biglam/cooper-hewitt-alt-text huggingface dataset:
Textile
, early 18th century
silk Technique: compound weave with supplementary weft patterning (brocaded)

Length of cream colored silk with floral diaper patterned ground, brocaded in large allover symmetrical pattern in polychrome silk. Both selvages present.
Via crucis - Station I, Jesus Condemned to Death
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

First state
Sample
, 1892
linen Technique: grid of withdrawn element with needle lace, reticella style

Square of fringed linen with center portion ornamented with drawn and cutwork with lace stitches. One of six samples mounted on a piece of blue satin ribbon.
socket
, early 19th century
Tin, painted in places, glass, pewter

Candle sconce (a) with attached socket (b). a: circular, concave reflector made of many small pewter discs arranged around a central one; in painted tin frame, under glass; flat band of tin with nail hole at back. b: arm with single candle socket made to fit into slide at bottom of frame.
Textile
, 1720–25
silk, metal foil-wrapped silk-core threads Technique: 7&1 satin with discontinuous supplementary weft patterning (brocaded)

'Lace style' woven silk with its design symmetrical around a vertical axis. Feathery exotic foliage brocaded in white with green, blue, yellow and gold metallic threads on a deep rose background. Many open areas in the design have small diaper fillings in white.
Chair
, late 18th century
Fruit wood and elm

Rectangular open back; top rail composed of two swags centering a bowknot.  Posts are carved with pendant garlands.  The splat is an obelisk-form surmounting a square rosette.  Front role of upholstered seat is carved with ribbons and pendant swags.  Front legs are square, tapered and fluted; rosettes at knees.
Textile
, 19th century
cotton Technique: relief printed on plain weave

Panel of white cotton block printed in shades of deep red, yellow, grey-violet, and light blue. Design of an irregular curving rocaille enframements, in a diamond shape, frame a basket of flowers with hunting horn, spear, etc. Garlands of ribbons surround basket and connect to the frame. Small circular medallion at intersections encloses a monkey with bow and arrow aimed at a rodent. Picotage in garlands.
Family register sampler
Alicia Lawrence, American, 1787–1866, 1798
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

A record of the family of William Lawrence and Alice Ripley. The entire ground is covered in black cross-stitch, with the family dates worked in colored silks, followed by a verse and inscription, and at the bottom two cornucopias of flowers. 
The verse reads: 
Improve Every Moment of youth while you 
May For Life is too short to Be trifled away
Tapes
, mid-19th century
linen Technique:

A is a brown tape with stripes of green and yellow. B is a brown tape with stripes of green, blue, yellow and white.
Collar
, mid- 19th century
linen Technique: bobbin motifs with needle lace ground (the needle lace ground is loop and twist with loop and twist return); Brussels style

Lace made of bobbin motifs on needlepoint ground. Design shows floral swags (roses, buds and leaves) above a scalloped edge formed by oval and circular medallions.
Wash Basin
, 19th century
porcelain, gold
basin

Wash basin with Chinese-style decoration.
Fragment
, 18th century
linen Technique: bobbin lace (Binche style)

Fragment of Binche-style lace with symmetrical design of paired scrolling leaves. Five-hole or "cinq trous" and "snowball" ground. Scalloped edge.
Two Designs for Stained Glass Windows
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and watercolor, gouache, graphite on cream wove paper
Drawing

Rectangular window; borders of circles, grids, and overlapping and linking circles. Below, the same but smaller.
Ornately Stamped Silver Cutlery Case with Lid
, early–mid-19th century
silver
case

Tapered case for two implements, consisting of bottom (a) and top (b). Bottom (a) constructed of stamped horizontal bands with decorative pattern of scrolls, fleur-de-lis, lozenges and rosettes. Segmented beaded borders. Four attachment rings, two on both the sides of the bottom (a) and the top (b). Plain end with pointed finial.
Stamped silver cap (b) slides on to sheath (a). Similar decorative pattern to that of sheath.
staircase model
, mid-19th century
Mahogany

Slightly semi-circular staircase model with banister.
Panels
, 19th century
silk Technique: cut supplementary warp pile (velvet) in a satin weave foundation

Four vertical panels of red velvet in a design of dragon, clouds, bats, waves, spray flaming jewels, etc. Ground of satin and lined with blue figured silk.
Textile
, ca. 1830
cotton Technique: roller printed on plain weave

Four scenes from a romantic novel. Same imagery as 1995-50-196. In purple on white.
Design for (Elevation of) Dining Table of Mahogany
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Elevation shows molded top raised on three turned and fluted tapering legs with flute-stops on casters.
Overdoor with Harbor Scene
, 1820–1830
block-printed paper
overdoor

Circular view of harbor scene with port town. Numerous boats are shown in the harbor including row boats, sailboats, and a sternwheeler centered in the view. Different buildings in the background include a church with steeple and a smokestack. Two figures walk away from the water carrying sails or riggings. The irise sky shades from blue to orange to blue, ground is a medium brown color. The landscape view is contained within a foliated medallion, with foliage and vines at the top, printed in green and brown, while the bottom of the medallion contains tree trunks, lumber, and crates, printed in shades of brown.
Sidewall
, ca. 1825
Block-printed

Lacey foliage diaper pattern in white, with insets of varnished green ivy leaves. Printed on light yellow ground. Three pieces.
Large Salon with Organ
Unknown, English, 1830
Watercolor and gouache over graphite on white wove paper
Drawing

The salon is dominated by a Gothic style organ on the left at which a woman is seated; she is dressed in a white costume dated to the 1830s. A crystal and ormolu counterweighted chandelier is suspended from the Neo-Classical style vaulted ceiling. The windows in the rear are dressed in the Regency style, with deep fringe-edged swags, caught by a large eagle at top center. The Grecian style sofa in the foreground; desk in the Louis XVI style, with books and Chinese porcelains; chimney surround of the Adamesque period (1770s); and large porcelain vases and jars reflect a room of decoration spanning sixty years.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plate

1957-11-2/13: A group of twelve plates with a wavy, brown-edged ...;     1957-11-2: A plate with a wavy, brown-edged rim, painted with...
Bandbox paper
, 1825–30
Block-printed paper on pasteboard support

House and tree in foreground, church tower in background. In brown, green and white on a light green ground. Fragment of a bandbox. Note on verso: "Given to Carolena Maley Stickle, May 29, 1935 by Mrs. George Edward Follensbee of 615 Miles Ave., Cleveland, Ohio".
Textile
, ca. 1800
cotton Technique: block printed on plain weave

Regular arrangement of "paisley" style motifs in bright colors. The red color was printed using the "lapis" technique, which combines both a mordant and a discharging agent.
Architectural Sketches from Agnes Sorel’s House, Oréans
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Left, doorjamb, main entrance. Right, sketches of iron grillework.
Souvenir picture
, 1893
silk Technique: jacquard woven

Picture of building, bridge, trees and boats.
Woven at top: "Souvenir / Machinery Hall / Area 17 acres - Cost $1,200,000"
Woven at bottom: "Woven in the Columbia / Exposition Chicago 1893"
Border
, 1770–90
linen, horsehair Technique: needle lace with 6-sided reworked ground

Border with a spray of foliage surrounded by garlands of medallions and floral sprays in symmetric design. Pattern outlined by cordonnet.
Sketchbook Page: Ship
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Ships with sails, center. Sketch with repeating pattern, below.
The Entrance of Christ into Jerusalem, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Christ, seated on a donkey, is seen in profile, moving toward the right. A crowd of people about Him and at the gate entrance. Monogram of Dürer, seen in reverse, appears above the arch of the gate, upper right.
Light Outlines of Bare Trees
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Light outlines of four trees, all without leaves.
Scenic Panel from 'Les Vues d'Amerique du Nord'
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1834–36
block printed paper, canvas mount
scenic panel

Large tree at right. At left, three men and a woman on horseback against a background of New York Bay. Lengths 5 and 6, adhered together as one scenic panel, from a set of 32.
Fragment
, 19th century
cotton Technique: block printed on plain weave

Round fragment of cream-colored cotton block printed in reds, violet, and green.  A floral pattern is arranged to fill a circle of flower heads. Center round medallion has a stylized flower head forming a rosette.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

Alternating large floral medallions with rose insets and scrolls and two fleuron motifs, all connected by extensive foliate vining. Printed in light blue, pinks, green liquid mica and gold mica on a cream-beige ground. Printed in selvedge: "Standard Papers" pattern number "393".
Portrait of Bishop William of Wainelete
, ca. 1660-1670
Engraving on paper
Print

Head-piece from a book. Set in an ornamental rinceaux terminating in putti holding crozier and mitre is an oval portrait head of a bishop.
Presented at Court
Charles Dana Gibson, American, 1867–1944, 1897
Ink on paper
Print

Trial proof for illustration. A lady, followed by her daughter, both in court dress, pass a file of five beefeaters.
Fragment
, 18th century
silk, metallic thread on cotton Technique: chain stitch embroidery

Fragment of a border with a peacock in a scrolling vine and flower motif. Single cluster of green berries or grapes.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene of four figures in a landscape. A woman on the left wears a striped shirt and scarf, an orange and white skirt and turban; she faces man who is dancing (marching?) and wears a white shirt with pink sash and red and white scarf on head. Two smaller figures stand to the side watching.
Waistcoat, uncut
, 1760–70
silk Technique: embroidery using satin, stem, running and knot stitches on 7&1 satin weave foundation Label: silk satin embroidered with silk in satin, stem, running and knot stitches

Panel of uncut embroidered waistcoat fronts with shaped pocket flaps and button covers, embroidered in twenty colors of silk floss on ivory silk satin ground. Overall small floral sprig, floral borders down center front, basked of fruits on pocket flaps, and at the lower edges a design of a cow and oxen under a tree.
Firing glass
, 1800–1825
Free-blown glass

Flared form of thick, clear glass with flat foot. Large tear forms the base.
Silk fragment
, 18th century
silk Technique: woven

Undulating vine pattern with floral sprigs on an ivory-colored ground.
Fashion Plate
, 1851
Engraving, brush and watercolor on paper
Print

Man at left, with a cane. Four women standing to the right of him, one reading a score by a piano. Four caps above.
Design for Wallpaper and Textile: Birds
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Five bird busts in profile grouped with four in a square on bottom and one at center on top. Listed from top to bottom, left to right: Brown bird with crest facing left, brown bird with crest facing right with head and neck oriented horizontally, gray bird with crest facing left, rust red and blue bird with black crest facing right, and brown bird with crest facing right looking upward.
Two Sketches of a Cardinal, and a Confessional
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Top, two sketches of a man in robe and zucchetto, left, profile of him facing left, right sketch from behind with arms behind him. Bottom, lower left, sketch of figure looking out of a confessional.
Pleated fan
, 18th century
Parchment leaf painted with gouache, pierced and carved ivory sticks, rivet set with a faceted stone

Pleated fan. Parchment leaf painted with gouache in grisaille. Obverse: a large central cartouche showing figures in a landscape with sheep; a small cartouche at left with musical trophy and at right with putto; floral border. Reverse: landscape showing figure and small floral spray. Pierced and carved ivory sticks. Rivet is set with a faceted stone.
Pharisian
William Unger, German, 1837 - 1932, ca. 1880
Etching in dark brown ink on white satin
Print

Knee length portrait of a large man seated frontally, wearing robes and a turban. His glance is directed to the left, his right hand leans on his right thigh.
Border
, early 19th century
linen Technique: bobbin lace, Mechlin style

Band with a  scalloped border of floral blossoms, powdered over ground and edge by floral sprays.
Bodice front
, late 17th century
cotton, linen Technique: trapunto (quilting) with withdrawn element work and embroidery

One half of a sleeveless bodice front of off-white cotton solidly decorated in elaborate floral and lattic patterns in quilting, drawn work and embroidery in white linen thread.
Embroidered picture
, mid–late 18th century
silk Technique: knot stitches on 5-harness satin

Picture of a girl on a donkey and a boy on a bull with a flock of sheep in a rural landscape done entirely in knot stitches.
Sampler
, 1775
silk embroidery on linen foundation Technique: embroidered in two-sided cross stitch on plain weave foundation

Spot motifs including a large parrot; alphabets and bands of floral pattern.
Nero Finding the Body of His Mother, Agrippina
Antonio Giuseppe Basoli, Italian, 1774–1843, 1800–20
Pen and black ink, brush and grey, red, and yellow wash on white laid paper
Drawing

Four Roman men in classical dress stand at the left. The two men in the center wear helmets and soldiers' clothing. The four men gaze upon a dead woman at their right seated in a chair in front of a bed. The man nearest her holds up a dagger and points towards heaven.
Ceiling paper
, 1905–1915
Machine-printed paper

Diaper pattern of large foliate wreaths with small flowers and foliate sprigs. Light biege ground. Printed in white. Printed in right selvedge: "S.A. Maxwell & Co. New York & Chicago". Printed in left selvedge: "Exclusive Design 2357" "23"
Sidewall
, 1905–1915
Machine-printed paper

On burgundy ground, rounded floral arabesques with petals in gray, pink, and scrolls in yellow.
"When beauteous Myra...lifts her eyes..."
, ca. 1822
Black ink, water colors
Greeting card

Folio. Interior. At right figure of woman is seated, looking toward head of a man, seen in a halo of light. Figure of Cupid points the way. Table at left, with globe and open book. Eight lines of verse below. Decorative border.
Sidewall
, ca. 1885
Fiber composition, tung oil, embossed

imitation leather. Checkerboard pattern of geometrical compartments ornamented with foliate forms and connected to one another by strapwork. Black field washed with brown.
A Merry Christmas and Happy New Year
Winslow Homer, American, 1836–1910, December 24, 1859
Wood engraving in black ink on paper
Print

Horizontal view of a Christmas party with an insert of the Adoration of the Sheperds, and one of 5th Avenue and one of 59th Street.
Plate in Vasses de la Maison Royalle de L'oo Nouvellement (Vessels of the Royal House of L'oo)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Footed vessel decorated with crowned escutcheon at center, surrounded by robed figures holding drapery.
Tomb decoration with portrait
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Tomb decoration with portrait of deceased and a place for an inscription below.
Charger, from the Swan Service (Schwanenservice)
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1738
hard paste porcelain, vitreous enamel, gold
charger

Molded with two swans swimming in rough water among fish and shells and flanked by bulrushes, a heron wading with a fish in its beak another in flight above, on a spiral shell-mounted ground. Decorated with a gilt rim and a large coat-of-armor at the top beneath border.
The Beheading of John the Baptist
Israhel van Meckenem, German, ca. 1440 - 1503, ca. 1480
Engraving on white paper
Print

Two scenes; left: the jailer handing the head of John the Baptist to Herodias to put on the platter. Right: Herodias brings the head on the platter to the King Herod.
Textile
, early 16th century
silk, silver gilt strips on silk thread Technique: supplementary warp pile (velvet)

Length of deep red velvet with a symmetrical design of ogees formed by long scalloped leaves emerging from large flower heads, in silver gilt twill. Delicate twining stems, leaves and flowers in red satin weave fill the background.
Sleeves
, 19th century
cotton on linen foundation Technique: embroidered on plain weave

Pair of natural plain weave linen sleeves embroidered with cotton, showing pattern of blue diagonal lines composed of dots and clusters of yellow, pink, and blue.
Knife with Agate Handle
, 1675–1700
steel, silver, agate
knife

Saber-shaped blade, rounded bolster. Plain silver ferrule, faceted flaring handle, small metal pin on top of handle.
Sidewall - fragment
, 1814–24
Block-printed on handmade paper

a) Vertical motif of stem with small black and blue leaves alternating with large blue leaves with black petals on a terra cotta ground, and enclosed by tear-shaped white lines. On sides of vertical element are diagonal white lines suggesting draped curtains; b) Same as "a" except with remains of red-orange, black and white border; c) Part of the draped curtain design, red on white.
Waistcoat
, late 18th–early 19th century
silk Technique: printed by engraved plate on satin weave

Waistcoat of cream-white satin with a subtle striped pattern has a standing collar, straight bottom and straight pocket edges. Front is printed with detached motifs of Greco-Roman style rotundas, temples, urns, and floral motifs. Edges have a narrow border in a blue-green leaf pattern. Bottom scenes, beneath pockets, have young women adoring Cupid. Putti are also playing on a swing and preparing for a hunt with dogs, French horn and an arrow.
Salesman's sample card
, late 18th–early 19th century
cotton, paper Technique: (samples) printed by roller and by block using lapis (resist) technique on plain weave foundation

Sheet of heavy paper folded into six panels, each containing six swatches of printed fabric. Pattern numbers on white oval stickers adhered to each sample. Titles and comments in French on each panel.
Sampler
, 19th century
glass beads, cotton Technique: beads sewn on individually; strung individually for the edge

Three bands sewn together with withdrawn element work. Each end has four beadwork tabs.
Textile
, 18th century
wool, linen Technique: crewel embroidery, quilted

Small quilt, white linen, embroidered in polychrome wools. Design of slender undulating vine, rising vertically; detached natural size flower groups between vine stems. Background quilted, simple diagonal pattern; lined with white linen.
Fragment
, 900–1400
cotton Technique: 1) discontinuous supplementary wefts in a plain weave foundation 2) weft-faced plain weave on grouped warps

Fragment of a border with highly conventionalized birds in tan. Fringes at the bottom.
Abstract Wave Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Abstract waves are decorated with tiny punch carving on edge as well as thin strips.
Purse
, early 19th century
silk, metal Technique: beaded crochet

Fine grey silk crocheted net with cut steel beads; steel bars, ring, and chain at top. Pendant ornament of cut steel at bottom.
English Countryside with Pond and Trees
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Pond in left foreground with tall trees at left. In right midground a span of open land leads to grove of trees at right, with another stand of trees in left distance.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller on plain weave

A) Wide stripe of solid pink with molette-printed moire pattern of darker pink adjoins wide white stripe divided into squares outlined by grey. Each square contains a pink rosebud with green leaves. B) Same pattern with blue stripe.
Nineveh
Ridgway & Abington, ca. 1851
Molded stoneware, metal (lid)
Jug

Jug with spreading foot and twisted handle in the form of a snake. Molded relief decoration showing Assyrian lamassu. Cuneiform below lip. Metal lid with floral knob.
Miser's purse
, early 19th century
silk, metal Technique: crochet

Crocheted black silk ornamented on one end with single lengthwise bars of alternating rows of gold and cut steel beads; the other end is decorated with gold and steel beads in a six-pointed star and diamond pattern. One gold ring controls side closing. One end is fringed, the other tasseled, both with cut steel and gold beads.
George du Maurier
Charles Dana Gibson, American, 1867–1944, 1896
Ink on paper
Print

Trial proof for illustration. A pen and ink sketch of the actor, George du Maurier (1834-1896), shown seated in left profile. He holds spetacles in his hand, resting on his lap. Legs crossed.
Sidewall - sample
, 1907–08
Machine-printed

Medallion stripe, printed in blue, green and tan on off-white ground.
Fragments
, late 18th century
cotton Technique: block printed (black, 2 reds, purple, blue), yellow applied by brush, plain weave foundation

a. Patterned blue ribbon very loosely wound around a stiff flowering branch on a white background. Narrow side borders; a shell on a black background. b. Fine floral line on a black background.
Ceiling paper
Gossler and Wilt Wall Paper Co., Philadelphia, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Two quatrefoil motifs, one larger, one smaller, are connected and separated by vining foliate ogival lines. Printed in deep blue, tan, black, gray, and white mica on light colored ground.
Sidewall - sample
Gledhill Wall Paper Co., New York, New York, founded 1900, 1906–07
Machine-printed

Art nouveau; stylized iris with fleur de lis resemblance on long stem with acanthus leaves. Curved bands and small flowered branches hug the iris motif and horizontal brushstrokes fill the background. Printed in off-white, white, pale gold, ocher and olive on a beige background.
Sidewall
, 1895
Machine-printed, embossed

Vertical bands with small twisting floral motifs. Greenish yellow on yellowReminiscent of Louis XVI ribbed silk. Mica
Sampler
, 19th century
cotton Technique: embroidered in running stitch on plain weave foundation

Tightly-worked smocking with eleven bands of pattern including animals, birds and geometric ornament in white on a red foundation fabric.
Coif
, late 16th–early 17th century
silk and metal-wrapped silk thread embroidery, linen foundation Technique: embroidered in stem, chain, rococo, buttonhole, interlacing, and various looping stitches on plain weave foundation

Off-white linen coif, shaped at cheek and with a point over the forehead, embroidered in gold-wrapped silk and colored silk threads in rose, green, pale green, blue and yellow. A lattice pattern in green and gold frames flowering branches, pears, peas, and grapes with many details in high relief in gold.