biglam/cooper-hewitt-alt-text huggingface dataset:
Waistcoat panels
, 1750–1765
silk, metallic thread, metallic foil Technique: embroidered Label: Metallic thread, coils, sequins and foil embroidered on silk satin weave

Two front panels of a waistcoat are embroidered in gold and silver metallic thread. Flowering vines and curving sprays with stars make a narrow border down the center front and cover the pocket flaps and spaces below. Style is slightly cutaway and collarless. Design likely inspired by Halley's Comet of late 1758-1759.
Fragment
, late 16th–early 17th century
linen Technique: bobbin lace, continuous braid-like

Fragment of a border of two triangular pendants.
David Cutting off the Head of Goliath
Giulio Romano, Italian, 1499–1546, 1540
Engraving on paper
Print

David cutting of the head of Goliath.
Chintz fragments
, 18th century
cotton Technique: mordants for black, 2 reds and 2 purples applied over resist by brush and pen; madder dyed; blue applied by brush over resist; yellow applied by brush; chintz on plain weave

Two fragments which show the mirror image of a flowering tree motif.
Textile
, early 18th century
silk Technique: 7&1 satin (blue) patterned by floats of weft from every second shed (white) bound by a supplementary warp (white) in plain weave and by floats of complementary wefts in every second shed (white and red) bound on the front as 1/3 twill

Panel of light blue and white silk with light red details. Pattern shows large scale, symmetrical repeat; fan-shaped with large leaves and branching bands. Both selvages present. Repeat 0M660 long.
Allegorical Figure Depicting Putti as "Europe" and "America"
Meissen Porcelain Manufactory, German, active from 1710 to the present, 18th–19th century
hard paste porcelain, vitreous enamel, gold
figure

Europe, wearing loin cloth, seated on scrolled pedestal, holding scepter and orb; America, kneeling facing Europe, wearing feather apron and headdress and holding a bow.
Sampler
, 19th century
cotton Technique: knitting (interlooping)

Very long narrow sampler with 106 knitted patterns in white cotton.
Plate XXIV from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Showing a detached pier as foundation for a brick work arch, left, over the water. Description in Latin on verso of 1949-152-221.
Miser's purse
, early 19th century
silk, steel Technique: crochet

Crocheted dark green silk ornamented with cut steel bands in bar and diamond pattern. An octagonal steel ring controls side closing; faceted steel drops at each end.
Chinese Export Armchair
, ca. 1815
bamboo, caning
armchair

Armchair, square in plan, constructed entirely of bamboo except for caned seat. Back designed with small rectangular openings, each filled with tiny open motif. Similar worked details beneath armrest and along front rail. Varnished dark brown.
Frieze
Steubenville Wallpaper Company, The, 1905, 1905–1915
Machine-printed paper

Borders printed two across. Undulate band of scrolling foliage with flowers. Top band of stylized brattishing and pendants. Printed on light red ground in dark maroon, red and light pink. Printed in selvedge: "The Steubenville Wall Paper Company" pattern number "1017"
Stick pin
, late 19th century
Gold

Kayak
Box lid
, 1820–1850
Block-printed paper, wood

Wallpaper border design of drapery swag suspended from a white floral bouquet. Above the light-colored drapery is a band of green architectural molding. Lid is arched.
Sidewall
, 1900–10
Machine-printed

On patterned off-white ground with pattern showing throughout, vertical green/brown thick and thin stripes. Primary motif of off-white and brown central flower and green leaves framed by stylized green stems. In the Mission-style or Art Nouveau.
Sidewall - fragment
, 1820–50
Block-printed on joined sheets

Striped wallpaper, amoebic shapes alternating with rows of miniature medallions, dots and dashes.
Border
, 1805–20
Block-printed and flocked on handmade paper

Motifs of cinquefoils, stylized daisy, floral and foliate. Printed in brown, tan, orange, olive and white on yellow ground.

H# 661
Comment, j'ai perdue mon ... coin? Plate 1 of "Inconvénient"
Auguste-Xavier Leprince, French, 1799 - 1826, ca. 1825
Lithograph, brush and watercolor on paper
Print

Crowd sitting in and standing about a large gray, red, and yellow coach. Horses, left; dog, right.  Title and artists' names below.
Sidewall
, 1872–78
embossed paper

Heavy paper with floral and foliate pattern in relief; light gray-brown and orange on metallic gold ground.
Band
, 16th–17th century
linen Technique: plain weave embroidered with deflected element work, needlemade filling stitches

Woven linen band showing design of interconnected diamonds with narrow borders on top and bottom. Each diamond has five small squares filled with tiny needlemade filling stitches.
Dyer's record book
Edmund Barnes, English, n.d., 1820–39
Label: leather binding, pen and ink on paper pages, printed cotton samples

Record book of dye recipes kept by the textile printer Edmund Barnes that was started in Bury, England in the late 1820s. The printer brought the book with him to Dover, New Hampshire in 1829 when he began working for Dover Manufacturing Company, later known as Cocheco Print Works. Barnes continued to add to the notebook through the early 1830s.

The small book contains samples of printed cottons with handwritten dyestuff recipes, dyeing processes and finishing techniques. A small bill loose in back of book bears the name:  William Barnes. Book bound in marble paper sides and leather back.
Band
, 17th century
silk on linen Technique: back and chain stitches on plain weave

Band fragment showing Cupid, birds and flowers in red silk on linen.
Picture
, late 18th–mid- 19th century
silk Technique: printed, painted on plain weave

Cotton with polychrome printing showing a seventeenth-century style genre scene within a cartouche. A women cooks beignets (fritters) over an open fire, surrounded by children.  Above, a fruit vine; below, a crowned coat of arms.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Large bouquets of flowers connected by floral swag and vining tendrils. Printed in blues, gold mica, white mica, beige and green on off-white ground.
Textile
, early 19th century
silk Technique: warp-faced plain weave with supplementary warp floats (background) and supplementary weft

Nineteenth century machine-made copy of Louis XV-style fabric. Cream ribbed silk with wavy S-shaped ribbons and brocaded floral clusters in several color combinations: red, pink and green; yellow, cream and brown; and yellow and white. Scattered buds throughout in yellow and coral.
Fragment
, 1650–1700
linen Technique: needle lace

Band fragment with elaborate floral scrolls and raised three-dimensional details. Padded areas connected by brides decorated with rings and picots.
Box
, early 19th century
Tôle (painted tin)

Rectangular box with hinged cover domed from front to back. Ring bail handle on cover, and hinged harp fastening. Painted black with horizontal band of dull gray and upper half of body on front and two ends only. On the front of band and extending below are sprays of acorns and leaves; on each end a small branch of cherries. Colors are vermillion red, yellow, and green, with black lines. Cover has two double sprays of yellow fond-type leaves, with some red, and yellow lines across ends. A continuous border of repeated 3-leaf motif in yellow extends across ends and front.
Matchsafe
, early 20th century
Silver

Rectangle form with bulging sides and flared corners.  The front has a plain silver surface with illusionary relief scene of head of hairy dog peering through ripped hole in safe.  Dog is smoking with smoke trails off to right side.
Handkerchief
, mid- 19th century
linen Technique: embroidered, needle lace filling stitches, edged with bobbin lace

White handkerchief of fine cream white linen with border decorated with open work in diamond shapes, framing small designs in lace stitches; flower sprays and wheat above border. Edge is scalloped with oval-shaped forms framing open work and lace stitch details. Bobbin lace edge. Corners rounded. Large corner initial: "P.D.O."
Textile
Bouvel Frere et Cie, 1800–1850
cotton Technique: plain weave foundation. block-printed; red, black, blue, yellow (yellow over blue for green).

In offset placement, a couple being blessed by a priest standing in front of an altar. Alternate spaces filled by a symmetrical flowering plant. Bright red background.
Sidewall
, 1820–30
Block-printed on handmade paper

An irisé or rainbow design printed in blue, brown, yellow and white.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1890–1910
Machine-printed paper

Rose bouquets set within medallions, alternating large and small. Originally part of a matching set of sidewall, frieze and ceiling papers. The background shades from a darker blue at the bottom to a lighter blue at the top. Printed in shades of blue and white on blue ground, with white mica.
Fragment
, 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a satin foundation

Fragment of cut and uncut navy blue velvet in a vertical stripe pattern formed by dashes, dots, and zigzag lines on a cream-colored ground.
Two-Handled Cup
John Samuel Hunt, English, 1785 – 1865, 1855
silver, gold
cup

Two-handled silver cup with single foot. The interior of the cup is golden, and the surface of the cup is covered in low-relief designs featuring vegetal, human and animal subjects. Each handle features a bust of a woman with free-standing head at the cup's shoulder and curled ends. Centered on the body of the cup is an oval emblem with the bust of a man flanked with two plant sprigs and a shield with three crosses and a chevron.
Study of Nude Figure
Louis Schaettle, American, 1867–1917, ca. 1900
Graphite on light brown paper
Drawing

Full figure of bending female nude, shown from back. Figure standing on right leg, left knee slightly bent; arms extended, left toward top, right toward right of page.
Knife with Agate Handle
, ca. 1700–1800
steel, silver, agate
knife

Leaf-shaped blade, straight sided, plain bolster. Octagonal silver ferrule with scalloped edge, flaring agate handle, octagonal in section, chamfered terminal.
Fragment
, 300–500
wool, linen Technique: tapestry weave

Tapestry woven fragment showing purple guilloche border on undyed linen ground, and stylized birds between thick purple bands.
Plate XXVIII from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machien for grinding grain run by water power. The funnel and bin on a platform, the water wheel, surrouned by a brick wall for the channelling of water, below. Description in Latin on verso of 1949-152-225.
Miser's purse
, early 19th century
silk, steel Technique: crocheted

Crocheted white silk ornamented with cut steel beads in variation of a hexagonal pattern; two faceted steel rings with raised ball pattern, control side opening.  Tasssels at either end of small and large faceted steel beads.
Six Tailpiece Designs
Jacques de Sève, French, active 1742 – 1788, 1759–80
Etching and engraving on laid paper
Print

Six individual designs for tailpieces featuring putti with rococo ornament and chinoiserie (in the Chinese style) motifs. The vignettes feature putti dressed in different costumes, in Chinese style dress, and military uniform. The ornament features rococo ornament, cartouches, masks, c-scrolls, s-scrolls, scrolling acanthus leaves and festoons of leaves. Top left: figures around a cauldron over a fire, with one putto lying on the ground. Top right: a putto in military uniform and another next to a plinth. Lower left: a central putto sitting on a chair with three others around him, gesturing towards him. Lower right: Two putto, one laying on the ground and the other crouched over him.
Bird, Butterfly, and Pear
, 18th century
Brush and black ink, watercolor, graphite traces on coated wove paper
Drawing

Bird perched on branch which bears a pear, red and white blossoms, and leaves with a ladybug. Butterfly in upper right corner.
Fragment
, 14th century
silk Technique: two integrated structures, 2/1 twill and plain weave

Swan with a flower in its beak wearing a collar and chained to a sunburst. The swan is in repeat and faces alternately in different directions in different rows. All in white.
Ornament Designs for use on Sugar and Oil Containers
Masson, French, active late 17th and early 18th century, late 17th–early 18th century
Etching and engraving on paper
Print

Designs for sugar and oil containers in the form of lidded pots and bowls along with detailed designs of ornament to be engraved on the containers featuring strapwork, scrolling leaves, acanthus leaves, rosettes, cartouches, and gadrooning. The designs are identified with lettered inscriptions. The plate is numbered and included the publisher's address below.
At the Coast of the Mediterranean Sea
Charles Nicolas Ransonnette, French, 1793 - 1877, 1793-1877
Graphite, brush and brown watercolors on paper; Verso: Black crayon on thick paper.
Drawing

Trees and bushes stand in the first plane. Down below are hoses and the water. The coast line is shown again in the right background. Verso: In opposite direction.
Plate, from Le Jugement Universal
Tommaso Piroli, Italian, 1752 - 1824, 1808
Etching on paper
Print

Plate 7
Pleated fan
, 1876
Gouache-painted silk leaf, celluloid sticks

Pleated fan, leaf of white silk with the obverse decorated with a spray of orange blossoms and a monogram: "SS April 26, 1876" painted in gouache. Reverse is blank. Sticks are plain white celluloid.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two cartouche designs. On the left, the cartouche has behind it a winged angel and is framed by tall reeds; on the right, the cartouche has terms, putti, and a grotesque dog. The plates are signed and numbered.
Design no. 339 for a Man's Waistcoat, Unfinished
, 1780–1790
Graphite, brush and gouche on paper
Drawing

Unfinished design for the embroidery of the left bottom corner of a man's waistcoat. Traced design on the pocket. A row of leaf scrolls along the outer edges. Bunches of flowers lie upon them. Bottom part, in the center of which the ruins of a classical temple are shown. Flower boughts in the rising stripe.
Design for a Chimneypiece
, ca. 1790
Graphite, pen and ink, brush and watercolor on paper
Drawing

Elevation of a chimney piece. Tablet at center with four putti dancing and making music. Bucranium and flowers on either side. Profile shown at left.
Basin with a pavilion in a park
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The pavilion stands in the center of the large basin. It consists of a circular structure with an outer colonnade and an inner wall. Upon the entablature and in front of the tambour are statues. Another is on top of the dome. Projecting staircases lead to the colonnade, with figures standing upon pedestals at the front of the balustrades. Bridges lead to the st aircases, the one at left having three archves, the one at right four. The very ends of the basin are not visible. In front and behind the basin are free spaces. In front are various groups of men, three riders, and a dog. More people in the rear. The space at the back is bordered laterally by two oblique or curved rows of trees. A colonnade is seen in the c enter of the background. In the rear mountains and clouds.
Study for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined white laid paper
Drawing

Two sketches of linear perspective, with inscription about Dunlap below.
Grinning demon
, 18th century
wood, carved
Miniature mask

Mask of grinning demon, horned; the mouth is open and pierced through. The pupils are black.
Keyhole escutcheon
, early 19th century
Brass

Vertical oval. Convex field, through which keyhole is pierced, surrounded by repoussé band.
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts; Z-spun linen, Z-spun wool Technique:slit tapestry with supplementary weft loops

Image of a nude hunter and an animal.
Design for a Confident
Richard de Lalonde, French, active 1780–96, ca. 1780
Pen and black ink, brush and gray wash, graphite on white laid paper
Drawing

A sofa divided into three sections, shown frontally at left, and in left profile and right; upholstered arms surmounted by urns with flowers; in the center, above, a trophy consisting of a helmet, quiver of arrows and laurel leaves.
Title Page and Hunting Scene
Charles Dagomer, French, active 1750 – d.1766, 1755–76
Etching and engraving (crayon manner) in red ink on paper
Print

Title page and hunting scene in a landscape with a garden wall in the background. A dog to the right looking down on a pile of dead birds. To the left, two falcons or birds of prey perched on a stone ruin. The plate is titled and signed.
LE CHATEAU DE VERSAILLES du côté du Jardin
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the garden facing façade of the palace of Versailles. In the foreground, two large basins with fountains featuring sculptural groups, and sculptures around the edges of the basins. Figures (courtiers) along the paths and throughout the grounds. The title is lettered on a separate plate, printed below the image.
Window Details in the Corinthian Order
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for various window types and mouldings in the style of the Corinthian order. The plate is signed and numbered.
Design for a Vase
, 1730–1760
Red crayon on paper
Drawing

Elevation of a vase decorated with two masks and spiraling gadrooning. At top, a contemplative sea putto. Vase stands on a cracked marble ground.
Sunset across the Hudson Valley, New York
Frederic Edwin Church, American, 1826–1900, September 1870
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing a dramatic view of layered clouds at sunset above the Catskill Escarpment, as viewed from a spot near the artist's estate known as Olana. Rolling, partially wooded terrain extends across the foreground with a figure at lower center. In the middle distance, the Hudson River reflects the colors of the clouds above, while beyond it, the foothills of the Catskill Mountains are visible. A boat sails along the river at right. In the background, low clouds cling to the ridge of the Catskill Escarpment, while layered cloud banks above and behind it are variously lit in shades of gold, dark blue, and gray. Between them, a band of blue sky is visible. These clouds create a dramatic atmospheric effect.
Alpine Landscape
Frederic Edwin Church, American, 1826–1900, June–September 1868
Graphite, brush and white gouache on light blue wove paper
Drawing

Landscape sketch showing a view of mountains and lakes somewhere in the European Alps, likely in Austria or Bavaria. In the foreground, at heavily wooded slope is loosely rendered at lower right. In the middle distance at left, multiple steep mountain ridges descend toward the center of the composition, where two narrow lakes are nestled in a narrow valley. A house is visible on the spit of land between them. At right, multiple other heavily wooded mountainsides overlap as they recede into the distance. At upper left, a sharp summit in the background peeks over a rugged ridge. In the background at center right, a dark range forms a serrated horizon.
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738 and 1745
Engraving on off-white laid paper
Bound print

Two vertical panels with grotesque designs, which include several putti, flags, and framing elements; on the left, a cartouche with lattice-work pattern. Delicate vegetal decoration throughout.
Design for a Necklace
, ca. 1780
Pen and black ink, brush and green, yellow, gray watercolor on light green paper
Drawing

Jewelry design for a necklace. The chain around the neck consists of printed ovals containing a scroll of ribbon between two rows of disks, à jour, connected by knots. Hanging from the central one is a drop with a small knot above.  The hanging chains are composed of similar ovals and knots, but the character of a ribbon is more emphasized.  They are fastened by a knot, with ends hanging down interlaced, and supporting three drops.
Designs for Commodes
, ca. 1805
Graphite, pen and ink, brush and watercolor on paper
Drawing

Elevations of two chests. Upper left, a design for a chest with doors; lower left, detail of construction, section through top. At upper right, a design for a chest with three drawers; lower right, detail of construction, section through top.
Proscenium and Plan for a Stage
Unknown, Italian, 1725–50
Pen and ink, brush and sepia wash on paper
Drawing

Two designs, one showing the stage and its architectural frame and the way the wings are set; the other drawing gives ground plan indicating setting of wings.
Jardin de la Maison de Mr. Julien, à Epinay près Paris par Malinos Architecte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

A general plan for a garden with buildings and a legend in the upper left. The plate is titled, numbered, and signed.
Plate from Omnia Conando Docilis Solertia Vincit (A Docile Disposition will Conquers all Difficulty)
Paul Birckenhultz, German, 1561 - 1639, Ca. 1600
Engraving, blackwork on laid paper
Print

Vertical rectangle showing a vase with snake handles containing a symmetrical arrangement of flowers with hanging pendants. The vase stand on a tray with gadrooning, supported by grotesque griffons.
Title Page and Designs for Candlesticks and Console Tables
Henri Sallembier, French, ca. 1753 - 1820, 1777–78
Etching on paper
Print

Title page and design for two candlesticks flanking two console tables featuring neoclassical motifs including putti, female figures, eagle, snake, caryatids, fluting, oval profile portrait, vase, incense burner, palm leaves, rosettes, fluted column, fluting, and scrolling leaves (rinceaux), scrolling foliate, and flowers. The plate is numbered.
Bag
, mid-19th century
glass beads Technique: beaded knitting

Knitted bag with colored glass beads in design of detached floral sprays, on a ground of irridescent beads.
La Sculpture
Alexis Peyrotte, French, 1699–1769, mid- 18th–late 18th century
Etching on laid paper
Print

Within a double-lined frame, an ornamental trophy representing sculpture, with a portrait bust, sculpting tools and a caliper hanging from a cord or textile, intertwined with foliate branches. The plate is titled, signed, and numbered.
Design for a Woven or Embroidered Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Brush and gouache on glazed tracing paper
Drawing

Top: Waved crest consisting of boughs with three seeds each and directed toward left. Five repeats are shown. Center: Waved crest, consisting of boughs with a seed and a leaf each and directed toward right. Six repeats are shown. Bottom: Arched crest with a seed between two leaves upon each point and with a seed motif in the wedges. Four repeats are shown.
Border
, 17th–18th century
silk embroidery, linen foundation Technique: embroidered in deflected element stitches on plain weave Label: linen plain weave, embroidered in silk

End of a table cover or towel of off-white linen embroidered in red silk with a symmetrical arrangement of mermaids and fountains. Red background is embroidered, with figures reserved in plain cloth.
Elevation d'une niche ornée de refends
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a niche set within a wall of large stones, and a pyramidal plaque below. The plate is signed.
Plan de l’Hostel de Monsr. Le Commandeur du Jars
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan for a Parisian hôtel particulier (grand house) with numbers (measurements) inscribed throughout. The plate is titled and signed.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decorated

Soldier in black boots, green coat and bicorn hat, clutching a sword under his left arm. Tree trunk with a few leaves at the left.