biglam/cooper-hewitt-alt-text huggingface dataset:
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910
Technique: woven

a. pink ground with floral motif
b. dark red ground with floral motif
c. rust color ground with floral motif
Design for a Mass-Operational House Designed by Hector Guimard, Construction Directions for Supports
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of supports.
Dresser for Mr. Allen, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite on cream tracing paper
Drawing

Page divided into two registers horizontally about 3/4 down the page. Upper register, left: side view of wooden dresser with mirror attached atop it, two doors, and four legs; right, front view of same dresser with right door opened to reveal top drawer and three sliding trays inside.
Project for an altar of the Annunciation for S. Antonio dell'Ospedale in Anagni
Giuseppe Subleyras, Italian, 1745 – 1819, 1780
Pencil, pen, and black ink with rose, yellow and black water color washes on paper
Drawing

Vertical rectangle. Top: the elevation. The frame of the retable shows festoons and a cherub, in the center in the bottom frieze. Circular pediment with the Dove. Two angels carry a crown on top. | Framing line and strip.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Sketch of a woman's head in profile, looking to the left.
Study of Hands
Francis Augustus Lathrop, American, 1849–1909, ca 1895
Graphite on tracing paper
Drawing

Palms together, in prayer position; shaded to the wrists.
Fragment
, 17th century
silk, cotton Technique; plain weave foundation with supplementary wefts bound in plain weave

Frontal and profile flowers in green, brown, pink and white.
Fragment
, late 18th–early 19th century
linen Technique: bobbin lace (Brussels-style)

Fragment showing floral sprays in horn with tiny blossoms scattered over vrai droschel ground.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Pen and brown ink, traces of black chalk.

Horizontal rectangle. At left, a standing putto with a burning torch; at right, a seated putto looking at a mask he holds out in both hands. At left, a burning brazier.
Spool of braid
, 1850–1900
silk, wooden spool Technique: braided

Narrow tan, white and black silk braid wound onto a wooden spool. Paper label on one end: "Fil du Centenaire. H.C.C."
Textile
, 17th century
silk, metallic yarns Technique: compound twill, stamped, with discontinuous supplementary weft patterning (brocaded)

Gold metallic ground with a stamped design of diagonal lines crossing in groups of three, forming diamond-shaped lozenges. Within each, brocaded roses alternating with bunches of violets in straight repeat. In purple, blue, green, pink, silver and gold.
Portrait Of Joannes Hauchinus, Bishop of Mechlin
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a cowl, falling down his back. Below, his escutcheon and motto, and inscription.
Patchwork quilt top
, 1830–50
wool Technique: patchwork of machine-stitched roller printed squares

Fragment of a quilt top of approximately 144 squares of challis wool (5 x 5 in.) stitched together to form a large square. In pastel and faded colors, either small allover geometric, floral patterns or a variety of stripes. There are a few duplicates.
Drawing
Felice Giani, Italian, 1758–1823, 
Pen, brown ink, brown wash on laid paper

Vertical Rectangle. Top: Autumn. A woman with a thyrsus runs toward a Silenus herm: she carries a basket together with a putto. Bottom: A woman is shown sacrificing to a female herm. A child stands before her.
Textile
, 19th century
cotton on piña cloth (pineapple fiber) Technique: embroidered

Rectangular piece of fabric for the sleeve of a blouse embroidered in a design of a plant in a basket alternating with leaf and scroll motif. One scalloped edge.
Les Vendanges
Jean-Baptiste Huet, French, 1745 – 1811, 1785
cotton Technique: printed by engraved copper plate on plain weave
Textile

Panel of cotton printed in red showing a design of women harvesting grapes; country folk dancing and courting; a  man in a swing with another on the ground holding a bottle.
The Chinese in New York – Scene in a Baxter Street Club-House
Winslow Homer, American, 1836–1910, March 7, 1874
Wood engraving in black ink on paper
Print

Vignettes showing gambling, above, and an opium den, below.
Trimming
, 17th century
silk, metallic thread Technique: woven

Design of a patterned weave with one saw tooth border and one scalloped edge formed by wefts.
Fragment
, 18th century
cotton Technique: tied-resist patterning in warp (ikat)

White cotton, very soft and fine, with warp ikat pattern on small scale in blue; Y-shaped forms going across fabric. No selvages present.
Carpet fragments
, late 17th–18th century
wool, linen or hemp, cotton Technique: cut pile on plain weave (moquette or velours d'Arras)

Design of large-scale, somewhat stylized tulips, roses and foliage is in multicolored wool pile with white cotton pile accents. Ground warp and weft are coarse linen or hemp, as is broad selvage of warp-face plain weave. Colors are faded, were formerly very bright orange, red, two shades of green and red.
Fragment
, 18th century
silk Technique: compound woven with supplementary weft patterning (brocaded)

Cream colored ground has a cream colored serpentine lace band with small pale blue roses and large white flowers. A green stem with multi color roses and foliage crosses over the lace design.
Edge
, 19th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Straight edge lace band with a continuous design of a delicate floral vine pattern in the center. Small scrolls and flower heads run along bottom edge.
Fragment
, 19th century
linen Technique: bobbin lace, continuous tape with bars added

Patterns shows pendant flower with spray on either side, alternating with leaf motif. Tape has ornamental stitches, and parts are connected with brides picotees. (parts are connected with bars that have picots)
Textile
, ca. 1820
Material: cotton Technique: printed on plain weave

Allegorical scenes based on the Napoleonic Wars. Printed in purple on white. Signed "Delmes Sculptist".
Fragments
, possibly 17th century
silk Technique: supplementary warp forming cut and uncut raised pile in satin foundation (velvet)

Imbricated or fish-scale pattern in brownish yellow
Border
, 18th century
linen Technique: bobbin lace, Mechlin style with five hole ground

Fragment with an unusual design of curving stems forming medallions filled with cinq trous (five hole) stitches.
Plate
Olérys-Laugier Factory, France, founded 1738, ca 1750
Tin-glazed earthenware

Circular plate with scalloped edge; dark green decoration with foliage design around edge, scene with figure in center.
Textile
, early 19th century
cotton Technique: resist or discharge print on plain weave

Wreaths of yellow leaves around a central flower on a deep blue background.
Sidewall
, 1870–90
Block-printed on ribbed paper

Delicately drawn but dense pattern of foliate scrolls and flowers on metallic gold ground.
Footed dish
Ludwig Lobmeyr, Austrian, 1829 - 1917, ca. 1877–87
Enameled and gilt glass

Enameled with blue, white, and gold foliate design, possibly of Near Eastern influence.
Album of Prints: Designs for Knife Handles
Francesco Salviati, Italian, 1510 – 1563, 1583
Album of engravings on off-white laid paper
Album

1921-6-350-1: Two knives, their points facing downward. The carv...
Button
, 1750–99
Silk uncut voided cloth velvet over bone forms

From originally a set of seventeen buttons, of three different sizes, to go with the man's suit of which 1939-57-30-a to c are parts - bone shapes covered with purple velvet uncut pile which forms minute hexagons each enclosing a round dot against a ground with short floats of secondary purple silk weft.

Component -a is on card A
Design for Serving Table of Mahogany and Inlay
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Oblong body with convex front and 2 drawers; raised on 4 straight tapering legs; rectangular lower shelf attaches  half way up legs; backsplash.
Portrait of Etienne-Jean Bartillot
Jean-Pierre Simon, French, 1650 - 1710, 1678
Etching on paper in black ink
Print

Shoulder-length portrait in three-quarter view to right of an elderly gentleman. He wears a long wig; a lace necktie is visible under his coat which is draped around his shoulders.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted light blue silk, unornamented. Two gold rings control side opening; gold seals containing carved stones are attached to either end. A carved portrait head is on one; writing, possibly a signature, is engraved on the other.
Sampler
Charlotte Payne Lloyd, 1819
silk on wool Technique: cross, satin, stem and chain stitches on plain weave foundation

Divided into three horizontal bands.  At the top a woman in an Empire dress holding a flower stands between flowering plants, birds and animals.  At the center a symmetrical arrangement of plants and birds.  At the bottom the following verse and signature: "Learn to contemn all praise betimes/ For flatt'ry is the nurse of crimes/ With early virtue plant thy breast/ The specious arts of vice detest/ Charlotte Payne Lloyd/ Aged 13 years June 29 1819."
Church of Saint Chaumont, Plate 48 from "Vues Pittoresques des Princepaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

Interior of a small church, with Ionic columns. A few figures in the foreground. Title, artists' and publisher's names below.
Vase
Joseph Fortune Meyer, 1848 – 1931, ca. 1917
earthenware

Tall ovoid footless body, low slightly concave neck, large lipless mouth. In monochrome blues three repeats with slight variationsin low relief encircle body showing two tall-trunked trees in foreground of grass, smaller tree in foliage background, portion of full moon in one repeat. Mat-glazed buff interior, unglazed underbase shows tan clay body.
Textile
, 19th century
cotton Technique: plain weave, indigo dyed, resist applied with stencil (katazome)

Large chrysanthemums in off-set repeat, one row facing up and the other down, with curled and dotted stems. In ivory on an indigo blue ground.
Quick Landscape with Trees and Mountains
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Unfinished sketch with trees at left and farther back at right. In distance, mountains at right.
Coffeepot
R. & W. Wilson, Philadelphia, Philadelphia, Pennsylvania, active ca. 1825 – ca. 1846, 1825–1846
silver
coffeepot

Urn-shaped body with spreading foot and concave shoulder and greek key border.  Fret band on shoulder, beading on foot and rim.  Spout with repousse flowers; handle curved, with leaf repousse.  On hinged cover, the seated figure of an Asian figure in the round.
Ein Spieler aus allen liekannten spielen zusamengesetzt (A Player Composed of All Known Games)
Andreas Geiger, Austrian, 1765 - 1856, 1840–60
Engraving, brush and watercolor on paper
Print

A male figure playing billiards, his body composed of all known games, including dice, ten-pins, chess, checkers, playing cards, backgammon, dominoes, etc. Printed script at top and bottom.
Asia
Martin Engelbrecht, German, 1684–1756, 1717
Engraving on paper
Print

Scene representing Asia. Woman with turban with enormous feather panache. Camel kneeling behind her.
Sampler
Dinah Phillips, late 18th–early 19th century
linen, silk Technique: embroidery

Basket of flowers under an arch of two stout trees, each growing from a low mound. Panel at bottom has four darned squares on each side of the panel with a darning cross in the middle. Dinah (?) Phillips written in dark brown.
Bag
, probably 19th century
wool Technique: doublecloth

Woven bag that depicts rows of animals on one side. The other has a diamond shape with enclosed stars. Shoulder band in plain weave.
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Fragment of red silk velvet, cut and uncut, on a yellow ground with a pattern of lions, birds, and flower sprigs.
Sample book
S.A. Maxwell & Co., ca. 1915
Machine-printed paper, oatmeal paper

179 pages (incl. top borders; not. incl. attached lower borders or fabric swatches)
Tapestry, landscape, ingrain and oatmeal papers, many tone on tone. Some sidewalls have matching top and bottom borders. Some have tiffany grounds and flitter borders. High-relief cut out borders as well as cut out borders. Some sidewalls are embossed and/or printed to simulate leather. Some have matching fabric swatch attached. Some borders have the appearance of airbrushing. Some sidewalls appear to be intaglio printed. Floral stripe designs for bedrooms and grape designs for dining rooms. Simulated burlap or grasscloth paper.
Peonies and Plum Blossoms
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Outlines of peonies and their leaves spread across the center of the stencil as silhouettes of plum blossoms become the backdrop of a tiny stylized iris motif. Silk threads was added to support the stencil structure.
Christ Preaching (The Hundred Guilder Print)
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1649
Etching, drypoint, laid down on cream laid paper
Print

Christ stands, center against a background of deep shadow, and addresses group of sick people. Others enter through a door at right.
Frieze
Robert S. Hobbs & Co., Brooklyn, New York, 1905–1915
Machine-printed ingrain paper, applied mica flakes

Flitter frieze, with wide central band of large-scale scrolling feathers or ferns, with scrolling acanthus and circles below. Printed in tan, brown, metallic gold and mica flakes on blue-gray background.
Persian miniature: Standing woman
Unknown, 18th century
Pen and black ink, brush and opaque watercolors and gold.
Drawing

A woman with long veils is seen walking in a landscape and holding aloft a headband with her left thumb.  Stylized clouds.  Border with floral ornamentation.
Sidewall
, 1880–1920
Oatmeal paper

Green oatmeal paper, unprinted.
Band
, late 17th century
linen Technique: bobbin lace, Binche style with Binche ground

Fragment of a narrow band with a loose scrolling pattern.
Micro-mosaic
, 1800–1825
Gold sheet and wire, glass mosaics
Bracelet

1991-160-1/8: Suite of jewelry with gold filigree mounts around ...;     1991-160-1: Gold necklace composed of ten ovals connected with...;     1991-160-2: Gold bracelet of three chains connected to one ova...;     1991-160-3: Gold bracelet of three chains connected to one ova...;     1991-160-4-a,b: A pair of gold earrings with a teardrop connected ...;     1991-160-5-a,b: A pair of gold earrings with a teardrop connected ...;     1991-160-6: A gold oval brooch outlined in blue with an inner ...;     1991-160-7: A gold oval brooch outlined in blue with an inner ...;     1991-160-8: A gold oval pendant outlined in blue with an inner...
Jardin d'Hiver
Jules Desfossé, French, active 1851 - 1863, 1853
Block-printed paper
Border

Stone vase, containing jagged-leaf plant, resting on top of a pedestal, with roses and morning glories twisting around this. This motif alternates horizontally with a cluster of morning glory vines with blossoms at the back of which are leafy branches. Printed in multicolors on white ground.
Sampler
Mary Muro, 1826
silk embroidery on wool foundation Technique: counted and uncounted stitches; cross, satin, back, stem, and couching on plain weave foundation

Curving floral border enclosing letters, parts of an alphabet, floral bands, initialed crowns, and a verse: 
"Give her the fruit of her hands and let her work praise her in the gates, Mary Muro 1826"
with a large house overshadowed by trees at the bottom. The trees and grass have been worked in chenille yarns.
Fragments
, 1850–70
silk Technique: supplementary warp pile (velvet), voided, in satin ground with cut and uncut pile

Six fragments of velvet with an ivory satin ground and cut and uncut pile in shades of brown, green, rose and red. Large scale symmetrical arrangement with a floral bouquet framed by foliage, drapery and scrolls.
La Bohémienne
Lionel Aristide Lecouteux, French, 1847 - 1909, 1878
Etching on vellum
Print

Bust portrait of a young peasant girl, head turned one-quarter right, smiling. After Hals' Louvre portrait.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Violet colored crocheted silk ornamented with gold beads in a flounce pattern.  Two etched hexagonal gold rings control opening.  Tassels at each end consist of gold and copper bands and silver disks.
Closeup of Waves and High Cliffs
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Rough seas breaking against two cliffs at right.
Textile
Feldtrappe, ca. 1815
cotton Technique: brown printed by engraved roller; yellow block printed on plain weave

Pastoral scenes with animals and people within lozenges on a background of massed flowers.
Bill for making coat
Din Smith, 1809
paper

Bill, handwritten, for the making of a coat for a Captain Hanna [?] by Din Smith. Submitted July 1809; received payment January 1810.
Scrapbook of textile swatches
, 1850–1870
cotton Technique: printed

Red cloth bound portfolio containing 154 miscellaneous samples of printed cottons.
A Buggy Horse
Arnold William Brunner, American, 1857–1925, 1892
Graphite on paper
Drawing

Horse in right profile, wearing a feed bag
Figures in Lotus-Shaped Reserve
, late 19th century
Silver
Matchsafe

Rectangular, rounded sides and corners, featuring lotus-shaped reserve with Asian adult male and boy in garden setting, house in background, reverse features lotus-shaped reserve with plum blossoms. Link attached to lid at top, lid hinged on side. Striker on bottom.
Sampler
Ann Davies, 1813
silk on linen Technique: embroidered in cross and cretan stitches on plain weave foundation; counted stitches

Small reversing floral border enclosing 2 bands of alphabets and numbers at the top.  Two verses ("Rising in the Morning" and "Going to bed at night").  Signed Ann Davies aged 7 1813.

"Thrice Welcome to my op'ning eyes/ The morning beam which bids me rise/ To all the joys of youth? For thy protection whilst I slept/ O Lord my humble thanks accept/ And bless my lips with truth.//Like cheerful birds as I begin/ This day O keep my soul from sin/ And all things shall be well/ Thou gav'st me health and clothes and food/ Preserve me innocent and good/ till ev'ning curfew bell. Recieve my body pretty bed/ Soft pillow O receive my head/ And thanks my parents Kind/ Those comfor who for me provide/ Your percepts still shall be my guide/ Your love I'll keep in mind.// My hours mispent this day I rue/ My good things done how very few/ Forgive my faults O Lord/ This night if in thy grace I rest/ Tomorrow I may rise refresh'd/ To keep thy holy word.
Butterfly
, ca. 1830
Brush and watercolor on paper
Drawing

Yellow and blue butterfly, shown as if in flight.
Sidewall
Ithaca Wall-Paper Mills, Ithaca Wall-Paper Mills, inc. 1900-1907, 1905–1915
Machine-printed paper, liquid mica

Large foliate medallions in vertical lines that are offset. Underneath each medallion are floral swags with roses. In the background there is a stylized landscape pattern. Grounding is dark pink. Printed in reds, pinks, metallic gold, and black.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

White liquid mica moires on light beige ground.
Sketchbook Page: Finances
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Financial accounting listing names and sums owed.
Sample sheet
, ca. 1750
paper and wool Technique: fulled plain weave

Sheet of paper pasted with twelve samples of fulled woolen cloth in greens, orange, red, blue, and browns. Intended for export to the eastern Mediterranean region.
Funerary Portrait of James Cardinal Gibbons
Griffith Baily Coale, American, 1890–1950, 1921
Graphite on paper
Drawing

The Cardinal is seen from the left, below, with only head and shoulders shown. A candle and candle-holder are seen in the immediate foreground. Color notations.
Fragment
, 18th–19th century
silk Technique: woven

Fragment of blue silk with rows of multicolored curling floral sprigs. Sprigs change direction in alternate rows.
Corner detail with partially nude male figure
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Corner detail with partially nude male figure. His head, torso, and outstretched arms are visible. His legs narrow and disappear into the spiral decorative motif.
Sepulchral Monument of the last three Stuarts
, 1788–1793
Pencil, pen, wash, Chinese ink
Drawing

James is shown standing upon a round pedestal against which Charles is leaning and behind which Henry is seated, rising from an oblong pedestal. Two crouching lions support a sarcophagus in front of the latter. Upon its cover lie insignia of the three princes, on a cushion. The monument is intended to stand in a niche between two embedded columns. A tablet is shown on top of the niche. Wall panes positioned laterally.
Textile
, 17th century
silk Technique: velvet

Allover pattern of small black flowers on silver.
Entombment of Christ
Aniello Falcone, Italian, 1607 - 1656, 1640–60
Brush and bistre wash, red watercolor, red chalk, white gouache (oxidized) on paper
Drawing

St. John and one of the Elders have begun to carry the corpse away.  Mary Magdalene kneels at right, the Virgin sits at left. Two persons are at left in the middle ground. Verso: The Virgin sits at the opening of the cave. The dead Christ leans against her right leg. A woman kneels at right, at left Mary Magdalene holds the right hand of Christ. In the left middle ground are St. John and the two Elders around the sarcophagus. One of the latter supports the urn with the water of the washing. Framing crayon line.
Design for the Silver Mount for a Glass Fruit Bowl
Joseph Anton Seethaler II, German, 1799–1868, 1825–35
Pen and black ink, brush and gray wash on paper
Drawing

Chimeras standing upon three columns support the base of a bowl with scalloped top edge. It is surrounded by grape vines.
Repeating Pattern Designs for Borders
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching on laid paper
Print

Six horizontal designs for ornamental borders featuring arabesque motifs. The designs include repeating patterns of flowers, rosettes, leaves, ribbons, lamb's tongue, feathers, fluting, ribbon and stick, and fleurons. The plate is numbered and signed.
Shirasuka: View of Shiomizaka (Shirasuka, Shiomizaka fukei) from the Series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This scene shows a trail of people traveling down the road. Ships are sailing on the vast ocean water. There is a small town tucked between the mountains. This a typical landscape view of the humble working class.
Fragment
, early 18th century
silk Technique: 7&1 satin damask

Red damask with a symmetrical arrangement of a large flower coming from a vase.
Baby's cap
, 18th century
cotton, glass beads Technique: beaded knitting

Baby's cap with stylized floral beadwork on the crown and border in a design of roses and small blue flowers. Ties of white tape not original.
Portrait of an Elderly Woman, Hartford, Connecticut
Frederic Edwin Church, American, 1826–1900, April 1845
Graphite on white wove paper
Drawing

Figure sketch of an elderly woman in Hartford, Connecticut. Viewed in left profile, she wears a bonnet and glasses as she looks downward, or possibly with eyes closed. She could be gazing towards her lap or nodding off.
Textile
, 18th–19th century
silk Technique: compound satin weave

Dark pink satin ground with brilliant polychrome symmetrical small scale repeat of flowering bush surrounded by serpentine vines and flanked by paired peacocks.