biglam/cooper-hewitt-alt-text huggingface dataset:
Page Five from "Second Licre Contenant Differens Desseins de Pendules Inventés par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Design for a table clock with a circular face set into a rectangular framework. It is supported by two lions. Above, a shell in front of which are two putti. Inscribed, upper left: "B"; upper right: "5"; lower left: "Oppenort inv."; lower right: "Huquier sculp. et ex"; center: Avec privilege du Roi".
Rouen from Bon Secours
Joseph Pennell, American, active England, 1857–1926, 1907
Etching in black ink on paper
Print

Panorama of Rouen and the various bridges spanning the Seine river, as seen from a hillside.
Dish with the Four Continents
, 19th century
silver plated, metal
dish

Broad-rimmed dish with incised coat-of-arms in the basin and low-relief decoration depicting allegorical figures of the four continents on the rim. The coat-of-arms is centered on the dish depicting a shield with two six-pointed stars and a fleur-de-lis backed with swirling decoration topped with three feathers. At top, Europe is represented holding a cornucopia with a younger figure behind her and livestock rendered in low relief behind her. At right, Africa is represented with an elephant and lion. An attending figure holds a long-tailed reptile. Asia is depicted below the coat-of-arms holding a large poppy flower with an attendant figure also holding a bouquet. Facing Asia, another figure is rendered with a flower crown holding a chest with pyramidal structures behind them. Behind Asia, a camel is visible. American is represented with tropical birds and primates opening a basket. America is backed by two figures.
Villa
, ca. 1650
Black chalk, pen and brown ink, brown wash, white gouache Support: white laid paper toned buff
Drawing

Vertical format. Two staircases lead to a platform at the back of which stands the villa. Steps lead to entrance at back of a colonnade with two columns. Loggia, in center of first floor, reaches with its central vault into third floor. Above entablature is a balustrade upon which stands an escutcheon in the center and four statues. Persons and dogs are on the platform. A woman walking up the stairs. Below in center of the convex platform, is a door. In front of it is a man and donkey. In front of the staircases is a chair carried by four posts. Three persons are in the foreground.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed; glazed

Ground decorated, by molette, in deep cream minute horizontal lines with areas of white moire effect. Pattern of natural size pansy clusters in reddish mauve and white printed over the ground, and small flower clusters in green-glazed.
Bust of Female Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on light brown paper
Drawing

Sketch of nude woman, facing frontally, her head turned toward the left.
View of the Pitti Palace in Florence, Plate 2 from "Scelta di XXIV Vedute delle principali contrade, piazze, chiese, e palazzi della Città di Firenze"
Johann Sebastian Müller, German, ca. 1715 - 1792, ca. 1743
Etching on paper
Print

Berline 2700. Bottom margin: "Ios. Zocchi del." "Veduta del R eale Palazzo de' Pitti Abitazione de' Regnanti Sovrani." "Io. Sebast. Muller scul. Norimb / [ergae]." "P.II."
The Witch
Albrecht Dürer, German, 1471–1528, ca. 1500
Engraving on laid paper
print

Vertical rectangle. The nude figure of the sorceress is seen in the background, mounted backwards on a goat. She faces left, with her left hand grasps one of the goat's horns; a spindle in her right hand. Four winged genii in foreground.
Fragment
, 7th–10th century
silk Technique: gauze weave

Irregularly shaped piece of natural coloured gauze weave silk. Very worn so that complete design cannot be deciphered. Appears to be a fret or triangle and a six-petalled flower. Two selvages.
Fragment
, 17th century
medium: silk, linen, metallic Technique: two integrated structures; 2/1 twill with supplementary warps and wefts plus 3/1 twill

Ogee-lattice with finely checkered brackets covering the intersections enclosing staggered rows of profile blossoms, the center sections of which are finely checkered. A fine secondary arabesque-vine, behind the main ogee-lattice, serves as a support for the enclosed blossoms. The background is yellow with pattern in ivory and reddish-purple. Note: foundation fabric is reddish-purple and the patterning fabric, when it is patterning, if faced with metal wefts. Unit of repeat: H: (warp) OM305 x W: (weft) OM145 (5 3/4''), repeated turned side to side and placed end to end. The fabric was probably four repeat units wide.
Landscape
Jean-Francois Millet, French, 1814 – 1916, ca. 1870
Charcoal on paper
Drawing

Horizontal rectangle. A brief sketch of a flat landscape, with a clump of trees dominating the center foreground of the composition.
Trimming
, 18th century
silk, metallic thread Technique: woven

Design of curving leaves and open flowers with borders on both sides with slightly scalloped edges. In yellow and metallic thread.
Pleated fan
Franz Widnmann, German, 1846–1910, 1880
Vellum leaf backed with plain parchment, painted with gouache; carved, pierced and painted mother-of-pearl sticks

Leaf of painted vellum backed with plain parchment showing a street scene in Nuremberg. Sticks of carved, pierced and painted mother-of-pearl with figures of Cupid and Psyche within gilded scrolls. Guards: carved cherubs and gilded floral ornament.
The Holy Family with a Sack
Andrea del Sarto, Italian, 1486 - 1530, 1760
Black ink on white paper
Print

Within a lunette, the Virgin and Child are seen seated, while St. Joseph, reclining against a sack, reads to them. Below, the Grand Ducal arms of Tuscany and two line Latin dedicatory inscription.
Salesman's sample
, early 19th century
silk, gold strips, imitation pearls Technique: embroidery

Sample dress trimming of sheet plain cloth ground with embroidery of flowers and leaves worked in gold strips and imitation pearls. Mounted in paper folder.
Trimming fragment
, ca. 1830
silk Technique: woven

Trimming fragment has a design of paired leaves and rosettes in yellow and white on a red ground.
Brillion Collection
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, mica flakes
Frieze

Flitter frieze with swags of grape clusters, grapeleaves, and tendrils. Printed in purples, greens, tans and gold mica flakes on a background that shades from medium tan to light tan.
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape, a technique called leaded

Lace border fragment with a symmetrical design of scrolls.
Jug
, 1842
Glazed stoneware

A highly decorative cream jug with detail on the body, spout and handle. The center has panels depicting figures in an outdoor scene.
Sampler
Ann Woulf, ca. 1650
linen Technique: embroidery, cutwork, reticella

Bands of whitework embroidery, cutwork, needle made filling stitches, reticella, needle lace, and lacis. Patterns include two mermaids with detached buttonhole flower, unfinished.
Border
, 1860–1900
Block-printed on paper

1972-42-119-a-1,2: Marbleized stripes in various colors.50;     1972-42-119-b: Marbleized stripes in various colors.50;     1972-42-119-c: Marbleized stripes in various colors.50;     1972-42-119-d: Marbleized stripes in various colors.50;     1972-42-119-e1,2: Marbleized stripes in various colors.50;     1972-42-119-f1,2: Marbleized stripes in various colors.50;     1972-42-119-g: Marbleized stripes in various colors.50;     1972-42-119-h: Marbleized stripes in various colors.50
Textile
, 19th century
silk Technique: cut solid supplementary warp pile (velvet)

Fine checked pattern in soft purple and green.
Spoon with Frog Jumping from Leaf Handle
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval shaped bowl, narrow stem, leading to large leaf-shaped terminal with relief frog applied to appear as if diving from leaf. On reverse side stem of handle continues to form central stem of leaf terminal.
Clavus band
, 600–900
wool, linen Technique: tapestry weave

Woven linen and wool tunic ornament showing a Coptic cross between borders of advancing waves, and a roundel with three-pronged motif at center.
Mock embroidered picture
, late 17th–early 18th century
silk, metal threads, paper Technique: painted, metal threads laid on parchment or paper with wax

Small picture, framed, and under glass. Shows figure of woman, kneeling before an altar, while an angel bends over her, pointing an arrow at her breast. Above, dove descending on rays of light. whole in architectural frame with canopy above. Embroidered in colored silks and some metal thread; appears to be laid work on a paper foundation. Faces and hands of engraved paper. Below: "S. Teresa da Jesus."
Textile
, 1850–1900
cotton Technique: e-gasuri (warp and weft ikat) on plain weave

Narrow vertical panel with a design of a drawstring pouch in weft ikat alternating with a geometric form in warp and weft ikat.
Panel
, ca. 1600
linen Technique: grid of withdrawn element work with needle lace, reticella style

Panel of lace with three horizontal bands divided into eight squares each, depicting scenes from the biblical story in which Judith severs Holoferne's head to save her people. With geometric edging on three sides; cut on the right.
Lion Form Knife Handle
, ca. 1650–75
brass
handle

Handle of cast brass in form of standing lion holding shield on rosette decorated socle at front. Floral decoration on base.
Seal
, ca. 1720
Silver, rock crystal

Revolving seal of rock crystal carved with a coat-of-arms. The silver handle is composed of dolphins.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, ungrounded

Grid or trellis pattern with cross-shape or quatrefoil on each intersection of lines. Printed in red, green, and tan on spotted ground.
Le Marchand d'Orvietan
Manufacture de Dubern & Comp. a Nantes, ca. 1785
cotton Technique: printed by engraved copper plate on plain weave; all yarns z-twist
Textile with chef de piece

In red on white background a series of pastoral scenes the principal ones being a merchant of patent medicine on a platform and a couple dancing in front of an inn.
bandbox
Joseph S. Tillinghast, 1830–35
Block-printed paper, pasteboard support

Bandbox lid only, covered with four pieced fragments of a wallpaper: blue background, scene of landscape, around body of water represented by closely spaced horizontal white lines. Boats, trees, mill, distant large building, in browns, beiges (perhaps faded pinks?). Rim: blue background, white dot fill, green leaves with yellow and brown veinings. Inside rim: different border pattern-pink and white lines, green and yellow.
Ceiling and Four Walls of a Room
Frederick Crace, English, 1779–1859, 1815–22
Graphite, pen and black ink, brush and watercolor on wove paper
Drawing

Against a gray background, ceiling at center. Upper wall has center fireplace with mirror above. Right wall has decorated panel, doors to left and right. Lower wall has console center with vases on it, mirror above. Left wall has console center, lamp and vases on it, curtained windows either side.
La Course en Sac, from La vie de château
Gihaut Frères, French, 1815 - 1871, ca. 1832
Lithograph, brush and watercolor on paper
Print

Seven men in brown sacks in a race. A crowd beyond. Title, artists' names and date below.
Knife
, ca. 1680–1700
ivory, silver, steel

Straight-sided blade with upper edge pointing towards the lower edge; plain bolster. Silver ferrule engraved with initials "W v D S." Ivory handle carved in deep relief. Three virtues: Justice, with sword and scale, Hope, with anchor and bird, and Charity with candle (?) and three children. Four faces on top end of handle; cap of handle floral-shaped.
spoon
, ca. 1600
bronze

Cast bronze, oval bowl. Scroll handle has grotesque-shaped decoration on front and back; handle terminating in armless female upper torso. Heavy rib reverse of bowl.
Page from Ackermann's Repository
, 1810
paper, cotton, silk Technique: printed and glazed plain weave; plain weave with warp floats that form a diagonal rib pattern; printed plain weave

Single printed page from Ackermann's Repository No. XV, March, 1810. Three textile samples are pasted on the center of the page. The largest is a printed and glazed cotton in blue, green and black. The other two samples are an off-white silk with diagonal ribbing, and cotton printed with a dark and light brown abstract design.
Urn
, 19th century
Glazed earthenware, transfer-printed decoration
Plate

Plate with brown transfer print with hand-colored glaze in yellow, green and blue. Design shows flaming urn framed by geometric pattern. Grotesque border.
Plate 51, Costume Parisien (Parisian Costume), Journal des Dames et des Modes (Journal of Ladies and Fashion)
Carle Vernet, French, 1758–1836, 1807
Engraving, hand-colored with brush and watercolor on off-white paper
Print

Fashion illustration featuring two women wearing long, white dresses standing next to each other. The woman on the right faces the viewer and tilts her head slightly towards the left, holding a yellow shawl with a colorful paisley print at the bottom. She also wears pink shoes and a white bonnet with pink trim. The woman on the left faces the other woman. Her face is obscured by a blue bonnet with yellow and black details. She wears light blue shoes, and a white scarf or shawl with a red floral print is wrapped around her shoulders. She holds a small purple pouch in her left hand.
Frieze
, 1905–1915
Machine printed paper, ungrounded, liquid mica

Undulating borders of thin c and s scrolls form the top edge of a matrix of dots and blossoms, which create a tile-like pattern. Alternating large and small medallions of acanthus leaves and other vegetal forms are printed atop the tile pattern and follow the curves of the c and s scroll border. Black lines border the top and bottom edges of the panel. Printed in shades of maroon, pink, light blue, black and green on a beige ground.
Textile
, 1800–1850
glazed cotton Technique: relief printed

Small piece of chintz with a blue ground in a pattern of flowers in a perpendicular arrangement. White Sweet William with fantastic leaves in shades of green, yellow, and red against a curving band of red alternates with groups of garden flowers: iris, asters, tiger lilies with foliage in shades of red, blue, yellow, sepia, and green (blue over yellow).
Sketches of Lake Lugano
Arnold William Brunner, American, 1857–1925, September 26, 1883
Graphite on paper
Drawing

Page of a sketchbook. Vertical rectangle. View of lake with mountains in the background. Small boats with sailcloth covering a curved, ribbed casing above.
Frieze
W.H. Mairs & Co., 1855, 1905–1915
Machine-printed paper

Mission style. Alternating blooming and budding sylized green and red flowers surrounded by brown and green stylized scrolls. Bottom band of green and brown lines with floral, scroll and beading patterns. The top has green and brown stripes with brown dental pattern. The ground is yellow-brown and covered with a green grid and irregular brown, black and white dots.
Sidewall - fragment
, 1880–90
Machine-printed

Aesthetic-style, floral stripe design. Wide bands of foliage and bell flowers alternating with narrower bands of foliate rinceau. Printed in green and brown on sage green satin ground.
Quilt
, 15th century
linen, cotton Technique: trapunto (two layers of plain weave, pattern outlined in back stitch, pattern shapes stuffed with unspun cotton or heavy cotton cord, background areas textured by running stitches which also hold two layers together

Octagon and diamond grid covering entire surface of half a quilt. Each diamond contains a four-legged animal: one with large antlers, another with a bird perched on its back. Each octagon has an eight-pointed star containing fantastic animals of various types with wings, antlers, tails; some are four-legged and others are bird-like. Weft-loop fringe on three sides.
Sampler
Jessica Maria Wotherspoon, Scottish, 1839
silk embroidery on cotton foundation Technique: embroidered in cross, back, eyelet, and cross over cross stitches on plain weave foundation

Alphabets and numerals in bands of red and brown followed by "Jessie Maria Wotherspoon.  Edinburgh June tenth one thousand eight hundred and thirty nine."
Fragment
, 18th century
silk Technique: warp printed on plain weave with supplementary warp patterning

Fragment of silk with scalloped stripes of light blue with a continuous floral vine in shades of blue, yellow-green, pink, and ivory; alternating with stripes of continuous floral vine in deeper shades of green and red-violet on an ivory ground, printed on the supplementary warp.
Sampler
, 1743
silk on linen Technique: cross, satin and stem stitches on a plain weave foundation. Counted and uncounted stitches. Hemmed on both sides, selvedge at bottom. Cut top edge overcast.

Lower part of a sampler with scattered motifs including Christ on a cross, a pear tree with birds, the Agnus Dei, a woman spinning, a man bringing flowers to a woman in a boat and crowned initials.
Frieze
Liberty Paper & Bag Co., 1905–1915
Machine-printed paper

A repeating design of large monochromatic bouquets of flowers interconnected by complementary floral swags. Below a hanging complementary wreath, upon a striated beige and olive green ground. Printed in cream, beige, olive green, rust, silver, gold and bronze.
Sidewall
, 1875–1900
Machine-printed paper

A pastoral scene enframed by leaves and vines is the single repeating motif. Drop match at the sides. Farm animals cows and goat herd, shepherd, and man with scythe in foreground. Village on promontory in background. Printed in 19 colors on neutral ground.
Frieze
Alfred Peats Company, 1905–1915
Machine-printed paper

A repeating pattern of acanthus cartouches containing a vase of flowers upon a pedestal joined to complementary cartouches on a ground of beige mat becomes darker towards the base with garlands of flowers and leaves bordered between horizontal bands. Printed in beige, brown, mica, white, pink, off-white and pale green.
Moses and Aaron
Hans Sebald Beham, German, 1500–1550, 1526
Engraving on laid paper
Print

Figures of Moses, at left, and Aaron, at right, are represented reading a book which they hold together. Both are shown as seated and half-length figures. The Tables of The Law (Ten Commandments) are seen, upper left. A mountain village, upper right. The date 1526 and the artist's monogram, upper right.
Another Year by the Old Clock
Winslow Homer, American, 1836–1910, January 1, 1870
Wood engraving in black ink on paper
Print

An elderly couple seated near a fireplace, with a grandfather clock at right. The husband has an ear trumpet.
Tassel
, 17th century
linen Technique: braided and knotted, with bobbin lace Label: Braided and knotted linen, wood

Long linen tassel, braided and knotted, with bobbin lace. Loop attached to long cord, terminating in pear-shaped unit which is completely covered with tiny knottings and from which are suspended six long design elements of tiny knots alternating with bobbin lace medallions, floral petals, and leaves.
Pillow cover
, 18th century
silk embroidery on linen foundation Technique: embroidered in counted running stitches on plain weave foundation

Rectangle of embroidery with a large central lozenge surrounded by four incomplete lozenges, embroidered in red, white and yellow silks on a blue ground. Voided geometric forms resembling Arabic script.
Quick Cliff Study
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Quick sketch of cliff face at right, second quick impression at left.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Portrait of a woman in profile, with tilted down; ringlets in hair.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch in upper left, possibly of a candlestick.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

This frieze features curvilinear shields centered between acanthus leaves and filled with a bouquet of roses and horizontal striping. A stylized, green rose vine weaves around the shields borders and turns into a festooned garland that follows a scalloped border at the bottom of the panel. Bouquets of roses alternate horizontally with the acanthus shields. An undulating pattern of c and s scrolls hung with more garlands forms the top border of the panel. This design is printed in shades of brown, dark red, tan and green on a beige ground.
Scenic
, 1775–99
Hand painted on handmade paper

Printed on a pale green background. Darker green ground at bottom. Flowering tree with white blossoms, and large peony plant with white and pale yellow blossoms. Bamboo trees in the background. Flying white birds.
Design for a Salt Cellar and Egg Dish with Fork and Spoon
Ottavio Strada, Italian, 1550 – 1612, late 16th century
Pen and brown ink, brush and brown wash, charcoal or black chalk traces, ruled lines in leadpoint on cream laid paper
Drawing

Fork at top left with end of handle formed by female bust; an extended volute forms length of handle which connects to a satyr whose legs tranform into two fork tines.  Spoon at top right has handle formed by satyr-herm whose lower half extends to connect to bowl of spoon with two opposing scrolls and a mask.  Design for saltcellar and egg dish in center; figures of Leda and the swan at top of vessel upon a raised rectangular plinth; relief panel with two swans on front side of plinth; lower part of vessel is six-sided with round well for holding an egg on each end and projecting seashell to hold salt in center front; front panel displays figure of Venus reclining on the sea with one elbow resting on a dolphin and other hand holding reigns of two dolphins, ornamental curtain above the scene; dolphin heads on lower corners form the feet; guilloche ornament borders the lower edge; oval reserves with figures on angled sides.  Plan of vessel at bottom, inscription located within the rectangle framing for the raised plinth and between the seashell shapes for the salt and round shapes for the eggs.
Fork with Porcelain Handle (Paired with Knife)
, 18th century
gold plated, silver; porcelain, vitreous enamel, gold
fork

Silver-gilt fork, three-tined flaring at the join. Waisted shoulder, banded ferrule. Tapering porcelain handle, irregular in shape. Multi-colored decoration on white ground. On front a man in costume, standing in front of a tree. On the back a woman in similar position. Blue scalloped pattern with red scrolls on top and end of handle.
Knife with Earthenware Handle (One of a Pair)
, 19th century
earthenware (faience), vitreous enamel; steel, brass
knife

Straight-sided blade with a rounded point. Plain baluster, brass (?) ferrule, round in section. White pistol-shaped handle with pink flower sprays and green wreath of leaves close to the ferrule.
In the Cut at Las Cascadas
Joseph Pennell, American, active England, 1857–1926, 1912
Lithograph on paper
Print

View shows the cut to the sea during the construction of the Panama Canal.
Sidewall
Jeffrey & Co., 1836–1930 London, England, 1875–1900
Embossed paper

Heavily embossed floral and acanthus leaf pattern. Fine striated vertical lines in background.
Jar and cover
Henry Chawner, British, 1764 – 1851, ca. 1795
glass, silver

Flattened urn-shaped body on tall faceted flaring foot with scalloped edge;sides of body fluted, a band of diamonds above, above that a band of silverwith slightly everted lip; high domed cover with faceted sides and finial cut with diamonds, notch cut out of rim for spoon.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Anthemia motif enclosed in larger wreath altenates with smaller wreath containing a torch, wreaths joined by swags. Background is tan at the top and becomes increasingly deeper red about one quarter of the way down.
Card case
, ca. 1880–1900
wood

Tartanware