biglam/cooper-hewitt-alt-text huggingface dataset:
Portrait, framed devotional
, late 18th–early 19th century
quillwork

Oval miniature of Dominican Tertiary, crowned with roses and holding crucifix, against blue background. Surrounding gilt paper scrollwork, bisymmetrically arranged, with flowers laid out of white and yellow glass beads, and cotton balls with minute splinters of saints' relics, each with label.
Bracelet
, ca. 1850
Cast, wraught, pierced, chased and partly enameled gold set with stones

Cuff type bracelet, rococo scroll and trellis decoration, the underside with pierced rectangular and quatrefoil bands.
Fortified Building by a Stream With a Large Water Conductor
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A fortified tower stands at the water's edge, beside which is a large fulcrum for lifting water up to a high platform. Ducks swim in the left foreground.
Woman Seated on Chair
Victor Wilbour, ca. 1920
Pen and red ink, crayon or colored pencil on board
Drawing

Woman seated on a chair under a tree, right, with a bird on her hand; left, a dog, and a wall. Beyond, a lake with a boat, then a tower on a mountain. Shield and mask, upper left.
Textile
, 18th century
cotton Technique: relief printed

Cream white cotton, block printed in large scale naturalistic flower design in allover clusters; iris, lily, amaryllis, daffodil, and pineapple. Shades of red, dark purple, brown, blue; remains of yellow, now faded, show in sections of leaves, indicating combining of yellow over blue for green. A background printing of fine small scale foliage, in shadow effect, light brown.
Vase, plate 18 of "Suite de Vases"
Benigno Bossi, Italian, 1727 – 1792, 1764
Etching on laid paper
Print

An unadorned hexagonal vase is covered by a turtle which forms the lid, handle, and spout.  Its tail curves down forming the handle, spout pours from its mouth, and the cover is formed by its shell with legs protruding beneath.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Ground, molette printed in blue, of vertical stripes forming large diamond pattern; centering each diamond is a spray of blue forget-me-nots, three red rosebuds and blue leaves (a darker hue of the ground color).
Peep-Show Print, Vedute e Maraviglie di Roterdam
Engraving, brush and wash on paper
Print

Peep-show print.
Portrait of Frederick Augustus, Duke of York
H. R. Cook, ca. 1830
Stipple and line engraving on paper
Print

Bust length portrait of Frederick Augustus, Duke of York (1763-1827), second son of George III. His is shown facing frontally, his gaze directed to the left. Below, engraver's, artist's, and publisher's names.
Fragment
, 17th century
silk, metallic, cotton Technique: plain weave with supplementary weft bound in plain weave.

Two fragments sewn together. Symmetrical arrangement of plant forms.
Fragment
, 16th century
silk, metallic Technique: supplementary warp forming raised pile in plain weave foundation with supplementary wefts

Scale pattern on gold ground.
Border
, early 18th century
linen Technique: bobbin lace (Binche style)

Bobbin lace sample, floral vine; early 18th century Binche
Fragment
, 17th century
silk Technique: canvas with velvet applique and embroidery

Design of horn of plenty, swinging branches and flowers worked in Florentine stitch and velvet applique.
Brillion Collection
S.A. Maxwell & Co., 1905–1915
Machine-printed paper, applied mica flakes
Frieze

Flitter frieze, with large and small acanthus cartouches, alternating, surrounded by and containing rose garlands, against ribbon-like bands. Bottom edge has roses against dentilled pattern enclosed with a band of three stripes. Top edge caps a scalloped band of rose-and-leaf garlands. Background: Jade green blended to buff, then to pale celadon. Pattern: Teal blue, coral, pink, rose, white, light and dark olive, magenta, gold mica flakes.
Border
, ca. 1850
Block-printed

Large pink rose alternates with small bouquet. Pale blue gray ribbon in background. Gold edge. Printed two across.
No. 132
Professor Josef Storck, Austria, 1830 - 1902, 1870
Mouth-blown crystal, facet-cut and polished
Wine glass

Mouth-blown crystal wine glass, facet-cut and polished (without engraving).
A Room in the Governor's Residence, Hermannstadt
M. Sekim, 1841
Brush and watercolor, gouache with accents of gold paint on paper
Drawing

This room in the residence of Governor Baron von Wernhardt is in the Viennese Biedermeier style. The man in military uniform in the large portrait on the right is presumed to be Ferdinand I (1792-1875). The three windows at the rear are dressed in white curtains; flowered bolsters on the sills serve to block the cold, mountainous weather. The cabinets, banquettes, mirrors and sidetables are of stark 1830s Biedermeier design, as is the bare parquet floor. The occasional chairs display the curved line of the Rococo Revival. The walls are papered in a large patterned stripe.
Border
, 18th century
silk embroidery on linen foundation Technique: embroidered in running and chain stitches on plain weave

Narrow strip cut from a bed curtain, with design of pairs of leaves in red, green, purple and grey on natural.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

On gradient ground of tan and green alternating small and large abstract shapes that look like hanging chandeliers and vases with bouquets of brown flowers and green vines.
Bowl
Metaale Pot [de] (the Metal Pot Factory), 1679–1691
Tin-glazed earthenware

Circular bowl with wide rim; painted in underglaze blue with dark outlines (trek), in center with chinoiserie bird and floral spray, around the rim with floral border; on back several rings of blue and trek circled around foot rim.
Sidewall
, 1900–1920
Machine-printed on paper

Floral medallion stripe pattern, featuring pink roses with red surround, enframed in gold scroll medallion, printed over background of deep green stripes over light green ground.
Crosshatching Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

A repeated crosshatching design in the form of a checkered board creates this geometric motif. The top left corner is damaged. The overall condition of this stencil appears to be worn down.
Knife with Agate Handle
, late 17th century
steel, silver, agate
knife

Blade has straight lower edge, upper edge tapering towards the point, plain bolster. Long silver ferrule has engraved scalloped decoration along the rims, with bottom edge scalloped as well. Tapering agate handle, round in section, flower shaped metal mount on top of handle.
Souvenir picture
, 1893
silk Technique: jacquard woven

Black and white picture of building and plaza. Inscription reads: "Manufacturers and Liberal Arts Building."
Jenny Lind Paper Doll Costume, Singer in Concert-Toilette
Jenny Lind, Swedish, 1820–1887, ca. 1850
Lthograph on white wove paper
Print

Paper doll costume for the figure of Jenny Lind representing the singer in Concert-Toilette (in costume to perform an aria in a private salon).
Designed to be placed over the doll.
Purse
, late 19th century
metal, glass beads Technique: knitted with beads

Beaded bag with a row of goats, flowers in a tub, houses in background. Attached to a frame of gilded metal, with winged lions in profile at ends, pair of winged cherubs at top. Striped silk lining.
Six of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Six of Spades playing card from a pack of transformation playing cards. Vertically, six male figures depicted in outline, each engaged in a different activity, the spade symbol incorporated into their bodies as the torso. At right, two seated men eat dinner; a waiter brings them a bottle of wine. At left, a seated man in a top hat reads a document while a musician facing him plays the harp. At bottom, a man smokes a long pipe.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Art Nouveau / Mission Style. Alternating large and medium stylized foliate medallions connected by vining scrolls and two lines of square beading with stylized fleur-de-lis. Bottom has striping and floral guilloche. Top has stripes. Background has horizontal dash and geometric dot pattern. Ground shades from orange to cream. Printed in orange, metallic blue-green, dark red, brown, black, gold mica. Printed in bottom selvedge: W H M & Co 1762
Fylfot motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Fylfot (sayagata) is a popular geometric design that was called "saya" during the Edo era. This pattern is a standard map symbol for Buddhist temples in Japan. Originally this pictogram came from the Hindu God of love Vishnu's chest hair. Today, it represents a good omen and virtue. The jagged-edged resemble the effect of ikat dyeing.
Traveling Fork with Ivory Handle
, ca. 1798–1809
ivory, silver
fork

Silver fork has three curved tines, curved shoulders and flat tapering neck with diamond-shaped decoration at back of join. Plain rectangular ferrule. Pistol-shaped handle of carved ivory with beaded cresting on the top of the handle and halfway on one side. End of handle carved on the front and back with snail-shell and drop-shaped ornaments.
Fashion Plate
E. Gailland, French, active 19th c., 1883
Engraving, brush and watercolor on paper
Print

Two women on a path overlooking a lake and castle. One in a yellow dress, the other in brown. Artists' and publisher's names and date below. Description on verso.
Japonesque Style Pattern Number 5 Frunit Knife
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, ca. 1880
gold plated, silver
knife

Knife in the form of a Japanese sword; rectangular handle with mottled surface, one side decorated with a dove and tree with leaves; other side depicts fish and kelp. Flat, curved blade with blunt tip, engraved with stylized foliate decoration. Some small areas of copper plate throughout surface of handle.
Vase
Kataro Shirayamadani, Japanese, 1865–1948, 1898
earthenware, copper
vase

White earthenware, thrown. Narrow base, gradually expanding until the shoulder, sharply narrowing at the neck, turned out rim; no foot. Decorated with a stylized pond scene with lily pads. Against a reddish-brown ground, water grasses extend upward from the bottom, dark green lily pads are irregularly positioned upon the body with yellow water lilies in various stages of bloom at the shoulder. Starting from the rim, and draping downward are three stalactite-like areas of electro-deposited copper with a green patina. Exterior: underglaze, glaze; fine crackling. Interior and bottom: glaze.
Cat and kitten
, late 19th–early 20th century
Cast and painted brass
Figure

Gray, black, and white tabby cat standing on hind legs holds an upraised stick above a mewing kitten lying across its knee, as if in the act of spanking.
Sampler
Dinah Bird, English, 1729
silk embroidery on cotton foundation Technique: embroidered in cross, satin, rococo, running and double running stitches on plain weave foundation; sewn to linen tape and mounted on paper

Band of crowns, alphabet, verse "Without Learning None's Compleat/ Tho' they be handsome, wise or Great/ get Learning then, altho' you be, Of mean Estate or low Degree.  For that will give you good Esteem, Altho' but plain and poor you seem, if in useful arts your Time be spent, then leave the world with full content."  Then signature, lowerfield with scattered motifs.
Panel
, 1750–1850
cotton, linen, silk Technique: applique on a linen foundation with buttonhole, fishbone, knot, stem and chain embroidery stitches

Various shapes such as flowers, a bow, and a vase have been cut from painted and dyed Indian cotton cloth and sewn onto a linen foundation in a decorative manner to create a picture of a vase of flowers on a mound of earth.
"In Me A [Match] You'll Always Find"
Sampson Mordan & Company, 1886–87
Silver, enamel
Matchsafe

Rectangular, the front inscribed on the diagonal with the word/picture rebus "In Me A [Match] You'll Always Find," the text in blue enamel, an image of the match featured in white with red tip. Reverse undecorated. Lid hinged on left. Striker on bottom.
Design for a wall panel in Moorish Style
J.D. Woodward, about 1894
Blue and yellow watercolors on paper
Drawing

Vertical rectangle. Design for a wall panel, in imitation of Moorish tilework showing a stylized plant within a niche with a pointed arch; rondels at either side, top; and a border of repeating stylized buds and intertwined rope.
Beach and Ocean
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View from beach of waves breaking on shore.
Border
, late 16th–early 17th century
linen Technique: grid of laid cords with needle lace (reticella style), edge of punto in aria

Wide border of squares bordered at both sides by narrow strips and edged at one side by large, rounded pendants. Modes: portes, brides.
Border
, 16th century
linen, metal thread Technique: embroidered cutwork

Border fragment with a serpentine floral motif edged with elaborate floral pendants. Pattern outlined by gold thread.
Two Sketches of Mr. Bowle’s Home
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on brown paper
Drawing

Left, view of water and sailboat from a terrace, trees right. Right, a house gable.
Textile
, early 19th century
cotton Technique: printed by engraved roller on plain weave

Narrow fragment in red on white with an incomplete scene of a male and female figure standing next to a seated male figure who holds an open box. They appear to be looking up to the sky. Below the group are the words, "Caza de Pajaros." The remaining design shows rooftops and leafy foliage.
Seascape with High Cliffs
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Flat ocean with four cliffs on right.
Border
, 1835–1900
Block-printed on continuous machine-made paper

Narrow rope twist  or cable molding borders. Printed in shades of deep red on lavender ground. Printed eight across.

H# 135
Valentine Greeting
, ca. 1850
Brush and watercolor on embossed paper
Greeting Card

In the center, a bunch of flowers. Inscribed in blue ink, above: "How Blest my Love" and below: "If you approve". Embossed paper enframement.
Shoreline with Calm Sea, Possible Debris
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Shoreline in foreground with possible debris on beach at left. Calm ocean in background to horizon.
Niche with statue
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Two columns support a pediment with a frieze. Below this is another frieze. Within this structure is a smaller niche that houses a statue.
Sidewall
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper, liquid mica

On taupe ground, bouquets of wild flowers in brown, yellow, white, and pink.
Frieze
, 1905–1915
Machine-printed paper, textured ground

Two festooned garlands of pale blossoms and leaves overlap each other and hang from crinkly bows at the top of the panel. Gold stripes border the top and bottom edges. This design is printed in shades of white, green, tan and gold on a beige background.
On Escalier de Geants
Arnold William Brunner, American, 1857–1925, 1883
Graphite on gray paper
Drawing

Eight sketches of ornamental architecture, labelled. Capitals, doorframe design, handrails and brackets.
Border
, 1830–60
Block-printed and flocked on paper

Poppies and other flowers decorate the wide central band. The foliage and the striped edgings are flocked, and the ground has a satin finish. Blue, orange, pink, yellow, red and green flocking on a white ground.
The "Ariel" Over the Pyramids
W. Walton, ca. 1850
Lithograph, brush and watercolor on paper
Print

A steam airship is seen over the pyramids of Egypt. Below, title: "By Permission of the Patentees / This Engraving of the First Carriage, the Ariel", and the engraver's name.
Decorative panel
Jules Desfossé, French, active 1851 - 1863, 1856–57
Block-printed paper

Statue of an infant or putti standing on vine-covered pedestal, supporting a basket of vining flowers.
Pleated fan
, late 18th–mid- 19th century
Gouache-painted and gilded parchment leaf backed with paper, pierced, carved, painted and gilded ivory sticks, tortoise shell rivet

Pleated fan. Parchment leaf backed with paper. Obverse painted in gouache and gold: a landscape with figure groups in front of a building with large fountain. Reverse: landscape with single figure. Pierced and carved ivory sticks with colored and gilded flowers and birds. Tortoise shell at rivet.
Bag face
, mid–late 18th century
silk Technique: satin, chain and knot stitch embroidery

At center, a young man and woman fishing, a lady reclining and a man lying beside her, face down. Faces, hair and hats are painted. The scene is framed by delicate twining ribbons with foliage.
Goblet with Hunting Scene
, 19th century
Glass
goblet

Bucket bowl, outward sloping, stem with bladed knop rising from flat circular foot with pontil depression. The bowl wheel engraved with initials "R E K" in rectangular frame centered on wreath of flowers and grain sprays; on other side: within a frame, a mounted horseman riding left in silhouette with hounds in panel below and birds in flight above. Leafy tree to right at panel's edge.
Sidewall
, 1800–1810
Block printed on joined sheets

Wallpaper panel hung on the walls of the drawing room (but later removed) in the Jumel Mansion, New York City. Doves with vases and morning glories at top and at bottom. Sidewall composed of drop repeating rows of stylized daisies and leaves in dark green.
Band
, 16th–17th century
linen Technique: bobbin lace, continuous braid-like

Fragment of a geometric band made of a series of diamonds intersected with cross shapes.
Wall Decoration, Blue (South) Drawing Room
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor over graphite on white wove paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. A design for a wall panel, showing five paintings of Chinese scenes and figures, enclosed in lattice-work.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Pleated fan and case
, late 18th century
Silk leaf, pierced, carved and painted ivory sticks with applied gold foil

Pleated fan. Green silk weave leaf finished with narrow gilt paper at top. Pierced and carved ivory sticks with details painted or overlaid with gold foil. Box: tapering with rounded corners, covered with black silk and lined with orange colored paper, with cover hinged on one side and fastened with two hooks to eyes on the other side.
Soup Tureen
John Wakelin, English, active 1776 – 1805, 1789
silver
tureen

Boat-shaped silver tureen with two high handles, a low-domed lid and foot. The body of the tureen has patterned rim with a smooth top half and fluted bottom half. The finial on the lid repeats this fluting pattern while the lid inverts it.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Various indistinct sketches.
Verso: Sketch of man with a horse.
Fan leaf
Antoine Denis Chaudet, 1763 – 1810, ca. 1797
silk Technique: printed by engraved plate on 7\1 satin weave

Unmounted fan leaf.  Cream satin printed by engraved plate in blue. At center, a profile bust of Napoleon being crowned with laurel by Abundance and Victory. The medallion on the left contains Peace scattering flowers, and on the right, War hurling lightning. Surrounded by ornaments, garlands, and architectural details in the neoclassical style.
Textile
, 19th century
silk Technique: plain compound satin

Green satin ground with horizontal pattern of flowers and butterflies in purple, blue and yellow silk.
Design for a Chain
, late 18th century
Pen and ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for a chain, the right side visible. Design consists of entwined ribbons. The crossing points alternate with rosettes and crosses, composed of small disks. Below, a disk.
Foot stool
, ca. 1685–95
Walnut, blue flowered tapestry covered seat

In William and Mary Style. Scroll legs and feet, carved back and front stretchers. Turned stretchers at sides are united by shaped and pierced stretcher of unusual design, probably a modern replacement. Slip seat covered with tapestry with flowers in natural colors.
Arabesque Ornament Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A vertical plate with arabesque ornament designs featuring Neoclassical and Empire style motifs, a central roundel with a centaur and putti, framed by a fan with the sings of the zodiac, scrolling acanthus leaves and foliage, rosettes, festoons of leaves and flowers, rosettes, vases, mythological creatures, herms, fleurons, flaming torches, fish, animals, a lyre, and the head of Apollo. The plate is numbered and signed.
Fragment of a tomb cover
, 17th–18th century
silk Technique : compound satin Label: silk compound satin

Fragment of woven silk with Zigzag bands of kufic script in cream and red on a yellow-green ground.
Galerie métallique des grands hommes français (Great Men of France)
Auguste Masson, French, 1802 - 1870, 1817
Cast bronze
Medal

Bust of Jules Hardouin-Mansart (1646 -1708).
Design for a Comb
, 1810
Pen and brown ink, brush and watercolor on white laid paper, laid down
Drawing

Horizontal rectangle. Design for a hair comb with seven wavy tines intended to be executed in gilded metal with diamonds and pearls. The cresting of the comb has a frame with five angles. Above, a row of seven pearls.
Fragment
, 3rd–4th century
Warp: S-spun linen. Weft: Z-spun linen, Z-spun wool. Technique: Slit tapestry with supplementary weft wrapping

Monochrome type, dark brown wool and undyed linen. Figure of cloaked warrior stepping up to the right, carrying a shield and an unidentified object, probably framed in an arch, of which the borders are visible at the sides.
Bunch of flowers tied with ribbon
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The flower stems are at right, palm branches at left. Colored background.
Sketches of a Woman Artist with Various Putti
Simone Cantarini, Italian, 1612 - 1648, 17th century
Red chalk on paper
Drawing

Sketches of children
Wooded Vale, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Brush and oil, graphite on paper; verso: graphite
Drawing

Landscape sketch of a lush, wooded vale in the Jamaican mountains, featuring a small domestic structure at center. Foreground and middle distance are comprised of interweaving slopes of hillsides, covered in overgrowth. In distance at right, a hilltop is visible. Above, a cloudy sky is rendered in cream and gray.

Verso: Sketch of sunset over a mountainous landscape, with concentric circles radiating out from the sun.
In the Country
Nicolaes Berchem, Dutch, 1620–1683, 1640–1660
Black chalk, pen and ink on paper
Drawing

A lady is shown from the back riding upon a horse and directed toward right, toward a villa. She is preceded by a man carrying baskets. Hilly country.
Tile
, mid-18th century
Tin-enamelled earthenware

Square tile. Decorated in "Fazackerley colors" on white ground.  Subject a blue vase with flowers in blue, yellow, manganese and brown; leaves sage green, with black veins.
Two Arabesque Panel Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Sixth plate from a series of ornament panel designs. Two vertical panels with arabesque and neoclassical motifs including fountains, flowing water, vignettes with fishing boats and birds on water, figures fishing, mermaids, dolphins, nets, masks, fish, putti, shells, scrolling acanthus leaves, fleurons, festoons of fruit, flowers and leaves, reeds, snakes, and coral. The plate is numbered.