biglam/cooper-hewitt-alt-text huggingface dataset:
Drawing
Felice Giani, Italian, 1758–1823, About 1790
Pen, dark ink, brush, grey water color. Paper;

Vertical rectangle. The background is a street corner; two towers are visible, one is oblique. Framing line.
chandelier
, ca. 1850
tin, brass

Three tubular arms hanging from central vertical hanging-wire and tree secondary wires. At end of each arm, slightly flaring cylindrical socket in which fits a sperm-oil lamp with hollow peg base. Sperm-oil lamps (B, C and D) have brass caps attached with brass chains.
Marian Hague as a Child
Mary A. Hallock Foote, American, 1847–1938, 1883
Graphite on cream wove paper
Drawing

Standing girl facing left, leaning on the arm of an upoholstered chair.
The Organ and the Voice Once More Beneath Our Very Windows
Frederick Coffay Yohn, American, 1875–1933, ca. 1901
Brush and black, white, and grey gouache, with graphite on illustration board
Drawing

Two men and their hurdy-gurdy. Both men are standing, looking out at the spectator.  One man sings, while the other one grinds the organ.
Fragment
, 19th century
silk, metallic Technique: woven

Polychrome discs on a red ground. Pieced.
Fragment
, early 18th century
linen Technique: trapunto with satin and knot stitches on plain weave, drawnwork

Fragment from a skirt or bedcover of fine cream-white quilting and embroidery with drawnwork details on linen. Ground is quilted with diagonal cross bars made from cord inserted in narrow ridges. Sections of large scale floral motifs, pomegranate and foliage.
Fragment
, 19th century
silk, metallic threads Technique: discontinuous weft patterning (tapestry or k'ossu)

Fragment of silk tapestry with a five-clawed dragon in metallic gold on a blue ground. Surrounded by bats, urns, and peonies. Background has cloud bands in shades of blue, green, gold and red.
Drawing
, 1650 - 1700
Black chalk. White heightening rough brush paper:

Vertical rectangle. The Cupid flies above at left. The girl sits at right drawn from the front.
Fragment
, 18th century
silk, metal thread Techniqiue: damask weave with discontinuous supplementary weft patterning (brocaded)

White silk damask ground; horizontal rows of lotus blossoms, with blue and silver brocaded center alternating with silver and red palmette.
Hat
, 19th century
silk (satin) embroidered in colored silk, linen, metal thread and glass Technique: embroidered on silk satin

Cap made of triangular sections coming to a point at the top and finished with a tassel; forehead band and square at back falling to shoulder.  Dark red satin with embroidery (principally chain stitch) in design of open flowers with leaves and birds.  Lined with tan linen.
Band
, 19th century
cotton Technique: bobbin lace (late Valenciennes ground)

Curving stem with leaves and flowers.
Study for Bust of the Madonna
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Head and bust in drapery. She looks down to the left.
Fragment
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Angular bands and disks in groups of three.
Bacchus Sleeping (after Poussin)
Leon Dabo, American, 1868–1960, 1886–92
Graphite on cream wove paper
Drawing

The nude Bacchus is seen turned half-right, lying on drapery, half supported on block behind shoulders. Right, cornicopia.
Lichas Bringing the Robe of Nessus to Hercules
Hans Sebald Beham, German, 1500–1550, 1542–48
Engraving on off-white laid paper
Print

Horizontal rectangle. Hercules, standing at left, receiving the sacrificial robe which has been steeped in the poisened blood of Nessus. Lichas, at right holds the robe.
Fringe
, 16th century
silk Technique: plain weave

Yellow and green fringe with a heading and looped skirt threads holding tufts arranged to form a pointed edge.
Punched work fragment
, mid-18th century
linen Technique: painted on plain weave

Linen, pierced by holes of several sizes and painted in white paint, in pattern of curving band of floral sprays similar to that found in lace; sizing gives stiffness.
Fragment
, late 18th century
linen Technique: needle lace

Alençon-style fragment with brides tortillées and minute powdered floral motifs and circles. Lower border design of circles and floral motifs.
Peep-show, Vuë Perspective de Bilbao, Ville d'Espagne dans la Biscaye
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Drawing
Felice Giani, Italian, 1758–1823, About 1810
Pen and brown ink on cream laid paper

Obverse: a/ Orpheus seated before a bush plays the lyre. A dog lies in the right bottom corner. Cattle graze in the left middle distance. A town and mountains are shown in the left rear. Reverse: b) View of a room having a chimney at the wall at right, a staircase and a door at left. The window is in the lower part of the rear wall; it is lunette shaped. The ceiling is supported by beams.
Escutcheon
, 16th century
silk, metal on linen Technique: couched and embroidered

Oval shield with red and gold vertical stripes surrounded by gold arabesqued mantle, topped with crown with rosettes across top. Details of shaded pink and green satin stitch; black outlines.
Edging
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Band of lace has a design of scrolling floral sprigs and leafy vines.
Candlestick
, 1811–20
Gilt bronze

Candlestick with wide base decorated with engraved scrolls. Hexagonal candle socket
Fragment
, 17th century
silk, metallic yarns, cotton Technique: two intercrossed plain weave structures (lampas)

Green with silver and tan curling leaves.
Textile
Pourtales & Cie, French, 18th century
cotton Technique: block printed on plain weave

Fragment of cream white cotton, block printed in detached design of small flower clusters and clusters of buds, with roots showing; colors now appearing, red, brown and blue. Manufacture de Toiles Peintes de Pourtales and C. a Minster en Alsa ---. This piece was cut by donor from piece illustrated in Clouzot, Plate 66, showing factory stamp as given.
Chrysanthemum Pattern Oyster Fork
Tiffany & Company, American, established 1853, ca. 1880
silver
fork

1957-61-44-a: Three short tines, widely spaced, forming curved b...;     1957-61-44-b: Three short tines, widely spaced, forming curved b...;     1957-61-44-c: Three short tines, widely spaced, forming curved b...;     1957-61-44-d: Three short tines, widely spaced, forming curved b...;     1957-61-44-e: Three short tines, widely spaced, forming curved b...;     1957-61-44-f: Three short tines, widely spaced, forming curved b...
Design for Sideboard with Glass Door Cabinet Above
A.N. Davenport Co., October 25, 1900
Graphite on thin cream paper
Drawing

Oblong sideboard with 6 straight tapering legs [5 shown]; rounded front corners decorated in neo-classical motifs; flat front has center niche flanked by 2 drawers and 2 doors; molded top; above, a rectangular cabinet with 2 glass doors supported by raised backsplash, 6 columns at front, and 2"L"-shaped volutes.
Artist's Studio in Berlin
Karl Wilhelm Streckfuss, 1817 – 1896, 1860s
Brush and gouache on white paper
Watercolor

This is a study in watercolor for an oil painting of the same room by the same artist. It is possible that the subject is the artist's own studio, with his wife or another family member at the piano. Implements of the artist, plaster casts, an easel and paintings are seen. Decoration is limited to the red lace lambrequins at the windows.
Bowl
, 1800–1820
Black transfer on stoneware

Yellow bowl with depiction of a family at piano-forte in black; black lines around rim and foot.
Plate, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1833–1847
porcelain (feldspar), vitreous enamel, gold
plate

1959-155-1-g: Circular form with scalloped edge and shallow well...
Venetian
Reed & Barton, American, 1824–2015, ca. 1880–85
silver plated, metal
fork

A serving fork with two large tines, finished with hammered surface. At base of tines, stippled spiral pattern covers neck. Undulating curving handle, tapering towards rounded terminal. Surface of handle finished with wood grain texture, interuppted with same stippled spiral pattern seen on neck, and one large spiral in the center of stem and one on terminal. Reverse side of stem and handle plain in surface decoration.
Remembrance Greeting
, ca. 1850
Chromolithograph on embossed paper
Greeting Card

A bunch of flowers (in oclor) in embossed paper enframement. Inscribed above, in ink: "Oh let my love thy pity move" and below: "In pity metls the Soul to love".
Necklace
, before 1799
Gold beads and filigree, cabochon rubies

Gold beads, delicate patterns of filigree on upper surface, six mounted with cabochon rubies, and under surface of each bead consisting of angular gold elements, polygonal.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plate

A plate with a wavy, brown-edged rim painted with tulip tree (Liriodendron) flower and leaves, and various insects.
Towel fragment
, 18th–19th century
plain cloth, silk and metal on linen Technique: embroidery

Rigid symmetrical design of large, pale pink full-face flowers on center stem and on side stems alternately filled with tiny blue flowers with metal tongues. Flowers on serpentine stem form guard-band at bottom. Pastel silks, metal on silk and flat metal on undyed linen ground. One plain selvage with two-handed finished edges.
Ceiling paper
, 1850–1900
Machine-printed on machine-made paper

Repeating quatrefoil pattern, each with a single dot in the center. Printed in taupe on satin white ground.
Sidewall
, ca. 1900
Machine-printed on paper

Foliate design in art nouveau style. Large green leaves, on brownish yellow ground. At the center of the major motif are three stylized blossoms in brownish yellow. Drop match.
Sidewall
, 1882–83
Machine-printed paper

Repeating motif of a masquerade ball at an Opera House. Figures in fantastic costumes dance and cavort. An orchestra plays up on center stage. Printed in twenty colors on neutral ground, drop repeat.
Head of Athena (from a cast)
Adile Marie Osborne, ca. 1895
Charcoal on paper
Drawing

Vertical rectangle. Head of Athena (from a cast) seen in right profile. She wears a helmet.
Dado
, 1800–1810
Block-printed on handmade paper

Long horizontal rectangle. Brown and yellow moldings along upper and lower edges. Major motif on brown ground is acanthus rinceau. This enframes alternately two grisaille motifs: a kneeling winged boy with harp, and a basket of flowers. Green horizontal bands.
Mirror
, ca. 1760
Carved, gessoed and gilt pine, mirrored glass

Carved and gilded vertical frame, double arch at top with centered tall pyramid of assymetrical foliage carved à jour and tall curved leaf forms at each corner which flow into serpentine curves and then join straight sides; flowers entwined around straight sides; bottom rail dupicates curve at top rail and has assymetrical group of foliage carved at center.  Mirror made in two pieces.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis pattern resembling tilework, composed of acanthus scrolls. Adjacent voids are filled with a floral sprig or a floral wreath. Printed in red, green, and metallic gold on light yellow-green ground.
Sidewall
S.A. Maxwell & Co., 1900–1920
Machine-printed

Bunches of fruit, including cherry, plums, grapes, peaches, suspended in tree branch.
Valentine Greeting
, ca. 1850
Chromolithograph on embossed paper
Greeting Card

A multi-colored bird of the finch species is shown on a branch. Below, in a ribbon: "Forget me not".
Study for "Prudence," Lunette in Hudson County Courthouse, Jersey City, NJ
Kenyon Cox, American, 1856–1919, 1910
Charcoal and graphite on off-white wove paper, laid down
Drawing

Seated allegorical female figure representing Prudence. She faces towards the right, in profile, gazing into a mirror, held in her left hand.
Design for Berlin Wool Work
A. L. Dittmarsch, ca. 1860
Brush and gouache on pre-printed squared paper
Drawing

A band of roses and leaves on graph paper.
God dividing light from darkness, from the Sistine Chapel Ceiling by Michelangelo
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Figure with upraised arms
Fragment
, 10th–11th century
silk, linen, gold leaf Technique: tapestry woven

Tiraz fragment of linen with part of a silk and metal tapestry tiraz band at top, and at bottom, rows of small silk tapestry insets.  Ground of tiraz band loosely woven on linen warps with gold silk originally wound with metal; row of small adjoining roundels enclosing alternately a frontal human mask or a bird in profile, with outlines and details in fine silk tapestry in sky-blue, yellow-green, white, black on the looser gold ground, narrow sky-blue silk guard band above and below roundels separates row or roundels from pale yellow-green silk Kufic inscription with details in black and white filling upper and lower third of tiraz band (lower inscription upside down).  Small silk and metal tapestry insets woven on warps of the linen ground consist of row of small birds facing left in gold silk originally wound with metal, with touches of green, blue, white, black silk; row of rosettes alternating with heart-shaped petal, in same colors; row of small birds facing right.
Frieze
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Horizontal ribbon-like stripe with lines crisscrossing horizontallyally inside it, and with green flower vines twisting above them. Background has an overall wavy line and dot pattern. Top and bottom have bands of waving floral vines. Ground is beige. Printed in beige, green, and cream. 
Printed in selvedge: "Standard Papers"
Carpet fragment
, mid-19th century
wool Technique: triple cloth

Small carpet fragment showing part of a large medallion repeat framing a rosette with geometrically decorated interspace, a debased derivation from Turkish rug. In red, yellow-green, orange, dark brown, dark blue, and pink.
Spoon from an Ivory Cutlery Set
, 1680–1700
ivory
spoon

1985-103-146/148: Two long straight tines, curved shoulders, neck wi...;     1985-103-146: Fork with two long straight tines, curved shoulder...;     1985-103-147: Spoon with oval bowl and rat-tail reverse. Pistol-...;     1985-103-148: Knife with blade with straight lower edge, upper e...
Frieze
, 1790–1810
Block-printed on paper

Central area features urn with four doves sitting on it, underneath floral swags supported by swans, under urn are acanthus rinceau, acanthus banding runs along bottom edge. Printed in yellows and browns on a deep gray ground.
Textile
, 18th century
silk on cotton Technique: tent stitch embroidery

Blue-green embroidery on an ivory ground showing diagonal floral bands. Type of material used for women's pants.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Large circles overlap, a square acanthus boss is in the center of each circle, while a quatrefoil motif fills the space where four circles interesect.
Tile
William Frend De Morgan, British, 1839–1917, 1882–88
Glazed earthenware

Square tile of reddish buff clay with grog added. On white crackled glaze blue border and cross bars, over which a diagonally set plant with two large yellow flowers in painted.
Sidewall
, 1835–45
Block-printed on machine-made paper

Small pattern of meandering green vines connected by red flowers, enclosing large green leaves.
Sidewall - fragment
Imperial Wallcoverings Inc., American, founded 1901, 1905–06
Machine-printed

Fragments of floral stripe wallpaper, printed in brown on tan ground. Large rhododendron-like leaves with bulbous, cone-shaped flower.
Flounce
, 1745–65
linen Technique: Brussels style bobbin lace

Section of a wide flounce with a design of curving garlands that alternates with a symmetrical framing element. Neptune with a trident alternates with a group of heraldic banners with field drums.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace border, floral vine; early 18th century Bruges a Brides.
Nine of Clubs from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Nine of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Elephant and Palms
, late 19th century
Silver
Matchsafe

Elongated oval form, featuring raised decoration of palm trees and elephant, reverse features palm, and other foliage and unidentified animal. Link on top. Front opens, hinged on right side. Striker extends around perimeter.
Sampler
Manerva A. Morgan, 1838
silk embroidery on linen foundation Technique: cross stitch embroidery on plain weave foundation

Family register of the Morgan family in black on natural linen, with a border of small triangles.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Blank page within sketchbook. 
Verso: Faint sketch of flower; sequence of numbers in upper right under columns labeled: F K M.
Jardiniere
, ca. 1820
Painted tôle, brass

Oval, with straight sides and everted lip. Outside painted dark teal, with gilt interlacing double L, crowned, and scattered fleur-de-lis. Inside painted green. Foot and rim mounted in ribbed brass.
Study of foliage
William Trost Richards, American, 1833–1905, ca. 1864
Graphite on paper
Drawing

Sketch of a tree with foliage.
My Heart Balances Between The Two
James Joseph Tissot, French, 1836 – 1902, 1877
Etching and drypoint on paper
Print

In the foreground a small boat is partially seen. In the boat a man in Highlander's uniform, is seated between two young women. Battleships in background.
Portrait of Peter Cooper
Peter Cooper, American, 1791–1883, ca. 1880
Sepia photographic print on paper
Photograph

A three-quarter length portrait of Peter Cooper, facing right. He is seated in an armchair, his cane held in his right hand.
Sidewall - sample
, 1906–07
Machine-printed

Art nouveau; oversized tulips, vertical direction, on long stem and fine line oblong scrolls in the background. A dense texture simulating a weave cover the background. Printed in shades of red, green, brown and tan.
Goblet
, 18th century
Glass

Clear glass globlet, vessel has wide flaring opening (martini glass).  Large footed stem.  Painted stag central figure.
Scarf sample
, mid-19th century
silk Technique: block printed on plain weave

Quarter of a printed scarf with wavy lace-like patterned border and field with widely spaced floral medallions in magenta, yellow, grey, and black.
Fashion Plate from L'Iris, Moniteur des Modes
Imprimerie Mariton, French, active mid-19th c., 1861
Hand-colored engraving on paper
Print

Fashion plate from L'Iris, Moniteur des Modes.
Title Page, Nouveau Livre de Serrurie (New Book of Ironsmithing)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Image of an ornate iron gate; above, two ornate finials flanking text.
Foot tub
, 19th century
Molded tin-glazed earthenware, metal (insert)

Deep oval vessel with Imari-style polychrome floral decoration. Scrolling gilt handles and metal insert.
Christmas Greeting
, ca. 1865
Chromolithograph on embossed paper
Greeting Card

Bunch of flowers in scalloped enframement. The flowers are hinged and under them, in the inscription: "A Merry Christmas and a Happy New Year".
Uncle Remus at the Door of His Cabin
Arthur Burdett Frost, American, 1851–1928, ca. 1895
Ink on paper
Print

Trial proof for illustration. Uncle Remus is seen seated on a rough bench beside the door of his cabin.
Urn
, ca. 1815
Amethyst spar, gilt bronze

Amphora-shaped body of solid spar supported on fluted pedestal on square base. Pedestal, top and mountings of gilt gold bronze. Top is an artichoke rising from a circular cluster of leaves. Two ram's heads at shoulder, on either side.
Sidewall - sample
Gledhill Wall Paper Co., New York, New York, founded 1900, 1906–07
Machine-printed

Art nouveau; open and closed tulips with acanthus leaves surrounding the flowers. Smaller leaves and scrolled stems are placed between tulips. Printed in greens, reds and olive on a gold mica background.
Design for a Painted Coach Panel with Rocaille Motif
Edward Crace, English, ca. 1747
Brush and gouache, gold paint on laid paper
Drawing

Almost symmetrical rocaille motif in green, brown, and gold on tan background.  The pattern is of a swirling, looping designs with wave-like detailing.  The materials drawn for this panel appear to be simililar to jade, bronze, silver, and gold.
Sample sheet
, 1750
paper and wool Technique: fulled plain weave

Sheet of paper pasted with a double row of twenty-four samples of fulled woolen cloth in greens, blues, purple, brown, white, pink and oranges. Intended for export to the eastern Mediterranean region.
Fragment
, 4th–6th century
wool, linen Technique: tapestry weave

A rectangular fragment of woven wool and linen on an undyed linen backing. Design shows brown ground with with white vines forming diamonds, enclosing Coptic crosses. At bottom, a polychrome border of interlocking shapes.
Design for Wallpaper
Anna M. de Pool, 1894
Watercolor on paper
Drawing

A stylized design with a repeat motif of wheat, and interlacing leaves, against a neutral background.
Two ladies in a rowboat
Léon Marie Coutil, French, 1856 - 1943, 1881
Etching in black ink on cream-colored paper
Print

Two ladies in a rowboat, one handling the oars, the other the tiller by means of lines. A swan swims toward them.
Sidewall
, 1870–90
Machine-printed

Aesthetic-style design. Against a light green ground are printed deep red and yellow roses and rosebuds with foliage in a horizontal row. Below, a deep red band bordered above and below with green stripes against which are printed bands of black dot beading.
Sadlers Wells Theater from Ackermann's Repository
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint with watercolor on paper
Print

Horizontal rectangle. Theater seen facing the stage from the rear. Balconies and floor filled with people. Neptune in his chariot and horses, in water, on stage. Title, artists' and publisher's names below.
Frieze
William H. Mairs and Company, Brooklyn, New York, 1905–1915
Machine-printed paper, liquid mica

Large foliate medallion enclosing bouquet connected by same foliage arches.  Connecting floral swags. Foliage wrapped rod along bottom.  Alternating green and tan strips that fade mid-paper in background.  Printed in green, tan, white and metalic gold.
Textile
, 19th century
cotton Technique: block printed and painted (chintz)

Vertical panel with large colored scene. A flowered curtain drapes across the top over a wine party with four large figures in flowered robes. Small flowering tree on the edge of a pool on the upper left side. Ground scattered with small flowering plants. In deep blue, rust, dark purple, deep golden yellow, flesh tones and dark brownish blue in black outlines on undyed ground. Wide scrolling floral border on blue ground with narrower floral borders above and below on yellow ground. Undyed band across top with floral repeats.
Sidewall - fragment
, 1840–70
Block-printed on satin ground

Quatrefoil medallion with red center, surrounded by foliate diaper. Printed on gray satin or polished ground.
The Discovery
Samuel Ireland, English, ca. 1744–1800, 1794
Etching on paper
Print

Interior scene of a room. In background a canopied bed with a colored woman seated on it. At the bed four men standing.
Sidewall
, ca. 1880
Printed

Quinces on heavy branches, acanthus leaves, in art nouveau style. Printed in rusty orange, brown, gold, light olive and olive.
Large House
Arnold William Brunner, American, 1857–1925, 1877–80
Graphite on paper
Drawing

House, center, with shrubbery in back; birds above; steeple, right distance.