biglam/cooper-hewitt-alt-text huggingface dataset:
Textile
, 18th–19th century
silk Technique: painted on satin weave

Cream-colored satin ground painted with Chinoiserie design of birds, pagodas, flowers, and insects.
Coverlet
, ca. 1850
cotton, wool Technique: two interconnected plain weave structures

Very large scale rosette medallion pattern in offset rows. Each row has a large medallion alternating with a small medallion. The small medallions are the same in each offset row, but the two large medallions are different. Grape vine border at sides and at bottom a border of small plants. The two borders terminate at the corners which are filled in with a square containing a half medallion. Fringe at sides created by weft loops. Warp creates fringe at bottom. Top turned under and hemmed. Two loomed widths sewn together.
Designs for Ornament, Roundels, and Fobs
Pierre Bourdon, French, ca. 1656 – 1708 after, 1703
Etching and engraving on paper
Print

An ornament print featuring roundels, bands, and two designs for fob seals decorated with grotesque motifs (intertwining scrolling leaves, foliage, human, and animal forms), with cartouches, mascarons (masks), animals, birds, and flowers. The plate is signed and numbered.
L'Esté
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with arabesque ornamentation and motifs including a radiating mascaton, a hoe and a scythe, and sheaves of wheat. The plate is signed; the title is inscribed in graphite, but can be found printed in other versions of the plate.
Dyer's record book
Old Pacific Print Works, Lawrence, MA, USA, 1880
cardboard, paper, printed textile samples

A notebook with formulas for dyes to be used for printing textiles. Book contains 138 samples, mostly floral designs in brilliant colors. Front cover reads Print Book, Sept. 15, '80. Last part of book not used.
Design for a Cipher (Interlaced Letters)
Charles-Germain de Saint-Aubin, French, 1721–1786, 1766
Etching on paper
Print

Design for the crowned letters M and O, interlaced and comprised of leaves, flowers, ribbons, and fur. The plate is signed and numbered.
Textile
, 1680–90
silk, metal thread Technique: damasse brocaded

A rich red approaching brown with silver. The first stripe has flat clearly drawn leaves and flowers in a pattern that receeds and interlocking scrolls in silver. The second stripe is a ribbon with decorative edges.
Square
, 19th century
cotton Technique: discharge printed

Blue handkerchief printed with a design of white flowers, leaves, and small dots.
Textile
, ca. 1820
cotton Technique: printed on plain weave, glazed

Large floral sprays in pink, blue, white, and green have roses, lily-of-the-valley, and bluebells repeating vertically and alternating with small sprays of a similar composition on a white ground. Filling pattern on background of small "x" motifs and dots in brown.
Fragment
, late 19th century
silk Technique: compound weave with discontinuous supplementary weft (brocaded)

Sprays of small flowers in polychrome silk on a dark blue ribbed background.
Fragment
, 17th century
silk Technique: woven

Narrowly outlined lozenge fields in green.
Band
, late 17th–early 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Binche style with allover small scaled floral pattern.
Fragment
, possibly 17th century
medium: silk Technique: supplementary warp forming raised pile in plain weave foundation (velvet); then embossed.

Triangular shaped piece of plain red velvet embossed (stamped) with pattern of ovals and stars.
Sketch for Putto
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on tracing paper
Drawing

Top left: oblique three-quarter winged figure, leaning on the left elbow and the left knee, which is not shown. Left top corner: a foot.
Fragment
, possibly 13th century
silk, metallic Technique: supplementary pile warp (velvet)

Deep red velvet with offset rows of gold metallic thread disks.
Edging fragment
A .G. Jennings & Sons, American, 1884
cotton Technique: machine made lace

Green lace edging in a floral pattern.
Fragment
, 18th century
linen Technique: bobbin lace, peasant style

A.) Fragment cut from a wider piece of lace in design of flowers above a narrow border; one edge is fringed and reinforced with applied fringe. b.) Narrow lace in leaf (?) design with one fringed edge.
Mezzaro fragment
, 1825–1850
cotton Technique: printed on plain weave

Border fragment of a toile de gêne or mezzaro with trees and animals. Above narrow decorative border are tree branches with sprigs of berries. Factory mark is printed along bottom selvage and reads: "Fco Michele Speich, Cornigliano."
Fragment
, 18th century
silk Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Fragment has isolated floral sprigs, some with ribbons, on ribbed white background. Brocading in silk and chenille yarn in colors of pink, rose red, orange, yellow, green, white, and blue.
Traveling sundial and compass
, early–mid-18th century
Brass, steel, paper, leather, silk

Octagonal engraved brass disc on three feet; in center, sunk compass. On one side hinged, scrolled frame for missing pendulums. On other side, a hinged graded circle segment for setting latitudes. On third side, hinged ring with hours, and cross bar with needle. B) Octagonal case covered with brown leather and lined with blue silk. Disc with engraved named and latitudes of important cities inside cover.
Fragment
, 400–600
linen Technique: woven

Woven textile fragment. Central design shows repeating anthropomorphic figures, each raising one arm, within a rectangular border. Below, two anthropomorphic figures against a dark ground. Braided border fragment at bottom.
Fragment
, mid-18th century
linen Technique: bobbin lace

Brussels-style fragment showing reserve area on the border filled with bobbin imitation of needlepoint openwork stitches and set off by tiny floral wreath. Vrai droschel ground.
Band
, 16th–17th century
linen Technique: needlework on gauze weave

Buratto lace worked with a design showing a hunter attacked by a boar, a crowned griffin, and a shield form containing an urn, all combined with foliate scrolls.
Acanthus motif with two birds
Cesare Domenichi, Italian, 1589 - 1614, 1589–1614
engraving on laid paper
Print

A bird is eating from the seeds, the other is approaching.
Fragment
, 16th century
silk Technique: 5-harness satin damask

Blue damask with a medium-scale design of a symmetrical floral spray in a continuous angular ogival framework of decorated bands clasped by two dotted rings at tangent points. Two broad coarse satin selvages of faded pink.
Fragments
, ca. 1850
cotton Technique: printed on plain weave

Fragments of the same design printed in different colorways. One has tiny floral sprigs on a black ground with red, yellow, and white flowers with grey foliage; the other, tiny floral sprigs on a black ground with rose and white flowers and gray-green foliage.
Sketch of a Man
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Man in work clothes, seen from behind. Probably a figure study for a wall mural. Sketches of shoes, lower left and right. Sketch of head, upper right.
Fragment
, 18th century
silk Technique: supplementary warp pile in a satin foundation (velvet)

Fragment of narrow panel of white satin ground with central yellow satin stripe.  Over this is velvet in goemetric zigzag in pink and black. Cut from a large frabirc or else sevages removed.
Fragment
, 19th century
silk Technique: painted

Chair covering, yellow.
Goblet Commemorating the Seven United Provinces and Prince William IV, Governor of the Netherlands
, 1747
lead glass
drinking glass

Large wineglass with a rounded funnel bowl. The stem has a three-ringed knob on a six-sided 'Silezian stem'  and two mereses. Domed foot. 

On the bowl a wheel-engraving of a Dutch maiden, an allegorical figure symbolizing the Netherlands. Here she is depicted as the Lady of Liberty, leaning on a  pedestal with the bible and in her right hand a lance with the 'Hat of Liberty'. Behind her the Dutch Lion who holds in one paw a sword; in the other, seven arrows, symbolizing the Seven Provinces. 

On the other side of the bowl is depicted the coat of arms of William IV of Orange. The seven coats of arms of the Dutch Provinces meander between (and over) the Lady and the coat of arms of William IV: Utrecht, Holland, Overijssel, Gelderland, Zeeland,  Friesland and Groningen. These arms are connected by a banderole with the inscription CON / CORDIA / RES / PARVAE / CRES / CUNT ("Through solidarity, small things will flourish"). This was the device of the Republic of the Seven United Provinces. On the foot a decoration of stylized flowers and leaves.
Plate
, 1870–1890
porcelain, vitreous enamel, gold
plate

Circular plate, the scalloped rim having tan ground with applied interlaced curving blue bands and gilt floral border; the well with a stylized gilt floral decoration in the center.
Design with Steps and Terrace Guarded by Two Sphinxes
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1740
Engraving on white laid paper
Print

1921-6-212-31-a: Candelabra with three branches exuberantly decorat...;     1921-6-212-31-b: Design composed of a frame of volutes in which ste...
Medallion
, late 18th century
Stoneware

1925-2-1-b: Medallions in style of Wedgwood Jasperware; a twen...
Fragment
, ca. 1815
cotton Technique: printed by engraved roller on plain weave

Three fragments that together form a pattern of a boar hunting scene.
Sampler
Unknown, ca. 1760
linen, silk Technique: embroidered using satin, double running, cross, and Algerian eye stitches

Rectangular sampler with narrow bands of verse, pattern bands of zigzags, flowers, Chinese frets, alphabets, and numerals. Embroidered in shades of green, red, yellow, and blue on a tan linen ground. 

Verse at top: 
How pleasant is thy dwelling place o Lord of Hosts to me
The tabernacles of Thy Grace how pleasant Lord they be
My soul doth long full sore to go into Thy courts,
My heart and flesh cry out for Thee, the living God

Verse at bottom: 
My shepherd is the living Lord, and nothing therefore I need
In pastures fair near pleasant streams he setteth me to feed
It is no wonder that men to turn to clay, when rocks and stones and monument decay
Sketchbook Page: Red Whelk
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Drawing from an encyclopedia. Sketch of large shell used as a lamp.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Three sketches of a spool or wheel with a support below. The sketch in the center appears more finished.
Christ Appearing to His Mother
Albrecht Dürer, German, 1471–1528, 1509–1511
Woodcut on off-white laid paper
Print

The Virgin, at left, kneels before a prie-dieu, her hands clasped before her. Christ stands at right facing the Virgin, his right hand raised in blessing, his left hand holding his banner. Monogram of Dürer on base of prie-dieu, lower left.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a nude figure seated with legs crossed and arms raised.
Border
Jacquemart & Bénard, France, 1800–1830
Block-printed on handmade paper

On light brown ground, contiguous circles of green with alternating green grapes and leaves springing the circles to fill their lighter brown centers. Circles interupted by panels with flattened flower patterns in pink. Architectonic border of acanthus above and pointed leaves along bottom in same colorings as major motifs: shaded greens and yellows with black.
Textile
, ca. 1775
silk Technique: plain compound weave with supplementary weft

Paired pink warp-ribbed stripes setting off floral serpentines of bright, multicolored flowers on a cream-colored ground.
Sampler
, 1806
silk and metal embroidery on linen foundation Technique: embroidered in stem, chain, satin, knot, double running, buttonhole, herringbone, and four-sided stitches and areas of deflected element work on plain weave foundation

Three separate pieces of fabric joined with needlework.  Beads in needle lace at right.
Lidded Jar with Full Moon and Birds
Rookwood Pottery, American, 1880 - 1967, 1884
earthenware
jar

Red earthenware, thrown. Cylinder body that widens gradually until the shoulder, tapering in from shoulder; circular lid with a knob; subtle foot. On front, brown and white birds flying across white full moon, black sky, with expressive brown, white, and ocher brush strokes. Around the shoulder, lava-like slips in turquoise, leaf green, cobalt blue, light blue, and white. Exterior and interior: glazed; clear with fine crazing.
Mourning Sampler
, ca. 1800
silk embroidery on silk foundation Technique: embroidered on plain weave Label: Silk, embroidered in silk

Embroidered picture, nearly square in format, depicting an urn on top of a tomb bearing an inscription in an oval medallion: 
Sacred to the Memory of Mr. Wm. Waite of Hornslodge, Tonbridge 
OB 1st Nov 1799
AET 86
Passementerie, Dessins de Galons
Denis Diderot, French, 1713–1784, ca. 1763
Engraving on paper
Print

A depiction of braid designs and loom tools.
Sidewall - sample
, 1906–08
Machine-printed

Repeating landscape scene, with group of four trees to left, and large pink roses to right. Overprinted with a grid design to simulate weave.
Window Wall Elevation
Frederick Crace, English, 1779–1859, 1815–22
Pen and gray ink on wove paper
Drawing

Vertical rectangle.  Wall with three curtained windows divided by two pilasters.  Curved upper portion.
Textile
, 18th or 19th century
silk embroidery on cotton foundation Technique: satin, stem, chain and couching stitches on plain weave foundation

On double thickness of off-white cotton, design of groups of people, animals, trees, scattered fowl and insects, all facing toward central crouching camel with howdah on his back.  Wide border of floral rosettes with guard borders of twining garlands.  Embroidery is in shades of green, blue and yellow silk.
Sketchbook Page: Caricature
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Caricature of a man smoking a cigarette, facing towards the left. 
Verso: Indistinct caricature of a face with exaggerated eyebrows and eyelashes.
Sketchbook Page: Sketch of a Genet
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Sketch of animal, seen frontally with tail curling towards right. 
Verso: Sketch of child's head, at left. Sketch of standing figure with oar, at right, oriented differently.
Sidewall
, 1860–70
Machine-printed paper mounted on plaster

a) Sidewall; enframed black medallion with central acanthus quatrefoil motif encircled by cable wreath with knotted tassels below, floral sprigs above. This alternated with cable bowknots. Printed in black, orange, green, white and tan on taupe ground. b) Narrow border; flowering vine with three-lobed leaves.  A twisted rope or cable molding runs along one edge. Printed in black, yellow, light blue and white on rust-colored ground.
Border
, 1800–1825
Block printed and flocked paper

Border design in three shades of light brown distemper and one shade of darker brown flock. Symmetrical, sparse and etenuated strap-work patterns with shells and lion heads centering medallions in the pattern. Long horizontal rectangle with three groupings of strapwork alternates with square filled with centralized strapwork and foliage pattern.
Jar
Rookwood Pottery, American, 1880 - 1967, 1882
earthenware
jar

Ginger-colored earthenware. Globular body with short wide lip, painted with underglaze slips. Asymmetrically grouped black spiders and bats against cloudlike swirls of brown, ocher, blue-gray, cream and turquoise. Small hole drilled in bottom, stoppered with cork. Exterior, interior, and bottom: glazed; clear with fine crazing. Exterior: overglaze; gilt accents.
Convolvulus Cneorum
Brion, French, active 19th c., ca. 1820
Engraving, brush and watercolor on paper
Print

Three long stems from a twig end in buds and white flowers resembling morning glories. Lower left, the flower and sections. Title in Latin and French, with the artists' names below.
Chintz fragments
, 18th century
cotton Technique: mordants (2 reds, 2 purples, 2 browns) applied by brush or pen, sometimes over resist; yellow and 2 blues (over resist) applied by brush; chintz on plain weave

Four fragments of elaborate design of large and small elongated ovals.
England, Ace of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

England, Ace of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
New Gate, Chapel, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

High narrow room, the balcony and floor filled with men and women in attitudes of repentance. Bars on the windows. Title, artists', and publisher's names below.
Ceiling detail with winged male figure
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Winged male figure with bent legs and a bent arm held above his head. Decorative ceiling motifs are visible behind him.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Printed two borders across the width. Foliate rinceau with a stylized flower at the center of each scroll. Printed in pink, light and midium green, and metallic gold on tan ground.
"A [Match] For You"
, late 19th century
Silver, enamel
Matchsafe

Rectangular, rounded sides and corners, featuring word/picture rebus, inscribed in blue enamel "A [Match] For You", a matchstick with red tip substituted for the word "Match". Reverse inscribed "Addie to James". Lid hinged on upper left. Striker on bottom
Fashion Plate, Modes Vraies
Laure Noël, French, 1827 - 1878, 1856
Engraving, brush and watercolor on paper
Print

Child with two women at a toy booth in a park. Fountain beyond, right. Artist's and publisher's names below. Description on verso.
Border
, 1800–1820
Block-printed on joined sheets of handmade paper

Design is divided equally into two bands. On the top band, a highlighted leaf repeats continuously against a polka-dot background with edgings of dentils and tiny crescents. The lower band is simpler: a row of rosettes runs down the center against a background of vertical stripes; printed in blues and white over a pastel blue ground.
Sampler
Ludmilla Herzog, 1817
wool embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave foundation

Spot motifs of animals, flowers, a house, a cross, and a dancing couple, with floral bands and two lines of text in unidentified script, in bright colors on a white ground.
Le Soir [The Evening]
, ca. 1855
Block-printed paper
Decorative panel

Scene of domes, minarettes, palms, three robed figures and a camel, bathed in light of sunset, within vertically rectangular panel within which a brown and metallic gold frame outlines the scene enclosed in an oval. Frame includes title: "Le Soir". This is one medallion from the set of "Les quatres heures du jour".
Allegory of Time and Old Age, plate 32 of "Iconographia Complectens In Se Passionen..."
Melchior Küsel I, German, 1626 - 1683, 1670
Etching on paper
Print

An old man is in middle foreground sitting under a tree. In his left hand an hour-glass; his right hand rests on a cane. Under his left foot a skull. In background, houses and figures at right.
Border
, 1900–1920
Machine-printed on ungrounded paper

Vining foliage pattern, green leaf clusters with tiny red flowers, with the light green containing mica. Printed on ungrounded paper.
Architectural panels from the Western Methodist Book Concern Building, Chicago, Illinois (Harry B. Wheelock, architect)
Kristian Schneider, American, 1865 - 1935, ca. 1899
Molded terracotta
Architectural panel

Large square panel of buff-colored terracotta, the surface decorated with one half of vertically oriented design of abstract vegetal motif in lozenge shape (to be set above similar panel to complete design).
Country Scene
Jasper Francis Cropsey, American, 1823–1900, 1847
Graphite, brush and white gouache on pale blue paper
Drawing

View of a country house in the Gothic-Revival style at left with a large willow tree at right foreground.
Chalice cover
, mid-17th century
linen Technique: grid of withdrawn element work with reticella style needle lace, embroidery and bobbin lace trim

Chalice cover edged by Venetian bobbin lace of elaborate triangles. Cover is ornamented by wide insertion of reticella. Pattern geometric in character.
Frieze
, 1905–1915
Machine-printed paper

Floral medallions suspend from acanthus scrolls. Above this are egg and dart, beading and bead and reel moldings.
Two 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

Two of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Knife
, ca. 1680
silver, enamel, steel

1985-103-63-a: Tapered sheath, light purple enamel with multi-col...;     1985-103-63-b: Blade straight-sided, the upper edge tapering towa...;     1985-103-63-c: Fork with two-pointed tines. Handle enameled, oval...
Campanile of St. Barnabas, Venice
Arnold William Brunner, American, 1857–1925, 1883
Graphite on blue-grey paper
Drawing

Cell tower center and upper stories of surrounding buildings.
Cruel effets d'une digestion interrompue, Plate 5 from "Inconvénient"
Auguste-Xavier Leprince, French, 1799 - 1826, ca. 1825
Lithograph, brush and watercolor on paper
Print

Coach on the road; a woman sitting on top is being sick. Beggar, left. Title and artists' names below.
Ocean Breaking on High Cliffs
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Rough sketch of ocean, choppy waves breaking on cliffs at left.
Candlestick
Louwijs Victorsz, 1688–1713
Tin-glazed earthenware

Eight-sided candlestick on domed base, rising to flattened cushion knop, tall shaft, turned-over lip; painted in underglaze blue on white with floral and lambrequin patterns on base, diaper motif on knop, 8 panels of floral/leaf pattern on shaft, scroll border on lip; rectangular hole on side under lip.
St. Nicholas of Tolentino from St. Peter's colonnade
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Drawing after statue by Nicola Artusi of St. Nicholas of Tolentino on North Colonnade of St. Peter's. He wears a friar's robe and rests his left hand to his chest. His right is held out and to his side.  A cross is suspended from his belt.
Sampler
, 1847–48
silk and cotton embroidery on wool foundation Technique: embroidered in cross, back, and half-cross stitches on plain weave foundation

Alphabets at top, then wreaths and flowers.
Frieze
, 1905–1915
Machine-printed paper

Large foliate medalions alternating with smaller medalions.  Floral arbors and foliate scrolls arch with a fleur-de-lis at peak. A gold and green stripe appear at top and bottom. Green background is dark on bottom and lightens toward the top.  Printed in green, white, metalic gold and burgundy.
Textile
, 1840–60
cotton Technique: block printed on plain weave, glazed

Sample of printed cotton, heavily glazed, showing a large floral design of tulips and roses with curving leafy stems on a white ground. In red, blue, green, violet and brown. Later printing from older blocks with visible block marks.
Veil pin
, ca. 1860
Gold, emeralds, diamonds, silver

Pin In the form of a caterpillar, with hairs between body segements; diamonds along back, emeralds along flanks.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Small floral sprig with tiny purple flowers among Japanese maple leaves printed in yellow ocher. Printed on white ground.
Quick Study of Ocean and Cliffs with Moon
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Quick study of waves, and cliffs at left, with crescent moon in sky at top center.