biglam/cooper-hewitt-alt-text huggingface dataset:
Textile
, ca. 1800
cotton Technique: block printed on plain weave

Strapwork bands forming niches that contain images of a shepherdess, resting sheep and a cow in front of an architectural structure. Black, purple, two reds, lavender, yellow and pale green.
Textile
, 1750–1800
cotton Technique: block-printed resist, vat dyed in indigo, on cotton plain weave

Three pieces of what once was the same length of fabric with manufacturer's marks (no name) on the back.  Design of pomegranite-like shape and arching leaves in white on a blue ground.
Textile
, early 19th century
cotton Technique: block print on velveteen (2/2 twill with supplementary weft).

An urn surrounded by branches in a field of small rosettes.The red was printed on a yellow ground.
Album of Prints: Churches of Paris Published by Pierre Roguié
Pierre Roguié, French, ca. 1713– after 1753, 18th century
Album

Album containing prints of various churches in Paris published by Pierre Roguié.
Sampler
Millbrough Fasbrook, American, 1729
silk Technique: embroidered on plain weave

Adam and Eve, with a biblical verse written on paper and stitched to the ground.
Sampler
Unknown, ca. 1780
silk, linen Technique: surface pattern darning

Surface pattern darning of a rose using a needlework technique that follows the horizontal and vertical warp and weft threads, going over and under them with another thread to achieve a rich, textural design.
Mascarons
, about 1600
Engraving in black ink on paper
Print

Horizontal rectangle. Eight grotesque heads in two rows with fantastic head-dresses.
Coat
, 19th century
cotton foundation, silk embroidery, mirrors Technique: plain weave, resist and block printed, embroidered

Man's coat, resist-dyed and block printed in red and black on cream ground in all-over border patterns. The collar, cuffs and hem are decorated with multi-colored silk embroidery with mirrors in floral and geometric motifs.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Spikey green cactus-like forms, red flowers, blue berries on purple twisted branches on white ground. Graphite lined border.
Campagne Romaine
, 1830–1842
Block printed on handmade paper, wood frame
Scenic - panel

Four fold screen covered with well-known scenic wallpaper "Venetian Scenes". A market square with obelisk and Italianate buildings in various states of preservation, with figures in uniform and Empire dress. A narrow blue figured border at top and bottom and at the outer edge of extreme right hand panel. Printed in sepia.
Cup and Saucer with Wheat Stalks
Royal Porcelain Manufactory, Berlin, German, established 1763, 1795–1815
hard paste porcelain, vitreous enamel, gold
cup and saucer

Curved cup with high looped strap handle. Saucer is slightly curved. Overglaze decoration on cup showing flowers, wheat and green grass. Gold edges and bands.
Border
, 1890–1910
Machine-printed

Narrow frieze containing pink and red flowers and leaves, on ground shading from pink at bottom to yellow at top, with sections of irridescent pink.
Detail of the Sculpture Peace on the Dewey Arch, Madison Square, New York
, 1899
Photographic print on paper
Print

Detail of the sculpture Peace on the Dewey arch. In the sculpture, a man and a woman holding a child are at center on the bottom. An old man sitting is on the left, and two children are standing on the right. A winged angel hovers above them holding lilies.
Knife
, ca. 1700–1800
ivory, silver, stainless steel

New stainless steel blade, straight-sided, upper edge curving towards the point; plain bolster. Plain silver ferrule, tapering. Carved ivory handle, a nude woman on one side of the handle, a nude man on the other side. In between them a dolphin and a decorative pattern with flowers, fruit, a human face, curls and a stylized lion opening his mouth.
Sidewall
, ca. 1840
Block-printed on machine-made paper

Vignettes of river bank with bridge and buildings.
Band
, 16th–17th century
silk on linen Technique: embroidered

Border of red silk on white linen showing a curving vine with birds and human figures, possibly Abraham and Isaac.
Sleeve ruffle
, early 18th century
linen Technique: needle lace with 6-sided reworked ground

Sleeve ruffle shaped border  with large floral sprays in a repeat pattern.
Figures from Sistine Chapel ceiling
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

A figure from above the Salmon spandrel and a figure from elsewhere on the ceiling of the Sistine Chapel, painted by Michelangelo.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace sample, floral vine; early 18th century Binche
Fourth Act of Soliman
Jacques Callot, French, 1592–1635, 1620
Engraving with black ink on paper
Print

Horizontal rectangle. The same scene as Act I, with a fire raging, flames and smoke issuing from doors and windows. Below, in the streets, a battle with troops scattered and in groups. The two main characters labeled: "Ac. and Ad." (Acmat and Adraste) in the foreground.
Pounce Pot (Sandstreuer)
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 18th century
hard paste porcelain, vitreous enamel
pounce pot

Pounce pot/sand shaker painted with birds and beaver.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Intersecting discontinuous beige and white mica stripes/lines. Light beige ground. Slight water damage.
Textile
, 19th century
cotton Technique: stenciled resist (katazome) on plain weave

Length of stencil resist (katazome) with ivory pattern on blue ground. Pairs of birds, leaves and tendrils in two rows, each row facing in opposite direction.
Card
, 16th–17th century
linen Technique: punto in aria needle lace

Fragment mounted on a card has a peacock with a scrolling flowering vine.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted lavender silk ornamented with cut steel beads in pattern of minute squares. Two faceted steel rings control side opening. Steel drop at each end.
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a twill weave foundation

Fragment of magenta-colored silk velvet, cut and uncut, against a white ground in a large-scale incomplete serpentine twining garland.
Richard Lee's Shop Card
William Hogarth, English, 1697 - 1764, 1794
Etching on paper
Print

A rectangular frame with an oval opening shows an interior scene of a gathering. Ten men around a round table are drinking.
Sketchbook Page: Whimsied Zephyr Poem
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Page of poetry. Poem on lower half of page begins: "Whimsied Zephyr"
Sketchbook Page: Portrait of Child
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Portrait of a wide-eyed child, seen frontally.
Border
, 18th century
silk embroidery on cotton foundation Technique: embroidered on plain weave

Cotton embroidered in red silk. Two horizontal lines creating a border for scrolling linework and florals. Repeat pattern of florals above border.
Sewing bag
, ca. 1830
cotton, wool Technique: sewn from roller-printed plain weave

Rectangular reinforced panel with a pouch at one end, a small pocket above it, and a shallow pocket at the other end; three tabs of wool and cotton stripe for pins and needles. Ground pattern of overlapping ovals in shades of deep rose overprinted with close set miniature pattern of bell-shaped flowers in bright green and yellow. Two yellow bows; tied with faded salmon pink silk ribbon.
Dado
, 1810–20
Block-printed on handmade paper

Three-tone beige ground with leaf shapes, stripping. Dado pattern. Purplish-pink pitchers with cupid spouts on blue marbleized half-rounds, alternating with purplish-pink arabesques entwined with green vine-like foliage.
Iris
Frederick Daniel Henry Rothenbusch, American, 1900
Glazed earthware
Vase

White clay body, thrown. Cylindrical body with short inset neck with thick lip; molded flat foot. Design composed of bamboo stalks and leaves in grayish-green underglaze slip with two pale blue butterflies fluttering behind stalks. Background is black. Allover high glaze. Interior and bottom glazed.
Border
, 1840–70
Block-printed and flocked on paper

A strapwork design interspersed with foliate curls and striped areas. Printed in dark red flocking, blue and gray.

H# 31
Waistcoat
, 1785–1800
silk, metallic thread Technique: silk plain weave twill with supplementary warp and supplementary wefts

Gentleman's waistcoat with twelve buttons. Design of figures - possibly Cupid and Psyche - at the bottom. Figures are flanked on either side by a columned temple and a boy holding a bird. Silk is figured with horizontal stripes with alternate rows decorated with leaves and a twining ribbon.
Darning sampler
, 1825
silk embroidery on cotton foundation Technique: embroidered in running, satin, and cross stitches on plain weave foundation

Ten squares of pattern darning and two mended tears.  Inset square in the middle with initials and date.
Chalice cover
, 17th century
linen Technique: grid of withdrawn element with needle lace, reticella style

Center of cover is a woven square with an insertion of reticella. Around center piece are evenly spaced geometric motifs of reticella. Outer border has foliated forms and triangular pendants of reticella.
Border
, 1850–1900
Flocked on paper

Brownish-red flock border with narrow bands of gold along top and bottom edges, similates architectural molding.

H# 187
Cap piece
, early 19th century
metallic embroidery, sequins on cotton foundation with linen backing Technique: embroidered, padded satin stitches on velvet foundation

Black velvet disc embroidered with sequins and padded metallic threads in symmetrical floral design.
Textile
, 19th century
printed

One of seven pages from a printed fabric sample book.
Side one has been removed from the page, has two components
Side two consists of six pieces attached to the page.
Band
, late 18th century
Technique: bobbin lace

Edge of bobbin lace, leaf scallops; late 18th century Buckinghamshire.
Medallion
, early 19th century, after 1804
linen Technique: bobbin lace, Lille style with heavy outlining thread Label: linen bobbin lace

Lace insertion with a central medallion containing the imperial shield of Napoleon I, surrounded by small floral sprays, in a net ground. Made in Lille style with heavy thread.
Carpet fragment
, late 17th–18th century
wool, linen or hemp, cotton Technique: cut pile on plain weave (moquette or velours d'Arras)

Cut pile in a plain weave foundation showing a design of large-scale, somewhat stylized pomegranate, foliage and flowers in multicolored wool pile with white cotton pile accents. Ground warp and weft are coarse linen or hemp, as is broad selvage of warp-face plain weave. Colors are faded; were formerly very bright orange, red, two shades of green, and white.
Flask
, 1st–3rd century
Iridized glass

Pale green Roman glass. A squat, bulbous body with tall, straight neck and horizontal rim. Iridescene mainly on interior.
Bottle
, ca. 1810
glass
bottle

Oviform body on splayed foot, with flared lip and pouring spout; cut diamond-band center, flat vertical facets above, twisted flutes below, scalloped lip rim; cut spiral fluting top of stopper.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a woman from behind, her hair in a bun.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Pendant medallions, alternating large and small. Foliate swags connect large medallions. Printed on spotted ground.
Seven of Clubs from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Seven of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
La Vieille aux Loques
James McNeill Whistler, American, 1834–1903, 1858
Etching and drypoint on paper
Print

Portrait of an older female figure in an open doorway of a shop.
"Le chien qui lache sa proie pour l'ombre" from La Fontaine's Fables
, ca. 1770–1800
Black ink on white paper
Engraving

Horizontal rectangle. Scene from La Fontaine's fable, showing a dog standing on a plank bridge, a piece of meat in his mouth, regarding his reflection in the water.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Alternating large and medium medallions with yellow rose bouquets connected by floral swags. The top has stripes from which suspend foliate swags/vines. Bottom has green and white mica bands. Background has vertical lines with foliate motif. Grounding shades from beige to cream (bottom to top). Printed in greens, tans, beiges, and liquid mica gold, white and yellow. Printed in bottom selvedge: S. A. Maxwell & Co 2426 "C.B"
Sampler
, 1752
silk embroidery on linen foundation Technique: embroidered in two-sided cross, long-armed cross, eyelet, knot, back, and double running stitches on plain weave foundation

Long narrow rectangle with geometric pattern bands at the top, followed by spot motifs and religious motifs including the crucifixion and the Lamb of God; near the bottom a large house with a path leading up to it.
Milford, Va.
Arnold William Brunner, American, 1857–1925, 1887
Graphite and white heightening on brown paper
Drawing

Sketch of rooftops, roof of church with steeple, with shrubbery around.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, ca. 1915
Machine-printed paper

Stylized trees on a"Tiffany" metallic ground.
Darning sampler
, early 19th century
silk and linen embroidery on linen foundation Technique: embroidered in running, satin, buttonhole and eyelet stitches with overcasting over withdrawn element work on plain weave foundation

Twelve squares of darning samples within an embroidered border.
Fragment
, 1650–1700
linen Technique: needle lace

Band fragment with a dense floral scroll and raised three-dimensional details.
Sidewall
, 1790–1834
Handmade paper

Unprinted white ground color on joined sheets of handmade paper.
Handkerchief
, 1888
cotton Technique: printed on plain weave

Red campaign handkerchief has two central portrait medallions containing presidential candidate Grover Cleveland and vice-presidential candidate Allen G. Thurman. Above the medallions is an American flag with an eagle perched over two cannons and a mound of cannonballs. Crossed yellow flags in each corner have messages: Tariff Reform, For Revenue Only and No Surplus, Low Taxes. Portrait medallions are connected with four separate bands containing: The Union For Ever. Below is a banner proclaiming: Public Office A Public Trust. Narrow guard border of three thin yellow lines.
Plave VVII, from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Lathe for turning wood. A treadle on the foot is connected by a taut rope to the string of a bow on the ceiling. The rope passes around a wooden, partially turned cylinder across the lathe. A man, left, in front of it. Another wooden-turned piece, above. The description in Latin on verso of 1949-152-204.
Design for Bed with Tented Alcove, probably for the Prince of Wales's Bedroom or Boudoir, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, ca. 1801–04
Pen and black ink, brush and watercolor on white wove paper
Drawing

Design for an alcove between two rooms, with a sofa upholstered in a fabric matching the flanking drapery curtains and the tented ceiling canopy.  Above the sofa, the wall is decorated with fluted golden drapery radiating from a convex, sun-shaped mirror.  Drapery frames the sofa recess and doorways.  The walls of the rooms on either side are turquoise.
Galerie métallique des grands hommes français (Great Men of France)
Raymond Gayrard, French, 1777 - 1858, 1816
Cast bronze
Medal

Bust of Jacques-Bénigne Bossuet, (1627- 1704).
Designs for Liturgical Objects
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
prints

Sheet divided into three vertical sections deaturing designs for decorating cups, tureens, pitchers, and other objects with motifs including rinceaux, scrolls, branches, gadrooning. The plate is signed and numbered,
relief
, ca. 1781
Molded Wax

Simply molded frame with beading, and bow of ribbon at top. Relief in red wax with two figures.
Fragment
, 18th century
silk Technique: cut and voided supplementary warp pile in a satin foundation (velvet)

Fragment of red velvet with cut pile in a satin ground. Design of peonies, butterflies, bats, coins and small swastikas.
Design for an Overdoor
Filippo Marchionni, Italian, 1732–1805, ca. 1765
Charcoal, brush and gray, dark brown watercolor on laid paper
Drawing

Above entablature is a pediment with a kind of attic. Pillar supports a bust; attic panel has medallion framed by branches and pierced. Above is an escutcheon with a crown supported by a sitting putto. Two men sit in front of the opening; drapery hangs from the entablature. Below left is the slope of a letter.
Portrait of Desiderius Erasmus
Lucas Vorsterman, Flemish, 1595 - 1675, ca. 1630
Engraving on laid paper
Print

Half-length portrait, turned toward the right, the head shown in three-quarter view. The hands are shown crossed before him. Signed in monogram in plate, lower left: [stylized LV]. Inscriptions in margin below: "DESIDERIVS ERASMVS TOTTERDAMVS ... ergo Numiliter Lucas"; lower left: "Vorsterman sculpter D.D."; center: "Hansus Holbenius pinxit"; lower right: "Cum Privilegye Reg."
Monument of King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Standing in a niche. Below is the sarcophagus with on top a cushion upon which lies the crown and two crossed objects (mace and sword?). Behind the sarcophagus is a straight wall, up to the lower edge of the cushion. Upon it stands a pedestal, whose base is laterally elongated to give room for two sitting children, the left one supported fasces, the right carrying a cross. The pedestal has two offsets, the upper entirely, the lower partly covered by a fringed cloth. The front of the lower offset is decorated with a festoon. Above it are lying and seeking shelter two naked female allegories. On top stands a variation of the theme of the group in 1938-88-1289. Faith or Religion is standing at left, and she riases with her right hand a chalice, above which the Host floats in a glory of rays. The architectural decoration of the niche is outlined.
Sauceboat (One of a Pair)
Meissen Porcelain Manufactory, German, active from 1710 to the present, late 18th century
hard paste porcelain, vitreous enamel, gold
sauceboat

1938-57-386-a: Each is of irregular oval shape; spouted on each e...;     1938-57-386-b: Each is of irregular oval shape; spouted on each e...
Design for Hilt and Guard of a Dress Sword
, ca. 1780–90
Pen and black ink, brush and wash, gold paint, traces of graphite on off-white laid paper
Drawing

Design for a jeweled hilt and guard of a dress sword. Grip and guard of hilt are decorated with a pattern of lozenge shapes set with small diamonds. Similar pattern decorates knuckle-guard as well. At the top of the hilt is an urn-shaped pommel with button.
The Grand Canyon
Thomas Moran, American, b. Britain, 1837–1926, 1879
Brush and brown ink and wash, over traces of graphite on cream-colored wove paper
Drawing

Horizontal view of distant vista, seen through troups of trees.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1938-88-1302. Festoons as in 1938-88-1305. Inside is lying somewhat obliquely the crown, having the width of the opening. The lower part of the shaft of the pedestal is fluted.
Decorative door boss and nail
, ca. 1550–1700
Steel-plated wrought iron

Square type, pierced and embossed with wrought lines. Quadrant leaf design based on old examples; leaves separated by pointed ovate piercings. Nail with faceted square head on a square shank.
The Entombment, after Jacopo Bassano
John Baptist Jackson, British, ca. 1701 - ca. 1780, 1739
Chiaroscuro woodcut from four blocks, in buff, light reddish tan, gray, dark brown inks
Print

The body of Christ, center, is carried toward the tomb in the hillside, right. His Mother, who has fainted, is seen in foreground, left. A woman, right, holds a jar bearing the inscription: "J.B. Jackson/Delin Sculp and / excudit 1739." Inscription in margin below: "Insignam hanc Tabulam Jacobo de Ponte depictam..."
Triumphal Arch on an Ideal Piazza
Gaetano Frizzati, Italian, 1807
Pen and black ink, brush and blue, green and yellow watercolor on cardboard
Drawing

View of a triumphal arch placed on a piazza.  At the foreground stands a triumphal arch with one archway, four columns with Corinthian capitals, two reliefs, and two medallions.  It stands on a marble pavement.  In the middle distance, inscribed by the opening of the triumphal arch stands an obelisk.  Behind the arch and on either side of the obelisk are low, one story buildings with large arched niches and small round niches.  In the facades facing the front, the niches are occupied by figurative statues.
LE BASSIN D’APOLLON
Adam Perelle, French, 1638 – 1695, 1670–1703
Etching on laid paper
Print

View of the Fountian of Apollo and the Grand Canal within the formal gardens at Versailles. In the foreground, a basin with Apollo in a horse drawn chariot with putti and large jets of water sprouting upwards. Beyond, the Grand Canal filled with boats, and sail ships, with trees in the background and framing the scene in the foreground. Figures (courtiers), horseman, and horse drawn carriages throughout the grounds. The plate is signed and titled with a description.
Valance
, 18th century
silk Technique: embroidered on satin foundation

Valance with a white satin ground embroidered in multicolored silks. Double scalloped border in red with flowers and foliage motifs in the center of the scallops. Main ground has a landscape design with trees and rocks and small buildings on piles over water. Boat with a young couple and a boatman, and a man catching frogs. Fringe on two ends and backed with blue satin.
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on paper
Bound print

Two designs for upright rocaille panels. Left panel: a palm tree with an armorial trophy at center, flanked by two dolphins spewing water below. Above, a group of putti, a male figure, and a dragon. Right panel: rocaille motifs with an urn at center. Various putti throughout.
DIANE
Claude Gillot, French, 1673–1722, 1729–37
Etching on laid paper
Bound print

Plate of arabesques with the figure of Diana at the center under a baldachin. The plate is signed and lettered. Third state of the print with lettering.
Port of Buffalo on Lake Erie
, ca. 1830
Block-printed on handmade paper, pasteboard support
Bandbox and lid

Hunting scene with men, horses and dogs, on bottom sides. On lid, terrace overlooking a river, on which is a steamboat. The lid is the Port of Buffalo. Printed in dark green, yellow and white on dark blue field.
Fountain Design
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Fountain with a low shell basin set in a bed of water with an anguiped, nereid, and river god on rocks above. Above these figures is a cartouche with a scene of Neptune. The plate is signed and numbered.
Fantastic flower motif from "Nouvelle Suitte de Cahiers de fleurs idéales"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1760
Etching a la poupée and ochre, indigo, rose, and teal ink on paper
Print

A boquet of fantastical flora, including drop-shaped, feather-like leaves, delicate, fern-like tendrils, and blossoms.
Design for a Bed in the Polish Style
Richard de Lalonde, French, active 1780–96, 1780
Pen and black ink, brush and wash, graphite on laid paper
Drawing

Canopy bed seen from the end with upholstered footboard with an oval panel at center. Canopy dome is decorated with three clusters of feathers. Hangings are caught at either side with rosettes. At left and at right diagram of construction of bed. Scale below: 4 pied.