biglam/cooper-hewitt-alt-text huggingface dataset:
Fringe
, 18th century
silk Technique: woven

Blue and yellow fringe with a checkerboard heading. Trellis band and skirt threads arranged to form stripes.
Fringe
, 17th century
silk Technique: woven

Fringe with a purple and yellow plain-woven heading. Skirts threads are arranged in stripes.
Textile
, 10th century
linen Technique: plain weave, embroidered and printed

Small fragment of plain cloth with a "trademark" printed in red and gold. Inscription in black thread reads "Lilla" (God).
Ribbon fragments
, 19th century
silk

Four different ribbons: solid dark blue, two cream-colored with floral forms, and one with a pink gradient pattern.
Cap streamer
, 18th century
linen, cotton Technique: needle lace with ground of loop and twist with twist return

Cap streamer of Point d'Alençcon in a design of openwork bands in V-shapes with vine motifs and floral sprays worked in ornamental stitches. Louis XV style.
Fragment
, 17th century
silk Technique: supplementary warp forming raised cut pile in plain weave foundation (velvet)

Ribbon fold pattern in green.
Dish, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1821–1833
porcelain (feldspar), vitreous enamel, gold
dish

1959-155-2-c: Oval dish with rim extended at short ends to form ...
Album of Trophy Designs
Jean-Charles Delafosse, French, 1734 – 1789, late 18th century
Print

Album of trophy designs, copies after prints published by Tardieu, Daumont and Chereau ca. 1771-1775, after designs by Delafosse. The original prints depict two ornamental hanging trophies side-by-side.
Country scenes
A. Henry, French, 1800–1850
Printed by engraved roller on cotton plain weave.
Textile

Three scenes of country life with people and animals in purple on white.
No. 168
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1871
Mouth-blown crystal, facet-cut and polished
Champagne flute

Mouth-blown crystal champagne flute, partly facet-cut and polished, with a dainty floral engraved border.
Pendant Design with the Temptation, Plate 1, from a series of eight pendant designs with the cardinal virtues
Johann Theodor de Bry, German, 1561 - 1623, 1616–1623
Engraving on paper
Print

Pendant design with animal imagery (winged deer, squirrels, rabbits)  with hanging pear-shaped pearls.  Central image features The Temptation: Adam and Eve with serpent hanging from tree.  Surrounding the pendant are blackwork ornament designs for enamelists, mostly showing possibilities for the top and sides of rings.   First plate of the complete set of 8.   (Matted with 6161.1-2/4.2000)
Thanksgiving Day, 1860 - The Two Great Classes of Society, from Harper's Weekly, IV, December 1, 1860, pp. 760-761.
Winslow Homer, American, 1836–1910, December 1, 1860
Wood engraving in black ink on newsprint paper
Print

Horizontal view containing a series of eight vignettes with the title appearing over  an arch in the center of the composition.
Textile
, 1850–1900
cotton Technique: e-gasuri (warp and weft ikat) on plain weave

Narrow vertical panel with a design of crawfish or lobster in weft ikat paired with a stepped diamond shape in warp and weft ikat.
Sampler
, 1683
silk embroidery on linen foundation Technique: counted and uncounted stitches; stem, satin, long-armed cross, eye, back, chain, cross and looping stitches on plain weave foundation

Three bands of reticella, a band of embroidered flowers in a curving vine, a band with two figures and a plant, and a band of geometric pattern interrupted by the inscription "E. W. 1683."
At the center is a three-dimensional rose made by looping stitches over a wire outline. The clothes on the figures and the ground at the bottom were worked independently in a looping technique and were applied to the foundation.
Baby's cap (back and side)
, 16th century
linen Technique: withdrawn element with embroidery

Two thicknesses of bleached linen decorated with various drawnwork designs making a lattice-like pattern in leaf, heart, and star shapes. Larger back panel has two small acorn motifs embroidered in dark brown linen. Smaller side panel has one.
Carceri Series, Plate XIII
Giovanni Battista Piranesi, Italian, 1720–1778, 1745
Etching on paper
Print

Horizontal rectangle. A vaulted chamber with staircases, and a well in the left foreground. Upper center, Calcografia number 361.
Printing block
, 19th century
wood Technique: carved in relief.

Block for printing textiles with a design of writing. Contemporary picture hangers attached.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Art nouveau / mission style. Border printed two across (mirror). Alternating large and medium stylized floral bouquets between which are stylized single-flower motifs. Connected at bottom by floral motif band. Background of small trellis composed of dashed, dots and curved lines.Printed on red ground in dark reds, dark green, blue, yellow liquid mica and teal liquid mica. Printed in selvedge: "Exclusive Design" "S.A. Maxwell & Co. New York & Chicago."
Sketchbook Page: Classical Statue
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Sketch of classical statue of nude female figure from rear, missing arms, head, and legs below knee. 
Verso: Beginning of the draft of a letter "To the Editor of the Commercial Gazette" addressing attempts by Congress to protect American art.
Design for a Vase
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Shaped like a vase, partially colored, with yellow flowers on branches against a setting sun and view of a mountain in background; partially gilt; unfinished graphite sketch.
Fragment
, 16th–17th century
silk Technique: supplementary warp pile (velvet) in a woven foundation

Unpatterned, long pile red fragment.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Square, molded tile made of white clay, impressed and inscription: "J. & J.G. Low, Patent Art Tile Works, Chelsea Mass. U.S.A., copyright 1881 by J. & J.G. Low". Face of tile has plain border top and bottom, all-over pattern of stylized dandelion flowers (gone to seed) painted yellow-green crackle glaze.
Design for Decorative Panel for July Festival Architecture
Félix Duban, French, 1797 - 1870, 1835
Brush and watercolor, gouache, black wash, pen and black ink, graphite on cream paper mounted on cream laid paper
Drawing

Design for a hexagonal column capital with red, blue, and gold, geometric Arabic-style ornament.
Sketchbook Page: Sketches of a Genet
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Two sketches of animal with long tail, with an additional sketch of its head below. 
Verso: Sketch of hilly landscape.
"Armor of 1440; Best Epoch"
Edwin Howland Blashfield, American, 1848–1936, 1887
Pencil and pen and black ink on stiff cream colored paper
Drawing

A knight in full armor on horseback is seen facing half left, his visor closed, and set against a simulated parchment scroll.  Famous battles listed on ribbons and military trophies form the border.
Somerset House, Strand, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Large outdoor courtyard, statue, center. A few people on the sidewalks and street, foreground. Title, artists', and publisher's names below.
Fragments
, 18th century
silk on linen Technique: chain, satin, knot, and back embroidery stitches on plain weave; background embroidered in intersecting diagonal lines

Fragments of coverlet with widely spaced floral sprays in polychrome silk chainstitch on fine undyed linen ground with all-over diamond trellis in pale yellow silk outline stitch.
Leather Glove
, late 19th century
Brass, leather
Matchsafe

In the form of a light brown leather glove, the leather tooled to simulate stitching. Lid hinged on bottom side. Striker on brass plaque on bottom.
Present Aspect of Gaines's Mill, Looking East
Harry Fenn, American, 1845–1911, 1885
Pen and brush and black ink, white gouache on off-white wove paper pasted on board
Drawing

In the foreground the view of a mill. In the background, several small houses. Several tree trunks in the foreground.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plate

A plate with a wavy, brown-edged rim painted with a branch of bocconia/parrot weed (Bocconia frutescens) leaves, various sprigs, a caterpillar, and two winged insects.
Victoria, Queen of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Victoria, Queen of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
View of Westminster Hall and Bridge, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1810
Aquatint, brush and watercolor on paper
Print

Bridge to the right and a castle beyond to the left. Boats on the river and people on the bank, in the foreground. Title, artists', and publisher's names below.
"Dreamland, Coney Island"
, ca. 1910
Plated metal, printed celluloid
Matchsafe

Rectangular, featuring smaller rectangular panel insert with colored image of amusement park, inscribed "Souvenir of Dreamland, Coney Island, N.Y.", reverse features rectangular panel insert with colored image, inscribed "Chutes and Lake Dreamland, Coney Island". Lid hinged on side. Striker on bottom.
Embroidered picture
, 17th century
linen, silk, metallic thread Technique: counted, stem, knot, and slanted running stitches on two layers of plain weave

Fragment of an embroidered picture. Linen solidly worked with polychrome silk and gold thread with floral motifs, stag and a lion.
Seated Bear, from a Set of Sixteen Views of Bears
Marcus de Bye, 1639 – 1690, 1664
Etching on white laid paper
Print

A large bear, seen frontally, seared in an open landscape; figures and a farm wagon, left distance.
Frame
, ca. 1720
wood (pine), carved and gilded

In the scheme of an altar retable.  The inner frame has a shield shape.  Shells rise over its top scrolls.  Acanthus leaves cover it at the lower sides.  An attic pediment rises in the middle, formed by two pilaster panels supporting two cornices which are connected by an acathus leaf.  The bowl is shaped as a shell.  It projects beneath the inner frame, and is laterally supported by scrolls.
Idylle
William Unger, German, 1837 - 1932, 1885
Etching in dark brown ink on white satin
Print

A scene of Imperial Roman days, on a stone bench, a female figure with roses in her lap listens to a young man lying beside her on his stomach and clasping her sleeve.
Button
, ca. 1789
brass

1959-66-125: On card 5150
Fragment
, 16th–17th century
Technique: grid of laid cord with needle lace reticella style

Fragment with a design of a diamond-shaped lattice with rosettes.
Rathhaus at Dettelbach
Arnold William Brunner, American, 1857–1925, 1877–80
Graphite on paper
Drawing

Center, German court house, with turret at center with stairs on both side. Lower center, arched doorway. Buildings at either side, birds flying upper left.
Wall tile
, late 16th–early 17th century
Lead-glazed earthenware

Fragment. Similar to 1951-66-3.
Jack of Diamonds
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Jack of Diamonds court playing card from a pack of transformation playing cards. A male figure wearing a long apron and hat, sweeping a paved sidewalk or street. A red diamond at upper left.
The Wallace Wallpaper Co.
Wallace Wall-Paper Co., Cortland, New York, 1905–1915
Machine-printed paper, oatmeal paper
Sample book

Samples includes a range of papers including ceiling papers, imitation leather papers, cut-out borders, and a coffered panel design.
Darning sampler
, 1767
silk embroidery on linen foundation Technique: embroidered in running (pattern darning) and eyelet stitches on plain weave foundation Label: Linen embroidered with silk in pattern darning and eyelet stitches

Twelve darning crosses, then decorative darning patches and central darning zig-zag in center, crowned initials and date.
Sampler
Elizabeth Cartwright, 1722
silk embroidery on linen foundation Technique: satin, cross, eye, four-sided canvas, running and back stitches on plain weave foundation

Bands of curving vines and one band with figures (boxers) at bottom, with a verse: 
"Whom have I in heaven but thee and there is none upon earth that I deserve besides thee."  "Christ is to me a life One Earth and One Death to me a gain for wh(?) throu Him alone Salvation to us be tain" "The fear of the Lord is the beginning of wisdom. A good understanding have all they that keep his commandments and tell the truth in all ways." "Elizabeth Cartwright is my name is England is my nation, London is my dwelling place and Christ is my salvation. When I am dead remember me when I am quite forgotton." "Elizabeth Cartwright ended this sampler in the 01 year of her age 1722"
Cap streamers
, 1700–1750
linen Technique: bobbin lace, Brussels style

Brussels-style cap streamers. Half-cartouches on each piece (as if from a continutous textile) containing sprays of flowers.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Printed two across. Alternating larger and smaller foliate medallions, oulined with  scrollwork and squiggles.
Saucer with Bird, Flowers, and Pagoda
Fauchier Factory, mid-18th century
faience
saucer

Saucer of pinkish buff clay with grayish glaze. Polychrome painting of bird with long tail on blossoming tree branch flowers and pagoda. On edge, yellow and brown lines, the innermost extended to trifoils.
Femme dressée sur un piédestal orné de bas-reliefs (Woman Standing on a Pedestal Decorated with Bas-Reliefs)
Jean-Laurent Legeay, French, ca. 1710–86, 1768, published 1770
Etching on cream laid paper
Print

A nude female standing atop a vase that is decorated with figures, among other classical objects, surrounded by dark foliage. In the background, a classical Parthenon-style building.
Robe
, 18th century
silk, metallic thread Technique: woven

Priest's robe of deep apricot-colored satin brocaded in brilliant flower design in blues, greens, yellow, purple, white, and gilded paper. The technique is known as "kara ori," a brocading with threads floated on the surface. Made in squares and pieces to simulate patches for a Buddhist priest's robe.
Ceiling paper
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, applied mica flakes

Flitter paper. Scroll medallions with pink rose centers connected by floral vining and light purple and pink foliate branches. Cream ground. Printed in pinks, light purple, yellows, and gold mica flake. Printed in selvedge: "Robert Graves Co. 4737" Corner reattached with tape.
Jar
, ca. 1675–1700
Tin-glazed earthenware

Ovoid body; short, straight-sided neck; painted in underglaze blue on white on sides with chinoiserie scenes of figures in pavillions and gardens, surrounded by 2 floral and scroll borders bottom, diaper and floral reserves above.
Bag
, early 19th century
silk Technique: knitted

Small bag knitted in blue silk, interlaced with vertical bands of coral ribbon, also used for draw-string.
Frieze
Becker, Smith & Page, Inc., founded 1899, 1905–1915
Machine-printed paper

Birds perched on flowering tree branch. Area below branch is printed in mica.
Vase (Plate 3 of Series)
Enea Vico, Italian, 1523–1567, 1543
Black ink on paper
Print

Vertical rectangle. Ewer, with handle composed of a bird's leg, and spiral neck ending in a mascaron. Half-figures and a crab decorate the body. Inscribed below: "ROMAE AB ANTIQVO REPERTVM MD XXXXIII" and "A.E.V." on a tablet.
Les Buveurs
, ca. 1785
cotton Technique: printed by engraved plate on plain weave foundation with further colors added by brush
Fragments

Series of isolated scenes of people and animals drinking; some from a fountain, some from a jug, some from wine bottles and glasses. Rustic buildings. Polychrome on white.
Westminster Hall, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Stone walls and floor. Wooden beams above, with carved angels. Men in groups converse in the hall. Title, artists', and publisher's names below.
Textile
, 5th–7th century
linen, wool Technique: plain weave with discontinuous wefts (slit tapestry) with eccentric wefts

Fragment of what may have been an all-ver pattern on a dark blue background in teh Sassanian style. A group of three plants or trees in green, yellow, ivory, and red alternating with a small pearl roundel containing a standing bird in green, red, ivory, and dark blue on a yellow background.
Christmas Belles
Winslow Homer, American, 1836–1910, January 2, 1869
Wood engraving in black ink on paper
Print

Man driving a sleigh with five women. Some of the ladies look back and wave.
Audience at Café in Constantinople
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Heads and busts of men, in mustaches and Moroccan hats. Drawn from different angles, from the front or profiles.
Sidewall - fragment
, 1900
Machine-printed

Sample of paper from Duluth City Directory, with ad of J.F. Gordon.
Dessert Spoon with Centipede on Handle
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form leaf shaped handle, with terminal turning downwards. Mouse applied as if perched on side of terminal, with tail overlapping along edge to underside.
L’ECRITURE / L’ARITMETIQUE
Jacques Bacheley, French, 1712 – 1781, mid- 18th–late 18th century
etching on paper
Print

Third plate from a series of fifteen depicting children and the sciences, framed within decorative rococo cartouches, two per plate, side-by-side. The series is incomplete here. The right-hand scene shows a boy seated at a desk, writing with a girl standing next to him. The left-hand scene shows two boys looking at a board on a desk. The titles are lettered within a ribbon along the bottom of each cartouche, the plate is signed and numbered.
Mountain Landscape with a Cow, Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a mountainous landscape in Mexico. In the middle distance at center right, a dark cow grazes in an expansive plain that stretches to the background, where an extremely rugged, layered mountain range forms the horizon. Foothills are visible in front of a sharp and lofty peak at center right. At the base of the hills at extreme left, distant trees or possibly structures are visible.

Verso: Figure and landscape sketches from Mexico showing a mountain and a detailed view of a seated man. At center right, a distant and dark mountain peak is minimally rendered. At upper left, a seated man wearing a brimmed hat holds a striped blanket or poncho as he lights a cigarette. Beside him at left is the outline of a man's head wearing a brimmed hat.
Man with a Perfume Burner
Jean-Baptiste Pillement, French, 1728–1808, 1758
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes. A man stands in a landscape holding a perfume or incense burner. In the background, a platform or structure with a trellis pattern and a potted plant on top. Trees, foliage, and rocks around the man's feet. The plate is signed.
Fragment
, 3rd–4th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry with supplementary weft wrapping

A square panel with a hunting figure holding a rabbit aloft in one hand and a weapon in the other.
A Landscape
Charles Nicolas Ransonnette, French, 1793 - 1877, 1850–1860
Black crayon, brush and black wash on light brown tracing paper, mounted
Drawing

The setting shows a hilly country with a stream. A man sits in a rowing boat, near a group of stones and trees. A man and two women are resting near it.
Woman at Piano
Winslow Homer, American, 1836–1910, 1862
Graphite on paper
Drawing

Vertical view of a woman seated at a square piano and playing from an open book of music.
Design for an Embroidered or Woven Border
, 1815–1840
Brush and gouache on oily tracing paper
Drawing

Fantastical plants are horizontally connected by lace festoons. Most of one plant and a part of a bough of another are shown.
Coupe et Elévation du Château ci-devant de Mr. Caumartin, construit près la Ville de Moret et la Riviere de Seine, ce déssin à été communiqué par sobre, Archte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with an exterior elevation and an interior sectional view of a chateau with neoclassical motifs, columns, and friezes. The plate is titled, numbered, and signed.
Floor plans
Robert Frederick Blum, American, 1857–1903, n.d.
Ink, black pastel crayon on wove paper
Drawing

Sketch of a floor plan with two additional views of the building.
Sash
, 1883
silk Technique: plain weave

Narrow sash or belt of vertically ribbed silk plain cloth. Pink ground with horizontal stripes of blue, yellow and white. Ends have short fringe formed by warp ends.
Frieze
, ca. 1880
Flocked, embossed

Two bands, apparently intended to be cut longitudinally. Alternating wide and narrow stripes of flock. Paper embossed with pebbled ground. Printed in gold with green underprinting, and black flock.
Seated Female Nude
Daniel Huntington, American, 1816–1906, 1870–80
Graphite on grey wove paper
Drawing

Study of a nude female figure seated in an armchair, facing frontally. Her right hand is to her face, with her right elbow leaning on the arm of the chair. Her her left arm reaches to the arm of the chair, and her ankles crossed.
Scene of Flying Kites
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

A gathering of people admiring kites soring in the air decorates the lower half of this print. However, upon further inspection, the center group of men is looking downward. The geometric composition of this playful print highlights the horizon in a brilliant red ombre effect.
Sampler
, 1840
wool embroidery on linen foundation Technique: embroidered in cross and darning stitches on plain weave foundation

Alphabets, numerals, and a number of designs for darning and floral patterns worked in colored wools on brown canvas.
Valance
, 17th century
silk embroidery on silk foundation, linen backing Technique: embroidered on satin foundation, backed with plain weave Label: silk satin embroidered with silk

Panel of light yellow satin with polychrome silk embroidery. A fountain surmounted by a swag of red fabric is in the center, with a lion recumbent in a grotto below it. The fountain is flanked by fruit trees with owls in their branches, with climbing Tudor roses, and a man with a spotted dog reaching toward a branch. Small flowers are scattered over the background. Backed with tan linen.
Ornament Design with a Fountain
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
etching and engraving on paper
Print

1921-6-212-7-a: Panel with central shell flanked by garlands of fl...;     1921-6-212-7-b: Design for candlestick (1921-6-212-6-b, 1921-6-212...;     1921-6-212-7-c: Panel with Apollo on his chariot, enclosed by a fr...
Two Candelabra Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for two five-arm candelabra. The candelabra on the left has a scrolling tri-pod base, a fluted column on top of which is a vase with three crossing goat-leg feet, and out of which the arms curl in the form of scrolling acanthus leaves. A cross section of the base of the candelabra is visible to the left. The candelabrum on the left has a hexagonal base with scrolling friezes and rosettes, pinecone finials, a base with an ionic capital, topped with a shallow gadrooned vase with flowers. The arms of the candelabrum are comprised of thin branches of leaves, draped with tiny flowers. The cross section of the candelabrum is below. The candelabrum on the left has a scale bar of two French feet ("2 Pieds") and that on the right of one French foot ("un Pied"). The plate is signed and numbered.