biglam/cooper-hewitt-alt-text huggingface dataset:
Pewter-Mounted Tankard
R. Broadhead & Company, English, established 1853, late 19th century
porcelain, vitreous enamel, gold; pewter
tankard

Jug with straight sides, narrowing at top and round at bottom. Open spout and scrolled handle. Relief molding at top and bottom. Apple green ground with polychrome painting of rose and pansies. Hinged, shell-shaped pewter cover.
Fragment
, 18th century
linen Technique: bobbin lace

Scrolling leaves and flowers formed by heavy cord.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Pen, ink. Paper

Minerva demonstrates a mathematical figure holding a compass. She leans down to the design lying upon a low table, around which four boys gather. A man sits thoughtful, beside a table in the right rear. A globe stands high at left.
Cream jug
, ca. 1790
Lead-glazed earthenware ("cream ware")

Pear-shaped, footed, with ribbed and pointed spout. Lower half ribbed. Pearl band at lip and foot. Forked handle terminates in raised leaves and flowers.
Faust in His Study, Watching a Magic Disc
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1652
Etching on off-white laid paper
Print

Vertical rectangle. Study of Dr. Faustus with a table in foreground and a window in background. Dr. Faustus stands at left foreground behind the table facing right. He is looking at a magic disc appearing in the middle of the room.
Band
, 13th century
Embroidery using silk threads on a plain weave linen background

Repeating design of rectangles enclosing scrolls
Fragment
, 17th century
silk, metallic Technique: supplementary warps forming raised pile in a plain weave foundation (velvet) with supplementary wefts

Leaf and pine cone motif in tan and gold.
Bowl
, 1st–4th century
Glass

Deep circular bowl with straight sides tapering slightly at the rim.  Under-side concave.  Resonant.  Slightly incrusted.  Dark green glass.
Balance cock / coque de montre
, 18th century
Gilt brass

One of 98 examples (1925-2-69/167), oval and circular in form, with pierced and engraved ornament consisting largely of scrolls in varied patterns. Many with steel bearing plates.
No. 104
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1865
Mouth-blown crystal, cut and polished
White wine glass

Mouth-blown crystal, deeply-cut and polished
DESCRIPTION DES FÊTES DONNÉES PAR LA VILLE DE STRASBOURG Pour la Convalescence du Roi : à l’arrivée et pendant le séjour de Sa Majesté en cette Ville.
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

Third page (recto) of the engraved text describing the festivities, within a rocaille border, topped with the French royal coat of arms and the city of Strasbourg's coat of arms on the bottom. The border is decorated with flowers, c-scrolls, fleurons, shells, interlaced L's water, reeds, leaves, flowers, and acanthus leaves, with military trophies on each side. Fourth page (verso) of the engraved text describing the festivities, within a rocaille border, topped with a cartouche with the royal interlaced L's, and the city of Strasbourg's coat of arms on the bottom. The border is decorated with similar motifs, without the military trophies, and with two fountains with putti and swans.
Pitcher
, 1800–1830
Silver resist painted and black transfer-printed canary yellow-ground molded stoneware

Bulbous pitcher in yellow with pointed spout and angular and curved handle. Black border on rim and base. Depicts young man collecting wheat in circular frame. Below, inscribed: "APPLICATION".
Design for Stained Glass Windows: Chamber Music Hall - Back of Stage, Carnegie Hall, New York, NY
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and wash, gouache, graphite on paper mounted on tan illustration board
Drawing

Four windows; three rectangular windows of blue and yellow glass with central petals in pink; above central window, a lunette window with similar decoration.
Textile
, late 19th century
cotton Technique: resist-printed using a stencil (katazome) on plain weave

Design of circles, polygons and dots in white on a blue background. Red (now faded) added last.
Sampler
Elizabeth Hutton, 1797
silk, wool Technique: cross stitch on plain weave

Embroidered sampler with a floral vine border, spot motifs including birds, fruit baskets, flowers, crosses, and crowns. Numerous inscriptions. In shades of red, green, and yellow.
Interior of a Man's Living Room
S. Tolstoi, Russian, active 1850–1899, possibly 1853
Brush and watercolor on heavy wove paper
Drawing

This living/ bed room features a curtained archway with a cartouche at the center. The green flowered curtain fabric is matched in the seat furniture and window curtains. The floor is covered with a Persian carpet in a blue and rose floral pattern. An unmade bed at the right, clothes draped over chairs, a nightstand with a candlestick, slippers on the floor and a desk at the widow create a gentleman's work-and-sleep environment.
Frieze
, 1905–1915
Machine-printed paper

On gray and beige lined ground, abstract decorative motifs with squared leaves in beige and cream four-petalled flowers alternating large and small connected by Greek key. Two borders printed across the width.
Pair of candlesticks
, ca. 1780
Gilt bronze, marble

Each candlestick has a square plinth and cylindrical truncated fluted column of white marble with ribbed molding on base and top in gilt bronze. Striding bronze putto with one arm lifted and holding gilt bronze cornucopia with partly reeded candle socket with screwed baboche.
Carpet fragment
, 1850–1900
wool, bast fiber Technique: printed supplementary warp-cut pile

Repeat of floral wreaths in two sizes: the larger containing a bunch of flowers and the smaller a fleur-de-lis, bordered on each side by narrow floral bands. The background is green, the pattern colors: black, ivory, light green, and shades of red, yellow, and dark orange.
Academic Study of a Cast of a Classical Nude
Giuseppe Longhi, Italian, 1766–1831, 1790–1830
Black chalk on white paper
Drawing

Study of a statue of a reclining headless and partially armless nude. A drapery falls over his upper left arm. Verso: unfinished study of the "Dying Gaul."
Button
, 1830–40
gilt-metal, marcasite

Centered by a pierced medallion with armorials and a Queen, possibly Marie de Medicis, surrounded by a border of marcasite.

On card 43
"Brownies" Characters
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, 1894
Silver, enamel
Matchsafe

Rectangular, with rounded corners, the front decorated with two enameled images of elfin-like "Brownies" characters, each holding a fishing pole. Both with wide eyes, rosy cheeks, protruding bellies and long, skinny legs, the figure on the left, gazing towards the right, wears a yellow cap with green pom-pom, blue shirt, white knickers, brown stockings, pointed black shoes; figure on the right, gazing left towards other character, wears a purple and black pointed cap, green shirt, off-white knickers, blue stockings, pointed brown shoes. Reverse is undecorated. Lid is hinged on right. Recessed striker on bottom.
Ecouen Facades Dans la Court
Octave Guillaume de Rochebrune, French, 1824 - 1900, 1865
Etching on paper
Print

View of the courtyard of the chateau at Écouen. At the left, a cart, and at the right two ladies stand in conversation.
Plate 18 in One Hundred and Fifty New Designs
Thomas Johnson, English, 1714–1778, 1756–57
Etching on cream laid paper, bound in book
Print

Four table leg designs; upper design shows a snake wrapped around neck of a hawk; left design: putto supports table; right design: head/mask/bust; lower design: bird with vines and rinceaux.
Choppy Sea with Three Sections of Cliffs
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Choppy sea in foreground with cliffs at right in three sections.
Alstroemeria Chilensis Varr., Plate 104 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Alstroemeria Chilensis Varr." from A. C. Van Eeden's "Flora of Haarlem."
Frieze
, 1905–1915
Machine-printed paper

Alternating open fleur-de-lis with stylized leaf motif within each motif connected by strand of tulips. A border of the egg-and-dart motif runs under the above design. Printed in brown, white and pale green on a tan ground.
Designs for Embroidery
, ca. 1890
Black crayon on tracing paper
Drawing

Designs of abstract floral patterns for panels and borders. Each drawing stamped at top: "Dessin original a broderie." Designs numbered 159 (F)
Sidewall
, 1835
Hand-painted on machine-made paper

a) Imitation wood grain - possibly oak - in shades of brown and yellow with varnished surface; b) imitation burled wood grain in shades of brown, yellow, and green with varnished surface; c) imitation wood grain in shades of off-white and light brown with varnished surface. Faux bois.
Taufschein [Birth Certificate]
David Vieman, American, b. 1816, 1816
Pen and black and brown ink, brush and watercolor over letterpress on white wove paper
Fraktur

Letterpress-printed form in English with text entered in with ink.  Above, putti on a cloud holding a laurel wreath and an envelope; at left and right, standing angels.  Below them, birds on branches with a cornucopia and central section of text and verses enclosed in a ruled border.  At top left and write, additional verses.
Bandbox
J.G. Hunt, ca. 1850
Block-printed paper on pasteboard support

Tall bandbox covered with wallpaper, printed with flowers with bright green leaves. Top of lid covered with matching paper, with rim of top covered in a small floral pattern on light green ground. The green pigment on the wallpaper appears to be arsenic.Manufacturer label pasted inside lid.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On tan ground, cross-shaped medallions with anthemions in light green and allover vine-like scrolls.
Design for a Jug
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on paper
Drawing

Design for a jug or ewer with a squared handle. Decoration consists of large white blossoms on the body with green leaves and pink buds; pseudo-Celtic knotted design in gold and blue that come down to a finial or pendant in pink and gold into the body of the jug; laurel leaves in gold.
Hyacinths, S.B. King of the BLues and S.W. Madame Van Der Hoop, Plate 79 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Hyacinths, S.B. King of the BLues and S.W. Madame Van Der Hoop" from A. C. Van Eeden's "Flora of Haarlem."
Scarf sample
, mid-19th century
silk Technique: printed on plain weave

Quarter of a printed scarf in three magentas, three purples, three greys, two greens, two yellows, and black. Field of small-scale pattern of roses and border shows carnation in a square.
Purse
, late 19th century
silk, glass beads Technique:

Rounded bag with drawstring top, fringed at bottom. Floral pattern of violets against a silver ground at top; orange roses against a black ground at bottom.
Medal
Bertrand Andrieu, French, 1761 - 1822, 19th century
Cast bronze

Medal commemorating the siege of the Bastille
The Antikamnia Calendar, January and February, 1899: "Extra! All About the Roh[...]!!!"
G. H. Buek & Co., American, active ca. 1899, 1898
Chromolithograph on paper with string binding
Calendar

January and February, 1899.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Floral vignettes vertically placed. Oriental motifs including small flowers, a bamboo gate, a blue and white Chinese vase, a bridge.
Textile
, 1878
cotton Technique: printed by engraved roller on plain weave

Nine scenes of L'Exposition Universelle de 1878 in red using full width of fabric.
Sampler
Maria Guadalupe de Alba, 1880
wool, silk, and cotton embroidery on cotton foundation Technique: embroidered in cross, back, and satin stitches on plain weave foundation with one brand on knotted net

Patchwork of six smaller samplers.
A Casemate Gun During the Conflagration
Theodore Russell Davis, American, 1840 - 1894, 1887
Watercolor on paper
Drawing

Interior of a fort. A cannon being fired. An officer and six soldiers.
Fragment
, late 18th century
silk, metallic thread Technique: cut supplementary warp pile (velvet) in a twill foundation

Fragment of multicolored cut velvet pile in a design of a tree and a leaping dog on an off-white ground shot with silver threads.
Cup and Saucer with Battle Scenes (Bataillen-Malerei)
Royal Porcelain Manufactory, Berlin, German, established 1763, 1870–1900
hard paste porcelain, vitreous enamel, gold
cup and saucer

Curving cup. Slightly compressed in lower part. Scrolling handle. Saucer slightly curved. Decoration identical to that of 1953-17-50.
ceiling paper
, 1890–1920
Machine-printed

Pale green medallions.
Nightcap
, 18th century
silk, metallic yarn (silver foil wrapped around silk core), flat foil strip Technique: embroidered in satin stitches on plain weave Label: silk embroidered with silk, metallic yarns and flat foil strip in satin stitch; metallic bobbin lace

Man's cap of yellow silk taffeta made up of four panels with a deep turn-up cuff. Embroidered with symmetrical chinoiserie floral sprays in satin stitch in blue ombre silk, and in bouclé stitch in silver metallic yarns. With silver metallic bobbin lace covering the four seams and edging the cuff.
Textile
William Foxton Ltd., 1920–1930
cotton Technique: block printed

Multicolored block print of a grey-green bowl with large red, pink and lavender flowers with leaves in two shades of green. Bowl is placed on a plaid-like ground of deep pink, dark purple, and black.
Knife
, ca. 1700
steel, brass, mother-of-pearl

Sabre-shaped blade with a profiled upper edge, rounded bolster. Flaring rectangular handle, carved mother-of-pearl. Brass rivets on both sides of handle. Brass mounts and band along the side of handle decorated with engraved geometrical and fish-shaped forms.
Textiles
, 1820–1830
cotton Technique: printed by engraved roller on plain weave

Printed textiles with red and white pattern showing vertical curving branches surrounding two elaborate windows. The window has panes that open onto a Chinoiserie scene of a lake with three people in a boat as a couple walks along the shore. Both windows have elaborate window treatments of tassels and swags with a large urn of flowers in front. Two large vases with Chinoiserie-style scenes are on either side of the open window. Repeat is 20 ¾".
Figure Toy
Harriet Blackstone, American, 1864–1939, 1922
Brush and oil, graphite on board
Paper doll

Paper doll of a male figure dressed in a soldier's uniform with a sword.
Textile
, late 18th century
cotton Technique: block printed on plain weave with some colors added by brush

Non-directional pattern of small flowers surrounded by a meandering vine on a black background.
Voyage de Nuit (La Pêche au Filet)
Charles Francois Daubigny, 1817-1878, 1861
Etching in dark brown ink on paper
Print

Night scene on a body of water. A small boat, with its cabin illuminated by a lantern, at left, with a single figure propelling it.
Collar and cap piece
, 19th century
cotton Technique: chain stitch embroidery on plain weave

Piece of gauze with deeply lobed collar and cap piece with floral designs, embroidered in chain stitch and one type of fillling stitch.
Sidewall - fragment
, ca. 1880
Machine-printed

Pattern of foliage, clover, vaguely India-chintz derived blossoms on gray ground, outlined in mustard, grayed pink and blue with white highlights. Aesthetic or anglo-Japanesque in style.
Sidewall - fragment
, 1840–70
Machine-printed

Red and white framed rosettes.
Wall Elevation
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink and watercolors on wove paper
Drawing

Side wall with door center, marbled panels with classical motifs left and right.  Lined.
Herodias with the Head of John the Baptist
Albrecht Dürer, German, 1471–1528, 1511
Woodcut and black ink on paper
print

Salome receiving the head of St. John from a servant. Herod is seated at a table under canopy, right. At lower left, the monogram of Durer and the date, 1511.
Fragments
, late 18th century
cotton Technique: plain weave, block printed: black, red, purple and blue

Four fragments of a floral pattern in black, red and blue on a deep purple background.
Orangerie de Boisgelin, Plate 88 from "Vues Pittoresques des Principaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

Large house; five arches in center section, two large wings, garden in front. Title, artists' and publisher's names below.
Borders
, 1820–22
Block-printed on handmade paper

Black parallel bamboo strips on pink ground. Two borders to a width. Shading of strips changes direction approximately half way across each border.
Plate 53, from Neüw Grotteßken Buch (New Grotesque Book)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

Ornamental motif composed of a grotesque head of an old bearded man wearing armor, from whose shoulder plates project vines and exploding canon-balls. His hat is composed of a rabbit with wings.
Textile
, 18th century
cotton Technique: mordants for three reds and purple applied by brush or pen; blue applied over resist; yellow over blue to create green; mordant for background spattered through a stencil; chintz on plain weave

Large, exotic flowers and curving stems in reds and blues on a red speckled background.
Frieze
W.H. Mairs & Co., 1855, 1905–1915
Machine-printed paper

Large-scale upper band of stylized floral motifs. Larger, pointy motifs alternate with smaller square motifs. Band of square motifs along bottom edge. Printed in tan, pink and olive green on mottled tan background.
Cap streamer
, 18th century
linen Technique: bobbin lace, Brussels style

Scalloped cap streamer of heavy bobbin lace with large flower clusters, curly leaves, and pomegranate motifs.
Designs for Pavilions
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and ink on paper
Drawing

Designs for three pavilions. A large tent-like pavilion in the Indian style at center, flanked by two smaller ones. Outline indication of mountains in the background. Original album associated with this collection still exists. See 1948-40-1 accessory.
Hibiscus, maple and autumn wheat grass
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Hibiscus flowers, maple leaves, bamboo, other autumn wheat grasses form this landscape motif. The vertical layout makes it artwork rather than a textile design. Silk threads were added to support the stencil structure.
Textile
, 1770s
cotton Technique: printed by engraved plate on plain weave

Straight repeat filling the full width of the plate. Angular monochrome pattern of stalk-like plants with flowers and leaves sheltering two exotic birds and insects. Several leaves are very long fern-like botanical composites.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

Mission style. Repeating design of alternating large and small mosque or onion-shaped motifs filled with floral and geometric motifs. Narrow band of floral and foliage across medallions. Scalloped beading in upper third. Narrow band of salmon-color across bottom edge. Printed in tan, brown, salmon-color and green on light patterned background. Grounding shades from darker grey to light grey (bottom to top). 
Printed in selvedge: "Maxwell & Co. 2946 GD"
Border
, mid-18th century
linen Technique: needle lace with 6-sided reworked border

Band with a design of floral sprays alternating with S-shaped bars and entwined by floral garlands.
Textile
, 19th century
printed

One of seven pages from a printed fabric sample book. Page is double-sided
Frieze
, 1905–1915
Machine-printed paper

Alternating large and small floral medallions connected by floral scrolls and floral beaded scrolls which culminate in a fleur-de-lis. The bottom has red and metallic gold stripes and beaded scrolls. The top has as red stripe and metallic gold beading with a beaded scrolling scallop. Ground shades from green to beige (bottom to top). Printed in greens, pinks, creams and metallic gold.
Pomander
, 16th century
silver, gold

Spherical body opening into six segments hinged at base about a central hexagonal pillar and held in place, when closed, by circular convex cap screwed into pillar at top; pierced finial with loose ring; at base, small ball surrounded by incurving scrolls; exterior engraved with three circular medallions containing full-blown rose motif alternating with figures of Fame, two blowing trumpets, the third standing on sphere with sail held above her head, foliate scrolls and birds interspersed, borders of quatre-foil motifs; sides of segments and pillar engraved with scrollwork; oblong sliding covers to each compartment engraved with names of perfumes, small knobs at ends serving to pull them out and fitting into holes in pillar to keep segments more firmly in place when pomander is closed; interior gilded.
Ocean Breaking against Tall Rocky Cliffside
William Trost Richards, American, 1833–1905, late 19th century
Graphite on off-white-colored textured paper, mounted
Album page

Steep cliff at right and ocean below at left.
Two Hounds at Play
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Graphite on tracing paper
Drawing

Within a rectangular frame with ornamental border at bottom, two stylized depictions of Hounds. The hounds are running, facing right, their bodies elongated and overlapping and their limbs extended.
Bandbox fragment
, 1820–50
Block-printed paper on pasteboard support

Central basket of flowers, draped fabric swags between basket and large bow knot, which connects to tassel or suspended bell. Printed in shades of pink, white and varnished green on a faded yellow ground.
Floral Design with Birds
Marie Antoinette, Queen of France, French, 1755 - 1793, before 1799
White cut paper mounted on blue paper
Cut paper

Horizontal rectangle. Cut paper with floral design with birds mounted on blue paper, on which is an inscription, framed in a carved silver wooden frame. Large curling ribbon at upper center of frame, from which hangs festoons of flowers that cross to the upper corners of the frame. Separate silver label with inscription.
Sampler
Isabella Grant, ca. 1800
silk embroidery on wool foundation Technique: counted and uncounted stitches; cross, satin, back and couching stitches on plain weave foundation, with velvet appliqué

Within a curving floral border a text: 
"The cloud-capt towers, the gorgeous palaces, the solemn temples, the great globe itself, Yea all which it inherit shall dissolve, And like the baseless fabric of a vision, leave not a wreck behind. From Shakespeare. Isabella Grant Aged 12"
With three floral motifs and a large building with peacocks on the terrace and trees at each side. The building is said to be Inverary Castle, the seat of the Duke of Argyle. Isabella Grant was the daughter of a farmer on the estate.
Landscape of Countryside
Arnold William Brunner, American, 1857–1925, ca. 1890
Brush and watercolor on paper
Drawing

View of the countryside, with distant hills. A large tree in middle ground, right.
Chairs
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink, brush and brown wash, graphite, on paper
Drawing

Top center: side profile of a side chair on wheels.  To the right is a front profile of an armchair with a rectangular back.  Bottom row:  front, side and rear profiles of an armchair with a rounded back.  At center drawings of two types of claw foots.
Sampler
, ca. 1780
silk embroidery, linen foundation Technique: tent and cross stitches on plain weave

Two chinoiserie designs. Scenes of people, animals, vases and flowers.
Martyrdom of a Saint
, 1725–1750
Pen and ink, brush and wash on paper
Drawing

At top, a bearded man raises a cross. A spear projects from his chest. Panel of scrollwork below.