biglam/cooper-hewitt-alt-text huggingface dataset:
Ewer
Rookwood Pottery, American, 1880 - 1967, 1894
earthenware, glaze, silver overlay
ewer

White earthenware, thrown with silver openwork overlay.  Teardrop shaped body with tapering neck, flaring tri-cornered lip; circular foot.  Curved handle attached from neck to the body. Ewer decorated with underglaze yellow and orange roses with green leaves against a subtly shaded background of gold, green and brown. Exterior: underglaze, glaze; yellow with crackalture. Bottom: not glazed. Overlaying the piece is silver openwork, engraved with various flowers, leaves, arabesques and volutes. Covering the base and foot, the overlay extends upward and becomes a large openwork pattern in the area beneath the handle. Handle and lip sheathed in undecorated silver.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Intertwining pattern of pink, purple and blue flowers on purple leaf stems.  Graphite lined border on white ground.
Cheese Knife with Mother-of-Pearl Handle
François Nicoud, French, active Paris ca. 1875-1890, ca. 1890
gold plated, silver, mother-of-pearl
knife

Scimtar-shaped blade with curving spine edge. Surface gold plated and adorned with engraved foliate decoration, including pears hanging from branches. Banded gold plated ferrule leads to mother of pearl handle, decorated with carved diagonal fluting, slightly widenning to rounded terminal.
Sidewall - fragment
Janeway & Carpender, New Brunswick, New Jersey, est. ca. 1872, 1900–1920
Machine printed on paper

Large-scale red poppies set within scrolling medallion. Printed on green striped ground.
Demitasse Spoon with Dragonfly
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form pinate leaf with dragonfly applied diagonally on middle of leaf with tail continuing to edge of terminal and wings outstretched horizontally over leaf edges.
Band
, early 19th century
Technique: bobbin lace

Edge of bobbin lace, floral bracket field, early 19th century, Buckinghamshire.
Border
, ca. 1850
Machine-printed paper and flocked on satin ground

Red-flocked scalloped border with scrolls and dots, all on a polished or satin white ground. PRinted three across.
Textile
, 16th or 17th century
silk Technique: counted stitch embroidery

Border fragment with a cow in a wreath in multicolored silk.
Vase
Emile Gallé, French, 1846 - 1904, ca. 1881
Glass, enamel, gold

Tall cylindrical vase of greenish-brown transparent glass. Flat base, with swelling lower section, curved inward to semi-round collar of applied glass. Above collar rises elongated cylinder, slightly flattened and with pronounced curve. Rounded lip, with cut reveal. Lower body section enameled with stylized flowers in black, blue, and gold, surrounding lozenge-shaped reserve panel with enameled and gilded depiction of Persian warrior on horse, against azure blue ground. Upper portion of body with diagonally placed band of enameled decoration extending from base collar to lip; painted with blue letters against black stripes: "Rien Sans Amour," in pseudo- Kufic script.
Cup
, late 18th–early 19th century
treen

footed
Sash
, 19th century
silk, metal-wrapped silk Technique: compound weave Label: silk and metallic thread in compound weave

Panel woven entirely with gold threads and additional colors of red, purple and green showing an allover geometric tree pattern. Border, parallel to selvage, has flowers. Both ends of the panel setoff by a wide border showing floral groups. Gold fringe.
Scrapbook of textile swatches
, 1850
paper, printed cotton textile samples

Oversized red cloth bound book with 2,239 French textile samples. Very good condition and quality. Predominantly dark colors and earth tones.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace edge, dense floral; early 18th century Maline
Interlaced circles
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Interlaced circles, also known as "seven circles" (shippo) is accompanied with blossoms. This motif refers to the seven treasures of Buddhism: gold, silver, lapis lazuli, crystal, agate, red pearl, and carnelian. These represent faith, perseverance, humility, doing no wrong, mindfulness, concentration, and wisdom.
Ceiling paper
, 1905–1915
Machine-printed paper

Circles of scroll and bows surround a floral motif and interconnect with floral scrolls and vines.  Vine and floral motif throughout.  Green, shades of pink, and liquid mica on a white ground.
Floral lattice pattern
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Within the diamond-shaped lattice pattern are dianthus flowers. This geometric pattern, along with other early abstract motifs first became popular among aristocrats during the Asuka-Nara period (552-794) and continue to be popular today.
Fork with Agate Handle
, ca. 1700–1800
steel, silver, agate
fork

Two-tined fork, round shoulders, baluster neck. Octagonal silver ferrule with scalloped edge, flaring agate handle, octagonal in section, chamfered terminal.
Dessert Fork with Cricket Handle
Charles Victor Gibert, French, ca. 1890
silver
fork

Four tined fork with thin tines. Plain narrow stem, continues to form tri-lobed twisting leaf. Cricket applied perching on base of leaf with atenna curling forwards.
Teapot with Monogram and Diamond Lattice Pattern
Carl Thieme Potschappel Porcelain Manufactory, German, established 1872, ca. 1901
hard paste porcelain, vitreous enamel, gold
teapot

Cylindrical body and domed lid with gilded flower finial. Diamond lattice pattern with flowers at crossings. Gilded spout and handle. Floral monogram.
Carceri, No. 9
Giovanni Battista Piranesi, Italian, 1720–1778, 18th century
Etching on paper
print

State I or II
Carpet fragment
, 18th century
Technique: cut velvet (moquette or velour d'Amiens)

Serpentine of roses in deep pinks and green on white ground, edged with scalloped guard bands in same colors; outer pencil stripes in shades of yellow. Brownish hemp ground.
Ceiling paper
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

Quatrefoil motifs composed of foliate scrolls and floral bouquets. A wreath is centered in the void between quatrefoils. Printed in green and metallic gold on tan ground containing weave pattern.
Border
, late 18th century
Technique: needle lace

Needle lace edge sample, floral pattern; late 18th century Alencon
The Virgin with the Monkey
Albrecht Dürer, German, 1471–1528, ca. 1506
Engraving on laid paper
Print

Virgin holding the Child on her lap holding a bird. On the left is a seated monkey.
Border
, 1650–1700
linen Technique: needle lace

Border shows scrolls of floral and foliated forms. Pattern connected by picoted bars and outlined by cordonnet. Solidly-worked areas are interspersed by decorative filling stitches known as gaze quadrillée.
Design for the Entrance Hall, the East Wall, the Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1802
Watercolor, pen and black ink, traces of graphite (?) Support: paper
Drawing

Horizontal rectangle.  Elevation of a wall, with a painted design in imitation of stone-work.  Niches to left and right contain console tables bearing seated figures of deities.  Before the central section is placed a tall urn-shaped stove.  The upper section of the wall contains a painted decoration within a marbleized border.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Sidewall
, 1860–99
Block-printed and flocked

Stylizzed floral and scrolling acanthus leaves. Printed in orange flock on a sparkly pale yellow ground.
frame, door
Lockwood de Forest, American, 1850–1932, ca 1902
carved teakwood

Rectangular door frame, carved in teak with oak leaves. Transferred from Mr. Carnegie's Bedroom to Collections during restoration of mansion; August 1974- September 1976.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Pink or mauve floral bouquet of roses alternates with shorter bouquet enclosed in acanthus scrolls. Background shades from lighter green at top to deeper green, then turns to darkening shades of red. Pink flowers and floral swags in lower portion against red background increases pattern density.
Border
, 1795–1830
Block-printed on handmade paper

Consists of a floral band in thinly-printed pigment. Assorted flowers and foliage form a continuous frieze above a band of multi-colored leaf forms enclosed in curl brackets and dots. Reminiscent of India-chintz style patterns. Printed in pinks, blues, yellow, greens, black and white over a cream ground.
Pitcher
Duncan Glass Company, 1880–85
glass (pressed)
pitcher

Slightly flairing cylindrical body on circular foot; clear with pressed assymetrical patterns, bamboo shoots and figure with parasol; handle molded as stem of bamboo.
Quick Study of Waves and Large Dark Rock
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Quick sketch of choppy ocean with large black rock at right. Miscellaneous pen strokes in margin to right of image.
Sampler
, 1683
silk embroidery on linen foundation Technique: embroidered in two-sided cross and double running stitches on plain weave foundation

Alphabet at top, plants growing from three edges.  In the center a heraldic crest with the head of a blackamoor, date and initials.
Textile
, late 19th century
raffia Technique: appliqué embroidery on plain weave

Rectangular panel made from two shorter pieces sewn together. Asymetrical abstract design in cream-colored plain weave fabric appliqued onto the same with dark brown raffia in buttonhole stitch.  All edges hemmed with buttonhole stitch on right side.
Collar
, 16th–early 17th century
linen Technigue: needle lace

Lace collar of insertion and deep points in design of scrolling stems with flowers and leaves, birds, lions and dogs. Narrow band of bobbin lace at top.
Chintz fragments
, late 18th century
cotton Technique: black outline drawn on; mordants for 3 reds and 2 purples applied (sometimes over resist) by pen or brush; blue applied by brush over resist; yellow (over blue for green) applied by brush.

Three fragments from the same larger textile. Exotic flowering branches and scattered floral sprays in shades of violet, blue and red on a white ground. B. had one flower that matches a flower on A. and another flower which matches a flower on C.
Drawing
A. Philipson, 19th century
Brush and gouache on pre-printed squared laid paper

Central design shows a small basket of blue flowers with green leaves surrounded below by a wreath-like formation of pink blossoms in various sizes. Ten blue flowers are staggered above basket. Left side has vertical blue band decorated with alternating blue flowers and pink blossoms in hexagons; right side has vertical blue band decorated with yellow and orange connected wave-like pattern.
Curtain
, late 19th century
cotton Technique: plain weave, float weave, grouped warps and wefts

Monochrome continuous pattern of closely spaced vertical vines with leaves and blossoms. In recent years, this panel has been piece-dyed yellow.
Fork
, late 17th to early 18th century
ivory, steel, silver

1985-103-158/159: Scimitar-shaped blade, curved cutting edge upturne...;     1985-103-158: Scimitar-shaped blade, curved cutting edge upturne...;     1985-103-159: Three-tined fork, square shoulder, shaped stem wit...
Ceiling paper
Pittsburg W.P. Co., 1896 – 1915, 1890
Machine-printed

Fine network formed by delicate geometrical scrolls embellished with small floral ropes and flower clusters. Printed in gold, silver, pink, green, white on pale blue ground.
Ellis Gamble's Shop Card
A.M. Ireland, 1794
Etching on paper
Print

An angel stands in the middle upon a plaque with inscription.
Armband
, late 19th century
glass beads, hide Technique: lane stitch embroidery with beads Label: Lane stitch embroidered glass beads on hide

Arm band of hide, beaded in a geometric pattern of white, black, red, and light orange on a predominantly blue beaded ground.
Evening Dress
Rudolph Ackermann, English, b. Germany, 1764–1834, 1810
Engraving, brush and watercolor on paper
Print

Fashion plate with woman st anding by the base of a pillar, facing towards the left. She wears an ankle-length yellow dress; a yellow bonnet with white lace, and a white fur. Title below.
Design for a Decorative Burgonet
, early 17th century
Pen and ink, graphite on laid paper
Drawing

Vertical rectangle, lined border in pen and ink. Decorative visored helmet seen from the left in profile, the brim formed by the upper part of a fantastical animal's head. At the entire front is a winged mermaid. Body of the helmet covered in ornamental panels. Upon the short comb at top sits a winged putto raising a branch in the shape of a ring in his right hand.
Fragment
, 17th–18th century
silk, linen technique; plain weave with supplementary warp floats

Vertical stripes with float patterning on the narrower stripes. 
Selvage at one side.
Developpement et Profil de diverses Corniches en Angle Rentrant à l'usage des Appartements
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Six designs for cornices decorated with ornament motifs including rosettes, lamb tongue, palm leaf, bead and bar course, ribbon twist, garland, and acanthus leaves. The plate is signed and numbered.
Design for an Agraffe
Girolamo Venturi, ca. 1742
Graphite, pen and ink, brush and sepia on paper
Drawing

Large bow-like design with stones and vertical hanging stones in teardrop shape and cabochon.
Figures
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Center, Sketch of a dog; Lower right, Sketch of a female figure.
The Return of Ulysses to Ithaca, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1802–05
Pen and ink, brush and brown wash over traces of pencil.
Drawing

Center of bottom row. Penelope greets returning Telemachus, embracing each other in presence of several people. Priest, right, stands near altar.  Left background, group of three running men: hiding Ulysses. Caption on top, "1", below: Penelope abracia il figlio Telemacho/ goda del avo intorno alla patria. Lower right corner, spherical trapezoid, showing Ulysses shooting arrow through ring. Left, group of three men, at right, Ulysses and Minerva.  Caption above: "6" and ulisse prega larco alla presenza  de Proci/ 2. Center on right short side, circular medallion showing Ulysses and Telemachus with arms of suitors on staircase, guided by Minerva holding lamp. Caption: "3" and ulisse con il figlio acon/ pagnati da Minerva/ hascondo le armi/ 3. Upper right corner, Penelope weeps, hearing tales of her still unrecognized husband. Caption: "4" and Ulisse non convscinte dalla noglie piange fa penelope nel sentice raconta li atti/ ' Dulisse.'  Center top: Euryclea recognizes Ulysses. Ulysses shown closing mouth of his nurse who bathes his right foot. Minerva leans upon his chair. Penelope sits at right before mantelpiece. Caption: "5" Eurichlea riconosce Ulisse da una antica ferita Ulisse li proibise di parlare. Upper left corner: Ulysses recognized by his dog.  Ulysses shown patting standing dog, while Eumaeus approches gateway of palace.  Caption "2" and 6 Ulisse ritornate alla sua patria e riconesinto/ da un suo vechis cane." Circular medallions at left: Euryclea announces return of Ulysses to Penelope, who lies upon bed. Caption: "7" and 7/ Euchlen sveglia Penelope/ diceridoli he e ritornato/ Ulisse il suo spose. Lower left corner: Telemachus asks his reluctant mother to recognize Ulysses. She sits upon chair. Telemachus points at Ulysses who sits upon base of column with Minerva standing behind him. Caption, "8" and 8/ telemaco invita la madre a riconoscere Ulisse/ il suo spose, ma ella e motto cauta nel riconoscerlo. Center on ovoidal representation of Ulysses and Penelope walking to bedroom. Servant girl holds lit torch. Others preparing bed. Minerva leaves. Caption: "10" and 9/ Ulisse e Penelope vanno acompagnati da Minerva e/ da onci ancella con fiacola a letto nonziale.
Two Chair Designs
André-Jacob Roubo, French, 1739–1791, 1849–66
Etching on paper
Print

Two designs for chairs. The chair to the left has a caned seat and back with cabriole legs and sculpted frame with shell and scrolling leaf motifs. The chair to the right has a banister back with sculpted motifs. The plate is signed with the printmaker, publisher, and original designer, and numbered
Orphrey band
, 15th century
silk, linen, metallic Technique: 4&1 satin patterned by plain weave (lampas)

Scene of the Annunciation repeated. Warp direction is 90 degrees to the orientation of the picture.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below are steps. A sockle has the general shape of a bank, in which two female allegories sit; below them a festoon hangs at the front. Two more women kneel, adorning the lateral parts of the wall. Backwards rises a pedestal, with a band bearing the inscription around the main part. On top is a variation of 1938-88-1305; the left arm supports a cross. The figure possibly represents a bearded man.
Panoramic handscreen
, ca. 1830
paper, wood, bone, iron Technique: colored engraving on paper, turned wood handle, carved ivory fittings

A square handscreen with semi-circles cut away in each corner, and a black turned wood handle. The stiff outer area acts as a frame for a thin paper center, which contains seven views of a park, which can be rolled through the frame by means of ivory spindles on either side. By holding the handscreen up to the light, the scenes appear illuminated.
View Across the Hudson River at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1885–90
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of a red, hazy sunset over the Hudson River from a point near the artist's estate in Hudson, New York. In the foreground, the river bank descends gently from left to right and hosts several trees. In middle distance, river reflects the warm light of the sun. Beyond, the opposite shore and the Catskill Escarpment are visible. Above, the sky is rendered in purple-gray and the red light of the sun struggles to pierce this hazy veil, possibly caused by a wildfire or low lying clouds.
Design for a Lectern
Charles-Nicolas Cochin the younger, French, 1715–1790, ca. 1732
Etching on paper
Print

The eagle of St. John stands upon a globe on top. On verso: accounts, faded ink.
Fauteuils ovals meublans, en forme de Dormeuse
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on paper
Print

Four designs for armchairs upholstered with floral motifs and decorated with hanging drapery and tassels. The lower two designs have oval backs, upper two are squared. The frames are carved with scrolling leaves (rinceaux), fleurons, rosettes, gadrooning, and lamb's tongue running patterns. A scale below. The plate is titled, numbered, and signed.
PIED-D’ESTAL circulaire, surmonté de deux enfans tenant une corbeille
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of winged putti (children) holding a basket of flowers above their heads, standing on a pedestal decorated with fluting, fleurons, and repeating pattern moldings with leaf and egg motifs. The plate is signed.
The Nurse
Johann Georg Wille, German, active France 1715–1808, 1750
Engraving on paper
Print

The nurse sits under a tree in the corner of the garden, with an infant on her lap. Around her, a barrel, wrapping or cloak, a broom, basket, hand harrow. Below, the artist's name and date.
LE CHASTEAU D’ANCY-LE FRANC
Gabriel Perelle, French, 1604–1677, ca. 1660–83
Etching on laid paper
Print

A view of the chateau d'Ancy-le-Franc from its entrance, formal gardens visible in the background with its parterre planting and fountain. The chateau is surrounded by a moat. Figures, horseman, and horse drawn carriages on the roads and grounds. Trees in the landscape. The plate is titled and signed.
Fragments
, 14th century
silk, metal wrappd linen Technique: two interconnected structures (plain weave plus plain weave)

Horizontal rows of animals and birds on beige ground; metallic deer, blue silk bird and head of another bird at the bottom.
Sketch of an Allegorical Statue
Melchiorre de Gregorio, Italian, 1777 - 1840, 1825–1850
Pen and sepia on paper
Drawing

Vertical rectangle. A female figure holding the tablets of the law with both hands. 

Recto: two sketches with black crayon above the upper part of a man raising something with the left hand, below, a sitting nude. Above at right, traces of a sketch which has been cut away.
Tea Caddy with Chinoiserie Vignettes
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel, gold
tea caddy

1938-57-653: Rectangular with rounded shoulders and cylindrical...;     T1938-57-650/656: Hard paste porcelain tea and coffee service consis...
Study for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined white laid paper
Drawing

Man on one knee facing right, his hand on an object in front of him and his head lifted. Verso: geometrical three-dimensional outlines.
Coupe du grand Escalier de l’Hôtel de Toulouse à Paris prise sur sa largeur et qui laisse voir l’entrée du Vestibule au rez de chaussée, et la Porte d’entrée du grand Appartement au premier étage
Jean Mariette, French, 1660–1742, 1713–42
Etching and engraving on laid paper
Print

An architectural section depicting the grand staircase from the Hôtel de Toulouse in Paris, with a view of the entrance to the vestibule on the ground floor and the door to the grand apartment on the first floor. Two large arches on the ground floor topped with cartouches and flowers with six columns and a few stairs. The first floor includes a set of two-leaf doors topped with an arched tympanum with the Royal arms of France, flanked by pilasters and paneling featuring carved trophies of arms and armor. With a wrought-iron balustrade in the foreground and stairs. There is a scale below and the plate is titled.
Floral Ornament Design
Pierre-Philippe Choffard, French, 1730–1809, ca. 1764
Crayon manner in red ink on laid paper
Print

Floral and foliate rococo ornament design with flowers and scrolling leaves (rinceaux) on a base decorated with a wave motif. Possibly a design for an andiron. The plate is signed.
Cornice (Ceiling) Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Detail of a cornice design for decorative ceilings featuring cartouches, profile portrait of a woman wearing a helmet, and a standing woman wearing armor, vase of flowers, shell, mascaron (mask), griffin, foliate scrolls, scrolling leaves (rinceaux), fleurons, and a diaper pattern with rosettes. The plate is signed.
Chasuble
, late 17th or early 18th century
cotton Technique: resist block printed

Chasuble printed in a dull brick red color showing a design of vine and flower. Tulip-like blossoms are rendered in natural size and have faded green and dark red interior decoration Trimmed with one-inch wide braid of natural color linen with flat gold woven in. Lined with rose-colored glazed linen.
Fragment
, 14th century
silk, gold foil applied to animal membrane thread Technique: lampas

Metallic gold bird with a curved beak on a rose red background.
Study for a dancing woman, “Moods to Music,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895
Graphite on wove paper
Drawing

Recto: Sketch of a female figure in Classical drapery dancing; Verso: Sketch of a female figure, nude, sitting on heel and seen fromt behind.
Design for a printed fabric
, 1820–40
Pen, brush and black ink, gouache on paper
Drawing

Tulip flower which is decorated with floral motifs, and black dotted boughs with flowers are shown upon an olivish ground.