biglam/cooper-hewitt-alt-text huggingface dataset:
Brooch in the form of a Purple Flower
Tiffany & Company, American, established 1853, ca. 1900
Gold, enamel, diamond
Brooch

Brooch in the form of an open purple flower, the petals unfurled around a small diamond.
Flounce
, late 17th century
linen Technique: bobbin lace, Brussels style

Brussels-style flounce with a central design of an eagle surmounted by a radiant sun, flanked by entwined initials and paired medallions containing the portraits of a man and woman. Above are crowns under canopies. Below are hearts pierced by arrows and chained together, lover's knots and initials. Probably made in 1695 for the marriage of Maximilian Emmanuel of Bavaria and Therese Cunegonde, daughter of John Sobieksi, the king of Poland.
Bodice
, 18th century
silk and metallic, lined with linen Technique: satin weave with discontinuous supplementary weft patterning

Small bodice made from an eighteenth century brocade with central symmetrical large scale bouquet of roses in white, rose, blue, and green on coral background.
Fragment
, 10th century
silk warp and weft, flat metal strips Technique: plain weave with supplementary weft

Fragment ornamented with a design of a cock or rooster facing left within a hexagonal frame. Sixteen small rectangular motifs placed around each hexagon; larger motifs (in two alternating designs) arranged as crossing diagonals.
Melton
Wedgwood, English, established 1759, ca. 1875–85
Glazed earthenware
Pitcher

Of slightly conical form with circular mouth and short pinched spout, the rectangular  handle with curved corners.  Cream-colored body with brown Japanese-inspired transfer printed deocration: wide band just under mouth showing panels of geometric decoration and two landscapes with either hunting dog or birds; on either side of pitcher is an oval ring of flowers, buds and leaves surrounding a medallion with abstract leaf-and-stem pattern; geometric pattern along back of handle.
staircase model
, mid–late 19th century
walnut

Staircase model in English style.
No. 98
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1865
Mouth-blown crystal, faceted cut and polished
White wine glass

Mouth-blown crystal wine glass, elaborately facet-cut and polished, with precisely planned bubble in the stem.
Sidewall
, ca. 1800
Block-printed

Vases with floral bouquets on blue simulated textile ground. Lined with linen.
Sidewall
, ca. 1875
Block-printed and flocked paper

Trellis or diamond diaper framework made of running Greek key. In the center of diamond shape is a Moresque motif. Printed in burgundy flock with black and tan on pink or mauve ground.
Design for Sideboard with Six Legs and Four Central Drawers
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Sideboard with rounded corners on six straight tapering legs has and flat central front section containing  four drawers - two smaller drawers side-by-side over two larger drawers atop each other; "C"-shaped handles and keyholes on each drawer; a door decorated with patera medallion design on either side of center front; floral decorations on four of legs; backsplash.
No. 126
Ludwig Lobmeyr, Austrian, 1829 - 1917, ca. 1870
Mouth-blown crystal, hand-painted gold
White wine glass

Mouth-blown crystal wine glass, hand-painted with gold rims.
Sampler
Mary Johnston, English, 1780
linen, silk. Technique: cross stitch embroidery.

Alphabets, numerals, verse, and horizontal pattern bands.
Tile
United States Encaustic Tile Company, 1877–85
Glazed stoneware

Square tile, molded with relief bust of Walt Whitman within a circular frame, which floral corners. Glazed overall in transparent sage green, highly cracked.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On green ground with vertical bands in dark green bordered by gold beaded frame, gold rinceaux; staggered motifs of white scrolled vases containing bouquet of pink and white flowers.
Fragment
, 16th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Panel of dark blue velvet on a blue ground, cut and uncut, in a small-scale symmetrical pattern of plants and foliage.
Sidewall - sample
, 1906–1908
Machine-printed paper, liquid mica

All-over vining floral design. Large-scale flower set within foliage that forms a diamond trellis pattern. Printed in pink on pale pink mica background.
Mantle fragment
, 8th–10th century
cotton warp, camelid fiber wefts Technique: plain weave with discontinuous weft (tapestry), single interlock Label: tapestry woven with cotton warp and camelid wefts

Fragment of a Peruvian tapestry-woven mantle with a rich ochre ground and three wide bands with highly stylized animal motifs in shades of blue, green, tan, white, black, and red, set off by narrow red guard stripes.
Fraktur: A Flower and Two Initials
, 1780–1800
Calligraphy in brown ink, brush and watercolor on paper
Calligraphy

Sunburst flower with twenty-four petals; 6 yellow, 6 red, 12 blue, on a brown stem with brown and blue leaves. An initial on either side of the stem. Left one, on "H". Form known as "bookmark".
Matchsafe
Theodore B. Starr, 1905–15
Gold, diamonds, emeralds, rubies

Rectangular, with rounded corners, featuring raised decoration of winged dragon with long, serpent-like tail that curls and extends up onto lid. Dragon has single red ruby for eye. Creature is framed on right and left by raised vertical bands; their ends curve inward and terminate with emeralds at each point. Above right and left, on lid, and below on lower section of box, are short, raised, curved bands that terminate at a single point with diamonds, each point abutting one of the four emeralds. The same decorative raised bands, two long, four short, are repeated on the reverse, with four rubies, instead of emeralds, framing incised monogram, and diamonds above and below. Featured, from top to bottom on each vertical side is a dolphin, a cloth-draped winged female or harpy in profile, and a head in profile, terminating in three decorative scrolls, the stems of which abut the lozenge shaped, grooved and recessed striker on bottom. Parts of undecorated surfaces slightly stippled. Lid hinged on side. Link attached to back of lid.
El Capitan, Yosemite
Carleton E. Watkins, American, 1829 – 1916, 1861–66
Albumen silver print
Photograph

Landscape featuring waterfall with forest; snow-covered mountain in background.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of a frog or toad.
Sidewall - sample
, 1906–08
Machine-printed on paper

On textured brown ground, vertical bands containing fan motifs with foliate green and lavender motifs.
Bag
, early 17th century
silk and metal-wrapped silk on linen Technique: embroidery using cross, half-cross, back and eyelet stitches in silk; buttonhole, plaited braid, looping and knotted stitches using metal-wrapped silk on plain weave

Three panels plus base, each with a different pattern, sewn together. Extended dark yellow silk lining functions with a drawstring as a closure.
Chintz fragments
, 18th century
cotton Technique: mordants for black, 2 reds and brown applied by pen and brush; blue applied by brush over resist; speckled effect made by mixing a red mordant with another substance; chintz on plain weave Painted

Three strips which were originally part of a large bordered panel. Parts of medallions on a red ground.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Floral wreaths with ribbon connected by floral swag. Ground is cream. Printed in blues and white mica.
Design for a fire house: front elevation
Christian Francis Rosborg, 1881 – 1953, ca. 1905
Pen and ink, brush and watercolor on paper
Drawing

Front elevation of a narrow three storey structure, flanked by two residences of the same height. Designed to house an engine company, it has two large doorways on the street floor, the large central pedimented window on the second floor, and the smaller window above, are enclosed between pairs of pilasters, which in turn support a classical entablature and sculptured relief.
Sidewall
, 1815–30
Marbleized

White veining on green ground dappled with black.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Large bunches of grapes, both purple and brown, are hanging from grape vine. The top vine is pulled taut, while the lower vine is swagged. The background shades from off-white to tan at the bottom.
Sidewall
, 1870–1890
Machine-printed

On tan ground, alternating tan floral motifs framed by stylized scrolling foliage.
Border of a chalice cover
, late 17th–early 18th century
linen Technique: bobbin made continuous tape with bars added

Border of a chalice cover with a pattern of floral scroll work connected by bars.
Woodland Camp
James Henry Moser, Canadian, 1854–1913, ca. 1890
Brush and watercolor, graphite on paper
Drawing

Trees in right foreground, with slope beyond. A fence, at left. A girl, center, working at a table. A pot and bucket are beside her, and a washtub is on the woodpile. Two notes, lower right.
Egyptian Artifact
, late 19th century
Silver
Matchsafe

In the shape of an Egyptian sarcophagus for a king or queen with hieroglyphs running down central band on front and reverse. Link attached to side. Head serves as lid, hinged on side, thumb catch opposite at shoulder. Striker recessed in bottom.
Matchsafe
, ca. 1901–02
Celluloid, metal

"J. Siebert Fine Cigars" and 1902 calendar made by Tanger & Epstein, New York
Sampler
, 1700
silk embroidery on linen foundation, pearls Technique: embroidered in two-sided cross, satin, and back stitches on plain weave foundation

At upper left, box with pattern bands and alphabet; upper right, religious motifs.  Lower field: floral motifs and monogram and date.
Design for Door and Overdoor with Fantastic Bird, probably for the Yellow Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1802 or earlier
Brush and watercolor, graphite on white wove paper
Drawing

Design for a section of a wall showing a doorway surmounted by a painted rectangular panel decorated with a bird with colorful plumage.  A wide border surrounds the panel.
Waistcoat
, 1760–1780
silk Technique: chain stitch embroidery on taffeta

Gentleman's waistcoat in cream-white taffeta in a cutaway style and collarless with shaped pocket flaps. Front embroidered in small detached flower sprigs while the center front has blue and pink flowers with long green leaves. Pockets embroidered with larger pink flowers, and area below pocket flaps has a duck in a pond surrounded by flowers.
Fork
, ca. 1550
Iron

Four-tined fork, sloping shoulders. Neck pierced with trefoil. Scroll stem at neck, paired knops on cylindrical stem. Finial flat openwork scrolls surrounding movable openwork knop with loose bead inside.
Belt
, probably 19th century
wool Technique: double cloth

Belt with geometrical motifs in a star pattern, center motifs brown. Warp ends are braided.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On gray, red, and yellow striated and textured ground, vertical rinceaux with staggered motif in gold composed of geometric flowers.
Sidewall - sample
, 1906–07
Machine-printed

Bouquet of different roses caught in acanthus leaves. Ribbons and bows decorate the floral arrangment. Printed in shades of red, green and yellow on a beige background.
Letter case
, 18th century
silk and straw embroidery on silk foundation Technique: couched flat, twisted and braided plant stem material on plain weave foundation

Letter case of blue silk taffeta embroidered with straw in a symmetrical floral design. Fiber is couched flat, twisted and braided. Worked as a single panel; lined with tan silk.
Border
, late 18th century
Technique: bobbin lace

Bobbin lace border, floral scroll; late 18th century Maline
Hanging
, 18th century
silk embroidery on cotton foundation Technique: embroidered

Large embroidered panel with a field filled with floral boteh forms and a deep border with open flower heads and curving vines and leaves. The field has an eight-pointed star in the center, surrounded by botehs composed of clusters of carnations, irises, roses and lilies. Strips of off-white hand-woven cotton are seamed together and heavily embroidered in blue, green, yellow, red, violet and taupe silks.
Fragment
, late 19th century
silk Technique: continuous [ivory] and discontinuous [polychrome] suplementary wefts plus supplementary warps [ivory] in a plain weave foundation [ivory].

Fragments of an all-over pattern made up of a bunch of roses with trailing floral vine and a fine detached flowering vine arranged in a group.  The groups are placed side by side and reversed end to end to counter balance movements.  Polychrome pattern on an "ivory on ivory" geometric-patterned background.
El Gran Mundo (The Great World)
, 1898–1920
Lithograph, embossed bronze (possibly gold) powder and adhesive on rag paper
Cigar label

Polychrome interior cigar box label set in a white field. Design shows an eagle in flight over red letters: El Gran Mundo (The Great World). At left, a portrait; at right, a woman sits by the Havana harbor with a cornucopia of cigars at her feet. Behind is the lighthouse at Castillo del Morro and a ship. At center are four embossed gold medals.
Square
, 14th century
silk and linen embroidery on linen foundation Technique: embroidered in satin and stem stitches on plain weave Label: linen embroidered with linen and silk in satin and stem stitches

Fragment from an altar frontal in coarse cream-colored linen embroidered in silk in red, light green, light blue, and white. In the center field, the Crucifixion: Christ on the cross with bowed head, with blood dripping from the hands and three red cuts across the body. A figure appears on each side, possibly St. John the Baptist on the right and Mary with a sword at her breast on the left; both figures wear long straight robes with simple geometric patterns. Christ's face appears to be re-worked, and that of St. John is very worn. With a deep border of curving vines with three-lobed leaves. At corners are winged beasts with tails (wyverns).
Sampler
, late 17th–early 18th century
linen, cotton Technique: embroidery using satin, padded satin, overcast cord, and chain knot; withdrawn element work with overcasting, looping, interlacing, back, stem, buttonhole, satin and others; cutwork with overcast edges

Initials "C.F" with religious scenes (including the Pascal Lamb).  Floral bordering and accenting throughout.

In the center: the Paschal Lamb, with the letter "c" at left and "f" at right, encircled by a wreath of flowers. Left and right facing out: a bird in a flowering tree growing from a mound; bottom: lion between flowering trees in which a bird is perched; top: sprigs of flowers. In each corner a vase-like shape enclosed within flowering branches, each corner connected by a flowering band.Border at top and left: a parallelogram alternating with a floral sprig. Border at bottom and right: a floral medallion connected by a double vine. White cotton on white linen and plain weave foundation. Embroidery for pattern only with many shapes filled in with drawnwork.
Fragment
, ca. 1800
cotton Technique: plain weave foundation; block printed for two reds; yellow applied by block or brush; resist paste used over areas which were to remain red, yellow and white; then fabric immersion dyed in indigo

Brightly colored small flowers on a background of small fine leaves.
Border
, 1820–40
Block-printed paper

Orange and black wave motif  with band of orange dentil at top edge. Printed on yellow ground. Was used with 1972-43-1.
Traveling Coffee Service
Gregoire et Cordonnier, French, 1866 – 1868, 1866–1868
silver, ivory, leather
coffee service

Set consisting of cylindrical silver coffeepot (b) with straight ivory handle (d) projecting from side; circular lid with ivory knop; cylindrical stand (c); burner, wick and cover (e,f,g);  two covered cannisters (h,i,j,k); 2 spoons (l,m); knife (n). All in a retangular fitted leather case (a) with the initials BM on the hinged lid.
Textile
, 17th century
linen, cotton Technique: lampas – foundation weave – 3&1 twill weave; supplementary weave – plain weave [no interlaced connection].

The pattern is white on a blue background and has a symmetrical design of flowers between lattice-like bands on either side.
Sidewall
, 1875–99
Block-printed paper, embossed, hand-rubbed oil finish

Imitation leather. Allover embossed pattern of scrolls and flowers in pink and gold-brown.
Sidewall
American Wall Paper Manufacturers' Association, 1879–1887, 1879–87
Machine-printed

Aesthetic style design. Divided into quadrants with circular medallions separating. Printed in lavender, olive green and light yellow on tan ground.
Street in Tangiers
Arnold William Brunner, American, 1857–1925, ca. 1892
Graphite and white heightening on cream paper
Drawing

Figure in robe under a masonry archway across the street.
Sketchbook Page: Sedum Sieboldti
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of plant with round leaves in whorls of three around a stem. 
Verso: Several sketches of flowers.
America
, 17th century
Brass
Plaque

Bust portrait of Vasco Nuñez de Balboa (1475-1517), framed by intertwining snakes and flanked by American Indian man and woman with child, a llama, puma, and monkeys among trees. Probably used for printing of a title page.
Knife
, early 17th century
ivory, steel

1985-103-149-a: Elaborately carved ivory sheath for two implements...;     1985-103-149-b: Straight sided blade with round top, square plain ...;     1985-103-149-c: Fork has three curved tines, curved shoulders. Pla...
Title Page
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Title page with ornament motifs including crossed cornucopia, mascaron, birds, and garland.
Décoration interieure du pavillon royal au bout du canal de Commercy
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Elevation of the interior of a Royal pavilion. The rooms are decorated with rocaille ornamentation on the cornices, doors, and over door panels. Well-dressed staffage are depicted on the upper-level balcony and behind a balustrade on the ground floor to give a sense of scale. The plate has been trimmed such that the signature and title are not visible.
Designs for Bedroom Alcove Walls
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The alcove has the shape of a broad niche with a spherical ceiling above the entablature. A main entrance and two lateral secondary ones are suggested. The lateral walls have the same height as the entablature above the central entrance. Above: in the center is a panel with an arch and a curtain framed laterally by piers decorated with candelabra. Above the entablature, laterally, are vases, in the center SATURNUS, sitting, and holding a sphere in his right hand. The lateral doors are framed by panels of a dado and an undecorated panel. Below the central part is a variation of -1606 below. The entablature has a frieze with triglyphs. On top is a pedestal with a sphere between two sitting figures. The sides are a variation of above. Usual background.
Allegorical Scene with Aurora
Jacques Fouquet, French, active 1685 – 1704, 1707–44
Etching on laid paper
Print

A print and lettered verse representing Aurora, Greek and Roman goddess of dawn. She is depicted in her horse-drawn chariot in a central framed vignette supported by a basket of flowers, held up by putti, flanked by female winged herms, holding watering jugs, with strapwork, shell, acanthus, and margent ornanement and a central mascaron below. Above is the descriptive verse lettered within a framed cartouche, with a mascaron below and putto on either side along with a goat and an eagle.
Frieze with Hunting Children
, 1600–1625
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Horizontal rectangle with ten children baiting a bear cub. At right, one rides a horse.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

A lace leaf in a wreath stands obliquely over a scalloped border. Three repeats are shown.
Study of Saint Joseph Carrying the Christ Child
, 1750–1800
Pen and ink, brush and wash on paper
Drawing

Half figure of bearded man holding a child, both looking heavenward.
Design for a Woven or Embroidered Corner Motif of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800-1825
Brush and white gouache on glazed tracing paper
Drawing

A helmet rising over a palmette and between two leaf boughs obliquely shown in an angel of strips.
Textile
, 17th century
silk, linen Technique: two integrated structures; 4&1 satin plus 3/1 twill

Scroll and pomegranate pattern in yellow and mauve.
Design for Arabesque in Candelabra Form, Probably for the Red Room in the Palazzo Altieri, Rome
Giuseppe Barberi, Italian, 1746–1809, 1787–1793
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A sitting sphynx supports with head and wings the top which is semi-circular. Below is a high base in the height of the lower frame of the dado of the room. The candlestick is a monumental column with, on top, one straight central and four curved branchs with candles. The four lower ones are burning.
Chimney Piece Design
D. Antoine Pierretz, French, active 1647, 1647
Etching on laid paper
Print

Design for a Baroque chimneypiece with Classical motifs. The mantel is sculpted with sculpted moldings, rosettes, scrolls, and leaves. The overmantel features a central rectangular cartouche with figures, framed by leaves, and rams' heads. Above a large round sculpted frame with a festoon of leaves hanging from a central rosette above. The mantel features two flaming vases on either side. The plate is numbered.
Carpet fragment
, 1850–99
wool, jute Technique: worsted and machine-made cut tapestry pile

Dyed worsted yarn woven over a surface weft.  There is a bottom weft and two filler warps held together by "chains."  Design consists of all-over repeat of informal polychrome floral and leaf designs with red and green predominating and open areas of the light brown ground.
Woman
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Sketch of a female figure in a long gown.
From Cozzens, West Point, Looking South
Daniel Huntington, American, 1816–1906, October 17, 1853
Graphite on light brown paper
Drawing

River, at left, with sailboats on it. A series of bluffs along the right bank, trees and a cliff at right.
Frame for a town gate with alternate suggestions
Filippo Marchionni, Italian, 1732–1805, ca. 1750
Graphite, charcoal, brush and watercolor on paper
Drawing

Architectural detail of archway, two superficial Corinthian columns at left and right of open arch.  Statue in recessed archway at left, facade of Greek temple above.
Chocorua, After the Picnic at Lake
Daniel Huntington, American, 1816–1906, September 15, 1862
Graphite on grey paper
Drawing

Rocks in foreground with ridges and mountain beyond, center.
The Angel Appearing to the Shepherds
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1634
Etching on laid paper
Print

At upper left a winged angel stands on a cloud in a glory of light in which many winged cherubim fly about. At lower right, the light is reflected, revealing a group of frightened shepherds and their flock.  At left, a river and distant landscape elements are visible in shadows.  At right, trees are dramatically illuminated.