biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, 17th century
silk, metallic Technique; supplementary warp forming raised pile in plain weave foundation (velvet) with supplementary wefts,

Delicate white velvet interlacing scrolls which were originally outlined with black velvet (now almost all worn away) on a metallic silver ground.
Selvage at one side.
Portrait
Gaspard Grégoire, French, 1751–1846, late 18th century
silk Technique: warp-printed velvet

Portrait of Louis XVI in an oval wooden frame. Gregoire velvet in shades of brown and red.
Tassel
, late 17th century
silk, metal thread, wooden core

Skirt of red silk threads, knotted and twisted and ornamented with two rows of tassels of red silk and gilt thread. Head covered with red silk in chevron pattern. Loop of red silk cord.
Peep-show, Vue Perspective des Bassins du Port de Brest, No. 24
, ca. 1750
Engraving in ink and washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Textile
, 19th century
silk, gilded paper Technique: compound twill

Length of dull greenish-brown compound silk with medium-sized allover pattern of flowering grasses and pieces of brocade in golden tan, white and dark brown silk, and tarnished and broken paper gold.
Band
, 19th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Lace band with small conventionalized floral sprays and scrolling forms.
Fringe
, 16th century
silk Technique: woven

Red fringe with a woven heading and picots on the top edge and red skirt threads.
Border
, 17th century
linen Technique: needle knotting

Border of squares surrounded by a small-scale pattern and edged with triangular pendants.
Fringe
, 16th century
silk Technique: woven

Green fringe with a plain-woven heading and a skirt of green threads.
Collar
, 19th century
linen Technique: Brussels-style bobbin lace

Bruges type, detached leaf scrolls connected by brides.
Facade of a Gothic Church
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on paper
Drawing

A low narrow door with plain mouldings and a rose window are shown. Part of other details, at right. Verso: Sketch for the head of a woman, recumbent, facing upward, shown from the right cheek, sketched in black crayon.
Job Tormented by the Demons and His Wife
Lucas Vorsterman, Flemish, 1595 - 1675, ca. 1630-1650
Engraving on paper
Print

The nude figure of Job appears falling back against a pile of grass and stones. He is being pulled at by three demons, while his wife stands by chastising him.
Design for a necklace
Salvatori, Italian, active 19th century, 1880
Graphite Paper, white wove
Drawing

Horizontal rectangle. A chain hanging from the links; alternatively a small vase and a disk with a satyr mask, and a vase below. The pendant has the same disk, only larger, with two bunches of grapes and a vase hanging below. The borders of the disks have the shape of an open umbrella seen from the inside.
The Tammany Farmers' Club Prepares to March to Houston
John Tinney McCutcheon, American, 1870–1949, 1896
Pen and black ink, graphite on illustration board
Drawing

Cartoon for The Chicago Tribune on June 26, 1928. The Tammany farmers are gathered in a room, with their tiger hiding under the table, attempting to be coaxed out by one member.
Rocaille Arch and Fountain with Three Graces
Pierre Edme Babel, French, 1720–1775, 1743-1763
Engraving on off-white laid paper
Print

Fountain with a rocaille archway. The rocaille gate is topped with a winged putto holding a trident, and has on the ride side a reclining river goddess holding a vase from which water pours. Atop the semi-circular fountain is a group of the Three Graces. The plate is signed and numbered.
The Study of Prince Karl of Prussia
Eduard Gaertner, 1801 – 1877, 1848
Brush and watercolor over graphite on paper
Drawing

This view of Prince Karl of Prussia's study in the Ordenspalais. Berlin reflects the Mooresque style in the patterned carpet, drapery and cushioned banquettes reflected in the large mirror at the right. The walls are lined in a textile patterned on a Gothic Revival motif. The focal point of the room is a large Schinkel-designed galleried desk inset with panels of amber-colored molded glass; a top shelf displays a collection of vases, bottles and other treasures. On the left, two marble plinths holding potted plants possibly serve as a room divider. A copy or version of Cristofano Allori's Judith with the Head of Holofernes, in a frame designed by Schinkel, hangs on the wall at the left rear.
Sidewall
, ca. 1820
Block-printed

Overall floral document for "Old Peck Homestead."  Four pieces.
The Interior of Hall Place, Leigh, near Tonbridge, Kent
Henry Robert Robertson, British, 1839 - 1921, 1879
Brush and watercolor, gouache, graphite on off-white wove paper
Drawing

A mixture of styles, typical of the Victorian period, is assembled in this beautifully painted interior of the Oak Parlour at Hall Place. The red and blue Persian carpet, sling chair with a Japanese motif,  two-sided sofa covered in a design after William Morris and Chinese porcelains all come together as furnishings for this neo-Elizabethan room; ferns and flowering plants complete this depiction of Victorian taste. On the left side of the room is a large organ with a figure in the act of playing seated at the keyboard.
Dish
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1810
hard paste porcelain, gold
dish

1926-22-506-c: White, with stylized palmettes in gilt. A) circula...
The Study of King Louis-Philippe at Neuilly
James Roberts, British, active France, ca. 1800–1867, 1845
Brush and watercolor, gouache on white wove paper
Drawing

In this drawing of the study in the Chateau de Neuilly, the summer residence of King Louis-Philippe, he is seated at his writing table, piles of documents at his side. Swagged draperies in the Empire style frame the windows, which look out on the park at Neuilly. Except for the large number of paintings lining the walls, this is a typical working study of the time, an almost middle-class room.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-ci: Aesthetic pattern with motif of flowering vine wit...
Study of foliage
William Trost Richards, American, 1833–1905, June 22, 1859
Graphite on paper
Drawing

Sketch of a tree with foliage.
Vase
, 17th–18th century
Painted glass
vase

Translucent glass vase, pale, slightly greenish blue. On out-flaring rim of foot, bulbous body, narrowing to long wide neck with slightly out- flaring lip. Decorated with bandings, linear patterns, dots, in gold and lavender-gray.
Plate
Rookwood Pottery, American, 1880 - 1967, 1885
Glazed earthenware

An orange and red toned circular plate with a thin branch in the foreground and a brown and white bird flying behind it. Reverse: solid red-brown glaze.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation

Fragment of green cut and uncut velvet in a pattern of foliated S-curves and barrettes in a perpendicular arrangement.
Sidewall - sample
, 1906–08
Machine-printed

Floral stripe design. Large-scale white roses printed on patterned tan background. Very subtle wide tan stripes.
Textile
, late 18th–early 19th century
cotton Technique: block printed

Fragment with a white ground printed in a pattern of vertical stripes containing a meandering floral vine between guard borders of red and white checks.
Textile
, mid- 19th century
cotton Technique: printed by engraved roller on plain weave

Brick repeat of clusters of blue roses superimposed on a fine brown floral vine creating a curved diamond grid between the roses. Alternate rows of roses are couterfaced.
Anomatheca Cruenta, Vieusseuxie Pavonia (Iris Pavonia–Moreaea Pavonia), Plate 111 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Anomatheca Cruenta, Vieusseuxie Pavonia (Iris Pavonia-Moreaea Pavonia)" from A. C. Van Eeden's "Flora of Haarlem."
Sidewall
, 1800–1830
Block-printed on paper

On light lavender ground, allover gray foliage with leaves and berries. At center, mandorla composed of yellow petals surrounding a green ground containing two yellow artichokes.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene of four figures in a landscape. Three women and a child wearing dresses. At center a light-skinned woman in jewelry and large turban topped with a sunhat.
Ceiling paper
Henry Gledhill & Co., 1889 – 1900, 1905–1915
Machine-printed paper, liquid mica

Acanthus scrolls printed in mica and roses outlined in metallic. Printed on off-white ground.
Royal Jewel Cabinet with Sèvres Plaques
Sèvres Porcelain Manufactory, French, established 1756, 1825–1826
mahogany, platinum, glass, bronze, gold, hard paste porcelain, vitreous enamel
cabinet

1991-31-2: Upright cabinet made of porcelain plaques in a gil...;     T1991-31-2: Upright cabinet made of porcelain plaques in a gil...
Fragment
, late 18th–early 19th century
cotton Technique: block-printed on plain weave

Fragment of cotton block-printed in red, green, black, and touches of brown on rose ground.  All-over pattern of stylized floral form.  Small border stripe made up of black dots.
Ceiling paper
Lewis Chase Wall Paper Company, Bristol, Pennsylvania, USA, 1905–1915
Machine-printed paper

Diagonal floral medallions with foliate scrolls and beading, connected by lines forming a diamond shape. In the resulting negative spaces between the medallions are star-like shapes made out of sqaures. In the background there are small square dots. Ground is cream. Printed in pinks, greens, and black.
Printed in selvedge: "Chase Print 615"
Child's wrapper
, 1860–69
cotton, mother-of-pearl (buttons) Technique: printed on plain weave

Full-cut wrapper with high round neck, front opening with a few buttons at the top, long sleeves; sash caught high in back, to be tied in front. Rather course cloth with bud repeat in red and black or gray and black on picotage ground. White eyelet edging on neck.
Design for Wallpaper and Textile: Flowers
, 19th century
Brush and gouache, graphite on white paper
Drawing

Horizontally-oriented diamond shape made up of flowers and foliage. Purple flowers and foliage with yellow berries outline the diamond, red and yellow flowers with stems and foliage at the center. Guidelines in graphite are visible with the diamond bisected horizontally and vertically.
Fork with Antler and Silver Handle
, ca. 1730–40
antler, silver
fork

1985-103-134-a: Small shagreen case (a), lined with paper, without...;     1985-103-134-b: Steel knife (b) with straight lower edge. Upper ed...;     1985-103-134-c: Fork (c) has three curved tines, curved shoulders ...
Fragment with factory stamp
Miles & Edwards, 1847, 1850–1900
cotton Technique: block printed on plain weave

Bottom of the fabric has a design of interlocking curves on a grid of interlocking squares in black and green on natural. Top of fabric has marks.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

On gray-white ground, group of white flowers with silhouette of white flowers and green vines and leaves connected by light blue ribbon; upper and lower borders in green.
Sampler
, 18th century
silk embroidery on cotton foundation Technique: embroidered in long-armed cross, satin, double-running, running back, stem, four-sided and knot stitches on plain weave foundation

Unfinished sampler embroidered in polychrome silks, with eleven bands of pattern: confronted horses, addorsed birds, and geometric borders.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Scrolling foliage adorned by several floral bouquets. Small floral festoons across green band on bottom. Metalic-embossed gold band and beading at base. Shaded green background that is darker on bottom and lighter on top. Printed in yellow, green, and metalic gold.
Design for a Jug
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Design for a jar with wavy gilt rim, pointed handle. Body decorated with landscape depicting cottages against mountainous background and sunset, with two bulls and a herder in the foreground. Neck of jug is decorated with gilt floral motif.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Quatrefoil motifs composed of floral swags and trellis work, connected by foliate scrolls. A floral sprig centered in each void. Printed on light green ground.
Sidewall
, 1815–25
Block-printed

On strong yellow ground a group of two men in medieval costumes and a woman, standing, with an old man kneeling in front of them. Above, a small basket, hung with festoons. On the sides, diaper borders and vertical foliated stems. Printed in shades of brown and white.
Border
, ca. 1870
Machine-printed paper, gilt, flocked

Gilt and buff straps with white center are bordering bands of medium blue flocking. Printed four across.
Tassel
, 17th century
linen Technique: braided and knotted

Tassel of linen, braided and knotted. Single loop attached to pear-shaped center from which hang balls attached to clusters of knottings.
Band
, 16th–17th century
linen Technique: grid of withdrawn element, needle lace (reticella), and bobbin lace, continuous braid-like

Fragment with a band of needle lace and bobbin lace
Sketchbook Page: Historic Portrait No. 10 (Self-Portrait)
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist, mad, showing an angry expression.
Grotesque Panel with Dolphins
Lucas van Leyden, Netherlandish, ca. 1494–1533, 1527
Engraving on laid paper
Print

Acanthus scrolls; above center, a head. Below, a bucranium. Either side, dolphins with acanthus tails. In cartouche, writing.
Sampler
Mary Hamilton, American, 1812
silk and metal thread embroidery on linen foundation Technique: embroidered in satin, cross, running, stem, and rococo stitches with figure eight looping on plain weave foundation

A central oval frame contains a scene of a woman facing a tree, the branches of which break out of the frame. The border is made up of squares containing motifs symmetrically arranged: grape vines, oak branches with acorns, birds in flowering trees, baskets of flowers, ducks in ponds, roses. The center square at the bottom contains the inscription:
Mary Hamilton a Daughter of John and Catherine Hamilton was born in County Antrim February the 1 in the year of our Lord 1794 and made this Sampler in Maytown in Miss Welchens School in the year of our Lord 1812
Drawing
, late 19th century
Brush and gouache on cream paper, mounted on cream paper

Bouquets of flowers coming out of red and yellow stylized rinceaux on black ground. Lower margin, unfinished semi-circles filled with alternating red and blue stylized floral pattern framed by green vines, on unfinished black ground.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Alternating large and small foliate medallions foliate scrolls, scrolling foliage and scallops. Forms are enframed on top by scrolls and connected on bottom by a band of scrolls with floral motif. Background of thin undulating lines and dots. Printed on ground that shades dark pink to light pink (bottom to top) in dark red, red, light pink and metallic gold.
Palace Façade Elevation
, 1680–1720
Pen and brown ink, brush and grey wash on cream laid paper
Drawing

Elevation of a three-storied palace, with a triple-bay recessed central section with galleries. The windows are pedimented and the roof is supported on paired brackets, between which are small attic windows.
Sketches in Como
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Detail of exterior of Cathedral at Como. Section of architrave and profile. Decorative, caryatid figures.
Band
, mid–late 17th century
linen Technique: raised needle lace

Band fragment with an elaborate scroll and vine with flowers and three-dimensional details.
Sample book
, ca. 1857
cardboard, paper, cotton Technique: printed

Green cloth bound volume of 1,823 samples of printed cottons mounted on paper. Title page marked "A1857." Many samples of miniature geometric and floral patterns and combinations of both forms. Larger pattern with border designs and warp stripes.
Academic Study of a Male Nude
Giuseppe Longhi, Italian, 1766–1831, 1790–1830
Black and white chalk on brown paper
Drawing

A male nude is seen standing, frontally, with his head turned in left profile. His right hand clasps a cord pulled around before him and held by his left hand behind his back. His feet are positioned far apart.
Band
, 300 BC–100 AD
cotton, embroidered in cotton Technique: embroidery on plain weave foundation

Band, cotton, solidly embroidered in cotton in design of winged figures in green, blue, gold, and red on green background.
Figures from Sistine Chapel ceiling
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Group of figures at far left of the scene of the Great Flood, on the ceiling of the Sistine Chapel, painted by Michelangelo. The positions of the woman and child on the left have been rearranged from the original.
Cup and Saucer, from a Tea Service
Spode Ceramic Works, English, established 1776, 19th century
porcelain, vitreous enamel, gold
cup and saucer

1992-5-50-a,b: Cup has handle with raised spur. Exterior decorate...
Ornamental Vase Design
François Voisin, French, active 18th century, 1786-1789
Engraving on paper
Print

Lidded vase. On top is a woman reclining against a vase that spills water onto two other women carved in high relief on the neck of the vase. The vase is ornamented with gadroons, fish scale pattern, and floral ornamentation. The vase is elevated on a low socle. The print is numbered but not lettered.
Exterior Elevation and Interior Section of the Room on the Place du Carrousel
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Plate showing elevation and cross-section of the exterior and interior of the long axes of the temporary structure erected on the Place du Carrousel for the celebrations in honor of the marriage of Louis Dauphin and Maria Teresa of Spain given on February 23-26, 1745.
Pleated fan
, 1840–1849
Painted paper leaf, carved, pierced and painted ivory sticks

Pleated fan. The paper leaf is painted in black and white gouache. On the obverse, a pastoral scene of two women and a boy in front of a house in a rural landscape, with floral borders. On the reverse, a small sketchy landscape with a house, in black. Ivory sticks carved and painted with flowers in black, gray and white.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1815
Brush and white gouache, incised line on glazed tracing paper
Drawing

The repeat, five of which are shown, consists of a kind of fantastic pomagranate with three seeds on top.
Sampler
, late 17th century
silk embroidery, linen foundation Technique: double running, cross and surface buttonhole stitches on plain weave

Eleven cross borders of floral and geometric ornament; alphabet and "I. H."
Cloud Sketch
Frederic Edwin Church, American, 1826–1900, probably 1873–74
Graphite on tan wove paper; verso: graphite
Drawing

Atmosphere sketch showing a view of mixed clouds, likely in the skies over Vermont. At lower center, a billowing cloud with multiple round peaks is visible below a mixed group of hazy, wispy clouds at upper center and right.

Verso: Atmosphere sketch showing a view of large, puffy clouds, likely over Vermont. A billowing cloud bank with multiple round, roiling peaks extends from center to upper right and has various patches of light and shade.
Title Page
Claude Gillot, French, 1673–1722, 1729–37
Etching and engraving on laid paper
Print

An arabesque design for tapestries (door curtains) featuring the figure of the Classical Greek and Roman god Apollo in the center, seated in the clouds with surrounded by rays of light, framed by a canopy, two figures on either side on plinths, with an incense burner in the foreground with ewers, incense burners, roundels, and rococo ornament, featuring rosettes, fleurons, rinceaux, festoons of flowers, baskets of flowers, hanging trophies, bows and quivers of arrows. The plate is numbered, titled, and signed with the publisher's address.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of the promenade along the Grand Canal with the facade of St. Mark's Cathedral.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design filled with symmetrical, grotesque ornaments of mythological subject. At the center of the print is a seated Diana with her hunting dogs. The composition is filled with dogs, boar's heads, hunting trophies, peacocks, vines, and a deer. The plate is signed and numbered.
Decorative Studies for Ceilings; Verso: Head in Profile with Antique Helmet
Felice Giani, Italian, 1758–1823, 1814–18
Pen and ink, brush and watercolor washes over graphite on cream laid paper
Drawing

Five studies of ceilings; door of chapel with Papal insignia of Pius IV; Verso: head with helmet, shown in profile.
Band fragment
, 5th–8th century
Warp; S-spun linen. Wefts: S-spun wool. S-spun linen Technique: slit tapestry

Curving stem wuth grape leaves
Stage Design, Interior of Gothic Hall
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink and brush and wash on paper
Drawing

Horizontal rectangle. Interior of Gothic Hall, richly decorated stairs leading up in the middle and on right side.
Medallion
, 3rd–4th century
Warp: S-spun linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry with supplementary wrapping

Medallion in the form of an eight pointed star containing a circle. Maroon on white ground.
Design for an Earring
Giovanni Sebastiano Meyandi, Italian, active 1762 - 1794, ca. 1790
Pen and black ink, brush and gray watercolor on paper
Drawing

Jewelry design for an earring. Above a disk, below a drop, connected by branches with beads and blossoming flowers.
Ornamental Vase Design
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Vase decorated with scrolls, acanthus leaf, festoon, and gadroon ornamentation. The vase has a short, tapered foot, and is elevated on a platform that extends to the edge of the image. The plate is signed and numbered.
Fragment
, late 16th–early 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) on satin ground

Fragment of green cut and uncut velvet on self-colored satin ground. Design of tiny flowering branches alternately pointing up and down.
Title Page
Richard de Lalonde, French, active 1780–96, 1780-1796
Etching on off-white laid paper
Print

Design for a coach showing the side, the front, and details of the carving. The coach is decorated with ornament motifs including urns, mascaron, garland, trophies, crown, scrolls, and branches. The plate is signed and numbered.
Design for Embroidery of a man's waistcoat
, 1780–90
Pen, blue ink, watercolor, gouache, graphite Support: laid paper
Drawing

Lower left section of a waistcoat.  Below the pocket a fan-shaped spray of naturalistic flowers, flanked by smaller sprays of imaginative types.  A repeat flower motif along the border.  Design on pocket suggested in outline.  Four lines of inscription, above.
Fragments
, 17th century
silk Technique: cut and uncut, voided supplementary warp pile (ciselé velvet) in a satin weave foundation

Pieces of velvet with flowers in dark red, dark yellow and dark green on white gound.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for an irregular, architectural cartouche, placed in a landscape in front of a series of arches and columns. The cartouche is decorated with fountains, sea creatures, and rinceaux. The plate is signed and numbered.