biglam/cooper-hewitt-alt-text huggingface dataset:
Print
, c. 1770
Paper

Top row: After the second design of plate 5 of the ''raccolta di vasi''. A vase, around which a garland is draped, on a base. Center row: After the sixth design of plate 1, after the central design of plate 3, of the ''raccolta''. Bottom row: An obliquely shown flower vase with two handles; after the vase with the fishes of plate 5 of the ''raccolta''. Two framing lines. ''4''.
Sketch of Right Arm
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Sketch of right arm, fully flexed.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1820
A) b) Pencil, pen, ink, brush, sepia. Paper. recto: pen and brown ink

Horizontal rectangle. a) Nearly one quarter is shown. In the center is an oblong picture with two figures, recumbent, broadly framed by mouldings and a frieze with panels. Outside are spheric triangles with figures and ornaments. Below is a frieze with eagles alternating with trophies of arms.  Reverse: b) in opposite direction: the head of the crying young woman in the Fire in the Borgo by Raffael, and a classical left foot with sandal shown from the front and in profile. Part of the small sketchbook, mostly unmatted leaves, 1901-39-3485 thru -3550
Fragment
, 17th–18th century
linen Technique: bobbin lace

Closely spaced, tightly-worked design of a ribbon-like motifs. Slightly scalloped edge.
Landscape
Walter Clark, American, 1848–1917, 1884
Graphite on paper
Drawing

Distant view over a plain under a cloudy sky. A group of dead trees stand in the right foreground.
Textile
, 1800–1850
cotton Technique: printed by engraved roller on plain weave

White cotton, printed by roller, small scale all-over design or roses, morning glories, etc. in reds, blues, yellow, green (blue and yellow, now turned blue), brown for stems and picotage. Glazed; selvages present.
Incident
Worth Brehm, American, 1883–1928, ca. 1912
Charcoal on paper
Drawing

A boy lies on a sidewalk, while another stands over him. A policeman comes towards them. A s treet lamp lights the scene.
Fragment
, early 18th century
medium: wool Technique: stamped (embossed) plain weave

Very elaborate stamped pattern with a running decorative band. In off-white.
Peep-show, Vue de la Ville de Richelieu en Poitou construitte par le Grand Cardinal Duc de Richelieu, au Bout des Parteres de Sougid et Superbe Chateau de Richelieu de la Conduitte, No. 147
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, 17th century
silk Technique: velvet

Selvage to selvage width with a design of dark brown scrolling leaves and flowers facing in alternate directions.
Design for the letter C of a pictorial alphabet: Confession
Victor Vincent Adam, French, 1801 – 1866, ca. 1830
Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper.
Drawing

Letter above, flanked by intertwining rinceau.
Fragments
, 15th–17th century
silk Technique: selectively raised supplementary cut warps in foundation of 4&1 satin (velvet)

Chasuble fragments with a pomegranate design.
Sketch of a Woman
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Female figure in a supplicant posture, arms upstretched to the right.
Fringe
, 18th century
silk, metallic thread (gold strips on silk core) Technique: plain weave

Fringe of red and gold threads with a heading and gold skirt threads of varying lengths arranged to form points; each thread supporting a small red tuft.
Border
, 18th–19th century
linen Technique: bobbin lace, Mechlin style

Border of bobbin lace has a scrolling vine pattern and a field of fine mesh with small buds.
Textile
, 400–600
linen, s-spun wool Technique: plain weave with discontinuous wefts (tapestry), slit weave

Coptic woven linen textile showing five small inwoven polychrome tapestry ovals on either side of a narrow tapestry woven band, appliquéd to the foundation fabric. The ovals are each rimmed in red. The band has a red center with undyed angular serpentine and dots; each side is yellow and contains a row of undyed squares rimmed in blue. Narrow red and blue borders complete the band.
Fragment
, late 18th century
silk Technique: woven

Flowers on striped white ground.
Fragment
, 16th–17th century
silk Technique: woven velvet

Striped silk velvet in tan cut and uncut pile.
Fragment
, 17th century
silk, metallic Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation with supplementary wefts (velvet)

Trellis pattern formed by leaves and stems in dark tan velvet.
Tile
, late 18th–early 19th century
Earthenware, glazed, high fire decorated

Man in vaguely Chinese garb, walking toward left.
Brillion Collection
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, mica flakes
Frieze

Flitter frieze with acanthus leaves framing sprays of large roses and leaves. Background: Celadon blending into a darker green. Design printed in forest green, olive, pink, rose, coral, white, umber, metallic gold and gold mica flakes.
Trimming
, 18th century
silk Technique: uncut velvet weave

Three shields (two under crowns and the third incomplete) showing a castle, a coat of arms and a rampant animal, probably a lion.
Fragment
, early 18th century
linen Technique: bobbin lace, Brussels style

Brussels style fragment of fantastic leaves and flowers.
Sidewall
M.H. Birge & Sons Co., 1834, 1910–15
Block-printed paper, embossed, hand-rubbed oil finish

Imitation leather. Geometric design with strapwork, square boss containing sunflower, rondel with stylized floral motif. Printed in taupe on tan ground. Paper embossed to resemble leather.
Pendant Design with the Virtue Hope, Plate 3, from a series of eight pendant designs with the cardinal virtues
Johann Theodor de Bry, German, 1561 - 1623, 1616–23
Engraving on paper
Print

Pendant design with animal motifs and hanging pearls.  Central Image:  nude women (Hope) looks heavenward.  Inscribed below image: "SPES".    Surrounding the pendant are blackwork ornament designs for enamelists, mostly showing possibilities for the top and sides of rings.  (Matted with 6161.1-1/2, 4.2000)
Plate 5, from a series of eight pendant designs with the cardinal virtues
Johann Theodor de Bry, German, 1561 - 1623, 1616–1623
Engraving on paper
Print

Pendant design with floral motifs and hanging pear-shaped pearls.  Central Image: Prudence, a nude women looking into hand-held mirror.  Inscribed below image: "PRVDENTIA".   Surrounding the pendant are blackwork ornament designs for enamelists, mostly showing possibilities for the top and sides of rings. (Matted with 6161.1-6/8.2000)
The Birches
M.H. Birge & Sons Co., 1834, 1921
Machine-printed paper, embossed
Sidewall

Repeating scene of a forest of birch trees in winter. Printed in purples, blue, ocher and white on tan embossed ground.
Proof for exhibition catalogue, "Jockeys," Kingore Galleries, New York, NY
William Hunt Diederich, American, b. Hungary, 1884–1953, 1920
Offset printing on fabriano cotton wove paper
Book

Left, page layout for text; Right, printed photograph depicting a firescreen designed by William Hunt Diederich. The screen depicts rearing ibex and wolves.
Côté de l'Ecritoire de Monsieur le Comte de Maurepas., Écritoire pour le comte de Maurepas, 1731, 6th Plate
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1740
Engraving on white laid paper
Print

1921-6-212-30-a: Mirror with cartouche at top center, a crown above...;     1921-6-212-30-b: Side view of inkstand composed of an arrangement o...
Design for Sideboard 'C' of Mahogany
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular sideboard on four tapering straight legs with one central drawer with two large swag-shaped handles flanked by a pair on smaller drawers, one on either side.
Sampler
, 1795
silk embroidery on wool foundation Technique: embroidered in cross, half cross, satin, stem and knot stitches on plain weave foundation

Three alphabets and a set of numbers over assorted motifs including two peacocks, a large vase of flowers, six shields containing initials, basket of flowers, elements of the passion, the Pascal Lamb, and two examples of geometric patterns. The Greek letters, alpha and omega, follow the alphabets.
Sidewall
, 1850–1900
Block-printed on machine made paper

Alternating floral sprig motifs printed in shades of green with metallic gold highlights, printed on a very pale green ground, embossed with a very small diaper pattern.
Knife with Porcelain Handle
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, ca. 1740
soft paste porcelain, vitreous enamel, steel, silver
knife

Saber-shaped blade with waisted bolster, plain silver ferrule with horizontal bands. Pistol-shaped white porcelain handle with dark blue floral and scrolled decoration. Button cap at the top of the handle missing.
Ocean with Waves Breaking on Rock
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Ocean in foreground with waves breaking on large rock at left.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Diaper pattern of interlockings circles with secondary scroll wreath interiors. Printed in light blue, grey and white liquid mica on off-white ground. Printed in selvedge: "Cresswell & Washburn. Phila" pattern number "0.426"
Sheath for a Cutlery Set
W G W, 1589
fruitwood, silver
sheath

Carved wooden sheath (a) for two implements. The body of the sheath divided in four vertical, rectangular panels. Broad front and reverse panels each have six carved compartments showing both Old and New Testament scenes. Compartments on the two narrow sides show six apostles, each enumerated with their emblems. "WGW" carved on one side, and "1589" on the reverse. Plain rectangular silver cap (b) with rounded sides slides onto sheath and is possibly a later replacement.
Table
, 19th century
Wood

In the so-called rustic or "Adirondack twig" style.
Grand Canyon, Arizona
Eugene Higgins, American, 1874–1958, September 10, 1921
Brush and watercolor, graphite on paper
Drawing

View looking across the rim on the canyon, semi-abstractly rendered.
Sidewall - fragment
, ca. 1800
Block-printed

Against a finely dotted light gray ground, (now yellowed) are printed rows of small sheaves of grain in two values (light and dark) of green.
Three of Spades from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Three of Spades from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Ceiling Decoration, probably for the Conservatory/Music Room
Frederick Crace, English, 1779–1859, 1802 or earlier
Brush and watercolor, gouache, pen and black ink on thick white wove paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. Detail of a design for a ceiling divided into three compartments: a square and two half-oval sections. About one quarter of the design is shown, with the square containing the painted representation of a clouded sky, surmounted by a balustrade and a wide trellis-work border. The oval contains bamboo in striped pattern. Red Chinese fret. The shape tells us that it was intended for the conservatory. Roof is painted in imitation of the teakwood and rosewood.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Architectural Details
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Arched doorway and frieze above. Profiles of moulding, right.
Bandbox
, 1825–35
Machine-printed paper

Bandbox side, flattened, and lid without rim. Festooned foliage in green and purple, bordering conventional floral motifs in lavender, against glazed white background.
Market Day
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Ten sketches of women at market. Figure is seen sitting, standing, and holding basket, most are full body sketches, one profile bust of figure.
Chatelaine chain
, mid-19th century
Silver

Flat links of six paired openings, alternate with round links in threes, holding flat ones continuously. Both ends of chain are secured to a ring.
Sampler
Isidora Taxada, possibly 1776
silk embroidery on cotton foundation Technique: embroidered in satin, cross, stem, chain, four-sided, back, and running stitches on plain weave foundation

Center field with double-headed eagle surrounded by bands of geometric and floral pattern in concentric squares. Unfinished.
Textile
, 19th century
silk Technique: brocaded

Red silk square brocaded in an allover pattern of stylized leaves in yellow and dark green. Stripe in the borders.
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Pink roses and yellow flowers on a ribbon swag suspended from tassels and bow knots. Printed on off-white ground. Printed two borders across the width.
Textile
, 18th century
cotton Technique: block printed, with blue and yellow applied by brush, on plain weave

Length of printed cotton with exotic blossoms on a twisting vine on a white ground with black picotage.
Primula Praenitens, Var. Atrorosea Plena, Plate LXII from Edward George Henderson's "The Illustrated Bouquet"
E. G. Henderson and Son, English, ca. 1859 - 1886, ca. 1857–1864
Chromolithograph on paper
Print

Primula Praenitens, Var. Atrorosea Plena, Plate LXII from Edward George Henderson's "The Illustrated Bouquet."
Bonnet veil
, late 19th century
silk Technique: machine embroidery on machine-made net

Repeat of floral, fruit and vine motif along lower section of piece. Bottom edge scalloped with elements of this motif set into each curve. Sides and top edges also scalloped but on a smaller scale with smaller motif inset. Field dotted with smaller floral sprigs. Brown silk embroidered on black silk net. Top edge has a drawstring running through it for gathering and wear.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

On light gray ground, c-scrolls in green outlined in red surrounding small red wreaths, and crossed light green vines throughout.
Border
, 1905–1915
Machine-printed paper, ungrounded

Uncut borders printed eight across the width. Bands of stylized green leaves on brown background with thin rope-like band on top and bottom. Printed in light green, green, brown and dark brown on ungrounded paper.
Band
, 17th century
silk, metallic thread Technique: embroidered

Fragment of an embroidered band with intersecting arcs alternating with rosettes. Intersection between arcs also filled with small rosettes
Border
, early 18th century
linen Technique: bobbin lace

Bobbin lace entre deux, floral vine; early 18th century Binche
box
, 19th century
Wood (possibly olivewood), paint

Small box, rectangular in plan, oval in section.  Hinged lid, thinly veneered lining of shell. Painted geometric design on top, black lines with green, blue, red, and white filled areas.
Textile
, 1780–89
cotton Technique: block printed on plain weave

Straight repeat of widely-spaced blue flowers on an undyed ground. Two large flower groups surrounded by tiny flowers.
Fragment
, 16th–17th century
silk Technique: cut supplementary warp pile (velvet) in a plain weave foundation

Small fragment of brown cut velvet in a lattice design containing small stylized sprigs.
Design for a Painted Porcelain Plate, Le Verseau (Aquarius) from the Le Zodiaque Travesti (The Farcical Zodiac) Service
Jean Charles Develly, French, 1783 - 1849, 1824
Pen and brown, black ink, brush and brown, black wash, pink, tan watercolor, white gouache, graphite on cream laid paper mounted on cream laid paper
Drawing

Design for a painted porcelain plate, square format. A night time scene under a moonlit sky.  A figure of a young man, in the foreground, climbs a wall to reach a young girl who peers through a barred window.  An other woman, possibly her mother, leans from an attic window and pours a pitcher of water on the young suiter.
Folding Spoon with Engraved Decoration From Traveling Cutlery Set
, ca. 1827
gold plated, silver
spoon

Large oval-shaped spoonbowl with floral engraving on the back of bowl. Flat handle flaring towards the end. Hinge and small sliding band, bowl bends towards handle. End of handle has a decorative border on front and inscription on back.
Border
, mid-16th century
silk on linen Technique: selected warps and wefts of the linen plain weave fabric wtihdrawn, leaving a 1/16 of an inch square grid for needlework; natural linen darned into solid pattern areas; red silk wrapped around the grid and pulled tight for an openwork background.

Border with needlework fringe showing a design of a curving floral vine.
Plate 19, Costume Parisien (Parisian Costume), Journal des Dames et des Modes (Journal of Ladies and Fashion)
Carle Vernet, French, 1758–1836, 1807
Engraving, hand-colored with brush and watercolor on off-white paper
Print

Fashion illustration featuring two women wearing long, white dresses. The woman on the right is partially turned around so that her back is visible to the viewer. A scarf or shawl with a paisley pattern in peach, yellow, and red is draped around the top portion of the dress. Her waist and the base of her skirt are lined with light purple and white trim. Her left arm, covered in a long, white glove, rests at her side and holds a small, white fan. A white bonnet and small, purple flowers sit on top of her brown curls. On the left, another woman wears a white dress with green zig-zag detailing along the top, waist, and bottom. A pattern featuring repeating green plants also appears along the bottom. A light orange scarf is wrapped around her neck, and a long, yellow shawl is draped around her. She wears yellow shoes, and her head is covered with a pink bonnet with lace trim. A small white earring consisting of a circle and teardrop shape is shown as she looks towards the woman on her right.
Border
, 1800–1830
Block-printed on handmade paper

Rounded architectural arches alternating with three vertically stacked bellflowers, this placed between top and bottom numerous stripes. Printed in three shades of green on gray ground.

H#216
Sketchbook Page: Woman's Head
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a woman's head, her hair up, looking towards the left.
Sampler
Catherine Monteith Wilson, American, 1848
silk embroidery on linen foundation Technique: embroidered in counted cross stitch on plain weave foundation

Within a strawberry vine border, two bands of alphabets, a verse: 
Jesus permit thy gracious name to stand
as the first effort of an infant hand 
and while her fingers on this canvas... (unfinished)

Then serval more bands of alphabets and the inscription.
Panel
, late 19th century
raffia Technique: plain weave embroidered with stem stitches

Panel of woven undyed raffia embroidered in stem stitch in inrregular interlacing and grid patterns.  All edges hemmed.
Woman's cap
, late 17th–18th century
linen Technique: bobbin lace, needle lace

Bonnet-like cap of un-dyed linen gathered to arched opening at nape and at crown. Arch at crown filled with reticella; narrow reticello band running along front edge on either side. Broad band of Valencienne bobbin lace forms rectangular brim with confronted animals and double-headed eagle on a heavy mesh ground.
Brooch
, ca. 1890
photograph, gilded metal

Circular; portrait of a young man; gilded metal frame with double rope twist.
Windmill & Rail Road
, ca. 1830
Block-printed paper, wood support, varnish
Bandbox

Wooden bandbox bottom only, lid missing, covered with block-printed wallpaper. Horse-drawn railroad cars, trees, and windmill printed in white, dark green, and brown, with yellow highlights on blue background. Lettering in white: WINDMILL & RAILROAD. Interior lined with plain paper, patched with bits of maps.
The Dancing Girl
James McNeill Whistler, American, 1834–1903, 1890
Lithograph on cream wove paper
Print

A girl dancing, face turned to right and skirt held out by left hand.
Guilloche Enamel Match Safe
House of Fabergé, 1842 - 1918, late 19th century
metal, enamel, topaz
match safe

Rectangular, with rounded corners, featuring transluscent pale blue enamel over an engine turned ground, revealing repeating, vertical, wavy lines. The lid's lower edge is banded with pink and yellow gold acanthus leaf border. Lid released by pushing cabochon pink sapphire button at side. Lid hinged on opposite side of sapphire. Striker in recessed gold groove on bottom.
Coverlet
, 1848
wool, cotton

Small scale floral octagon pattern in the field and no border. Red, dark blue and green. Two lengths stitched together with weft fringe.
Border
, late 18th century
silk Technique: bobbin lace made in Lille style with heavy outlining thread

Border in a Lille-style pattern.
Waistcoat front
, mid-18th century
silk Technique: chain stitch embroidery on satin weave

Waistcoat front (two sides) in plum-colored satin, embroidered in colored silks with all-over tiny flowers, delicate floral borders, and flower sprays on pocket flap and bottom.
Chintz fragment
, 18th century
cotton Technique: mordant for black, 2 reds and 2 purples applied by pen and brush; madder dyed; blue applied by immersion over resist; chintz on plain weave

Straight and wavy ribbon stripes with flowers.
Manhattan Watch Co.
Sackett, Wilhelms, and Betzig, NY, after 1884
Chromolithograph on wove thin board
Trade card

Imagined vista of the harbor of Manhattan looking underneath the newly constructed Brooklyn Bridge.  A large pocketwatch floats in the center of the bridge trusses.  Inscribed on the face written in a concentric circle is: WATCH COMPANY.  The hands of the watch are set at 10:12.  "MW & Co." is written in small print at the center of the watch face.  At the upper left is written "Manhattan" in blue capital letters.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Full-length sketch of a female figure in costume, standing, turned toward the right. She holds a flower in her hand; the drapery of her gown with the other hand. Part of the head is torn away, and the drawing is cut along the outline of the figures.
Fragment
, 16th century
silk Technique: damask

Damask fragment in gold and grey showing a regular arrangement of linked roundels. Interspaces filled with a stylized leaf pattern.
Dark Cliffs with Ocean and Stormy Sky
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Ocean in foreground. In distance, at right and left, dark cliffs. Dramatic clouds in the sky.
Sidewall
, 1875–85
Stencilled, embossed surface

a) Fragment of imitation leather paper; design includes Arabic lettering. Stencilled with blue, orange, cream and gold on embossed surface.
Coca bag
, possibly 1200–1500
wool Technique: warp-faced plain weave

Small flat bag woven in stripes of red, black, and brown. Hand stitched at sides with red wool to form bag. warp selvage for bag opening
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Large scale magnolias printed in greens, tan, burgundy, and metallic gold; background shades from green to tan.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Square, molded tile of white clay; back his hollow and shows reverse contours of face; face decorated with foliate scrolls surrounding central rosette, plain narrow band frames the tile; deep brown crackle glaze.
Indian Pitching Dirt, Taos
Eugene Higgins, American, 1874–1958, 1921
Graphite on paper
Drawing

A figure stands in a four-wheeled cart drawn by a horse and shovels dirt from it. Buildings outlined behind.
Sepulchral Monument of James III (1688-1766)
, 1788–1793
Pencil, pen, wash, Chinese ink
Drawing

A variation of the design 1901-39-2512. James stands upon a pedestal which rises from behind the sarcophagus. Seated to the left is Justice, holding a rod and a book entitled "I.V.S." as she leans her right hand upon a crouching lion. At right is the motif of "War" in 1901-39-2509, without vaults and framing lines throughout.