biglam/cooper-hewitt-alt-text huggingface dataset:
Table cover
, 19th century
linen Technique: patchwork of techniques including needlework on knotted net, bobbin and needle lace

Squares with animals and grotesque figures alternate with squares of fabric with cutwork and needlework filling put together to form a checkerboard pattern. Deep scallop of bobbin lace on the border.
Tablecover
, 19th century
linen Technique: cutwork, needle lace and needlework on knotted net

Checkerboard arrangement of squares of punto in aria with geometric motifs alternating with squares of fabric which have rosettes cutouts filled in with needlelace. Border of punto in aria. Scalloped needlelace edging.
Pleated fan and case
Tiffany & Company, American, established 1853, late 19th century
Linen bobbin lace leaf, sticks of unidentified material

Pleated fan. Leaf of cream-colored Milanese bobbin lace, probably 18th century; it has been cut to make a fan with picot edge added to it. The reverse side of the lace has been used for the obverse of the fan leaf. Bail and sticks of a clear orange-colored material resembling shell.
Monuments of Paris
Hippolyte Lebas, 1818
cotton Technique: mordant for red printed by engraved plate, yellow added by brush
Textile

Circular and oval medallions framing views of Paris: Lemot's statue of Henry IV for the Pont Neuf, with a portrait of Henry IV in a frame; the Pantheon with a portrait of Louis XV in a frame supported by angels; La Fontaine des Innocents with a portrait of Henry II above; the Louvre with a portrait of Louis XIV in a frame flanked by the figures of Prudence and Force. Printed in red with washes of yellow.
Coffee Cup
Frank Lloyd Wright, American, 1867–1959, 1966
porcelain, vitreous enamel
coffee cup

1979-77-1/7: Hemispherical cup with plain loop handle; exterior...;     1979-77-1: Hemispherical cup with plain loop handle; exterior...;     1979-77-2: Concave circular saucer decorated with abstract en...;     1979-77-3: Circular dish with curved sides and slightly flair...;     1979-77-4: Deep circular dish with curved sides and slightly ...;     1979-77-5: Concave circular plate decorated with abstract ena...;     1979-77-6: Concave circular plate decorated with abstract ena...;     1979-77-7: Concave circular plate decorated with abstract ena...
Woman with Flowers
Francis Augustus Lathrop, American, 1849–1909, ca. 1890
Charcoal on paper, laid down on board
Drawing

Half-length figure, turned away from viewer.  A woman looks over her left shoulder, holding a flower in her right hand.  Her left arm cradles a bouquet.
Unfinished cartoon for cotton printing: Unidentified subject
B. M. Lebert, 1759–1836, ca. 1820
Pen and grey washes on cream-colored paper (mounted)
Drawing

The design for a textile shows three scenes from an unidentified play or novel of historical subject. Lower left: a bearded figure kneel in supplication before two women, with a tomb monument in the background; center, a prisoner in chains, accompanied by two soldiers, is brought before two women, in a tropical setting with palm trees; upper right, two artmed soldiers flee from a third, apparently slain, with the statue of the Farnese Hurcules in the background. Three trophies complete the composition: articles of war and peace; lower right, a trophy composed of armor. A single indication for ground patterning is given.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Mold-blown Favrile glass

Tall vase with long neck.  Rose colored bottom ascends to yellow glass at top.  Possible chill crack in glass.
Handkerchief
, 19th century
linen Technique: bobbin lace, Honiton style

Handkerchief trimmed with Belgian style lace showing Honiton motifs, floral sprays connected by a large square réseau.
Kain panjang (long sarong)
, 1850–99
cotton Technique: wax resist dyeing (batik) on plain weave

A long sarong (kain panjang) with a blue ground and design in brown and white. All-over floral motifs with vine or tendril design.
Sash
, possibly 19th century
silk, linen Technique: woven

Geometric motifs and palmettes in yellow, maroon, brown and purple.
Fragment
, 16th century
linen Technique: withdrawn element work with needlemade fillings, embroidery, minor deflected element work

Fragment with a zigzag border and one tassel has a central scrolling floral vine with leaves. Smaller areas of scrolling forms above and below.
Band
, 17th century
linen Technique: bobbin lace, discontinuous tape like

Openwork pattern, lozenge fields with details in oat seed stitch. 17th century type possibly later work.
The elevation of an altar with two alternative suggestions
, 1775–1800
Pencil, pen, black ink, brush, grey, rpse water colors on paper
Drawing

Vertical rectangle. A bathtub sarcophagus stands in front of a dado. The tabernacle is in the center of the ledge upon which a dado stands in one of the suggestions. It has in the center an ovoidal medallion. The picture frame stands upon this dado. Another suggestion shows the omission of the lateral part of the dado. A candlestick stands upon the ledge. One suggestion. It shows the picture frame hanging. Pilasters support the entablature and the triangular pediment. An ovoidal medallion in a glory of rays and cherubim is in the center of the entablature and the pediment. Two angels carry a wreath of roses on top. Section of the scrolls of the chapel are laterally,
Chair arm fabric
, 19th century
wool, silk Technique: plain weave with discontinuous wefts (tapestry)

1898-18-2: One piece that contains four uncut chair arms has ...;     1898-18-3: One piece that contains four uncut chair arms has ...;     1898-18-4: One piece that contains four uncut chair arms has ...;     1898-18-5: One piece that contains four uncut chair arms has ...
Christ With the Instruments of the Flagillation Attended by Two Angels
Joannes Galle, Flemish, 1600 – 1676, ca. 1650-1670
Engraving on paper
Print

The nude Christ is shown seated, wearing the crown of thorns, while two angels hold up a sheet behind Him. On the ground are the symbols of the Passion. At top, a single line Latin inscription and at the bottom a four line Latin quotation from the book of Paul, chapter 12.
Pair of Elephants Mounted as Candlesticks
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 18th century
hard paste porcelain, vitreous enamel, bronze, gold
candlesticks

Pair of porcelain elephants mounted as candlesticks (parts a and c) with covers (parts b and d).  Standing Elephants with dark gray raised trunks, white tusks; skin painted with short gray lines, denser on backs.  Each elephant on a scrolled gilt bronze base with attached urn-shaped, handled nozzle on a fringed cushion resting on animal's back.  Each circular cover, with finial of curling leaves and tendrils, fits snuggly into nozzle.
Wallpaper Design
Pignet et Cie, 1795
Brush and tempera, graphite on laid paper
Drawing

Design for wall-paper of the Directoire period, combining elements of panel wall-papers and simple repeating wall-papers. Landscape vignettes in grisaille are combined with large floral arabesques.
Peasant Woman at Market: Zum Wein wolt wir Laufen (To wine we will run)
Hans Sebald Beham, German, 1500–1550, ca. 1542
Engraving on laid paper
print

Vertical rectangle. A peasant is represented standing, facing right, seen almost from the back. He holds a pitchfork in his left hand; his right hand rests on his sword.
Fragment
, late 17th century
linen Technique: lace of premade tape with needlework fillings

Bobbin-made tape, buttonholed along edges, forms outlines for scrolling symmetrical floral design. Details filled in with needle lace stitches and connecting picoted bars. Sometimes referred to as mezzo punto.
Watch Chain and Ring
, 1820–50
Pen, ink, brush, various water colors, white. Paper
Drawing

Vertical !!!. The chain is at left. It shows three circular and two hexagonal medallions. Below hangs the watch key. It contains the medallion and a cupid scene. The ring shows two rotary plates with landscapes.
The Apostles Carrying the Body of the Virgin to the Tomb, Study after Lodovico Carracci
Felice Giani, Italian, 1758–1823, 1813–18
Pen and brown ink, brush and dark brown wash over black chalk on white laid paper
Sketchbook folio

Verso: pen and brown ink, Two studies of ceilings ???
Fringe
, 17th century
silk Technique: soumak weave

Green fringe with a soumak heading and looped and twisted skirt threads.
Square
, 16th century
linen Technique: grid of withdrawn element with needle lace, reticella style

Frame with narrow pointed border.
Textile
, 19th century
cotton Technique: compound plain weave

Sample with a light blue ground has thin vertical stripes of blue and white and a wider stripe of blue, white, red, and yellow.
Rembrandt in Cap and Scarf
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1633
Etching on laid paper
Print

Self-portrait of the artist. Bust, looking at spectator over left shoulder. He wears a scarf and dark cap. The face is almost completely in shadow.
Fragment
, 17th–18th century
cotton Technique: printed and painted on plain weave, gold powder on gum or wax base

Strip of very fine, loosely woven terra-cotta cotton plain weave with minute close-set diagonal repeat of flower sprig with pair of leaves and gold dot filling blossom, drawn in black.
Fringe
, 17th century
silk Technique: woven

Fringe in yellow and light green with a plain-woven heading. Skirt threads, looped and twisted, are arranged in yellow and light green stripes.
Mrs. William Wright and Child
Daniel Huntington, American, 1816–1906, 1857
Graphite, White Chalk Support: Gray Wove Paper
Drawing

Vertical rectangle. Woman seated, turned toward the left, her face almost in profile. Her left hand on her lap, her right arm resting on a cushion.
Textile
, 17th century
wool Technique: compound weave

Woolen compound cloth weave. Vertical stripes of geometric designs in red, blue and white alternating with plain cloth ground in yellow and red. Two lengths sewn together. Wool binding around edge.
Fragment
, 18th century
linen Technique: bobbin made continuous tape with net added

Fragment with a scrolling tape meander in a field of open mesh.
Mount
, ca. 1810
Silvered brass

Venus, with quiver and arrows, attended by Cupid.
Vignette or Label
, 1840s
Wood engraving on paper
Print

A central oblong blank panel is formed by acanthus leaves. The outer framing panel consists mostly of the corners which show lozenges with rosettes.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Grey ground, molette printed in pattern of checked stripes with geometric borders. Overprinted with random flower sprays - roses, poppies, pinks, and forget-me-nots, in yellow, blue, white, pink and green.
Fragment
, possibly 17th century
silk Technique: supplementary warp forming raised pile (velvet)

Nestling hexagonal shapes in blue-grey on white.
"Pendant in the Form of a Bowknot," Plate 3 from "Goldsmith Ornament Designs"
Heinrich Raab, German, active Nuremberg 1640 – 1650, ca. 1648
Engraving on off-white laid paper
Print

Jewelry design: a white on black design for a pendant in the form of a knotted four looped bow with two trailing ribbons below. The design is  symmetrically rendered including the pattern of intricate depictions of roses, tulips and leaves.   A small pear dangles below knot at center.
Design for an Oval Table of Mahogany "B"
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Oval molded table top is raised on four slender column-shaped supports sitting atop a molded rectangular base raised on four splayed legs with casters.
Design for Serving Table with Columnar Legs
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Oblong table top with molded convex front and single drawer; decorative motifs of acanthus leafs and gadrooning; raised on 2 frontal ionic columnar fluted and gadrooned legs terminating in ball feet; conforming lower shelf attaches just above floor level; on table top, square Chinese jar with plant in it and small round bowl at left; on lower shelf, round bowl at center with tall faceted vase at left.
Tassel
, 17th century
linen Technique: braided and knotted

White linen tassel with braided stem connected to flattened sphere shape forming the base. Core is braided over with linen yarns worked in groups for a basket-weave effect. From the top of the braided stem hang a few knotted elements and more hang from the sides of the core.
Sampler
Sarah Roper, 1834
silk, cotton, wool Technique: embroidered

Embroidered sampler with black and red stitching on light brown linen. Four alphabets and numerals are on the top section. Inscription below:

Reasons whole pleasure all the joys of sense
Lie in three words health peace and competence
But health consists with temperance alone
And peace oh virtue peace is all thy own

Remember thy creator in the days of thy youth

Sarah Roper June 1834
In the 8th year of her age
Died May 21st 1835
Side chairs
John Henry Belter, American, b. Germany, 1804 – 1863, ca. 1850
laminated rosewood, hardwood, cotton upholstery, metal

(D)  Upholstered, laminated rosewood back in shape of inverted pear, topped by carved flowers-and-fruit garland; elongated S-scroll on each side of back.  Upholstered spring seat on rosewood frame with serpentine front, cabriole forelegs with slipper seat, scrolled at each side, on tapered supports; reverse-curve rear legs; casters.
Sampler
Agnes Brown Kinghorn, October 1809
silk, wool Technique: cross, satin and double running stitches

Pansy border across the top, above the figures of Adam and Eve, who are flanked by pairs of peacocks and birds. Other motifs include flowers in vases, crowned thistle, and Solomon's Temple. Two inscriptions at the bottom.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso. The recto and verso continue the description of the masked ball given at the Hôtel de Ville on February 26, 1745, to celebrate the marriage of Louis Dauphin with Maria Teresa of Spain.
The Terrace, Central Park
J.W.&J.S. Moulton, Salem Mass., American, ca. 1875
Collodion print mounted on tan cardboard
Photograph

View of the building leading up to the terrace.  Bench in forground.
Sampler
, 1844
silk embroidery with beads on linen foundation Technique: embroidered in cross stitches (looping, backward movement) on plain weave foundation

Alphabets including one in Hebrew.
Design for a Panel
Cooper Union Art School, ca. 1895
Pencil and brown watercolor on paper
Print

Vertical rectangle. Design for a carved or painted panel composed of a central leaf arabesque, and an outer border of a continuous leaf arabesque.
Fragment
, 17th century
silk Technique: appliqué on velvet

Border fragment with yellow scroll and leaf appliquéd to red velvet.
Gaming purse
, 17th century
silk, metal Technique: embroidered on satin and supplementary warp pile (velvet)

Green velvet bag lined with leather, with green draw string and metal tassels. Embroidered on the sides with a raised columnar design in silver. The bottom is embroidered with the coat of arms of the City of Paris in coral-colored silk and metal threads.
Textile
, ca. 1300
wool, cotton Technique: plain weave with discontinuous wefts (slit tapestry)

Strip with three standing figures with a headdresses on a yellow background. The three figures are separated from each other by two bands, each by a band of red with a band of tan at top and bottom.
Platter
Bernard Palissy, French, 1510 – 1590, probably 19th century
lead-glazed earthenware

Oval platter in the style of Bernard Palissy. Entire surface decorated with molded and applied leaves, shells and sea creatures. At center, a circle of shells surrounded by waving lines indicating water.
Standing and Kneeking Figures
Giovanni Paolo Panini, Italian, 1691 - 1765, 1735-1740
Red chalk on white paper, laid down
Drawing

A standing semi-drapped male figure is seen from the back, facing slightly right. A heavily draped figure kneels on a block of masonry, seen, from the left side, gesturing with both hands, and his head turned to the left.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on brown paper
Drawing

Two branches with flowers and foliage at center of page on rust-colored ground. Branches diagonal with tops facing right. Branch in foreground has white flowers, one in background has pink flowers.
Status cloth
, late 19th century
raffia Technique: embroidered in cut pile and stem stitches on plain weave foundation Label: woven raffia, embroidered in cut pile and stem stitches

A rectangular panel formed of three narrow pieces stitched together on the long sides with buttonhole stitch. Each piece is patterned with different diamond and zigzag patterns with irregular fillings in cream and dark brown raffia pile with reddish-brown outlining stitch.
Design for a Box
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold, black gouache, graphite on cream paper
Drawing

Design for a rectangular box outlined in green and gold decorated on top with a green-blue fish.
A Triton and a Nymph
Hans Sebald Beham, German, 1500–1550, 1523
Engraving on laid paper
Print

A figure of a Triton bearing a nymph on his back. He faces right and holds two fish in his left hand; a club in his right hand. The nymph is seen in profile, facing left. At lower left, in a tablet, the artist's monogram and the date 1523.
Sidewall
, 1835–45
Machine-printed (?)

Brown, rust and white on tan grounded paper. Large brick-like rectangles in all-over arrangement like diagonal or plumb bonded bricks. Each rectangle formed of lines arranged to give effect of shading imitating a raised stone or wooden panel. Space between rectangles filled with solid, darker brown.
Bonad
, 1730–1800
Hand painted on canvas

a) Scene set within a room with three figures, the middle figure in blue coat is playing the violin; b) single figure in blue coat in same room setting.
"Les Oreilles du Lieure" from La Fontaine's Fables
, ca. 1770–1800
Black ink on white paper
Engraving

Horizontal rectangle. Scene from La Fontaine's fable, showing a rabbit seated near a stream looking at his shadow.
Band
, 18th century
linen Technique: bobbin lace, Binche ground

Band with leaf form enclosed diamond shaped grid.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Smaller foliate sprig enframed within a medallion composed of scrolls, alternating with joined larger foliate sprigs. The larger enframements contain strung bellflowers and strung beads. Printed in green, red, and white on a light green ground that shades progressively darker towards the bottom.
Fork with Porcelain Handle
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, ca. 1740
soft paste porcelain, vitreous enamel, steel, silver
fork

Fork has three long curved tines, rounded shoulders and a baluster-shaped neck. Silver ferrule has scalloped edge. Pistol-shaped white porcelain handle with dark blue floral and scrolled decoration. Button cap at the top of the handle.
Honeysuckle
, ca. 1870–1890
Brush and watercolor on paper
Drawing

A branch of honeysuckle against a light brown ground.
Sketches of Shoes
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Various sketches of shoes. All varying in shape and style. Poulaine, Louis heel, high court shoes, flats and Cromwells.
Rough Ocean with Dark Sky, Rocks, and Cliffs at Right
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Choppy ocean in foreground with dark rocks at right and center. At right in distance, a line of cliffs in three sections. Dark sky along the horizon.
Design for a Painted Tin Lamp Base
Philippe Girard, ca. 1807
Pen and ink, brush and watercolor, white gouache on paper
Drawing

Tall, slim vase with neck and foot consisting of inverted bell shape, on slim round base.  The body divided into four registers.  Ornamentation consists of floral designs and garlands and, in central area, a figureof Venus. Base is decorated with two griffins flanking a central roundel on which is written: Philippe Girard Par/Brevet/D'Invention.
Textile
, ca. 1500
silk Technique: supplementary warp pile (velvet), voided, with 1/2 twill

Heavy symmetrical leafy ogee-type grid framing blossoms in 6-lobed medallions in white on a yellow background. The medallion in the center of the fabric holds a phoenix rising from a pyre bearing a scroll "NORS VIVE" in mirror imaged letters. Pattern embellished with red, green, and blue details in uncut pile loops. The white was cut-pile velvet, now mostly worn off; the yellow 1/2 twill.
Tsuchi-yama, Spring Rain, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Daimyo procession crossing a bridge over torrent in heavy rain towards village. Far left, village screened by row of trees.
Advertisement for "Fire King Gas Ranges"
Whitehead & Hoag Company, 1900–10
Plated metal, printed celluloid
Matchsafe

Rectangular, curved top and bottom, featuring black printed decoration of female in blouse, tie, long skirt, and upswept hair cleaning beneath range top, inscribed above "The Great  White Enameled Top. Fire King Gas Ranges. Top Hinges Back. Burners Lift Out. Easily Kept Clean. Low in Price." Inscribed below "Manufactured By A. Weiskittel & Son, Baltimore, MD., U.S.A." Reverse features hot plate, inscribed above "A Match Is All The Kindling Required Where Fire King Gas Stoves And Ranges Are Used." Inscribed below "New Fire King Hot Plate With Hinged Top Gratings And Removable Drilled Burners." Inscribed in fine print below "The Whitehead & Hoag Co., Newark, N.J." Lid hinged on side. Striker on bottom.
Mitsuke, Tenryu-gawa River, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Right, on near arm of river two ferry boats are beached, one with two boatmen. Left, on far side of sandbank are more ferry boats with travelers. Beyond, hills with trees appear in mist.
Double Tulips, Plate 54 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Double Tulips" from A. C. Van Eeden's "Flora of Haarlem."
Panel
, 18th century
silk embroidery on linen foundation Technique: embroidered in brick stitch on plain weave with withdrawn element work

Narrow panel, possibly part of a curtain, in dark natural linen, sheer plain weave, embroidered in polychrome silks in blue, red, violet, yellow, light blue and white, with blue and red predominating. Central motif of a palmette with sprays springing from top and sides, flowers and heavy leaf. Narrow border at one end.
Apron
, 1790–99
cotton Technique: block printed on plain weave; six colors with yellow and blue added by brush (one over the other for green.)

Two lengths of fabric have been joined to form this apron with a silk ribbon attached at the top covering the gathers. The pattern consists of four detached flowers. Each flower is repeated horizontally across the fabric with alternate rows offset.
U.S. Capitol Building, Under an Arch of the Thirteen States
James Henry Moser, Canadian, 1854–1913, ca. 1895
Pen and black ink, graphite on paper
Drawing

The Capitol Building is a proof, pasted in the center. Around it, the drawing includes the stone arch with the thirteen states, an eagle, and a shield. Printer's notes all around in blue pencil and graphite.
Textile
, 18th century
linen warp, cotton weft Technique: block printed with a resist medium on plain weave foundation; immersion dyed in blue

White pattern on a blue background. Vertically symmetrical pattern of swags gathered together with flowers and a tassel to form a grid enclosing two branches, each with a bird.
Border
, 1895
Block-printed

On white ground, entwined yellow ribbon, yellow and pink roses, between mustard-yellow edge lines. Printed in margin: "Patented in USA Dec 5, 1895"