in a swing in front of a house alternate with a vase of flowers. In two reds on white.
Family register
Eliza Wheelock, American, 1817
linen, wool. Technique: embroidered in satin, stem, chain, and other stitches

Embroidered in black, a record of the family of Silas Wheelock (1769-1817) and Hannah Harrington (1782-?), with columns for the births, marriages and deaths of their children, in a framework of columns surmounted by urns. Weeping willows on either side of the inscription:  
EW in Memory of a Parent
At the bottom, a verse: 
As time and tide do not abide 
So we from time must pass 
Made of the dust return we must 
And perish like the grass
House of Mr. Demonville, Plate 90 from "Vues Pittoresques des Principaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

Large flat roofed house, doric columns, a formal garden. Title, artists' and publisher's names below.
hookah
, ca. 1820
glass

Inverted urn shape with short faceted neck with squared rim at lip, pris- matic cutting on shoulder, band of diamonds, wide fluting and prismatic bands to wide flaring base cut with narrow flutes at rim, bottom cut wit star.
Church, Germany
William Trost Richards, American, 1833–1905, 1867
Graphite on paper
Drawing

Sketch of a church on a hill.
Fragment of a mat
, 500–800
Material: linen, straw Technique: woven

Mat woven from thick fibers showing a symmetrical linear pattern with central stylized rosettes. Warps are undyed Z-plied linen used in pairs. Wefts are colored straws appearing on the surface where a particular color is required, floating on the reverse when not in use.
Ceiling paper
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Repeating design of circular shapes or wreaths composed of flowers and foliage with a quatrefoil motif in the center, each touching at four points. Printed on light green ground.
Border
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Two bands of mirror-reversed repeating design composed of a continuous frieze of alternating large and smaller foliate cameos on a solid ground, with occasional horizontal bands bordered on the top by a complementary foliate frieze and on the bottom by horizontal stripes. Printed in white, black, umbre, scarlet, green, peach and pale olive green.
Sampler
Rosanna K. Johnsons, American, 1820
silk embroidery on cotton foundation Technique: embroidered in counted cross stitches on plain weave foundation

A very stylized strawberry vine border on three sides encloses scattered motifs and a house.  Signed: Rosanna K. Johnsons Work in the 11 year of her Age 1820
Chelsea Hospital, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1810
Aquatint, brush and watercolor on paper
Print

Men in red military coats eat at rows of tables, in a high hall. Mural, rear wall. Title, artists', and publisher's names below.
The Antikamnia Calendar: January and February, 1898: May We Never Meet Him!
Louis Crusius, American, 1862 - 1898, 1897
Chromolithograph on paper with string binding
Calendar

January and February, 1898.
Thanksgiving Day – Ways and Means
Winslow Homer, American, 1836–1910, November 27, 1858
Wood engraving in black ink on paper
Print

Rounding up the turkeys and bringing in the pumpkins. Upper half of the page.
Hôtel de Boisgelin, Plate 87 from "Vues Pittoresques des Principaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

Large house; the entrance in the center between two large wings. Title, artists' and publisher's names below.
Miser's purse
, early 19th century
silk, steel Technique: knotted netting

White silk netted purse ornamented with cut steel bands in pattern of triple zigzags, dots and crosses. Two faceted steel rings control side opening; tassels of cut steel beads at either end.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

At left, sketch in a circle of a large wading bird, possibly a heron, standing in water. Additional indistinct sketches.
Quick Sketch of Landscape with Large Trees
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Landscape with two large, dark, bare trees at left. (Possible) lake/pond at right with (possible) small boat and figures. Stand of trees in center distance, hills in right background. Miscellaneous pen in bottom margin outside image.
Textile
, 18th century
cotton Technique: relief printed on plain weave

Heavy cream-colored ground in a design with detached motifs of small flower clusters and seed pods. Red, blue, green (yellow over blue) with dark brown for outlines of stems and leaf veins.
Border
, 1800–1830
Block-printed on handmade paper

Large-scale acanthus leaves set within dentil-like framework, with acanthus bosses between. Narrow pink band runs along top of design, printed on turquoise ground.

H# 314 ?
Environs de Carqueronne
Adolphe Appian, French, 1818 - 1898, 1882
Etching in black ink on cream-colored Japan paper
Print

Landscape, at right dunes with pools of water in the foreground. At left, a jetty on which a man sits and fishes. A sailboat beyond.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Horizontal rows of repeating, stylized blossoms with symmetrical surround of leaves and clusters of three berries with leaves alternate with horizontal rows featuring repeating clusters of leaves and leaves with one berry. Blossoms, berries and leaves are rendered to resemble stenciled designs, and are printed on top of a busy, hash-mark background. Pattern printed in pink, pale green and tan on khaki ground.
Covered Goblet Depicting Four Continents
, 1750–70
glass, gold leaf
Covered Goblet

(a)  Flaring chalice cut at the bottom and engraved with the figures of the Four Continents between rocaille columns.  Asia with crescent sceptre and camels; Europe with globe and sceptre; Africa in feather skirt and headdress, with monkey and elephant; America in feather skirt, collar and headdress, with lion, crocodile and camel.  Cut, short baluster stem and foot. (b) Cover, engraved with scrolls, and a cut knob, gilt, like rim of cup.
Fragment
, 19th century
cotton Technique: printed on plain weave

Fragment with a bright red ground is printed with multicolored cones (paisley) and rosettes set within a meandering green lines.
Frieze
F. E. James Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

Large-scale asymmetric acanthus scrolls with floral motif; printed in green, tan, metallic green, metallic white, on a patterned background that shades to green in the middle.
Sampler
Sophia Emerson, American, 1815
silk embroidery and paint on linen foundation Technique: embroidered in cross, satin, running, chain, knot, and stem stitches on plain weave foundation

A wide border of naturalistic flowers enclosing two sets of alphabets, a verse, a cartouche with an inscription, and a scene of a woman seated under trees. 
The verse reads: 
Friendship's a name to few confined
the offering of a noble mind
a generous warmth which fills the breast
and better felt than e'er expres
Tassel
, 17th century
linen Technique: braided and knotted

Linen tassel, braided and knotted. Long braided cord attached to pear-shaped unit from which hang six knotted clusters.
Tudor Rose and Fleur de Lis
Scott and Co., 1848–60
Block-printed and flocked on paper
Sidewall

All-over ogival framework which forms drop-repeating vertical medallions. The latter contain, alternatively, a fleur-de-lis surmounted by a crown and a Tudor rose beneath a crown. Printed in deep green flock on a metallic gold ground.
"When Shall We 3 [Asses] Meet Again"
, late 19th century
Brass
Matchsafe

Rectangular, with rounded sides, featuring word/picture rebus, inscribed "When Shall We 3 [Asses] Meet Again", with 2 incised donkeys, substituted for text, facing one another between the number "3" and "Meet". No decoration on reverse. Simple, flat lid hinged on upper left. Striker on bottom.
Fragment
, early–mid-16th century
cotton Technique: double running stitch embroidery (the second stitch sometimes twists around the first instead of aligned with it on plain weave (three narrow strips sewn together)

Part of a white-on-white embroidered panel. Joining of three pieces needle made edge, the loops of which form two bands placed edge to edge are whipped together.  Linen bobbin lace sewn to three edges.
Sampler
Louisa Nenninger, American, b. 1815, 1823
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Square sampler of natural-colored linen embroidered with blue, green, yellow, red, and white silks. Within a strawberry vine border, an inscription, Louisa Nenninger Baltimore cess Juin 1823,  is followed by rows of alphabets, trees, houses and windmills, a large house with a fence, and two texts in French: 
Louis Seize connoit les pertes qu'on deplore (Louis XVI knew deplorable losses) 
Deja de nos beaux jours on voit briller l'aurore (Already we see the dawn of our beautiful days)
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on blue wove paper
Drawing

Two panels of multi-colored flowers with pink stems on dark brown ground. A yellow feather motif flanks floral arrangement. Patterned stripes of purple and pink, bordered with yellow and turquoise separate panels.
Fragment
, 1100
cotton, wool Technique: slit tapestry, use of non-horizontal wefts

Border strip with flat tapestry woven fringe. Slanting bands of stylized bird motifs. Tan on red background.
Fragment
, late 16th–early 17th century
silk Technique: 8-harness satin damask plus plain weave

Yellow silk damask with a large-scale repeat of symmetrically branching flowers and foliage.
Design for Berlin Wool Work
Carl F. W. Wicht, German, ca. 1860
Brush and gouache on pre-printed squared paper
Drawing

Design for Berlin wool work—probably for a pin cushion. A red and white rose with green leaves and a bud at each end. All on squared paper.
Vase
, 18th century
Handblown and tooled glass

Light blue glass with cobalt blue glass decoration.
Border
, early 18th century
Technique: needle lace

Needle lace edge joined, floral pattern; early 18th century Alencon
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Study of the drapery.
Miser's purse
, 1810–30
silk, metal beads Technique: netting

Silk net bag with red triangular pattern at each end, white silk in the middle. Ornamented with cut steel beads outlining the triangles and forming diamond-like designs on the mid portion. Two heavily cut rings control side opening; cut steel drops at either end.
Ceiling Paper
F. E. James Co., New York, New York, 1905–1915
Machine-printed paper

Sparsely arranged floral sprigs and foliage scrolls.  Pink, green, liquid mica on a pale yellow ground.  Pattern number 157.
Frieze
, 1870–90
Block-printed on embossed paper

Aesthetic-style design. Central motif of red flowers growing on plant. Design is enframed by squares, with flowers extending beyond lines of square. Bands of blue circular motif run along both top and bottom edges. Metallic gold background. Printed on an embossed paper simulating textile weave.
Stylized Poppies
, 1900–10
Silver
Matchsafe

Rectangular, rounded corners, featuring 3 raised, stylized poppies, with long, intertwining stems, reverse undecorated, a single, continuous groove on all four sides, lid hinged on left, striker on bottom.
Sampler
, 1811
linen embroidery on linen foundation Technique: embroidered in chain, knot, satin, running, and stem stitches on plain weave foundation

Bands of pattern with a wreath in the middle enclosing initials and date. Unfinished
Textile
, 1730s
silk, metallic thread Technique: satin weave with supplementary weft

Salmon-pink satin brocaded with multicolored silks and gold metallic thread in a symmetrical pattern of flowers, foliage and fruit.
Two Small Studies of Sea and Cliffs in Cornwall
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Above: choppy sea with two layers of cliffs on left; Below: lightly sketched, choppy sea with two levels of cliffs on right.
Tile
William Frend De Morgan, British, 1839–1917, ca. 1888–89
Glazed earthenware

Square tile od white clay with white crackled glaze. Two flowers with twisted stem in relief and painted with yellow lustre. Stamped on back: "W. De Morgan" in oval.
Ceiling paper
Ithaca Wall-Paper Mills, Ithaca Wall-Paper Mills, inc. 1900-1907, 1905–1915
Machine-printed paper

On light gray ground, trellis like pattern with two alternating motifs: blue floral clusters and cross-like in pink.
Sidewall
, 1905–1915
Machine-printed paper

Floral medallion, widely spaced. Printed on diamond grid background having quilted or tufted effect. Printed in brown and metallic gold on tan ground.
Band
, 17th century
silk embroidery on linen foundation Technique: embroidered in back and long-armed cross stitches on plain weave foundation; bobbin lace border Label: linen plain weave embroidered in silk in back and long-armed cross stitches

A panel of off-white linen embroidered with green silk, and trimmed on one long edge with linen bobbin lace. The silk fills in the entire background, leaving the figures in the exposed linen. Details of the figures are also embroidered in green silk. Depicting scenes from the story of Adam and Eve in the Garden of Eden, with God, an angel, and numerous birds and beasts.
Chintz fragment
, late 18th century
cotton Technique: mordants for 2 reds, black and purple applied by brush or pen; blue brushed on in two depths, (chintz) on plain weave.

Curving vines and isolated flowers on a blue and white striped background.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Full-length sketch of a female figure in costume, from the back.
Seascape and Clouds
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Flat sea in foreground, dark sky with light breaking through clouds in center.
Garden of the Palais Royal, Plate 81 from "Vues Pittoresques des Principaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

Title, artists' and publisher's names below.
Butterflies and Folding Fans
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Tiny butterflies and the top of a fan looks to have been punched out using a tool carved in the shape of these objects.
Pancratium Illyricum, Plate 116 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Pancratium Illyricum" from A. C. Van Eeden's "Flora of Haarlem."