biglam/cooper-hewitt-alt-text huggingface dataset:
Turban Band
, 11th–12th century
wool weft Technique: slit tapestry
Turban band

Narrow slit tapestry strip with adjacent diagonal stepped repeats in white, rose reds, browns, golden yellow. One end finished with attached long tassel of brown wool yarns joined at top by a small piece of plaited casing, and the other with a wound casing in yellow, brown, red wool.
Border
, late 18th century
Technique: bobbin lace

Bobbin lace edge, floral unit border; late 18th century Maline
Textile
, 18th century
cotton Technique: block printed on plain weave

Fragment of printed cotton with a striped pattern of branches spreading out from a narrow stripe, in red and dark brown on a white ground with brown picotage. Note 5-pointed stars on one blossom.
Study for "Equity" in "The Common Law" Frieze for "The Reign of Law" Mural at New York Appellate Division Courthouse
Kenyon Cox, American, 1856–1919, 1898–99
Graphite on off-white laid paper
Drawing

Nude female figure in semi-reclining position, facing to the right. Held up in her left hand, center, a pair of scales.
Plate 7, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for two hinged pendants with strapwork. At left, Adam and eve flank a central oval. At right, two scholars flank a central oval with biblical tablets, held aloft by a child.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, textured, liquid mica

Floral stripe design, with acanthus scroll medallions alternating with bouquets on white flowers on the wider vertical green stripes. This alternates with a narrower off-white stripe printed with pinstripes and smaller floral garnishes. Printed in green, off-white, brown, and metallic gold on taupe ground.
Cover
, 16th–17th century
linen Technique: withdrawn element work, bobbin lace

Small cover with bobbin lace edging and fringe has an eagle inside a stepped diamond motif.
Baluster, urns and pedestal
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Upper left: pedestal. Lower left: baluster. Urns on the right side. There is no space between the pedestal and baluster.
Sketchbook Page: Portrait of a Man
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Sketch of man's face with indications of a hat.
Chateau du Luxembourg, Plate 67 from "Vues Pittoresques des Principaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

The front of the Chateau du Luxembourg with formal gardens and figures in front. Title, artists' and publisher's names below.
Pleated fan
, 1840s
Hand-colored printed paper and parchment leaf, pierced and incised mother-of-pearl sticks with applied metallic foil, gilt metal bail

Pleated fan with double leaf. Obverse: Printed (probably lithograph) and heavily hand-colored paper showing scene of Europa and the Bull surrounded by figures and putti. Heavily embellished gilded borders. Reverse: parchment painted with flowers. Pierced and incised mother-of-pearl sticks with applied metallic foil showing equestrian figures and scrolls. Gilt metal bail.
Cap streamer
, 1850–1900
linen, cotton Technique: bobbin lace (Mechlin style)

Cap streamer of Mechlin lace worked with a design of rose sprays. Ground is semé with dots. Border of bell flowers hanging from C-shaped scrolls, their petals forming scalloped edge.
Sidewall
, 18th–early 19th century

Fragment of wallpaper, all-over pattern of green thin horizontal stripes with green stylized sprays, red-brown patterns of small rectangles (and flowers?)
Ladies' Fashion: Hairdressing and Hats
, ca. 1770-1780
Engraving on paper
Print

Illustration of groups of four heads showing hairdressing and hats worn by French, German, and English ladies.
Window shade
, 1875–1900
Block-printed and flocked

Green band containing square gold motifs runs across one end of shade. Above this band are small stylized floral motifs. Below, is a fringed swag with tassels printed in flock. Printed on a pale green shade.
Exterior of the School of Chemestry, Plate 29 of Vues Pittoresques de Principaux édifices de Paris
Jean Testard, French, b. ca. 1740, 1792
Engraving, brush and watercolor on paper
Print

The front of the School of Chemistry seen from across the street. A cart, and two carriages in the streee.t Title, artists' and publisher's (and architect's) names below.
Border
, 1860
Block-printed, flocked, gilded

Horizontal rectangle. Narrow gold band along upper edge. Main portion is pinkish purple flock ornamented with Greek lines and foliate forms and a plant-like vertical figure in gold.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation

Blue cut velvet; stylized plant in octagonal fame; old rose ground.
Sampler
, 1788
silk embroidery on linen foundation Technique: counted and uncounted stitches; chain, satin and darning stitches on plain weave foundation

Bouquet of flowers including pansy, rose and carnation, surrounded by eight darning crosses of plain weave and twills, within a twisting floral border. The cross at center right is marked S. S., M.C., 1788
Allegorical figure of Justice with fasces
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Allegorical figure of Justice. Robed woman, head bent slightly to right. Left arm up, bent at the elbow, and right arm down, hand resting on a fasces.
Patch box mounted with miniatures
John Miers, English, active 1760 – 1810, ca. 1785
Cut ivory, raised and chased gold, gilt-metal, hair, velvet, paint
box

Horizontally oriented ovoid form with gold border surround; on lid covered with brown hair, a central circular panel with painted silhouette of woman in profile, facing left. Two additional silhouettes on inner cover and on verso of box, each on a central oval panel of dark blond hair.
Quilt fragment
, ca. 1835
cotton Technique: printed by roller and engraved plate (mule printing) on plain weave, quilted

Fragment of a cotton quilt printed in a chintz pattern that has a curving flower arrangement in deep colors of red, blue, orange and green (achieved by printing yellow and blue). Two delicate lace-like bands with S-curves follow the line of the flowers on either side. Background is printed with fine curlicues. A wooden cylinder carved in a relief pattern was used to print the large areas of color while an engraved copper cylinder was used to apply the delicate linear elements in a double process known as mule printing.
Design for the West Wall of the Entrance Hall, Royal Pavilion at Brighton
Frederick Crace, English, 1779–1859, 1802
Pen and black ink, brush and watercolor, graphite on white wove paper
Drawing

Elevation of a wall, with a central niche containing a porcelain pagoda mounted on a pedestal. This is flanked with two niches containing Chinese figures in costume. Tablets with Chinese characters on piers between niches. A balcony with trelliswork design above.
Sketchbook Page: Architectural Decoration
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of foliate designs below roof of a projecting structure, like a bay window. 
Verso: Study of an Italian maple leaf.
The Guard Gate, Gatun
Joseph Pennell, American, active England, 1857–1926, 1912
Lithograph on paper
Print

The Gatun Lock of the Panama Canal in the process of construction.
Macaroni Server with Gold Plated Bowl
, ca. 1865
gold plated, silver
server

Wide shallow gold plated bowl with one feather-like serated fork edge and one scalloped edge. On each prong, engraved horizontal lines interrupted in the center and at the root by leaf decoration. Center of bowl decrorated with engraved scrolling vines with leaf, surrounding a central rosette, with ribbon extending on either side. Engraved hatch line border on scalloped edge. On base of serated edge, engraved hatch line spiral. Reverse side surface plain and devoid of decoration. Silver handle in form of twisted stem with terminating with large ball finial.
Sidewall
, 1880–1900
Block-printed on machine-made paper, mica wash

On off-white paper with mica ground, all-over pattern of leafy branches and chrysanthemum-like flowers. Printed in flat bright citrus yellow
Jenny Lind Paper Doll and Ten Costumes Designed for Her Operatic Roles
Jenny Lind, Swedish, 1820–1887, ca. 1850
Lithograph on heavy white wove paper
Paper doll

Paperdoll, representing the figure of Jenny Lind and ten cut out costumes, numbered 1 - 10, each from one of Jenny Lind's operatic roles, designed to be placed over the doll, all in paper folder; tied with green ribbon. Enclosed in cardboard container, the cover bearing full-length portrait of the singer, its inner side cover identifying the ten costumes (in German and English) and showing a three-quarter portrait of Jenny Lind in the center.
Fragment
, 19th century
silk Technique: plain compound satin

Allover geometrical design of circles filled with phoenix and dragons in blue, tan and red on a tan ground.
Sidewall
Ericson & Weiss, 1875–1900
Block-printed

On gray ground, gray and white vertical stripe fill broken into diamonds by diagonal gray bands: roses and foliage at intersections of bands.
Plate Illustrating Fanmaking from Diderot's "Encyclopédie"
Denis Diderot, French, 1713–1784, 1751–1766
Engraving on paper
Drawing

Plate illustrating fan manufacture from Diderot's "Encyclopédie."
Waistcoat
, early 19th century
wool warp, cotton weft Technique: intaglio (?) printed on warp-faced plain weave

Gentleman's waistcoat with a folded down collar, eight buttons, straight pockets, and a slightly pointed opening at the bottom. Waistcoat is pale yellow with berry sprigs.
Border
, ca. 1800
cotton Technique: madder colors are block printed, other colors applied by brush, plain weave foundation

Massed flowers in bright colors on a drab background.
Portrait of Sir James Thornhill
Samuel Ireland, English, ca. 1744–1800, 1786-1794
Etching on paper
Print

Half-length portrait of James Thornhill. His body and head is turned in three-quarter view towards right. The sitter is wearing a wig, a light colored tie and a dark coat.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace edge, symmetrical pot of flowers; early 18th century Troilikant
Textile
, 17th century
silk Technique: 4&1 satin damask; warp float face of the satin for background

Length of green damask with rows of a zigzag pattern with a leaf or flower at the apex of each change in angle.  Red, white and yellow warp strip at each side.
Long-Tailed Cormorant, Plate 31 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Large black and white bird with a small brown head and dark webbed feet. Title and artist's names below.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation

Fragment of green cut and uncut velvet on a dark yellow ground in a stylized flower and barrette pattern.
Embroidered picture
, 1748
silk, metal Technique: embroidered

Woman standing on a mound wearing a patterned light blue dress holding a parrot in her right hand and a cherry branch in her left. The figure is surrounded by branching flowers including rose, carnation, morning glory, etc. The letters "M" and "L" appear at the top along with "1748". Embroidery for pattern only.
Beach and Rocky Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves coming ashore in foreground, three levels of cliffs at right in middle ground. Miscellaneous pen strokes in margin to right of image.
Sketchbook Page: Study of Leaves
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Sketch of a group of three leaves attached to a single stem, right; left, sketches of leaves.
Street in San Remo
Arnold William Brunner, American, 1857–1925, ca. 1892
Graphite and white heightening on cream paper
Drawing

Narrow street of low steps, figure descending. High walls with vegetation.
Frieze
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper

Alternating large and small floral medallions; printed 2 across.
Sidewall
, 1900–1910
Machine-printed paper

a) beneath "b", ungrounded paper on which is printed a ladder stripe with flowers, alternating with a stripe diapered with lozenges, and a plain stripe. b) Squares in blue and white, two types of foliate decoration which alternate on brown ungrounded paper. Squares are in rows separated by spaces.
Panel
, mid-18th century
silk Technique: satin, couching, buttonhole, surface stitches and French knots on taffeta

Embroidery, arranged as a border, in a design of flowers and leaves.
Textile
, late 18th century
cotton Technique: block printed, blue applied by brush, on plain weave

Half drop repeat of a flowering vine which produces an irregular ogee lattice.
Uncut waistcoat front
, 1785–1795
cotton Technique: printed by engraved plate on plain weave.

Waistcoat front with printed design of dancing nymphs, medallions and borders. Figures in lower panels taken from "Borghese Dancers" a relief now in the Louvre. Three pieces mounted on muslin.
Knife with Crown Topped Handle
, late 17th century
steel, silver, gold
knife

Tapered straight-sided blade, plain bolster. Handle with fluted joint at blade, surmounted by gold band, raised quatre foil and circle bands arranged lengthwise, silver crown and gold facetted bands on dressed silver; end with hollow crown of eight bands, four beaded, topped with ball-shaped finial with fleur-de-lis in gold.
Vase
The Gates Potteries, 1890 – 1930, 1905–20
Earthenware

Moss green, four-handled buttress form. Buff-colored clay body, cast. Baluster body tapering to a point at base; low ring neck on shoulder. Supported by four buttress-like feet that extend upward to mid-body. Allover pale silvery-green matte glaze; no decoration. Glaze thick in recessed areas, some crystalization. Bottom and interior glazed.
Sample
, late 17th century
Technique: bobbin lace

Bruges bobbin lace sample, symmetrical floral; late 17th century
Salt stand
, ca. 1820
Glass

Round body on short foot, lip turned-in and cut with fluting, sides cut with 6 panels of diamonds; stand is shallow dish with wide lip cut with flutes, rayed flutes cut on bottom.
Border
, 1700–1750
linen Technique: needle lace with ground of loop and twist with twist return

Border of asymmetric floral clusters placed in a dense pattern.
Bonad
, 1775–1825
Hand painted on canvas

Very abraded sample with slightly legible text in black on a white background. Narrow black edging along top.
Textile
, 1820–40
cotton Technique: printed by engraved roller and block on plain weave

On white ground, vertical pattern of large swag of roses centered on rising serpentine of tendrils, from which spring sprays of small leaves. Roses, tendrils, and all outlines delicately printed in red, probably by copper-plate, with green and blue leaves carelessly overprinted by block. Left selvage present.
Border
, early 17th century
linen Technique: bobbin lace, discontinuous tape

Fragment with vases of flowers forming tabs.
Miser's purse
, early 19th century
silk, metallic beads Technique: beaded netting

Very fine netted silk in red and blue with ornament of fine gold beads in diamond pattern; side opening; wide gold rings slide to open or close.  Long tassels of gold beads at either end.
Border
, 19th century
linen Technique: knotting (macramé)

Border for a pillowcase or towel with a pattern of flowers and birds.
Sidewall
, 1815–20
Block-printed and flocked on handmade paper

Vase of flowers supported by leaf scrolls, ending in wheat spears, and having a grape pendant. Maroon flock, green, and gold on a gray, diagonally dotted ground. On one side, a vertical band of green and maroon flowers in net-like patterns joined by gold and maroon flocked circles.
Sidewall - sample
Gledhill Wall Paper Co., New York, New York, founded 1900, 1906–07
Machine-printed

Art nouveau; three small tulips on long stems enclosed in large curved tulip leaves. The motif is set into a vertical stripe, two inches wide in 4 1/2 inch repeat. 5 1/4 inch stripes fill the space between the large stripes. Printed in ocher, off-white and gold mica on a pale gold background.
Fragment
, 18th century
silk Technique: 5-harness satin damask

White damask with vertically symmetrical pattern of peonies on a vine crossed by a lace-like ribbon.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Allover trellis pattern outlined in olive green with snowflake-like motifs in blue and different shades of pink.
Frieze
, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Alternating large and small foliate medalions enclose monochromatic bouquets.  Rolling foliate scroll and green beading on bottom. Similar foliate scrolls on top suspending green floral swags. Designed and printed to similate a textile applique, cross stitch, or needle work. Printed in greens and white on green background.
Seal
, 1830–50
Gold, citrine

The handle with hole for chain, the mount decorated with dogs and quail in foliage, the citrine seal armorials below the crest in supporters "Festina Lente" above "Pour Nous" below.
Harmony
Henri Felix Vion, French, 1854 - 1891, 1885
Etching on paper
Print

A drawing room in a large house, in which is seen a man playing a grand piano and a seated lady leaning on his right shoulder, listening.
Antique Buildings on Hillside
, early 19th century
Pen and ink on paper; verso: pen and brown ink
Drawing

Horizontal rectangle. Monumental fountain in foreground, monumental sculpture at left. Various temples and antique buildings in the background scattered on hillside, connected by stairs.
Paper Doll and Costume
, 1876–80
Etching with graphite, brush and gouache and watercolor, pen and black ink on off-white wove paper.
Paper doll

Paper doll costumed in a mid-19th century period dress with a full green skirt with ruffled edging and pink cloak with a darker pink satin trim.
Trophy with Attributes of War and Peace
Henri Sallembier, French, ca. 1753 - 1820, 1790-1800
Pen and ink with gouache
Drawing

A bracket with wings suspend garlands and an olive branch. The shelf holds a trophy composed of spears, arrows, helmet, cannon ram-rod, drums, a tambourine, a basket of flowers and a shield with Medusa's head.
Bras de Cheminée d’un tres nouveau Gout
Clément Pierre Marillier, French, 1740 – 1808, 1763
Etching and engraving on paper
Print

Design for a wall light (wall sconce) with two lights featuring a putto on an eagle holding the lights with palm leaves, festoons of leaves, scrolling leaves (rinceaux), cartouche, and c-scroll motifs. The plate is titled.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

View of a quarter of a vaulted ceiling, the border decorated with ornamental cartouches in Rococo style, the largest cartouche at lower left, with a vase of flowers at its base. Along left edge, two winged putti sit beneath a canopy of flowers. Within a cartouche, a partial view of architectural structure at left, a palm at right. Along right edge, view of a curving exterior stair with trees in background.
The Elevation of an Altar Retable and The Plan for an Altar Retable
, 1770–1800
Black chalk, pen and black ink, brush and grey and black watercolors on laid paper.
Drawing

Vertical rectangle showing elevation. At the top, a tabernacle, showing the Annunciation at its door, stands in the center of a ledge and at the base of the retable. It has the shape of an aedicula with four embedded columns. On each side, there are two rows of seven ovoidal frames. A saint stands at the left. A putto, carrying an oivoidal medallion with a saint, sits at the right. A circular pediment is on top, flanked by two urns containing fire. Two putti sit upon it and support a crown. At the bottom is a scale and a plan of a retable in pavilion shape. On verso: pencil plans with scale in the opposite direction.
Design for a Cut Vase
, ca. 1630
Graphite, pen and black ink, brush and wash on paper, lined
Drawing

Half of an elevation of a vase richly decorated with moldings, leaf rows, and garlands.  The neck is fluted and scrolls form the handles.
River Reflections
Frederic Edwin Church, American, 1826–1900, 1860 - 1880
Graphite on white paperboard
drawing

Landscape sketch showing a view of the moon's light reflecting off the surface of a riverin a rolling, mountainous landscape. The wide river curves into the distance from the foreground at right to the background at center. Above, the orb of the moon hangs in the twilight sky at center, as its light is intermittently reflected on the river's surface, interrupted by the shore's sharply undulating banks. An indistinct wooded landscape is visible in the foreground and middle distance at left. In the background at right, a jagged mountain range with two shap peaks stretches across the horizon.
Chimneypiece Design with Side Paneling
Jacques-François Blondel, French, 1705–1774, 1727
Etching on laid paper
Print

Chimneypiece design framed by wood paneling. On the fireplace shelf there is a candelabrum on either side, held by two putti. Above the shelf is an over mantle mirror, at the top of which are two frames, one with a crowned cartouche, the upper one with a mascaron. The molding at the top features a reclining Minerva, putti, and trophies. The paneling on either side of the frame is symmetrical. Each side is divided into three vertical bands; the outer bands are in the guise of Corinthian columns, and the interior band features a trophy. There are claw-footed guéridons on either side of the fireplace supporting Roman military busts. The plate is not signed but there is faint indication in the upper right plate of numbering, in red ink.
Alpine Architecture Sketches
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on gray wove paper
Drawing

Architecture sketches showing seven views of houses and buildings in the alps of Switzerland or Austria. In upper left, two views of a home's sloped gable are show, while two views of a church's facade and tower are included at upper right. Three other sketches of a pyramidal roof, a cornice decoration, and a bay window are visible.
Birds Hunting Hares in a Landscape
Charles Dagomer, French, active 1750 – d.1766, 1775–76
Etching and engraving (crayon manner) in red ink on paper
Print

Landscape with a bird of prey attacking a hare (or rabbit) pinned to the ground, while another hare runs away. A bird flies in the sky. Blue/ green crayon appears to have been added later.
Corporal
, 17th century
silk, wool, metallic trim

Corporal has a center of red cut and uncut velvet in a large-scale symmetrical foliate design with a border of polychrome cut and uncut velvet on a white satin ground in a floral design. Trimmed with gold ribbon and backed with red wool.
Project for a candelabrum
, 1791
Pen and ink, brush and wash on paper
drawing

A vase shaped stand upon a shaft to which lion chimaerae are fastened.  From a calyx on the top case rise two ivy stems carrying sockets with low burning candles and a socket shaped like a trumpet and carrying a fire.  Framing lines and margin.
Trimming
, early 19th century
White, black, and colored silk in uncut, voided velvet weave.

A crowned shield showing two goats in black on yellow ground surrounded by compartments containing, alternately, a castle and a cross; crowned oval showing bands of checkerboard within a border with crosses, in red and yellow.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1779–90
Etching on paper
Print

Six designs for trophies incorporating flowers, festoons of flowers and leaves, foliate branches, flaming torch, quiver of arrows, bow, baskets, wheelbarrow, pineapple, scythe, vegetables, masks, drum, tambourine, sheets of music, rake, shovel, and fruit. The plate is numbered.