biglam/cooper-hewitt-alt-text huggingface dataset:
Textile
, late 17th–early 18th century
silk Technique: damask weave with discontinuous supplementary weft patterning (brocaded)

Ivory white silk brocaded with rose silk, now faded, green silk, and silver. Satin weave ground with complete background pattern of foliage and scrolls in transverse rib, supporting the main design of a symmetrical scrolling vine in silver and green. A large fruit form and horn-shaped element  with diagonal repeat in the 'bizarre' style. Small flower clusters fill interstices. Both selvages present.
Girl in a Wicker Chair
Irving Ramsey Wiles, American, 1861–1948, ca. 1890
Brush and watercolor, graphite on illustration board
Drawing

A woman, dressed in clothing from the 1890s, reclines in a wicker chair, a table with still life behind her. Another table with a tea pot and cup is lightly sketched in graphite, lower left.
Border
, late 18th century
linen Technique: bobbin lace, Mechlin style

Straight lace with a border of open scrolls and flower heads containing decorative filling stitches. Remainder of field is sprinkled with tiny sprigs.
Large Trees on Rocks by a Shallow Stream
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

Large trees stand on rocks bordering a shallow stream, left, beyong which is a village. A man with a mule approaches at the right.
Sampler
, 1793
silk embroidery on linen foundation Technique: embroidered on plain weave

Alphabets, numerals, crowns, trees, a ship and birds.
Fringe
, 18th century
silk Technique: woven

Fringe with a yellow and tan plain-woven heading. Skirt threads of yellow and tan are looped and twisted.
Textile
, 18th–19th century
silk, cotton, metallic foil Technique: satin weave

Coarse white satin with design in silver foil of horizontal-vertical continuous repeat of pointed-arm crosses in a continuous interlaced framework. Eight-pointed stars, formed by interstices, are decorated with tracery.
Festival given by the City of Paris on the occasion of the marriage of the Dauphin, later Louis XVI, and Marie Antoinette.
Pierre Louis Moreau Desproux, French, 1727 – 1793, ca. 1770
Pen and ink, brush and white gouache and watercolor.
Drawing

A pavillion topped by an obelisk forms the center of the structures. It stands on a podium bordered by a balustrade which statues of genii on pavilions interrupt. At left rises a facade, the rear of tribunes. A domed building stands in the center of the opposite end. A large crowd is assembled. Bottom center: the coat of arms of the Dauphin.
First View of Pyrmont in Waldeck
Peter Mazell, Irish, 1761 - 1797, 1782
Engraving on paper
Print

A broad  valley seen from a height. Rolling hills in the distance. Numerous figures in the foreground.
Cutlery case
, 1799
Wood, parchment

Long shaped faded red case enriched with stamped designs of scrolls, flowers, flowers in a vase, the letters T G b L above and T Sch with the date 1799 below, all within a border of repeated flowers. Lined with kid.
A fountain designed for a parade in Reggio, Italy: "Machina della Confraternità de' Crocesegnati presso S. Domenico" (The Apparatus of the Confraternity of the Sign of the Cross at the Church of St. Dominic). Plate 3 from A. Isacchi, "Relatione di Alfonso Isachi intorno l'origine, solennità, traslatione, et miracoli della Madonna di Reggio [...]" published by Flaminio Bartoli, Reggio.
, 1619
Engraving and etching on cream laid paper
Print

A fountain: a tiered structure, raised on platform, decorated with signs of the evangelists and topped with an image of the Virgin and Child. Printed in black, inside a paper scroll above: "Machina della Confraternità de' Crocesegnati presso S. Domenico  à car. 71 no 20" or The Apparatus of the Confraternity of the Sign of the Cross near S. Domenico, page 71 no. 20.
clasp and buckle
, 19th century
Silver gilt

Sold???
Waistcoat fronts
, 1740–50
silk, metal thread Technique: supplementary warp floats and discontinuous supplementary wefts (brocaded) in plain weave foundation

Two waistcoat fronts with a coral-colored foundation with small, all-over floral design. Ornamented at the center front  and lower edges and pockets with gold metallic cornucopias and sprays of polychrome silk flowers. In seven colors of silk and three different metallic yarns.
Title Page, from "Nouveau Traité des Cinq Ordres d'Architecture"
Charles Dupuis, French, 1733 - 1792, 1766
Paper
Print

A standing frame, top center: five columns in an escutcheon; bottom center: escutcheon with the address of the publisher.
Edge
, 19th century
linen Technique: bobbin lace (late twisted Valenciennes ground with Brussels motifs)

Border resembling Valenciennes type, but made in Belgium. Design of floral, leaf and scroll forms. Twisted Valencienne ground hooked into Brussels motifs.
Sketches of Female Nude and Hands
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Sketch of female nude in upper left, laying back toward the right, arms outspread. At right, two small, rough figure sketches.  Sketches of arms and hands around.
Band
, early 16th century
linen Technique: supplementary warp floats in a plain weave foundation

Narrow band patterned by an alternating geometric blossom and geometric leafy branch or vine in blue and ivory.
Fragments
, 17th–18th century
silk Technique: raised supplementary warp on satin foundation (velvet)

Red uncut velvet on white satin ground. Curving lines enclosing vases and bouquets.
Sleeve ruffle
, 18th century
linen Technique: bobbin lace, discontinuous tape

Design of scrolling stems with leaves and flowers, running to the right and left from central ornament.  Ground has an openwork design (vrai droachel) worked in several directions.
Band
, late 19th century
cotton Technique: bobbin lace

Band of bobbin lace in a provincial style has rows diamond shapes, alternately open with ovals in the center, and others closely worked giving the appearance of plain weave.
Fragment
, late 17th–early 18th century
silk, metallic yarns Technique: satin weave with supplementary weft patterning (brocaded)

Fragment of brocaded silk damask in the "Bizarre" style. Red ground with details brocaded in metallic yarns and yellow, green and white silk, showing foliate curves, flowers and gourd-like shapes. Both selvedges present.
Border
, 1840s
Block-printed

Printed three across, white floral spray and red leaves, heavily shaded.
Drawing Room of a Sportsman
Emanuel Stöckler, Moravian/Czechoslovakian, 1819 – 1893, 1856
Brush and watercolor, gouache on white wove paper
Drawing

This view, dominated by horse paintings, indicates a room belonging to a sportsman or racing enthusiast. However, the use of matching blue-and-white upholstery fabric on the Rococo Revival furniture and in the window swags is not especially masculine. On the left, a trellis screen appears to enclose tall potted plants. Both the slant desk and flattop desk are inspirations of the Biedermeier period.
NOUVEAU LIVRE D’ORNEMENTS Inventés par P. Ludovik. 1768
P. Ludovik, French?, active mid 18th century, 1768
Print

Album with six plates of rococo ornament designs featuring cartouches, rocaille scrolls, shells, scrolling leaves, and military emblems. Bound in a three-quarter cloth and marbled paper boards, gold tooling on spine with green leather lettering piece with ‘P. Ludovik 1768' tooled in gold. The plates are signed and numbered. The title page is dated.
 
Drawings in reverse are in the Waddesdon Manor, The Rothschild Collection (National Trust), England. There is no record of a P. Ludovik or Ludwig active at the time. It is suggested by Alastair Laing that these designs may have been by the publisher Mondhare. Some of the drawings at Waddesdon are signed ‘Babel f.' and have been attributed to P.E. Babel by Peter Fuhring.
Bowl with cover
, 18th–mid-19th century
Glazed earthenare, transfer printed decoration

Pedestal bowl with two strap handles; shallow, bell-shaped lid with ovoid finial; circular under-plate; all having yellow ground with black transfer decoration, bowl showing house in landscape; floral decoration on foot and lid.
Album of Prints: Second Book of Arabesques For Use by Artists
Michel, French, active 18th century, 1780-1784
Album

Album of prints containing the Second Book of Arabesques for Use by Artists, designed by Michel and engraved by Jacque[s] Juillet. Other than the title page, the plates are not signed; none of the plates are numbered.
Album of Ornament and Furniture Designs
Henri Sallembier, French, ca. 1753 - 1820, 1777–78
Album

An album containing eight series of ornament and furniture designs (console tables, cartel clock cases, vases, candlesticks, frames, and mantels) featuring neoclassical motifs. The plates are numbered. Bound in a 19th-century leather binding decorated with gold tooling on the covers. Lettered in gold on the spine: SALLEMBIER 1777. With marbled paper pastedowns and leather turn-ins with gold tooling.
Basket-Shaped Dessert Dish with Boat Scene
John Ridgway, English, ca. 1785 – 1860, ca. 1835
porcelain, vitreous enamel, gold
dish

Pair of shallow, pale blue dishes, roughly rectangular with wavy, pierced edges and twisted, c-shaped handle in center; each dish resting on six feet.  A different, detailed marine painting surrounded by heavy gilding on each dish.
Album of Ornament Prints
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764–71
Album

Album containing two series of ornament prints after Petitot: Masquerade in the Greek Style and Suites of Vases.
knife
, ca. 1618
silver, steel, gilding

1962-58-11-a/c: Knife (a): straight sided tapering handle engraved...;     1962-58-11-a: straight sided tapering handle engraved with figur...;     1962-58-11-b: Knife with straight sided tapering handle engraved...;     1962-58-11-c: For catalogue information, see 1962-58-11-a,b.50
Apostle Spoon with St. Thomas or St. Matthew Finial
, ca. 1661
gold plated, silver
spoon

With a long slender handle rectangular in section, terminating in a slightly oval bowl. Handle tapering slightly and terminating in finial of cast figure of an apostle apparently holding a carpenter's square, generally associated with St. Thomas, although earlier representations of St. Matthew also showed him with such a square.
Album of Prints: Two Books of Vases by Juste-François Boucher
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Album

Album containing two Books of Vases by Juste-François Boucher. The first series of seven vases is signed and numbered; the second series of eight vases is not signed but has numbering in graphite additions. Both series have the same title and were printed by the same publisher.
Apostles
Charles Meigh, English, active 1812 – 1861, 1842
Glazed stoneware, Britania metal
Jug with lid

Highly decorative cream jug with detail on the body, spout and handle. The center has panels depicting figures in an outdoor scene. Jug has a hinged metal lid.
Towel
, 18th century
linen Technique: embroidery using raised knotted stitch

Rectangular white panel or "paño de ofrenda" embroidered on four sides with bands of scrolling shapes.
Ceiling paper
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Lavender and purple clusters of flowers staggered on tan ground.
Design for a Painted Porcelain Plate, Les Lys (Lillies) from the Service de la Culture des Fleurs (Flower Cultivation Service)
Jean Charles Develly, French, 1783 - 1849, 1821–24
Pen and brown, black ink, brush and wash, white gouache, graphite on tan paper mounted on blue-gray paper
Drawing

Scene in front of a church, possibly on Assumption Day (August).  A procession of parishioners file out of the church, right background, led by acolytes holding banners with images of the Virgin.  In the right middleground, a group of three female figures receive lily branches (a Virgin symbol) from a man, center middleground, who is distributing the flowers from a planted terrace.  A young boy, behind the man, smells a lily; another boy, left middleground, observes the scene from the top of a brick wall that is decorated with the French coat of arms.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Art nouveau / mission style. Bands with small floral motifs and large vase-like medallions containing stylized pink flowers alternating with stripes of varying sizes and band of lag and feather. Background of small vertical dashes in groups of three. Printed in green, pinks, blue-grey, light yellow and metallic gold on beige ground. Printed in left selvedge: "S.A. Maxwell & Co. 2192"
Christ before Herod, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, 1509
Woodcut on paper
Print

Interior, with Herod seated on a throne at right, facing left. Christ s stands before him, facing right in profile. He is attended by soldiers and others. Monogram of Dürer and date 1509 on tablet, lower left.
Butter Spreader from Rockledge Service
George Washington Maher, American, 1864–1926, 1911–12
silver
knife

Butter spreader, part of flatware service designed in "Martelé" silver for "Rockledge Estate" in Winona, Minnesota. Flat, rounded, and curving blade with curved tip. Waisted join, leading thick flat handle, with gently rounded sides, widening towards terminal. Obverse and reverse decorated with lily motif within border, stemming from join of handle continuing up handle with three sets of mirroring leaves on either side of central stem, terminating in mirroring lily blossoms encasing mongram 'EKG.' Terminal in form of segmented or flat arch. Textured hammered surface visible throughout handle.
Tigridia Conchiflora Var. Canariensis, Plate 86 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "SPECIES" from A. C. Van Eeden's "Flora of Haarlem."
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Seemingly random placement of floral springs with purple flowers. Printed on pale green ground.
Border
, 1810–35
Block-printed and flocked on paper

Between striped edgings, the wide central band contains flowers enframed by cartouches which are separated by garlands of flowers. Each cartouche has eight points alternating between palmettes and rosettes/acanthus leaves. The background is flocked. Printed in yellow, gold, green, blue, red and pink on a purple flocked background.

H# 433
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plate

A plate with a wavy, brown-edged rim. Botanical decoration of a Magnolia. Thick purple and green stem with yellow, green, and purple lanceate leaves. Large flower with yellowish curling petals and cone-shaped purple and green pistil. Sprigs of yellow and blue flowers. Two large butterflies, one moth. The decoration after Georg Dionysius Ehret (1708-1770), PLANTAE SELECTAE, 1770-1773, Tab.IX,  "Magnolia..."
Textile
, 1850s
cotton Technique: printed on plain weave

Straight repeat of two offset ecclesiastical scenes: a. Bishop celebrating mass under canopy; b. Priest blessing children under Gothic styled arch. Winged cherub heads fill spaces between scenes. White fabric printed deep purple for pattern and yellow for background.
Sketches of Trees and a House
Remigio Cantagallina, Italian, ca. 1582–1656, 1610–30
Pen and brown ink on cream laid paper
Drawing

Upper left: sketch of a bit of wooded landscape; upper right: a corner of a garden wall; bottom center: a small house, with smoke issuing from the chimney; bottom right: a tree branch.
Sidewall
, 1880–1920
Machine-printed

Very fine lined vertical stripes, printed in red, green, brown and mustard, overprinted with fine curly lines of white and tan, on off-white ground.
Sketchbook Page: Two Heads
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Two sketches of the head of a bearded man, one in right profile and one seen frontally.
Fragments
, 18th–19th century
silk Technique: plain compound weave

a) Red ground with lozenge pattern with flowers and squares. Large chrysanthemums. Patterning in blue, green, and red. Edges are finished with black fabric and white stitches. 
b) red ground with all over small green grid pattern of alternating circles and diamonds. The circles contain a Chinese character. Diamonds contain an illegible geometric shape.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Art Nouveau / Mission Style. Alternating large bouquets of three flowers with small singular flower, all with large curling leaves. Connected by foliate scrolls, and framed by large beaded dentil pattern. Top has striping and a horizontal line of small beaded diamonds, below which is a trelis design made up of dashes. Bottom has striping and beading. Background in bottom half has beaded diamonds. Ground goes from tan to cream. Printed in greens, browns, dark red, cream, and white liquid mica. Forms are outlined with beading/dots. Printed in top selvedge: "S. A. Maxwell & Co" Pattern Number: "3426" "B"
Fragments
, early 18th century
silk, metallic thread Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation

Medium sized, close-set repeat of flower sprays in cut and uncut velvet in shades of green, white, tan, mauve and pink with metallic gold threads in the ground.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repeating design of interconnecting geometric flowers, leaves and stems. Upon a beige tan ground overlaid with a darker brown linear system, interspersed by dots of pale turning into darker green, within complementary borders. Printed in yellow, ocher, tan, beige, olive green, forest green, brown, bronze and white.
British Institution, Pall Mall, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Room hung with paintings; two other rooms beyond. In center, a table with paint and palettes; men and women at easels, working. Title, artists', and publisher's names below.
Plate (One of Three)
Manufacture de Nast, French, founded ca. 1783 - 1835, ca. 1800
hard paste porcelain, vitreous enamel, gold
plate

Vieux Paris? cornflower design on white porcelain plate.
Pleated fan and case
, ca. 1762
Gilded and gouache-painted skin leaf; mother-of-pearl sticks with metal foil, wood box lined with silk

Gilded and gouache-painted skin leaf. Obverse in grisaille: female and warrior figured laying flowers upon a tomb. Reverse in grisaille: Italian landscape. Sticks and guards, pierced mother-of-pearl with metal foil, showing putti with birds.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Stylized flowers resting on metalic gold platforms interlaced by foliate swags. Alternating bouquet and single flower pattern on bottom. Green and gold stripes on top and bottom.  Printed on green shaded background that is darker on the bottom and lighter toward the top. Printed in green, metalic gold and burgundy.
Decanter and stopper
, ca. 1810
Glass

"Ship's decanter" type. Broad, flat base with cut comb flutes. Long tapered flutes interrupted by 3 flat neck rings. Flat projecting lip. Cut target stopper, with fluted neck.
Candle holder
, ca. 1730
Iron wrought

A tripod base with simple, flat feet. Small knob halfway up the stem. Handle with ball finial.
Band
, 17th century
silk on cotton Technique: chain stitch embroidery

Band with a design of a blue diagonal lattice enclosing yellow circles.
Border
, 1825–75
Block-printed

Butterflies amid poppies and grasses. Scalloped band of circular motifs across bottom.
Stormy Seas at Minot's Ledge Lighthouse
William Trost Richards, American, 1833–1905, ca. 1870
Brush and black ink, white gouache on wove paper, mounted
Album page

Stormy seascape with high waves crashing against lighthouse at right.  Schooner visible on the horizon, center; storm clouds echo churning seas.
Border
, 19th century
cotton Technique: cross stitch embroidery

Valance or border in heavy white cotton embroidered in dark blue cotton in a design of five large detached roundels containing highly stylized plants and animals. Border has a design of stylized flowers.
Ten of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Ten of Spades playing card from a pack of transformation playing cards. Vertically, a scene of devil and demon creatures and figures, spades integrated into their torsos. Many figures are hybrid monsters with tails or wings. One wields a pitchfork, and one flies on a broomstick.
The Needles from Alum Bay
I. W., active 19th c., 1820–1830
Brush and gouache on sand, glued to paper, mounted
Picture

View looking toward the Needles on the Islt of Wight, across the Solent. A deep ravine is shown in the foreground. Inscribed on the mount, in ink: "Drawn with Alum Bay sand -- The Needles from Alum Bay / I W."
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Landscape frieze with view of trees and horizon in the background, while a meandering row of pink flowers is in the foreground.
A Hunt Scene
, 1600–1630
Pen and ink, brush and gray wash on paper
Drawing

A woman and man on horseback converse, as a hunt takes place in the left middle distance. Two figures and two dogs in the foreground. Horseman with falcon at left.
Fragment
, 17th–early 18th century
silk, metallic yarns Technique: twill weave

Narrow band showing repeating pattern of flowers and birds.
Sidewall
Carl Herting, German, 1862–65
Block-printed, gold foil applique, silver

Drop-repeating gold quatrefoils centered with formalized gold foil flowers and leaves. The spaces between are embellished with foliate arabesques and flower medallions, all the elements being connected by beaded strapwork in grisaille.
Les Huguenots
Pignet et Cie, ca. 1850
Block-printed on paper
Scenic

a) Interior view of chapel with large amount of Gothic architectural elements; figures at bottom clothed in brightly colored costumes, b,d) right half of a Gothic arched window ending with two caryatid supports, view outside window incoludes distant mountain, palm trees, and a single building, c) Gothic fretwork containing narrow painted arches, head of caryatid.
Lovat's Ghost on Pilgrimage
Samuel Ireland, English, ca. 1744–1800, 1794
Mezzotint on paper
Print

Scene of a cemetery at night.  The headless figure of the ghost of Simon Fraser, 11th Lord Lovat, walks in foreground towards the left wearing a monk's robes.  He holds his head in his left hand and a walking stick in his right.  Beneath the image is the title: Lovat's Ghost on Pilgrimage, followed by a satirical poem: Disguis'd thro' Life, a Layman at ye block, Doom'd for Crimes in Pilgrimage to Roam, Where Vanity Inscribes my Father's Tomb, My headless Trunk resumes ye Monkish Frock, With Weary Steps, I Seek my Native Home, But Justice Now Denies my Carcase Home. (Design formerly attributed to Hogarth)
Stokesia Cyanea, Plate XLII from Edward George Henderson's "The Illustrated Bouquet"
Mrs. Withers, English, active 19th c., ca. 1857–1864
Chromolithograph on paper
Print

Stokesia Cyanea, Plate XLII from Edward George Henderson's "The Illustrated Bouquet."
Sampler
Augustina Barero, 1802
silk embroidery on linen foundation Technique: embroidered in satin, cross, back, chain, running, four-sided, and buttonhole stitches on plain weave foundation

Center field of with a cross, confronted lions, and spot motifs, framed by inscription and concentric bands of geometric patterns, embroidered in pale shades of blue, green, yellow, terra cotta and pink on a natural ground. A square on each corner and the center of each side contains a floral motif.
Trimming
, 18th century
gold metallic foil and gold metallic foil wound onto yellow silk Technique: bobbin lace

Wide ribbons densely placed in a serpentine pattern.
Nine of Diamonds from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Nine of Diamonds from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.