biglam/cooper-hewitt-alt-text huggingface dataset:
Sampler
Maria Gocefa Ernandez, 1833
silk embroidery on cotton foundation, glass beads Technique: embroidered in cross stitches, with needle made lace using beads at edge, plain weave foundation

Signature, alphabet, and bands of pattern in tiny stitches; beadwork border on two sides.
Scenic
, 1868–1869
Hand painted paper

Small fragment; featuring gnarled old tree trunk, with new growth appearing along with branch with red flowers; landscape is printed in shades of green with orange sky.
Ceiling paper
, 1868–69
Machine-printed

Starburst or dandelion-like flowers with smaller floral-like motifs and dots. Printed in metallic gold on light blue ground.
Plate with View of "Bredalbane", Scotland
Cauldon Ltd., Staffordshire, England, 1904 - 1920, 1904–1920
earthenware, vitreous enamel
plate

Plate with brown transfer print. Center shows figures in a landscape, within a ring of thistles. Border shows tartan with dots.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Repeating pattern of acanthus sprigs printed in green and white, on light green ground.
Sidewall
, 1800–1825
Block-printed on handmade paper

All-over vining floral pattern, with iris and various other flowers. Printed in blue, green, orange, mauve, yellow and brown on beige ground.
Border
, 16th century
silk Technique: woven

Red and cream-colored border with putti holding garlands. From a design in the manner of Giovanni Ostaus.
Brooch with Daguerrotype Portrait
, 1860–70
Daguerrotype, gilded metal, enamel
brooch

Circular; portrait of a bearded man, gilded metal frame with blue-enameled forget-me-nots.
Bandbox
, 1840
Block-printed paper

Bandbox lid fragment. Hunters and dogs in landscapes set within bright green scroll frames and alternating with decorative cartouches.
The Apocalyptic Riders
Julius Caesar Thaeter, German, 1804 - 1870, 1849
Steel engraving on paper
Print

The fore horsemen of the Apocalypse are seen descending on a group of people, who appear in attitudes of desperation. Complete state.
Sampler
Mary Chapel, American, 1819
silk embroidery on linen foundation Technique: embroidered in cross, eyelet, and herringbone stitches on plain weave foundation

Bands of alphabets and numerals embroidery in many colors, separated by narrow geometric borders. Followed by the inscription and verse: 
This work of mine my friends may have when I am dead and in my grave
Textile
, 1850–1900
cotton Technique: roller printed on plain weave

Straight repeat the full width of fabric containing on the left a woman on horseback with a dog at her side, and a crouching jaguar; on the right a man on horseback and two running deer.  These four groupings are surrounded by large-scale floral motifs. Predominantly red, pink, and ivory tones on a dark brown background.
Sampler
Margaret Brownless, English, 1751
silk embroidery on wool foundation Technique: embroidered in cross and satin stitches on plain weave foundation

The ten commandments followed by signature within curving floral border.
Sidewall - sample
, 1906–07
Machine-printed on paper

Vertical stripes two inches apart. One stripe 3 1/2 inches wide has laurel wreath motifs. The other alternating stripe has rope-like twists running unbroken. Background of marbleized or velvet design. Printed in dark green, gold mica, burgundy and pink.
Head of Hesiod for Cooke's Translation
Jane Ireland, British, 1728-1794
Etching and aquatint on paper
Print

Drawing of a Hesiod bust in side view facing left.
Textile
, ca. 1850–1899
cotton Technique: printed by engraved roller on plain weave; glazed

Cotton, printed, probably by roller, in small all-over pattern of pink morning glories and leaves. The green is the chemical or "direct" green. Glazed.
Frieze
Robert Graves Co., New York, New York, 1905–1915
Machine printed on paper

Geometric pattern with an American Indian stylization. Design is overprinted with dots and dashes of black. Top 2/3 of background is deep green while bottom 1/3 is deep red. Printed in green, deep red, yellow ocher, and black on an off-white ground.
The Old Barley Mill, on the Brandywine
Edwin Whitefield, American, born England, 1816 - 1892, after 1850
Brush and wash, graphite on cream-colored paper
Drawing

A mill is positioned between a river and a stream; Willow trees surround the building.
Textile
, ca. 1800
cotton Technique: mordant for 2 reds, lavender and black applied by brush; madder dyed; blue applied over resist; chintz on plain weave

Curving stem with fantastic flora.
Dido
Hans Sebald Beham, German, 1500–1550, 1520
Engraving on laid paper
Print

The figure of Dido is represented almost nude, seated on a slab of stone, facing left. She is about to stab herself with a dagger, held in her right hand.
Scene in the House of Parliament, March 2, 1629
Frederick Coffay Yohn, American, 1875–1933, 1899
Brush and grey and white oil on canvas
Drawing

Numerous figures are shown in various states of agitation in the House of Lords.
John Wilkes Esqr.
Samuel Ireland, English, ca. 1744–1800, 1763
Etching on paper
Print

Etching after a pen drawing. A man (Wilkes) seated on a chair turned to left. With his left hand he supports a stick with a cap inscribed "Liberty". The original paper with torn corners. Illustration for Ireland, "Graphic Illustrations…" I, 176.
Fragment
, 18th century
linen Technique: block printed on plain weave

Fragment of heavy hand-woven linen in a dark cream color block printed in black. Design is mostly reserved in background color with details in black. Curving vine and stylized flowers forming an allover pattern. Block mark shows across center of piece.
Moorish
Robert Graves Co., New York, New York, 1875–1906
Machine-printed paper
Border

Printed three across: repeating eight-pointed star motifs, printed in pastel shades of blue and yellow and metallic gold and copper. Printed in selvedge: "Robert Graves Co. 1354".
associated with 1983-29-1 to 21
, 1870–90
Wood, metal
Wood block

Wood printing block with floral bouquet in urn. Anglo-Japanesque in style.
Ceiling paper
National Wall Paper Co., National Wall Paper Company, 1893 - 1900, 1897–1907
Machine-printed paper

Yellow background with green flower and tan leaf pattern design.
Chair
, ca. 1844
Molded papier-mâché, inlaid with mother-of-pearl, painted and gilt wood

Side chair, with vestigial arms molded in one piece with rounded back having rolled and scalloped edge; cabriole legs; slip seat (upholstered Dec. 1967).  Black ground with gilded rococo-revival designs, mother-of-pearl inlay: central motif- fountain, birds and butterfly.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Various geometric sketches.
Fork with Porcelain Handle (Paired with Knife)
Royal Worcester, English, established 1751, 18th century
silver, gold, porcelain, vitreous enamel, gold
fork

Three-tined fork, silver gilt. Flaring at the join, waisted shoulder. Flat baluster shaped neck. Banded ferrule, tapering porcelain handle, irregular in shape. Multi-colored decoration on white ground, on front a man in costume standing next to a tree. On the back a woman in a similar position. Gold decoration on dark blue ground along the sides and the top of the handle.
Dado
, 1795–1835
Block-printed on handmade paper

Dado with inset panel. Wide panel molding with insect-like motif at corners. Printed in shades of cool gray.
Kerchief
, ca. 1805
glazed cotton Technique: printed

Kerchief with a Chinoiserie border design printed in black on a red ground with yellow flowerheads. Mustard yellow central field with small areas and foliage patterns reserved in white. Design in horizontal-perpendicular repeat of four different groups of small Chinese figures in foliage or floral enframements in red, blue and green where printed over yellow and dark brown.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

White mica moire on cream ground. 
Printed in selvedge: "S. A. Maxwell & Co. New York & Chicago 22"
Towel
, 19th century
silk and metallic thread on linen Technique: embroidery

Towel with a band at each end showing five floral forms in multicolored silk and metallic thread.
Dessert Spoon with Scorpion
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. Scorpion applied as if perched at base of leaf, with tail curling upwards.
Fragment
, late 18th century
silk, metallic thread Technique: cut supplementary warp pile (velvet) in a twill foundation

Fragment of "velours miniatures" with oval flower wreaths framing a uniformed man in profile. Background has thin green cut velvet stripes that alternate with off-white stripes shot with silver threads.
Playing Card Motifs and Counter
, late 19th century
German silver (white metal)
Matchsafe

Oblong, curved corners and lid, featuring raised decoration of playing cards and a counter at center, with rotating hand, background of small, overlapping disks, identical decoration on reverse. Lid hinged on side. Striker in recessed groove on bottom.
Window Decoration, with Panel of Arabesques and Star, Probably for the Dining Room
Frederick Crace, English, 1779–1859, 1802
Brush and watercolor, pen and black ink on white wove paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. A tall double-window, flanked by two narrow panels of glass. Lattice-work panels at the sides. The windows are surmounted by a painted tablet with scroll decoration.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Bowl
, ca. 1785
Silver, ivory, ebony

Truncated cone-shaped bowl of silver, the outside covered with vertical staves of ebony and ivory alternating, interrupted by band inscribed with: "The Gift of AS to her Grandson RS 1789." Three handles set horizontally.
Sidewall
, 1875–99
Block-printed paper, embossed

Imitation leather. Embossed symmetrical rococo foliate and floral pattern of realistic and symbolic motifs on background of stippled texture; printed in metallic lime-green and metallic gold.
Border
, 19th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Border of natural linen embroidered in red silk, alternating three symmetrical plants above a scrolling floral vine border.
Scene of English Henry VIII
, 1800–1850
cotton Technique: printed by engraved roller on plain weave
Textile

Two scenes of courtiers and the clergy at the court of the English King, Henry VIII. The reference may be to Henry's dispute with the church. In purple on white.
Designs for Ornament, Roundels, and Pendants
Pierre Bourdon, French, ca. 1656 – 1708 after, after 1703
Etching and engraving on paper
Print

An ornament print featuring roundels, an oval case cover with a vignette of a figure seated on a dolphin, and jewelry pendants decorated with grotesque motifs (intertwining scrolling leaves, foliage, human and animal forms), with mascarons (masks), flowers, and cartouches. The plate is signed and numbered.
Zeus and Ganymede
Michelangelo Maestri, Italian, d. 1812, ca. 1802
Brush and tempera on heavy paper
Drawing

Zeus, seated on a throne, holds fire in his right hand, while his left hand rests on the shoulder of the young Ganymede, who holds a salver in his left hand. Beside Zeus is an eagle, and below, in a rainbox the zodiacal signs of a lion, a crab and scales. Possibly after decorations for the apartments of Cardinal Bibbiena in the Vatican.
Snakehead
Morris & Co., London, England, designed 1877
cotton Technique: printed on plain weave
Textile

Symmetrical medium-scale design of large tangent tear shapes and arabesques formed by twining stems and filled with leaves adn flowers, in pind, yellow, red, gray-green and lavender on black ground.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

light brown warp and gold/beige weft
Design for a Mass-Operational House Designed by Hector Guimard, Wall Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of the walls.
Tumbler
, 19th century
glass

Ridged tumbler with light purple cast to glass and series of milky white vertical stripes
Design for a Silver Candl
Giuseppe Gagliardi, Italian, 1697 – 1749, ca. 1725
Pen and brown ink, brown wash, black chalk Support: white laid paper
Drawing

Vertical rectangle; with a burned candle (RB ' 45)???
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1650-1675
Pen, ink, brush, bistre; brush, grey water color. Paper

Horizontal rectangle. A variation of the motifs of -2206. The angel is standing. The right hand points at something. The candlestick is shwon. One square base.
Fragment
, 19th century
Linen Technique: bobbin lace (Lille-style with heavy outlining thread)

Fragment of Lille type bobbin lace.
Edge
, 18th century
linen Technique: bobbin lace, Mechlin style

Louis XV pattern; ''fond armure''.
Studies for a Flying Figure
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on brown paper
Drawing

Studies after the model for a male figure, flying. Nude boy shown in profile turned toward left with raised right leg and arms. The right hand is shown in detail, top left; the left leg, bottom right.
Copy of Bacchante, Satyr, and Female Faun, from the series Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

In the center, a compact group of a bacchante, a satyr and a female faun. They face left. The bacchante holds a thyrsus in her left hand and her right hand rests on a vase. In the background, trees.
Band
, 16th–17th century
silk, metal-wrapped silk, coiled metal strips on linen Technique: split, satin and double running stitches using silk, couched and padded couching for metal-wrapped silk and metal coils on plain weave (metallic yarns are couched in pairs for large dense areas, two plied Z-twist for outline, two plied Z-twist and re-plied S-twist for outer border)

A pair of narrow borders of cream-colored linen elaborately embroidered in gold thread and colored silk. Design shows a winged head of cherubim with a symmetrical border pattern of dolphins, lions, and a vase of flowers with delicate symmetrical vines framing and connecting the elements. Faces of cherubs in white silk, long and short stitch, with dark brown for curly hair. Balance of the design in couched gold thread, partly with color. Manes of lions in heavy, looped gold. Flower heads in colored silks in pale tints.
Design for Stained Glass Memorial Window to Thomas J. Post
Robert Winthrop Chanler, American, 1872–1930, 1919
Pen and black ink, brush and opaque watercolor on tissue paper, mounted on black paper.
Drawing

Vertical rectangle depicting an angel that holds a torch in his right hand, and rests his left hand on a shield bearing the inscription: "THOM. J. POST AT REST AFTER A LONG LIFE OF INDUSTRY THRIFT AND SOBRIETY".
Border
, 17th–18th century
linen Technique: bobbin lace, Binche style with snowflake ground

Border of Binche style lace with a scroll pattern.
The Little Rider
Albrecht Dürer, German, 1471–1528, ca. 1496
Engraving on laid paper
print

Vertical rectangle. A man on horseback is show galloping toward the left. He has his sword at his left side and carries a whip in his raised right hand. A mountain is seen in the distance, to the left: trees to the right.
Flounce
, 18th century
linen Technique: bobbin lace, Brussels style

Band worked with a design of floral urns framed by ornamental bands with an eight-pointed star motif at points of intersection.
Portrait of Pierre Jeannin
Robert Nanteuil, French, 1623 – 1678, 1656
Engraving on paper
Print

In an oval enframement is the bust portrait of Pierre Jeannin (1540-1623). He faces slightly to the right; wears a full beard, and heavy overcoat. Engraving made to illustrate the work, Les négociations de Monsieur le President Jeannin, published in paris in 1656.
Sampler
, 1745
silk embroidery on linen foundation Technique: embroidered on plain weave

Narrow border enclosing detached motifs showing wedding (?), castle, biblical scenes, figures representing Justice and Hope, birds, animals, plants.
Fragment
, 18th century
linen Technique: needle lace

Fragment of Argentan lace cut away from its ground. Horizontal stripes are crossed by one diagonal line.
Band
, 18th century
linen Technique: bobbin made continuous tape with net added (Valenciennes style net)

Band of Milanese-style lace in a scroll pattern.
Detail from a Doctor's Engraved Thesis (Personification of Knowledge)
Johann Wolfgang Baumgartner, Austro–German, 1712 – 1761, n.d.
Black chalk, pen and black ink, brush and ink wash on gray-blue laid paper
Drawing

Vertical rectangle. She raises with left hand a piece of coral or of a root. Her lowered right hand carries paper scrolls and is pointing at implements of a laboratory, a skull, and a little girl. The latter busies herself with herbs fallen from a basket standing at the feet of the woman. Reverse: reddened for transfer to the copper plate.
Elevation of a Tray with Two Tankards and a Hand Bell
Vincenzo Belli, Italian, 1710 - 1787, 1830–1860
Graphite, pen and ink on paper
Drawing

Calyxes decorate the bodies of the tankards and the body and handle of the bell. Snakes form the handles of the tankards, which show lion heads at the ends of the spouts. A shell is on top of the cover of the tankard at left, a bunch of grapes at right.
Fragments
, 17th century
silk Technique: woven

Paired, confronted, crowned lions supporting a heart within foliage framework. In red and ywllow.
Drawing
, About 1730-1740
Pen, brush, sepia; blue, red, green water colors. Paper

Horizontal rectangle. The left side is not executed. In the center above a palmette, below a kind of escutcheon. Springing from there are blade volutes, of which two near the end are supporting a bowl with flowers from which a drapery is hanging which supports together with two ribbons a festoon, composed of a cross of red diamonds between green leaves.
Design for Mantlepiece, from "Cheminées a la Royalle"
Pierre Lepautre, French, 1652–1716, 1695-1700
Etching on paper
Print

A = Jombert, Oeuvres de Jean le Pautre, 55, 3; F. Kimball The Creation of the Rococo, fig. 44. B = J. 55, 4, without numbers. | 127 A is matted | 127 B is not matted
Fragment
, 17th century
linen Technique: needle lace

Fragment of raised lace in an ornamental flower design with a diamond diaper stem.
Drawing
, ca. 1780–90
Pen, brush, sepia, blue paper

Project for the decoration, probably, of the upper part of a pilaster. Vertical rectangle. Above: a molding is a tablet with a cherub, supporting the inner ends of two festoons; above: "B"[eata] "M"[aria] "V"[irgo]. Below: an estucheon is suspended from the festoon of ribbon, whose ends are at the sides hanging down. In the center of the estucheon an oval with a figure, above and below a cherub. the latter supporting with his mouth a cord with a bunch. On the back the right part of a sketch, black crayon, see -92.
Sketches of a Shed and House on the Shore
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on white paper
Drawing

Two sketches on vertical format sheet. At top, a wood shed on a shore, among trees. A figure of a man in a scow on the shore. At bottom, house on a steep shore.
Fragment
, 16th–17th century
silk, metallic Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation with supplementary wefts

Detached forms including plant shapes and an orb in green velvet in tan faced with metallic gold.
Band
, 19th century
linen Technique: bobbin lace, provincial style

Lace edging in design of large and small lozenges on square mesh; one scalloped edge.
Cahier de Bÿouteries dans le Gout Modern Comme Boites, Pommes de Cannes, Bagues, Cachets, Boucles d’Oreilles &c. Dessinés et Gravés par Fay
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Album

Album containing a series of designs for jewelry, boxes, snuffboxes, rings, seals, cane handles and other small luxury objects decorated with neoclassical ornament and motifs.
Frieze
M.H. Birge & Sons Co., 1834, 1900–1910
Machine-printed paper

Art nouveau-style design. Large-scale yellow poppies on green stems printed on white ground. Design repeats vertically and would need to be cut apart to work as frieze.
Jug
, 1849
Glazed stoneware

A highly decorative blue jug with detail on the body, spout and handle. The center depicts a knight riding a horse in an outdoor scene.
Textile
, 1750–1800
linen Technique: block printed using resist medium; vat dyed in indigo; plain weave

Scrolling lace-like ribbon with sprays of flowers, in white on a blue ground.
Workbag
Sarah Ann Bone, 1837
silk, linen Technique: embroidered

Double-sided drawstring bag made from two separate samplers stitched together. One sampler was made by Sarah Ann Bone when she was twelve years and two months old, and the other by an unknown maker at age thirteen.
Border
, 1820–50
Block-printed and flocked

Eleven swatches of narrow borders, including architectural moldings, ribbon twist, beading, fancy gimp.
Christopher Columbus, Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Nude Man Seen from Behind (Narcissus?)
Francesco Mazzola, called Parmigianino, Italian, 1503 – 1540, 1527–1530
Chiaroscuro woodcut from two blocks in green and black on white paper
Print

Chiaroscuro woodcut print in green (tone block) and black (line block). Nude man seen from behind, seated in the wilderness, possibly Narcissus.
One of a set of projects for a title page and the decoration of a horizontal panel
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

The panel has an elaborated frame, the outermost borderline of which is framing the drawing. Acanthus rinceau with two putti. Intended to be engraved
Fragment
, 17th century
silk Technique: cut and uncut pile (velvet)

Small floral pattern formed by cut and uncut pile.
A Windmill
Charles Nicolas Ransonnette, French, 1793 - 1877, 1793–1877
Pen and ink, brush and gray and brown watercolor, brush and Chinese black on tissue paper
Drawing

Obliquely shown from the backside. A railing is at left, houses are shown at right. The signature Ches Ransonnette is written below at right.
Mountains and Valley, Mexico
Frederic Edwin Church, American, 1826–1900, 1890
Graphite on off-white wove paper
Drawing

Landscape sketch showing a view of mountains and a valley in Mexico. In the foreground, a tree grows out of loosely rendered terrain at lower right. The middle distance consists of the relatively flat valley floor, which has sporadic trees. In the background, the terrain quickly ascends to a serrated mountain ridge, visible in the upper portion. At upper left, a single, sharp peak is shown next to three shorter, but also sharp peaks at upper right. Mountain range continues out of frame at left and right.
Allegory of the Four Seasons
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Sketch of an allegorical composition depicting the four seasons.
Fragments
, 15th century
silk, metallic Technique: cut, voided supplementary warp in plain weave foundation (velvet) with supplementary wefts.

Two fragments, each with both selvages present. Large scale pomegranate design in green and gold.
Ornamental Vignette
Robert Menge Pariset, French, active 1732 – 1762, mid- 18th century
Etching on laid paper
Print

Fifth plate from a series of eight fantastical ornamental vignettes. In the center a basket of flowers on a plinth with fruit, flowers, branches, and leaves in the foreground. The ground is suggested with some shading. The plate is signed.