biglam/cooper-hewitt-alt-text huggingface dataset:
Vase Design
Charles Dupuis, French, active 1760 – 1791, ca. 1763
Etching on paper
Print

Design for a vase decorated with intertwined fish, mascarons (masks), and a festoon.
Fragment
Christopher Dresser, Scottish, 1834–1904, 1873
silk, wool Technique: jacquard woven Label: jacquard woven silk and wool

Fragment of woven upholstery fabric with a design of alternating pattern bands: flowers in hexagonal tiles in gold on terra cotta, stylized palmette pattern in gold on olive green, narrower bands of egg and dart pattern in gold on maroon.
Fragment
, 16th–18th century
cotton Technique: printed

Fragment of a border with symmetrical plants with scrolling leaves on a dull yellow background. Plain red band at bottom.
Fragment
, 10th–12th century
linen, wool Technique: plain weave, resist dyed, tapestry weave, wefts single, eccentric wefts, slits, vertical wrapping

One end of a loosely woven plain weave wool fabric with tapestry woven bands at one one. One band derived from Arabic script in black and ivory. The wider band a repeat of units containing two birds and a polychrome geometric band. The wider band reserved in the dying of the fabric to produce a deep red. Warp fringe at bottom.
Embroidered picture
, early 19th century
silk embroidery on silk foundation Technique: embroidered in stem, speckling and running stitches on plain weave foundation

Figure of a youth standing in a pastoral landscape with a man plowing, a church, and a woman with a cow in the distance all embroidered in black silk.
Design for a Fan Leaf
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Sheet of arabesque ornament for a fan leaf. The design features two Commedia dell'arte figures seated in a landscape below garlands held up by dolphins. Other decorative motifs of the design include a fountain, reeds, and lozenges. The plate is signed and numbered.
Tassel
, late 16th–early 17th century
linen Technique: knotted

Circular tassel has fifteen arms terminating in tiny crosses.
Panel
, 19th century
cotton, glass beads Technique: cross stitch embroidery

Panel made of two pieces of hand-loomed heavy cotton embroidered with blue, red, and white cotton using cross stitch. An occasional sequin or glass bead included in embroidery. Three vertical rows of a geometric design.
Fragment
, 13th century
silk, linen Technique: plain weave

Checkerboard fabric in red and tan. Linen is tan, the silk is red.
Drawing
Felice Giani, Italian, 1758–1823, About 1787
Pen and brown ink, colored washes, over black chalk. Rough paper

Vertical Rectangle. Aurora is shown flying below toward right.
End piece from canape confident or 3-sectioned upholstered sofa
Louis Magdaleine Pluvinet, French, became master in 1775; d. 1782–1785, ca. 1780
gilded wood, fabric
Chair

Louis XVI upholstered corner chair with the original gilding and webbing.
Peep-show, Vuë Perspective du Palais Royal de la Sarcuela, Maison de Plaisance du Roy d'Espagne
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Pen and brown ink over traces of black chalk on laid paper.

Vertical rectangle. Shown from the front standing and holding a bridle and bit. Reverse: a part of the sketch in 3221.
Le Sacrifice à l'Amour (Offrande à l'Amour)
Jean-Baptiste Huët, French, 1745–1811, ca. 1795
cotton Technique: copperplate printed on plain weave
Textile

Printed in dark brown showing a shepherd and female figure in classical dress making an offering to love who stands on a pedestal; children dancing while shepherd plays his flute; domestic scene of a mother with children; several shepherds and shepherdesses, sheep, dogs, cats and fowl; background glimpses of architectural detail.
The Songs of the War
Winslow Homer, American, 1836–1910, November 23, 1861
Wood engraving in black ink on paper
Print

Double-page spread for Harper's Weekly, with vignettes related to songs labeled: The bold soldier boy, Hail to the Chief, We'll be free and easy still, Rogues march, Glory Hallelujah, The Girl I Left Behind Me, Dixie.
Fragment
, 16th century
linen Technique: needle lace

Design based on S-shapes with smaller S-shapes enclosed in squares.
Fragment
, 19th century
silk Technique: printed on plain weave

Silk square with tan ground and blue and white design imitating Javanese batik. Border of chevrons and dots enclosing acorns. Scattered floral motifs of twelve-petaled rosettes and detached bulbous springs of vine in central area.
Vecchia Contadina (Old Farm Woman)
Angelo Leone, after 1873
Terracotta
Figure

A stooped older woman with a cloth across her head and shoulders. Her bodice is loosely tied. She carried a jug in one hand and wears a simple bag across her body, over an apron.
Textile
, 19th century
cotton Technique: woodblock printed on plain weave

1953-38-11-a: Design of naturalistically drawn roses in scrolled...;     1953-38-11-b: Design of naturalistically drawn roses in scrolled...
Vase
Doulton Pottery and Porcelain Company, founded 1815, 1888
earthenware

Special footless body, tall slender lipless neck. Red flambé glaze, imitating Royal Doulton ''Rouge Flambe.''
Band
, 12th–13th century
Embroidery using colored silk threads on plain weave linen

Repreating design of rectangles containg scrolls with outer border.
Fragment
, late 18th century
silk Technique: compound twill with discontinuous supplementary weft patterning (brocaded)

Coral ground with a figure in green and white; fragmentary design of parasol, streamer, rushes, and a wreath.
Fragment
, 18th century
silk Technique: velvet

Small diaper pattern in purple and yellow.
Pair of sleeves
, 18th century
silk, metallic yarns Technique: plain weave with discontinuous supplementary weft (brocaded) Label: silk brocaded with silk and metallic yarns

Pair of sleeves which would have been tied onto an 18th century dress. Left sleeve badly faded. Coral-colored ground with a curving vine with blue and white flowers. Finished at bottom with blue binding and small bow.
Design for the printed center field of a handkerchief
, 1775–1800
Brush and lilac, red, black gouache, graphite on paper
Drawing

Four lozenges with zig-zag outlines are shown disposed in three staggered rows.
View of the Fountains at Brunoy
Pierre-Philippe Choffard, French, 1730–1809, 1763
Engraving on paper
Print

A series of parterres approached by steps. In the center a cascade is flanked by fountains. Clipped trees along borders. Figures in the foreground.
Textile
, early 19th century
cotton Technique: printed by plate or roller on plain weave Label: printed by plate or roller on cotton plain weave

English interpretation of a French revolutionary subject. Three vignettes: 1. Bastille, six soldiers, five walking over a bridge, one shooting, another on top of a wall with liberty flag and brick. 2. Louis XVI on his throne and the goddesses Justice, Freedom, and Wisdom. 3. Background has fleurs-de-lis, grapes, and floral motifs. A pyramid with the inscription LUD XVI and portrait. The engraver's name, ''SORROW'', is below the bastille vignette.
Bandbox
, ca. 1830
Block-printed paper, pasteboard support

Yellow field, printed in pink, white and green. Landscape with ruins, cows grazing in foreground. Cover has flowers; roses and others.
Sidewall and border
, 1740–66
Block-printed on handmade paper

a) Powdering of six-pointed stars which are now black, having probably changed color from brown. Fragments of plaster indicate paper was plastered over. Joined sheets measure aproximately 19x22 inches; b) Swag border with pearls, flowers and foliage.
Border
, late 18th century
linen Technique: needle lace with bobbin ground

Straight border of floral branches, blossoms, and leaves
Border
, 1820–50
Block-printed and flocked

Nine swatches of wallpaper borders, including architectural moldings, floral motifs, beading.
staircase model
Sèvres Porcelain Manufactory, French, established 1756, early 19th century
mahogany, ebony, pear (wood) or sycamore, oak; biscuit porcelain

Model of a curved double staircase reaching a landing and continuing up as a single stair; steps and risers inlaid in contrasting wood to emulate carpet; busts of Francois-Marie Arouet, called Voltaire (1694-1778), and Jean-Jacques Rousseau (1712-1778) made of Sèvres biscuit porcelain on newel posts at top.
Design for a Rectangular Table with Ball-and-Claw Feet
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular molded table top raised on support of  4 [3 shown] clustered columns sitting atop a molded and carved base terminating in carved ball-and-claw feet.
Knights confessing their Christianity to Emperor Maxentius
, 15th century
silk, gold thread Technique: embroidery
Roundel

Five small roundels embroidered in colored silks and gold.  Three illustrate scenes from the legend of St. Catherine of Alexandria;  two other scenes from the life of St. Martin.
Album of Designs for Furniture and Ornament
Jean-Baptiste Huet, French, 1745 – 1811, 1780–85
Album

Album of designs for furniture and ornament by J.B Huet from a published collection of twelve books of designs contianing 48 sheets, published by Demarteau adn printed in crayon-manner in red ink.
Border
, 1875–1920
Block-printed paper

Central band of pink knotted ribbon on a striped green moire background. Printed on a herringbone-embossed paper. Background is overprinted with a mica wash which creates a sheen.
Seau à rafraichir executé pour M. le Duc en 1723 [Wine Cooler made for M. le Duc (Louis-Henri de Bourbon in 1723], pl.. 58 in Oeuvre de Juste-Aurele Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off-white laid paper
Print

1921-6-212-22-a: Covered tureen (and stand) with a swirling shape, ...;     1921-6-212-22-b: 1st state. Wine cooler decorated with mythological...
Fragment
, late 19th century
silk Technique: continuous (ivory) and discontinuous (polychrome) suplementary wefts plus supplementary warps (ivory) in a plain weave foundation (ivory)

Fragments of an all-over pattern made up of a bunch of roses with trailing floral vine and a fine detached flowering vine arranged in a group.  The groups are placed side by side and reversed end to end to counter balance movements.  Polychrome pattern on an "ivory on ivory" geometric-patterned background.
Aryballos
, 7th century to 6th century B.C.
Terracotta with painted decoration

Small spherical jug with flat mouth and strap handle. Surface decoration of male siren or a bird with bearded male head, blob rosettes of different sizes; petals or toungues on shoulder and around depression at base; black band on edge of mouth; purple on central part of wings; no traces of added white.
Design for Six-Legged Rectangular Dining Table
A.N. Davenport Co., 1900–05
Pen and black ink, graphite on thin cream paper
Drawing

Rectangular table top with dividing stretcher running across center, raised on 6 [5  shown] plain, straight, tapering legs on cup casters; legs clustered in pairs, one pair on either side and one pair center.
Sidewall
, ca. 1810
Block printed on handmade paper

Octagonal coffers printed in grisaille with green inset, surrounded by white lacey floral and anthemia design. Honeycomb pattern on verso.
Album of Prints: Book of Vases by François Boucher
François Boucher, French, 1703–1770, 1772–79
Book

Bound album of the Livre De Vases (Book of Vases) by François Boucher, the title plate from the book's second edition, the eleven plates in red from the book's first edition. Plates 2-12 are all on quarter sheets and show in the upper margin two pin holes. Plate 1, the title plate, is remargined, and the series is placed by the collector in a half blue linen binding with marbled boards. At front cover, Léon Decloux bookplate with cartouche, the number inscribed in pen and red ink.
Design for Wall Decoration, Yellow (North) Drawing Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1815
Brush and watercolor, graphite on white wove paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Elevation of a wall. A series of five painted Chinese pictures are seen against a neutral yellow background, pairs of smaller paintings flanking the large central one. The central panel is enclosed in a painted frame, upheld by a bird with bright plumage. A painted railing below, section of molding above.
The Descent from the Cross (The Deposition), from The Little Passion Series
Albrecht Dürer, German, 1471–1528, 1509–11
Woodcut on off-white laid paper
Print

A figure on a ladder supports the limp figure of Christ as he is gently taken from the cross. The Virgin and Saint John stand at left, two figures at right. Monogram of Dürer in foreground, center.
Sidewall
, 1905–1915
Machine-printed paper, ribbed

Bold pink stripe printed on silver mica ground. The broad pink stripe contains a floral band. This alternates with repeating floral medallions an dpink stripes on the mica.
Border
, 1750–1800
Block-printed on handmade paper

On gray ground, pattern in black and white beadwork edging and of zig-zags spaced by flowers.
Textile
, 19th century
cotton Technique: printed by engraved roller on plain weave

Unevenly shaped fragment, roller printed; background minutely striped in grey; cluster of pink flowers with blue-grey foliage, and white foliage in background.
borders
, 1815–25
Block-printed, handmade paper

Two borders printed side by side on the length of paper. Central motif is a mirror image of a modified scissors scroll decorated with elements derived from pineapple, bay and palm leaf. This motif is enclosed by black lines ending in Greek Key patterns. Above is a string of leaves, below, a band of grape leaves. Yellow and black on chocolate ground.
Trimming
, 19th century
cotton, wool Technique: plain weave patterned by extra warp floats and extra weft loops for fringe

Red and green wool fringed scallops on a neutral foundation with a fine light blue stripe.
Medallion fragment
, 13th century
silk on linen Technique: embroidered

Fragment of a diamond-shaped medallion with an interlacing pattern in blue, red and off-white.
Hyacinths: I.S.R. Gigantea and Général Pelissier, Plate 115 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Hyacinths: I.S.R. Gigantea and Général Pelissier" from A. C. Van Eeden's "Flora of Haarlem."
Half-length Sketch of an Elderly Pilgrim
Agostino Carracci, Italian, 1557 – 1602, 1575–1600
Pen and brown ink on cream laid paper
Drawing

Half-length, elderly bearded man, facing half left, holds a walking stick in his right hand and clutches a string of beads in his left. A sketch of what appears to be a skull appears on the upper right.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Small and stylized flower and leaf motifs of varying sizes and shapes. Intersecting short and thin vine-like (green) lines. Background of dots. Cream ground. Printed in pink and green. 
Printed in selvedge: "Carey Bros. W. P. Mfg. Co."
Chrysanthemum Pattern Luncheon Fork
Charles T. Grosjean, American, d. 1888, ca. 1880
silver
fork

Four elongated tapering tines. Notched edge on the root, tapered neck, widening to silver handle of curving, ungulating shape, covered in a relief pattern of overlapping foliate scrolls and chrysanthemum buds, with engraved "B" in the central reserve in terminal. Rounded terminal, topped with chrysanthemum flower. Reverse side densley decorated with overlapping foliate scrolls and chrysanthemum buds.
Sidewall
M.H. Birge & Sons Co., 1834, 1890–1920
Machine-printed

On white ground, green stripes with rosettes at intervals. Green vines, yellow flowers along stripes.
Desk Clock
Edward F. Caldwell, ca. 1900
cast and gilt bronze, blued steel, glass, enameled metal
clock

Round desk clock; case has a border of overlapping oak leaves and acorns above ribbon-tied cord and a beaded bezel
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, applied mica flakes

Flitter ceiling paper with large floral wreaths linked with smaller foliate wreaths. The red roses are outlined with mica flakes while the foilate wreaths are printed in gold mica flakes. Printed on off-white
Sampler
, 1771
silk and metal-wrapped silk embroidery on linen foundation Technique: embroidered in cross and four-sided stitches on plain weave foundation

Motifs and mottos with crucifixion in the center.  Religious texts.
Chalice cover
, 18th century
linen Technique: bobbin made continuous tape with net added

Chalice cover edged by border of Milanese lace of large and bold floral pattern.
Border
, mid-18th century
linen Technique: bobbin lace, Mechlin style

Border with a floral garland intertwined by ribbons.
Sidewall and border
, 1870–90
Machine-printed ?

Sidewall paper in the Aesthetic style, with all-over patterning of leaves and flowers, printed in gold and off-white, with heavy outlines, on off-white ground. The border is a stylized floral design, possibly printed in an Indian style, printed in browns on off-white.
Textile
, ca. 1710–20
silk Technique: damasse: 7&1 satin (4) and 1z7 twill

Tan silk woven with curving ribbon and floral pattern.
Sketchbook Page: The Division of Priests
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Notes on the division of priests, and divisions of women employed in the service of the gods. 
Verso: Note about Ancient Egyptian gods in triads. Two sketches of Egyptian priests with bald heads, facing left, one in a leopard skin.
Textile
, 18th century
silk

Red satin brocaded in small scale flower design arranged in horizontal rows, the blossom tilted in alternate direction in alternate rows. Colors yellow, outline din dark blue, green for leaves. Cord: worn. Received as trimming borders for table mats made from  1966-30-3 & 1966-30-8a
Vest
, late 18th century
silk, indigo Technique: stencil-applied rice resist, indigo dyed (katazome) on plain weave

Woven silk vest with stencil-applied resist pattern of lanterns and flowering vines in indigo. Ground covered in delicate white lines, suggesting wood vein or mokume. Collar with brown, cream and navy plaid. Blue and green panels at sides. Lined with bright pink silk (much pieced); interlined. Basting stitches suggest repair or remaking.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Square molded tile made of white clay. Tile back has design of raised concentric circles framing 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 central rosette framed by plain narrow border. Tile is painted mustard-green crackle glaze.
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Horizontal repeat of large and small Art Nouveau inspired blossoms. Each frilly blossom grows from a stem, is framed by undulating leaves and sprouts a cloud of smaller green flowers. A wavy pattern of colorful, interwoven linework follows the bottom edge of the panel. Thin outlines of the blossoms and linework border appear to be off register, but this may be a purposeful design choice. An allover grid pattern formed of dashes and broken lines give the panel the appearance of a woven textile. This design was printed in shades of green, blue, magenta and tan on a beige background.
Sidewall - sample
, 1906–08
Machine-printed

Floral stripe design. Lavender flower on stem printed between two green stripes, on a blue background.
Modo de Volar (A Way of Flying), plate 13 in Disparates (Proverbs)
Francisco de Goya y Lucientes, Spanish, 1746 - 1828, 1865–66
Aquatint and etching on white wove paper
Print

Multiple views of a man attached to a winged flying apparatus with the head of a bird. Each view shows the user and apparatus from a different angle and type of flying motion.
Sample
, 19th century
silk, gilded paper Technique: plain weave with supplementary weft (?)

Brown gauze with asymmetrical spaced arcs and dots in gilded paper. Fabric in upper half in pale green strie; lower half is green with bold angular white decorative lines.
Sketchbook Page: Man in Profile
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Portrait of a man in left profile.
Casket
Frances Basnet, 1654
wood, silk, glass beads Technique: wooden casket covered with satin fabric and embroidered with glass beads Label: wooden casket covered with silk satin and embroidered with glass beads

A beaded casket with a hinged top and two doors which open to show a series of small drawers. The wooden frame is covered with white satin and beaded with many colors of glass beads, strung on linen thread in a simple looping structure. The doors are lined with green silk and the whole is trimmed with silver braid. The arms of Basnet appear on the left door and the arms of Dand on the right. On the top is a scene of four figures visiting a royal personage, and the remainder is covered with flowers and birds.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Quatrefoil shapes made up of a center fleuron, a wreath of foliate scrolls, and foliate scrolls tendrils. Quatrefoil shapes are connected by another fleuron, and there are dotted star-like motifs in the resulting negative spaces. 
Printed in selvedge: "S. A. Maxwell & Co. New York & Chicago 2521 J"
Printed in other selvedge: "Exclusive Design 21"
Winged female figure with decorative scroll
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Winged female figure holding a scroll, part of which extends out of the frame of the drawing. Her wings are spread and her legs are bent to her right.
Ceiling paper
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper, liquid mica

Foliate quatrefoil shapes forming a trellis pattern. Printed on background of zig-zag stripes.
Ersten Ausgab seines vorhabenden Wercks
Johann August Corvinus, German, 1683–1738, 1728–31
Engraving on cream laid paper
Print

Plate 4. Design for bedroom and bed with heavy curtains suspended from an unsupported canopy. Head and foot boards are elaborately carved and include sphinxes ending in scroll work. At right a standing case clock projects clock face onto opposite wall.
Knife
, ca. 1730–50
Steel, glass beads, thread

Scimitar-shaped blade. Tapered handle decorated with multi-colored glass beads; floral pattern in green, blue, brown and yellow on white ground.
Box and cover
, 19th century
lacquered wood

Cylindrical box with cover, made of a segment of a bamboo stem. Ferns in gold 'hira-makiye' lacquer on ground of 'shunkei-nuri' (reddish-brown) lacquer. The depressions in top and underneath are due to formation of the node of the bamboo segment. The ferm is a symbol associated with Japanese New Year's ceremonies.
Houses by the Shore in Nantucket
Arnold William Brunner, American, 1857–1925, ca. 1890
Graphite, brush and watercolor on paper
Drawing

Groups of small houses in the foreground, seen from a high vantage point. Sailing ships in the background.
Headpiece
, early 19th century
metallic yarns, silk, sequins on cotton foundation with linen backing Technique: embroidered with padded satin stitches on satin weave

a: Flat headpiece with rounded top and base with five prongs. Black silk satin densely embroidered with sequins and metallic yarns in symmetrical design of flowers and leaves.
b: Second cap-piece of the same fabrication. Made to be fastened to the top and back of the head.
Sidewall
, ca. 1900
Machine-printed

Stylized design of leaves, vine, and large flowers. Printed in olive green and maroon on beige ground.
Irises on Banded Ground
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Iris (shobu) is a popular motif in Japan. The alternating banded ground in an elongated checkered board pattern illustrates the ground in light and dark zones.