biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, 17th century
silk, metallic Technique: uncut pile in plain weave foundation (velvet) with supplementary silver weft

Light blue velvet with design of conventionalized flowers facing alternately left, then right in alternate rows. In light blue with silver.
Band
, 17th–18th century
linen Technique: bobbin lace, Binche style with no ground

Actually this is all snow ball ground and no pattern.
Study for "Zodiac"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper
Drawing

Sketch of figures in loose garments.
Ornament, Christmas tree
, 1850–99
Sugar

White whistles with pink and black dots.
Textile
, 18th-19th century
cotton, silk, mirror inserts Technique: embroidered and appliquéd

Hindu-type embroidery. Panel or cover with scenes from Spring Festival. Two layers of cotton embroidered in silk and purple, green, yellow, gold, red, and blue. Panel divided.
Textile
, 17th century
silk, metallic threads Technique: compound satin damask with supplementary weft

Long vertical length of red damask has symmetrical broad scrolling bands with acanthus foliage curling about them. Palmette between bands is at top. In center is a single large figure of Pope Gregory the Great (ca. 540-604), wearing the papal tiara, his right hand raised in benediction, and holding a crozier of a double cross in his left hand. A dove, an attribute of Gregory, hovers close to his right ear. The figure of the Pope is brocaded in white silk, and silver and gold metallic threads. Beneath the Pope is a large-scale floral design.
Ribbon
, mid-19th century
silk Technique: gauze weave

Yellow gauze ribbon with ornamental stripes in red and yellow with picot selvage. Two pieces sewn together.
Fragment
, 16th–17th century
silk Technique: supplementary warp forminf raised cut pile in plain weave foundation

Diamond grid pattern containing quatrefoil flowers in green.
Cap crown
, early 18th century
linen Technique: bobbin lace, Brussels style

Cap crown with symmetrical pot of flowers surrounded by a floral vine.
Album of Prints: Tome 2 of the Oeuvre of Juste-François Boucher, known as Boucher fils
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Album

Album of prints containing volume two of the collected works of Juste-François Boucher, which includes books seventeen through thirty-two of designs for furniture. The album is missing: 19e. Cahier (all plates); 28e. Cahier, Nos. 165, 165-166; 30e. Cahier, No. 175; 31e. Cahier, No. 181.
Panel
, 1790–1805
cotton Technique: block printed on plain weave

An elaborate fan of peacock feathers growing out of a plant in a diamond lattice made of exfoliating scrolls. In red on white.
No. 132
Professor Josef Storck, Austria, 1830 - 1902, 1870
Mouth-blown crystal, facet-cut and polished
Punch glass

Mouth-blown crystal punch glass, facet-cut and polished (without engraving).
Design for Side Serving Table with Two Drawers and Lower Shelf
A.N. Davenport Co., 1900–05
Graphite on thin cream writing paper
Drawing

Rectangular surface and two-drawer unit at top with back splash resting on four straight tapering legs.  This serving unit has one lower shelf.
Telemachus
F. Pieters, ca. 1815
cotton Technique: printed by engraved roller on plain weave
Textile

Alternation of two scenes; one a shipwreck, the other an elderly man leading a younger man away from a woman in purple which has faded to brown.
Fragment
, 17th century
silk Technique: 5-harness satin damask

Fairly small scale allover repeat of two stylized floral motifs in staggered horizontal rows.
Frieze
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Landscape frieze, with view of mountains seen through a white floral swag. Two borders printed across the width.
Infant's cap
, mid-18th century
silk, linen, metallic yarns (metal wrapped around a silk core), flat metallic strips, spangles Technique: embroidered on 7\1 satin using satin and couching stitches; bobbin lace; plain weave lining Label: linen-backed silk, embroidered with metallic yarns, flat metal strips and spangles in satin and couching stitches; bobbin lace edging; silk lining

Infant's cap of white satin embroidered with silver metallic yarns and spangles and trimmed with silver bobbin lace. Pattern has a flowering vine and an amorphous shape filled with a lattice. Bobbin lace edging and blue lining.
Border
, early 19th century
Technique: bobbin lace

Bobbin lace border, twisting brance; early 19th century Maline entre-deux
Frieze
, 1905–1915
Machine-printed paper

A repeating design of elaborate pale blue, white and mica scrolling acanthus leaves edged in gold upon an ivory ground, complemented by a similar repetition of single, interconnected acanthus leaves hung above the main sequence from a robin's egg blue ground. Printed in ivory, blue, mica and gold.
Sidewall
, 1815–25
Block-printed on joined sheets of handmade paper

a) Two putti holding up vase of flowers. Shades of brown on brown. To left is vertical stripe of brown leaves on blue; b) fragment of same paper as "a". On same ground as above, a diamond-shaped frame with sacrificial altar; c,d) duplicates of "b".
A Parisian Ball – Dancing at the Mabille, Paris
Winslow Homer, American, 1836–1910, November 23, 1867
Wood engraving in black ink on paper
Print

Several couples dancing, doing very high kicking. In the background, a crowd of men wearing top hats.
Advertisement for "Climax Rubber Elbows"
Whitehead & Hoag Company, 1900–10
Plated metal, printed celluloid
Matchsafe

Rectangular, with rounded corners, image/text reads horizontally, featuring black and white printed advertisement for plumber's goods, inscribed "The Climax Rubber (Adjustable) Elbows, The Climax Speciality Co., Inventors & Sole Manufacturers. Seneca Falls, N.Y." Illustration of rubber elbow in lower, left corner. Side panel below inscribed "Plumbers Rubber Goods and Washers." Reverse inscribed "Traps of all Descriptions. The largest Manufacturers of Plumbers Specialties in the World." Illustration of pipes to right of inscription. Side panel below inscribed "John C. Davis, Prest., L.J. Avery, Sec'y. H.Kuney, Treas." Lid hinged on same side panel. Striker on bottom opposite lid.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white laid paper.
Drawing

Small flowers, white and blue. Pink and green leaves, on black ground decorated with a tan leafy pattern.
Collar and pair of cuffs
, 19th century
linen Technique: crocheted lace

Pair of cuffs and collar, rose pattern.
Ceiling paper
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper, liquid mica

Floral medallions with pink roses connected by foliate scrolls with pendants. Printed in blue, green, light pink liquid mica and white liquid mica on cream ground. Printed in selvedge "Benton, Heath & Co. Hoboken. N.J." pattern number "1775" "WA".
Border corner
, 1850–60
Block-printed paper, satin ground

Corner for a wallpaper border. To be used to continue borders which outline panels or dados. Green and white ribbon with corner rosette, on a white polished  or satin ground.
Fragment
, 16th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Panel of black figured velvet, cut and uncut, with a ground shot with silver in a symmetrical pattern of palmette and foliage.
Fragment
, late 18th–early 19th century
cotton Technique: block-printed on plain weave

Fragment of cotton block-printed in purple, brown, red, and green on cream-colored ground.  All-over stylized floral patter resembling pansies.
Textile
, 19th century
cotton Technique: printed by engraved roller and block on plain weave

Square repeat of two placements the same group of naturalistic flowers in a diamond-shaped grouping - one group facing left in one row and one groupd facing right in the alternating offset row. Floral groups interconnected by fine vine. Colors muted on a pale brown background. Square repeat  - unit: 14 1/2" high x 12 3/4" wide.
Purse
, late 17th–early 18th century
silk, metal Technique: woven

(a) Envelope-shaped purse in blue-green silk brocaded in silver and gold with rose silk. Bird under canopy with confronted rampant lions. (b) Blue silk brocaded in silver. Basket of flowers, center, with symmetrical floral border.
fork
PD, 1704
silver

Small fork has four flat tines, square shoulders. Foliate handle with three ribs in center, volute scroll end.
Crinum taitens
De Gouy, French, active 18th century, 18th century
Engraving on wove paper
Print

Single stalk with white Tahitian amaryllis blossoms and buds.
Soap Dish from Traveling Dressing Case
Thomas Whitehouse, British, active 1848-98, 1875
glass, silver
case

Glass box with a rectangular base and silver top. The box has a many-pointed star cut into the bottom. The silver top has incised decoration with vegetal swags, dotted borders and a monogram in the center of the lid.
Noble Interior: Stage Design for the Teatro Marsigli-Rossi in Bologna
Francesco Cocchi, ca. 1810
Black ink on white paper with gray watercolor
Print

Horizontal rectangle. A richly furnished room in the classical style, with a fireplace and curtained door, in which a figure stands at the back. A large divan and tall windows at the left.
Cavaliers in Idle Conversation
Jehan Georges Vibert, French, 1840 - 1902, ca. 1880
Pen and ink, brush and gray wash on rag board
Drawing

On a flight of steps leading through an open door two Cavaliers sit conversing idly and smoking clay pipes. The sword of the one rests, blade down, against a will in the left foreground. Vista with trees in the background through the door.
Border
, 1795–1805
Block-printed on handmade paper

This piece is probably one band of a border design originally printed in five or six bands, for the width of the wallcovering. Each band consists of four strips of varied patterns: the top strip forms a continuous dentilled "fringe"; the center strip is the widest, containing an acanthus rinceau design. The bottom strip is a combination of what appears to be fleur-de-lis edged in a scalloped line; printed in blues, yellow, ochre, orange, tan, magenta, ecru, white and burnt sienna.

H#614
Ceiling paper
, 1907–08
Machine-printed on paper

On light salmon ground, treillage of white scrolls with light green highlights and pink flowers; one in wreath form and others in bunches.
Fragment
Lamy Godard, 1858
cotton Technique: printed by engraved roller on plain weave

Flowers on trellises separating groups of people dancing and children playing. Brown and red with a tan background on undyed fabric.
Upholstery fabric
, late 17th century
wool, linen Technique: pile weave

Very long narrow vertical symmetrical repeat of floral forms with long spreading and enclosing leaves and some filling decoration. In white, dark green, rust, pink, and dark golden tan wool pile formed by extra pile warps on a ground of very dark linen. Several dark plain cloth selvages. Used as upholstery fabric on a settee.
Band
, ca. 1700
cotton, silk Technique: chain stitch embroidery on twill weave

Mughal-style embroidery for the export market. Section of a guard border with two continuous shaded lines forming lobed medallions that alternate with small diamond shapes. Medallions have blue and orange flowers inside, and the small diamonds have red flowers that radiate out on two points. One edge has a straight border in shades of orange, yellow and blue while the opposite edge has a scalloped border in dark purple.
Lilium Thunbergianum Aureum Maculatum, Plate 76 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Lilium Thunbergianum Aureum Maculatum" from A. C. Van Eeden's "Flora of Haarlem."
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of frogs or toads.
Fragment
, 17th century
linen Technique: needlework on hand knotted net

Fragment of a border with a pattern of alternating circles and stars.
Sidewall
, 1840s
Machine-printed and stencilled

Against a glazed off-white ground is printed an elaborately scrolled single medallion enclosing a stencilled urn of gold leaf. Half borders of simple scrolls in grisaille at both edges of paper.
Sampler
, 1774
silk embroidery on cotton foundation Technique: embroidered in running (pattern darning) cross, and eyelet stitches on plain weave foundation

1981-28-251: Ten darning crosses, one darning corner.  Crowned ...;     s-e-2991: Ten darning crosses, one darning corner.  Crowned ...
Textile
, 18th century
silk, metallic foil on a silk core Technique: compound satin

Diagonal repeat of large symmetrical tulip-like flowers with smaller tulip and broad-toothed leaves on either side of stem. Diamond rosette diaper filling interstices. In tarnished white metal threads in plain and fancy twill and coarse white satin ground. Wide plain cloth selvages. Plain satin area on top with fragmentary woven inscription in white on blue band.
Amphora
, 3rd–4th century
glass
amphora

Iridized cobalt blue globular body and tapering cylindrical neck with circular, rimmed mouth; two applied, curved handles from neck to shoulder.
Frieze
Wallace Wall-Paper Co., Cortland, New York, 1905–1915
Machine-printed paper, ungrounded

Landscape scenes set within an arched framework.  Row of stylized tulips above arch. Floral bouquets in front, alternating large and small. Printed in red, green and white on ungrounded paper.
Border
, 1800–1850
Block-printed on handmade paper

Border design simulating a gilt bronze mount. Printed in shades of yellow ocher on a deep blue ground.

H#222
Valance
, 18th century
cotton Technique: block printed with resist paste and immersion dyed in indigo, plain weave

Long valance-shaped fragment of coarse cotton. Design is incomplete, but shows a large floral motif and foliage. Background is blue and the design is reserved in white with blue accents and interior lines. Parts of the foliage are outlined in small white dots, and larger leaves contain interior decoration of white dots. The fragment might be the lining of a valance and is pieced with lighter shades of the same design to make a scalloped shape.
Society of Agriculture, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Men on benches, center, and along the walls, left and right, facing the speakers at a table, rear. Title, artists', and publisher's names below.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

On gray-taupe ground, treillage composed of scrolls; medallions at interstices composed of scroll frames in green, light yellow, and burgundy, containing abstract pedestal with flowers.
Platter with Birds (One of a Pair)
Derby Porcelain Factory, English, established 1756, ca. 1760
soft paste porcelain, vitreous enamel, gold
platter

Oval thick-bodied dish, molded with ribbed panels inside, scalloped edge, and four shell scrolls on border. Glazed overall. Interior decorated with pink four-petalled flowers in each ribbed section, and blue and yellow flowers at top, green enameled shells at sides, gilt scroll edges, and a central motif of polychrome birds, one large bird in center, one in flight, and on a branch.
Sampler
, ca. 1836
silk embroidery on linen foundation Technique: embroidered on plain weave

A memorial inscription enclosed in a floral wreath, embroidered primarily in yellows with green and brown. A morning glory appears in each corner, and a very narrow floral vine border frames the whole.  The inscription reads:

In memory of Mary F Baldwin 
Born Sept. 9th 1824 & Died on Oct. 22nd 1836 
Aged 12 years, 1 month & 13 days
By Mary's hands this wreath was wrought
Then very distant was the thought 
Its center would so soon disclose 
Her epitaph: her parents woes 
She's gone her mortal pace is run
Great God: Thy will not ours be done

Also in memory of James G Baldwin born Feb 10th, 1831 
And died Nov'm 12th 1836 Aged 5 years 9 months & 2 days
Farewell Dear Children God has call'd thee home
And left thy weeping friends on Earth to Roam
We trust e're long on Canaans happy shore
To meet thee there to part with thee no more
Fritillaria Imperalis Maximus, Plate 34 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Fritillaria Imperalis Maximus" from A. C. Van Eeden's "Flora of Haarlem."
Garden with Classical Buildings and a Fountain
Isaac de Moucheron, Dutch, 1667–1744, 1743
Pen and brown ink, brush and watercolor, black chalk on white laid paper
Drawing

Imaginary classical setting.  Fountain in pool at center of composition.  Three upside-down entwined dolphins support central jet.  Behind, on left and right, two reclinging figures with urns of water pouring into the pool.  Surrounding the pool are symmetrical arrangements of trees, terraces, and classical buildings.  Two female figures stand on terrace at right.
Long Venice
James McNeill Whistler, American, 1834–1903, ca. 1885
Etching on paper
Print

Horizontal rectangle.  From under a grey cloud, Venice extends along the curving bay, from the Doge's Palace, left, far beyond the Salute.  Occasional gondolas and other boats.
Two Sketches of Houses
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite on paper
Drawing

Left, large house, square towers, with steeple lower left. Right, half-timbered house. Birds above each.
France, Ace of Clubs from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

France, Ace of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards
Sampler
Mary Babb, American, 1783
silk and linen embroidery on linen foundation Technique: counted and uncounted stitches; withdrawn element work; cutwork filled with hollie point; herringbone, chain, buttonhole and satin stitches on plain weave foundation, quilled ribbon

A basket of large flowers, with the flowers executed in drawn work, cut work, and hollie point in white embroidery on a white ground. The basket trimmings, stems of flowers, and isolated sprigs of flowers at bottom are worked in colored silks. With the inscription: Mary Babb 1783.
Ceiling paper
, 1905–1915
Machine-printed paper

Bow and ribbon grid painted over hexagonal grid made with dots over dashes. Ground is light beige. Printed in brown, tan, and beige.
Coif
, early 18th century
Technique: bobbin lace

Bobbin lace circle (possibly coif), floral forms; early 18th century Brussels
Pensée du Jardin du Marquis du Prié a Turin (Garden Idea for the Marquis du Prié in Turin), in Nouveaux Livre de Parterres contenant 24 pensséz diferantes (New Book Containing 24 Different Variations for Garden Beds)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching, engraving on white laid paper
Print

Landscape architecture design for garden with fountains.
Border
, 1670–90
linen Technique: needle lace

Border with scrolls of floral and foliated forms, in parts shown in relief.
Christopher Columbus
Adriaen Collaert, Flemish, ca. 1560 – 1618, ca. 1575
Engraving on paper
Print

One of a set with the title "Americae detectio." Inscribed: "Christophorus Columbus Ligur....00.VIII D." No. 2.
Panel
, 18th century
silk and metallic embroidery, linen foundation Technique: embroidered in satin, outline and counted stitches

Panel of linen embroidered in silk and metallic thread showing a central escutcheon framed by a laurel wreath. Above the escutcheon are the raised initials PPS and ACU in silver thread over padding. Smaller wreath in the lower left hand corner embroidered in silver thread with the following motto: La Beauté Vertu L'Honneur Flambequx D'Un Grand Coeur. At the lower right corner: Coeur Et Courage Font L'Ouvrage. Outer border pattern shows large floral sprays.
Fragment
, 18th century
linen Technique: plain weave embroidered with deflected element work

Fragment of a woven linen border showing design of flowers, sprigs and leafy scrolls forming a scalloped edge.
The Incredulity of Saint Thomas, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Christ stands in the center of the composition, surrounded by the disciples. Saint Thomas places his fingers in the wound in the side of Christ, who supports this effort by steadying the Saint's wrist. Monogram of Dürer at upper right.
Calm Sea with Sailboat
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Calm sea coming onto shore at left in foreground. At right in distance, one small sailboat.
Sidewall
, 1905–1915
Machine-printed paper

Vertical stripes in shades of brown.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a lake and mountains.
Sampler
Emily F. Cooley, American, ca. 1830
silk embroidery on linen foundation Technique: embroidered in cross stitch (compound and looping) on plain weave foundation

The field contains a verse, surrounded by an elaborate strawberry vine border which twists around a straight blue frame.
The verse reads: 
Virtue
Virtue, the strength and beauty of the soul,
Is the best gift of Heaven's happiness
That, even above the smiles and frowns of fate,
Exalts great nature's favorites a wealth
The ne'er encumbers, nor to base hands
Can be transferred. It is the only good
Man justly boasts of, or can call his own.
Sidewall
, 1905–1915
Machine-printed paper

Southwest Indian style. Wide alternating blue floral bands and geometric flower bands. Background of white and black horizontal dashes and dots. Ungrounded. Printed in blue, green, yellow, red, black and white.
Bowl
, ca. 1890–1900
Glass

Clear glass bowl with scalloped edge.  Engraved and etched fruit decoration
Detail of the Sculpture the Triumphant Return on the Dewey Arch, Madison Square, New York
, 1899
Photographic print on paper
Print

Detail of the sculpture the Triumphant Return on the Dewey arch. In the sculpture, men in uniform are gathered at the bottom saluting, while an angel with outstretched wings holding a sword and olive branch hovers above them
No. 47
Rookwood Pottery, American, 1880 - 1967, 1885
Glazed earthenware
Jar and cover

Sage green clay body, thrown.  Ovoid body, swelling at shoulder, short ring neck with a flat cap-like lid setting over neck.  Two Japanesque swimming carp incised and modeled in low relief, and painted and incised plants decorate the body.  Painted underglaze in shades of green slip in fine gradations of tone.  A sweeping curved line representing a water current is painted against the sponged green ground.  Clear glaze with very fine cracklature on body but not on lid. Interior glazed. Bottom not glazed.
Textile
, 1780–89
cotton Technique: block printed on plain weave

Printed cotton with flowering trees with birds perched on branches on a small scale background pattern of overlapped circles.
Akasaka, Interior of Inn, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Interior of inn. Left, guest reclines and maid brings in his meal on two stands. Other servants are waiting. Right, two geisha arrange their toilet. Center of courtyard, large sago-palm and stone lantern.
Tablecover
, 18th century
silk, metal-wrapped silk Technique: satin, stem, and knot stitches on plain weave; couching on metallic threads

Ivory taffeta embroidered in bright colors with chinoiserie-style figures supported by silver scrolls and interspersed with flowers. The central panel has three figures beneath a parasol with figures in each corner. The whole group is surmounted by a crescent. The field is sprinkled with birds, butterflies and floral sprigs. The border has architectural elements with birds, owls and acrobats.
Fragment
, 1800–1850
silk Technique: plain compound weave

Fragment of taffeta has branches of polychrome fruits and flowers on a zigzag white background.