biglam/cooper-hewitt-alt-text huggingface dataset:
"Squash Blossom"
, late 19th–early 20th century
Silver
Necklace

Indian squash blossom
Cup and Saucer
Du Paquier Porcelain Manufactory, Austrian, active 1719 – 1864, ca. 1805
hard paste porcelain, vitreous enamel, gold
cup and saucer

A porcelain cup and saucer with floral pattern in gilding.
Dish
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1810
hard paste porcelain, gold
dish

1926-22-506-f: White, with stylized palmettes in gilt. A) circula...
Pitcher
, 1820–50

embossed and poly-chromed with two hounds
Sidewall
, 1775–99
Block printed on joined sheets

On yellow ochre ground, a repeating blue feather shape protruding from a white trefoil shape. A dotted rambling line creates a framework around these motifs.
Sidewall
, 1820–50
Block-printed

Two pieces mounted on corrugated cardboard. Foliate framework composing network of circles and squares. The point of intersection is covered by a floral motif. The circular framework contains a floral, snowflake or crystalline motif. The square framework contains a plant motif. Printed in green on white ground.
L'Agreable lecon ou L'Art d'Amier
Petitpierre Freres, 1785–90
cotton Technique: printed by engraved copper plate on plain weave
Panel

Scenes of love: a shepherd teaching a shepherdess to play a pipe next to t lion topped plinth inscribed "L'AGREABLE LECON", one woman instructing another woman following a text in a book called "L'ART D'AIMER" held up by Cupid, Cupid pointing out a pair of mating birds to a woman sketching, a child playing the bagpipes to animals, children catching eels, and classical ruins. In red on white.
Mount
, ca. 1775
Gilt bronze

Head of a bearded satyr with long horns.
Embroidered picture
, ca. 1670
silk, metal Technique: embroidery

Two ladies flanking a fountain surmounted by a Cupid worked in silks and metal purl.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and wash, gouache, graphite on paper mounted on tan illustration board
Drawing

Rectangular window of blue, yellow, and pink with central petals in pink.
Textile
, 1750–1800
cotton Technique: block printed on plain weave

Fragment of printed cotton with a square arrangment of symmetrical cartouches containting floral ornament, with another symmetrical floral cartouche filling the interspace. In red and black on a white ground with red and black picotage.
Basket, lid and dish
Wedgwood, English, established 1759, 19th century
Molded and glazed stoneware

Small circular basket form with strap handle at top, circular lid, and circular dish beneath. Basket and dish with light blue and white checkerboard pattern, the white squares piereced with large circular holes; white lid pierced.
Ornament, Christmas tree
, 1850–99
sugar

ball with stripes
Sampler
, 19th century
cotton Technique: looping with knot and running stitches (needle lace)

Sampler divided with red woven tape into a grid of sixteen squares, each square filled with a different needle lace pattern. With bows of red tape at the corners.
Unfinished pocketbook
, late 18th century
silk Technique: painted on plain weave Label: painted silk

Painted ivory silk taffeta panel for the sides of a pocketbook. Design has a frame with an oval opening (as for monogram) with a floral wreath above, and a basket of flowers dangling below. In a framework of swagged flower garlands.
Drapery Study for "Jacob Wrestling with the Angel"
Kenyon Cox, American, 1856–1919, 1886
Black chalk on cream laid paper
Drawing

Drapery study for a standing figure, wrestling with another figure indicated by outlines of the right arm and leg over the drapery.
Sketchbook Page: Dry Bones
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of the skeleton of a horse, without the tail.
Sidewall
A. Fassler, 1855–1900
Block-printed on paper

On khaki ground, isolated sprigs of peach-colored roses.
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace border, sparse floral; mid-18th century, Valenciennes
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache, graphite on blue paper
Drawing

Horizontally-oriented diamond shape made of pink roses and foliage. Clusters of pink roses and single blooms outline the diamond. A reverse C-shape is formed in the center by a group of roses. Small beige and light gray branches with round ends fill the background of the diamond. Guidelines in graphite are visible on the page with the diamond bisected horizontally and vertically. On blue ground.
Pig
, late 19th century
Silver
Matchsafe

In the shape of a pig in profile, legs tucked beneath, with curly tail and floppy ears. Link attached on pig's back behind lid hinge. Head and front legs form lid. Striker recessed in bottom.
Frieze
, 1905–1915
Machine-printed paper

Vine of scrolls across frieze with curls bearing blossoms. Printed in bight burgundy and dark turquoise on light greenish-white ground. Two borders printed across the width.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repeating design of alternating large and small hanging floral baskets consisting of simple intertwined vines. Upon a striated gray background that becomes increasingly light towards the base. Printed in white, cream, gray, burnt umber and bronze.
Sidewall
M.H. Birge & Sons Co., 1834, 1890–1920
Machine-printed

On grayed-turquoise ground, naturalistic daisies with foliage in three shades of green, overprinted with black pin-stripes.
Textile
, 19th century
linen Technique: block printed on plain weave

Vertical serpentines of flowers form an ogival framework for vignette of dancing couple along with two small animals playing the drum and zither. German verse appears below the dancing couple. Printed in reddish-brown on natural linen ground.
Textile
, 1850–1900
silk Technique: cut and uncut, voided supplementary warp pile (velvet) in a satin foundation

Large-scale symmetrical pattern with a central urn of heavy naturalistic flowers flanked by addorsed couchant sphinxes on an elaborate arabesque support from which fringed loops hang.  An elaborate canopy suspended from this shelters addorsed turbaned caryatids flanking a cartouche. In light and dark crimson shaded to suggest dimensionality.
Pickle Dish and Spear
Wood & Hughes, New York, U.S.A., 1845 – 1899, 1871–1899
silver, gold
pickle dish

In the form of a cucumber pickle, with gilt interior; scrolled vine handle flanked by a small pickle and leaf. The separate pickle spear with matching leaf handle.
Bracken and Hemlock Twigs
, 1838–68
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Bracken and hemlock twigs dangle vertically with offshoots springing out from either direction. Clumps of leaves, gathered in threes, give the stencil variation. Silk threads have been added to support the stencil structure.
Fragments
, 19th century
silk, metallic thread Technique: 8-harness satin patterned by a 3/1 twill supplementary fabric structure and brocaded supplementary wefts bound with the supplementary fabric structure, one of the wefts of the supplementary fabric is bound by the warps of the foundation fabric for a change in surface effect, the foundation fabric is entirely covered by the wefts of the supplementary fabric–it acts as a support for the gold

Fragment of a formal, symmetrical pattern of long pointed leaves framing a stem with three globe-like blossoms. The pattern is in shades of gold outlined in deep red.
borders
, 1830
Block-printed

Glossy grisaille design of rosettes bordered by lines in varying shades of gray. Marbled ground of buff and blue wavy lines.
grisailles
Design for a Wall Decoration, Possibly for the Corridor
Frederick Crace, English, 1779–1859, 1815–22
Graphite on wove paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Panels left and right with fish, shells at base.  Patterned border below connecting the two panels. Blank central panel, obviously meant to carry some motif, is supported by a dado with a design of formal Chinese scrolls, and bordered on either side by upright panels bearing a design of fishes, moths, and desiccated threads.
Optical Toy: "Temple Bar by Moonlight" (Morgan's Improved Protean Scenery, no. 10)
William Morgan, English, active 19th c., 1838
Lithograph, brush and watercolor on paper, mounted.
Print

View of TEmple Bar. When held to the light, the scene shows Queen Victoria riding by in state. Below, title and subtitle: "Queen's visit to the city". The event took place Nov. 9, 1837. Below, publisher's name.
Sidewall and border
, ca. 1850
Machine-printed sidewall with block printed border

a) Sidewall: blue flowers over grisaille foliage with brown foliage reserved; b) attached border: blue flowers, red roses, green foliage over black ground.
Peace, Figure Study for "The Beneficence of the Law," Mural at Essex County Court House, Newark, New Jersey
Kenyon Cox, American, 1856–1919, ca. 1906
Graphite on ivory laid paper
Drawing

Nude figure with right elbow bent, head on right hand, leaning on a large object. Left hand holds a staff or branch. Figure's hair braided in a coronet. Squared for transfer.
Band
, early 19th century
Technique: bobbin lace

Edge of bobbin lace, leaf forms; early 19th century Buckinghamshire
Border
, 1860–80
Block-printed and flocked on machine-made paper

A simple band of rosettes with a flocked background. Printed in dark brown flocking, tan and yellow.

H# 1
Sidewall
J. & Comp'y., ca. 1880
Machine-printed

On shiny gold ground, clusters of off-white, tan and brown chrysanthemum-like flowers in various stages of openness alternate with stylized four-petal daisies and buds in same colorway.
The Judgement of Paris
, 1650–75
silk and metallic foil wrapped silk embroidery on silk foundation, mica Technique: embroidered in stem satin, knot, couching and padded couching stitches with detatched and undetached looping (needle lace) on 4/1 satin foundation
Embroidered picture

Seated male figure at the right (Paris) hands the Golden Apple to the first of three female figures (Venus) lined up in front of him. The next figure is Minerva, the last is Juno. At the top Cupid leans out of a cloud with a laurel wreath for his mother.
Pendant
Ernesto Pierret, French, b. 1824, 1875–90
Gold, enamel, rubies, sapphires, pearls

Brooch in the Renaissance style of gold, enamel, rubies, sapphires and pearls.
Band
, 1700–1750
linen Technique: bobbin lace, Binche ground

Band with scrolling vine.
Printing block
, 19th century
wood Technique: wood carved in relief

Wooden block for printing fabric. Design in relief of a diamond lattice. On back, holes carved for printers' hands. Contemporary picture hangers attached.
Turtle
T. Johnson, ca. 1881
Plated brass, celluloid, enamel
Matchsafe

In the form of a turtle with head, legs and tail extended, its back molded from tortoise-shell colored celluloid, eyes enameled red. Head (lid) flips backwards at uppermost part of shell, hinged on underside. Ridges of underside serve as striker.
Ceiling medallion
, 1875–1906
Block-printed paper

Wallpaper roll. One half of a circular medallion, containing pink flowers and green foliage. Central framework is metallic gold color. Printed on off-white ground.
Flowers
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Vines and leaves connect flowers organized in a chevron. Silk threads were added to support the stencil structure.
Scarf sample
, mid-19th century
silk Technique: printed on plain weave

Quarter of a printed scarf in red and black. Shows field of plain red and border of shamrocks and small leaves.
Fragments
, 1730s
silk

Vertically symmetrical pattern of the "lace" type on a rust-red background.
Textile
, 1850–1900
cotton Technique: e-gasuri (warp and weft ikat) on plain weave

Narrow vertical panel with a design of a bird, blossom and pine tree (matsu) in weft ikat alternating with a concentric stepped diamond shape in warp and weft ikat.
Sidewall - fragment
, 1870–80
Machine-printed

An all-over leaf and floral design printed in mustard yellow with gold and mica highlights.
Waistcoat
, 19th century
silk Technique: compound weave

Gentleman's waistcoat with long lapels in a cream-colored silk woven with a design of thin stripes and flowering tree branches in tan, light blue and black.
Sketchbook Page: Seated Figure
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Sketch of seated figure, with right leg crossed over left.
Dice
, late 19th century
Plated brass, glass, bone
Matchsafe

Rectangular, curved sides, rouned corners, featuring raised, diagonal bands all over; in recess at front, near bottom, is circular, glass covered compartment with brass edge and 3 small dice inside. Lid hinged on side, thumb catch opposite side. Striker on bottom.
Band
, 17th century
linen Technique: grid of withdrawn element, reticella, needle lace; border is continuous braid-like bobbin lace

Band of withdrawn element with pointed lace edge attached.
Border
, ca. 1860
Block-printed and flocked

Beige flowers twist around fluted column. Bead molding along lower edge. Gold highlights and flocked on beige ground.
Bands
, 16th century
linen Technique: interlacing stitch on knotted net with a narrow interlooped band sewn to an intact edge of the net (needlework on knotted net)

Two net borders embroidered with a design of medallions containing animals and stylized floral shapes.
handle
, late 17th century
silver

Handle in the shape of female caryatids, handle can be screwed on implement
Cap streamers
, late 17th–early 18th century
linen Technique: needle lace, 6-sided reworked ground

Cap streamer fragments showing candlestick pattern.
Apes imitating hunters
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or after
Engraving on paper
Print

Horizontal rectangle. In the foreground, right, a group of men, washing their eyes, using the basins. In the middle ground, a number of apes imitates them. At lower left: "Ioan. Stradanus invent."; at left center: "Ioan. Collaert Sculp."; at lower right: "Phls Galle excud." Below: "QUO VENATORES OCULUS..."
Two Arabesque Panel Designs
Juste-François Boucher, French, 1736 – 1782, 1768–75
Etching on paper
Print

Two vertical arabesque panel designs printed on two separate plates featuring vases, baskets of flowers, friezes with figures, female figures, mascarons (masks), scrolling leaves (rinceaux), fleurons, rosettes, festoons of leaves, fluting, gadrooning, and egg pattern molding. The plates are numbered.
Design for Rococo Ornament
P. Ludovik, French?, active mid 18th century, 1768
Etching on laid paper
Print

Design for rococo ornament featuring rocaille scrolling leaves, cartouches, shells, foliate branches, c-scrolls, a pear-shaped vase, and a military trophy including a feathered helmet, a drum, and a spear with a banner. The plate is signed and numbered. Drawing without text, in reverse at Waddesdon Manor, The Rothschild Collection (National Trust), acc. No. 1326, cat. No. 219j.
Elevation of a church
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and brown wash, red ink on off-whtie laid paper, lined
Drawing

A large two-storey colonnaded building, or palace, with dome; towers on both sides; on ground floor there are statues in niches.
Grille pour une Chapelle
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an iron gate featuring ornament motifs including pinecones, rosettes, and vases. The plate is signed.
Alpine Glacier
Frederic Edwin Church, American, 1826–1900, June - September, 1868
Oil and graphite on tan paperboard; verso: oil or green ink
Drawing

Landscape study showing a view of a glacier beneath a rocky, serrated peak, likely in the Bavarian or Bernese Alps. Grassy, rolling hillsides stretch across the foreground and lead to a steep, rocky mountainside in the middle distance at left. At center, the blue and white ridges of a glacier are visible below the sharp, jagged peaks of a nearby mountain. Above, the cloudless sky is rendered in a shade of rich, royal blue. 

Verso: Fern branches and leaves blotted and silhouetted in green.
POELE dans le genre moderne, avec trophies, pilastres et arabesques
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching and hand colored watercolor on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a pedestal decorated with a square panel with two birds, framed by foliate branches, and a quiver of arrows, flaming torch, bow, and a horn at their feet. Framed by horizontal panels of intertwined foliate branches and a basket. And running pattern moldings, featuring egg and dart, fleurons, and leaf motifs. A plan view and scale below. The plate is signed, and hand colored in watercolor.
The Great Basin of Mt. Katahdin, Maine, Part Two
Frederic Edwin Church, American, 1826–1900, 1876–81
Graphite on gray-green wove paper
Drawing

Landscape sketch showing the upper part of a panoramic view of the Great Basin of Mt. Katahdin in Maine, from the shore of Chimney Pond. This description refers to the entire view, comprising two leaves with 1917-4-1145-a. The reflective surface of Chimney Pond extends from the foreground to the middle distance, where the heavily wooded opposite shore is visible. Behind it, the rugged northern slope of Mt. Katahdin rises abruptly into the sky, comprised of several rocky ridges and fissures. At upper center, Pamola Peak is visible along Katahdin's serrated ridge, which extends out of view at left and right and forms a high horizon.
Sketches of a Tree and Elecampane Plant, Niagara Falls, New York
Frederic Edwin Church, American, 1826–1900, September 1856
Graphite on light brown wove paper
Drawing

Botanical studies showing a view of a group of trees and four elecampane plants (also called horse-heal or elfdock) in or around Niagara Falls, New York. At left, a group of deciduous trees (or possibly one tree with a bifurcated trunk) are divided at center and have long branches with lush bunches of leaves at their tips. At right, the straight, narrow stems of four elecampane plants are shown with leaves and buds that haven't yet blossomed. Just above these plants, a small sketch of a bull's face is included.
Design for the East Portal, Grand Gallery, Villa Albani, Rome, Italy
Carlo Marchionni, Italian, 1702–1786, ca. 1755
Pen and brown ink, brush and brown, gray wash, black chalk on cream laid paper
Drawing

Architectural study of arch topped with pediment. A semicircle is inscribed into an oblong, consisting of mouldings with a trophy of weapons inside. Dolphins lie upon the mouldings in the wedges. Laterally are the capitals of two embedded Corinthian columns supporting the entablature. Above is a stylized pediment with a mask between dolphins. The latter are intertwined with festoons hanging from two eagles standing above the corners of the pediment. The eagles' wings are displayed, the inner ones elevated, the outer inverted. Upon the point of the pediment stands an urn with garlands dragging from the handles. Its upper part is partially in front of an entablature that spreads across the upper portion of the picture and is divided into panels by consoles featuring ram's heads. The panels on the sides of the urn are decorated with a relief featuring two women standing beside a candelabra.
Two Arabesque Panel Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Fourth plate from a series of ornament panel designs. Two vertical panels with arabesque and neoclassical motifs including mythological figures, putti, winged terminal figures, a female bust on a plinth, vignettes with female figures, birds, masks, rinceaux, scrolling acanthus leaves, fleurons, festoons of flowers and leaves, ribbons, vase, cornucopia of fruit and flowers, arrows, and flaming torches. The plate is numbered.
Sampler
, mid-19th century
silk embroidery on linen foundation Technique: cross and satin stitches on plain weave

Alphabet introduced by Maltese cross, floral cross borders and geometric bands.
Autre Musicien Chinois
François Boucher, French, 1703–1770, 1738-1745
Etching on laid paper
Print

Plate printed with two figures dressed in Chinese costume (chinoiserie) in a landscape. The elder, male figure sits and plays a musical instrument. He is shaded by a younger male figure, sitting on the ground, holding a parasol. The plate is signed (twice; Boucher etched his signature at lower left) and numbered.
Ceiling Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Rectangular ceiling design. The ceiling is split along the vertical axis to offer two designs. On the left, the frame of the ceiling features bands of bound leaves and lamb tongue, and paired doves in the corners. On the right, the frame has lamb tongue bands, scrolling leaves, flowers, and rosettes in corner rondels. The plate is signed and numbered.
Fragment
, 17th century
metallic-wrapped linen thread Technique: bobbin lace

Metallic lace fragment in two different thicknesses of silver-wrapped thread making a floral design.
Fragment
, 14th century
silk, metallic wrapped linen Technique: two interconnected plain weave structures (lampas)

Confronted monsters beside a palmette. In blue, green, white and gold.
Border
Brightwen Binyon, 1875
Block-printed paper

Two bands of same design, one above the other, intended to be cut apart and hung seperately. Simple bands of geometric ornament above and below, in each band, with counterposed swallows and insects between.
Browns and gold on green-brown field.
Mausoleum
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Design of the mausoleum and funeral decoration in the nave of the Church of St. Gervais for Louis Boucherat, Chancelier de France and Garde des Sceaux (1619-1699), on December 11, 1699.  The mausoleum is erected in the center of the nave, under a baldachin, and is flanked on either side by rows of people. The plate is signed.
Side chair
John Henry Belter, American, b. Germany, 1804 – 1863, 1860–65
Laminated rosewood and oak

Shaped back, curved in plan, with ovoid escutcheon surrounded by openwork design of laminated wood in scrolls; cabriole legs, the front pair fitted with castors. Upholstered in comtemporaneous machine-woven fancy compound satin. Pressed, steamed, laminated in layers, then glued together at right angles; with an applied crest.
Three Apostles
Federico Zuccaro, Italian, 1542 – 1609, ca. 1540–1609
Black and red chalk on paper
Drawing

Two seated apostles with books in their hands sleep, leaning against each other. Another standing at left is shown de face, with the head turned in profile toward right.
Designs for a Panel, Fire Screen, and Andirons
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1782
Crayon-manner in red ink on laid paper
Print

A sheet with a design for a panel, a fire screen and two andirons from the eleventh book of designs by J.B. Huet. The panel to the left, decorated with arabesque ornament with a vase, flowers, fleurons, garlands, sphynx, a medallion portrait, cornucopia, and a bird. The fire screen in the center is ornamented with flowers, draped textiles, a winged figure, fleurons, friezes, and birds with chestnut finials. The upper right fire screen is a reclining lion on a base and the lower right fire screen is a winged putti holding a flame, riding a griffin on a neoclassical base decorated with friezes and on four ball feet. The plate is titled, numbered, and signed.
Sketches around Berchtesgaden, Germany
Frederic Edwin Church, American, 1826–1900, July 3, 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Loose architectural sketches of buildings and structures around Berchtesgaden, Germany, showing views of a tower and a chimney, at left, a moss-covered fountain with running water at right, and a view fo a building's roof, below and oppositely oriented.

Verso: Landscape sketch showing a view of mountains near Berchtesgaden, Germany. In foreground, a steep slope descends into a dark, wooded hilltop. In middle distance, a tall, triangular mountain is visible, loosely shaded, and crowned in puffy clouds.