biglam/cooper-hewitt-alt-text huggingface dataset:
Handkerchief
, 19th century
linen Technique: embroidered; bobbin lace edge

Handkerchief ornamented with wide border of floral design in embroidery and lace stitches; edged with Valenciennes lace.
Fragment
, 19th century
silk, metallics Technique: woven

Fragment from a larger piece that would have has a field and a border. Primarily red with eight-pointed star shapes on it.
The Roman Emperor Caligula (37-41)
Étienne Charpentier, French, 1707 – after 1792, 1750-1760
Engraving with etching on paper
Print

Shown in profile, galloping toward left. In the middle ground are represented on a small scale two sisters of Caligula brutalized by soldiers, a third killed by them; two officers kneeling in adoration; a statue of the emperor diguised as Jupiter adored by a couple; Caligula killed by soldiers. Rich moulded frame.
Waistcoat fronts
, late 18th century
silk, silver foil wrapped around a silk core, metallic sequins and tinsel Technique: embroidery on twill weave

Waistcoat fronts (separated) of white silk in small checkered design with paired horizontal silver threads. Embroidered with green silk, silver sequins and thread, rose tinsel in design of twisting ribbons and feathers. Cameo under each pocket.
Portrait of William Hogarth
Samuel Ireland, English, ca. 1744–1800, 1786
Etching on paper
Print

Bust-length portrait of the painter, William Hogarth, turned to the right, his gaze directed toward the observer. He holds palette in his hand. Inscription, artists' names and publisher's below.
Fragment
, 16th–18th century
cotton Technique: printed on plain weave

Narrow strip in a pattern suggesting spotted fruit in white on a black ground.
Textile
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Textile with conventional design in off-white and blue. Design similar to parang baris motif.
Christ at the House of the Pharisee
Carlo Saraceni, Italian, 1579 - 1620, ca. 1620-1650
Engraving on paper
Print

Christ is seen seated at table with six other figures. At His feet, the Magdeline is putting oil on them. Numerous other figures in the scene.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Sketch of a woman's head, looking upward to the left, almost in profile.
Hercules Abducting Iole
Hans Sebald Beham, German, 1500–1550, 1542–48
Engraving on off-white laid paper
Print

Horizontal rectangle. At left, Hercules on horse-back, with Iole. He lifts his club to battle Eurytus, also on horse-back, who comes to prevent Hercules from carrying off his daughter. Fallen figures below.
Page Six from "Quatrieme Livre Contenant Des Montans où Pilastres Inventés par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three "candelabra-like" arrangements of various motifs, characterized by, first: a putto with a banner carried by a herm; second: figure of Time supporting a portrait medallion; a female herm supporting a putto with war trophies (third). Inscribed, upper left: "D"; upper right: "6"; lower left: "Oppenort inv."; center: "Avec privilege du Roi"; lower right: "Huquier sculp. et ex."
Patchwork cover
, 1800–1850
cotton, paper Technique: pieced and sewn patchwork of plain and printed fabrics

Six-sided table cover made up of small hexagons in the  "Garden Path" pattern. Beautifully executed with close attention paid to the placement of printed motifs within the cut pieces. Lined with yellow and white seersucker (a later addition). Some paper patterns intact on the inside.
Fragment
, 15th century
silk, metallic Technique: 4&1 satin patterned with plain weave

Background divided into shield shapes by broad bands of arabesques. Alternate shields enclose the arms of Castile.
Edge
, 19th century
Technique: needle lace with ground of loop and twist with twist return

Edge lace with flowers and leaves.
Knife
, ca. 1870–80
wood

Blade: Single edge, Kakumune. (Not originally in this sheath). Scabbard and hilt: wood with ivory mounts, kojiri, fuchi-kashira, kurikata, uragawara, mekugi head and washer of ivory. No koiguchi. Tsuba ivory attached like a koiguchi; ''worm-eaten'' effect by carving; sashi omote, kaku-gata. Kozuka: akagane; omote, part migaki part ishime; design of two lotus leaves and a bud, inlaid in shakudo and gold. Blade signed. Scabbard inlaid with design of futamata daikon (forked radish) in relief, in ivory and sawari (pewter).
Textile
, late 17th–early 18th century
silk, metallic thread Technique: 5-harness satin damask with discontinous supplementary weft patterning (brocaded) bound in 1/4 twill

Piece of brocaded silk with a 'Bizarre' style design of exaggerated curvilinear shapes piercing and being pierced by foliate forms. In gold and silver thread with red accents on a green ground.
Textile
Schaar, early 19th century
cotton Technique: printed by engraved roller on plain weave

Two scenes, possibly of the crusades on a background of grape leaves. In red on white. Signature under one of the scenes on the left.
Offering to Cupid
, ca. 1800
Block-printed on joined sheets of handmade paper
Sidewall

Printed in peach and green, an interesting blend of neoclassical ornament and a small landscape, surrounded by striped cone-shaped framing elements.
Tea set
, 18th–mid-19th century
Leeds pottery, silver resist

sugar bowl, sperical form

Lid is also with bowl, numbered with components, b is lid
Plate, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1833–1847
porcelain (feldspar), vitreous enamel, gold
plate

1959-155-1-c: Circular form with scalloped edge and shallow well...
Design for Sideboard with Serpentine Front and Ball and Claw Feet
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Oblong sideboard with four scrolling ball and claw legs decorated with acanthus leaves at tops; serpentine tri-partite front has four conforming drawers; recessed central front section has two more drawers with door on either side, flanked by two large doors decorated with patera medallions; low backsplash.
No. 176
Ludwig Lobmeyr, Austrian, 1829 - 1917, ca. 1880
Mouth-blown crystal, hand-cut and polished
Wine decanter with stopper

Mouth-blown crystal decanter with stopper, hand-cut and polished.
Shawl
, ca. 1860
cashmere Technique: 2/2 twill with discontinuous wefts (tapestry) with double-interlocking; embroidered borders, pieced together Label: cashmere wool double-interlocked twill tapestry with embroidered borders, pieced together

A square shawl with a symmetrical design radiating toward each corner from a central black field. Swirling patterns in shades of red, yellow, violet, and green, with minute floral elements used as pattern filler. Larger pattern areas are outlined with sinuous lines of solid white or black. The harlequin borders are additionally patterned with embroidery.

The shawl is made up of hundreds of small sections of tapestry - some are as small as a few centimeters wide. The patches follow the curvilinear outlines of the pattern. This method allows different color warps to be used, as seen in the solid color fields of black, purple, red and white.
Plate 8 from "Stuben-Ofen"
Johann Jakob Schübler, German, 1689–1741, ca. 1728
Engraving and etching on off-white laid paper
print

Schematic diagram of previous stove (pl. 7) showing assembly of architectural trim at left and section view of constructed stove showing path of updraft at right. Below, diagram of fire box. Diagrams are numerically and alphabetically annotated.
Pillow cover
Unknown, ca. 1912
linen, silk embroidery Technique: embroidered on plain weave

Light brown pillow cover with a geometric border and highly stylized floral buds that extend outward.
The Deserted Village
, 1790–1800
cotton Technique: printed by engraved plate on plain weave
Textile

Two full width scenes; one of people at a country dance, the other a group of villagers traveling. The scenes illustrate episodes in Oliver Goldsmith's "The Deserted Village". In red on white.
Cydonia Lagenaria
Jarry, French, active 19th c., ca. 1820
Engraving, brush and watercolor on paper
Print

A forked twig of quince with leaves; two clusters of red flowers, the other above of buds, on the left half, lower left, sections of the flower. Title in French and Latin, and artists' names below.
Sidewall
M.H. Birge & Sons Co., 1834, 1890–1920
Machine-printed on paper

a) Panel outlined in stripes of two shades of blue and in architectural molding and beading in shades of yellow on white ground. In center: vertical bands of pink roses and blue ribbons with geometric motifs in beige between; b) continuation to top "a". Crown frieze with central medallion of flowers and blue ribbon and arabesques from which the bands of "a" are pendant.
Study of a Girl
Elihu Vedder, American, 1836 – 1923, ca. 1885
Black crayon, white chalk, on blue-gray paper
Drawing

Vertical rectangle. Head of a young girl, turned sharply to the right and slightly upward. Sketch of figure of girl, reverse.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1900–1915
Machine-printed paper

Vertical stripings (3 to a width) of symmetrical foliage and scrollwork in green and blue, outlined in maroon. Stripings bordered by beige "clover" springing from continuous vine. All-over imitation wood grain.
Sidewall
, 1843
Block-printed on paper

A series of vertical bands along which are scroll and leaf medallions alternating with smaller floral clusters. Along every other band the motifs are turned 90 degrees, or turned over, and are dropped.
Passementerie, Mètier à Franges
Denis Diderot, French, 1713–1784, 1762
Engraving on paper
Print

A man working at the loom as four women twist the material. Scale below.
Ten 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

Ten of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
"Benevolent and Protective Order of Elks"
Simons Bros. & Company, patented 1899
Silver, enamel
Matchsafe

Oblong, in the shape of an Elk's tooth, featuring a blue enameled clock dial with Roman numerals and set at 11:00, beneath which is a raised image of an elk's head, above the clock are the letters B.P.O.E., an acronym for the Benevolent and Protective Order of Elks. No decoration on reverse. Lid hinged on upper left. Striker on the reverse side of lid.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Acanthus scrolls and floral motifs, some fill of tracery between scrolls. Printed on light tan ground.
Border
, 1890–1910
Machine-printed on paper

Frieze on ground fading from pale pink at bottom to off-white at top, red and reflective white mica, feathered scroll fleur-de-lis motifs alternate in large and small versions.
Textile
, late 18th–early 19th century
cotton Technique: printed on plain weave

Small-scale allover design of fine grape vines and leaves with small grape clusters in shades of red and yellow on a black ground.
Delaware River, Milford, Pa.
Arnold William Brunner, American, 1857–1925, 1887–88
Graphite and white heightening on brown paper
Drawing

River, center, curving back to the right. Ridge of mountains beyond.
Fashion Plate from Le Monde Elégant
, 1870
Wood engraving, brush and watercolor on paper
Print

Three women standing on a balcony. Left one in blue and gray; center one in brown dress with purple trim; right one in green and white. Title and date below.
Matchsafe and Cigar Cutter
, ca. 1895
plated brass, cut steel, wood

In the form of a pistol
Textile
, ca. 1835
cotton Technique: printed by engraved roller on plain weave

Five scenes of Paris featuring monuments or buildings in Paris. Printed in red on a white ground.
Study of landscape
William Trost Richards, American, 1833–1905, 1865–1870
Graphite on paper
Drawing

Sketch of trees with foliage with a mountain in the background.
Architectural Sketches from Chenonceaux
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Sketches for a door in tapestry, an arched window, stonework, pedestal for a bust.
Fragment
, 16th century
silk Technique: 5-harness satin damask

Red damask with a design of symmetrical ogive with crown, etc.
Quilt
, 1857
cotton, silk Technique: running and double running stitches on plain weave

White quilted and stuffed bed cover with a scrolling vine border on two sides and bottom. The center has an oval medallion with a pitcher holding a bouquet of flowers. Surrounding the medallion are leaf shapes and scissors on the sides, a rooster at top, and bottom a heart crossed by arrows superimposed by the inscription "Harriet A. Knapp 1857" in yellow silk. Corners of the field are filled with fan-like medallions and a spray of grapes being eaten by a bird. Large eagle in center of the border at bottom. Running stitches for embroidery and double running stitches for inscription. Narrow cotton binding on outer edge.
Chapel – St. Mary by the Sea
Arnold William Brunner, American, 1857–1925, 1887–88
Graphite and white heightening on brown paper
Drawing

Small chapel from the side with three figures. Upper right, inset detail: one cross.
The Aelian Bridge and Castle of St. Angelo
Thomas Bowles, British, 1712 - after 1753, ca. 1750
Engraving, brush and watercolor on paper
Print

Castle of St. Angelo, left center. St. Peter's beyond, the Aelian bridge in front of it. People walking on the bank and boats in the river in the foreground. Title, artists', and publisher's names below.
Sarcaphagus, page from Il Campo Marzio dell'Antica Roma
Giovanni Battista Piranesi, Italian, 1720–1778, 1762
Etching with engraving on cream paper
Bound print

Image shows a large sarcaphagus decorated with heavy garlands with inscription below image and text on the rest of the page.
Courtyard of a Medieval Manor
Arnold William Brunner, American, 1857–1925, ca. 1889
Pen and ink, brush and watercolor on grey drawing paper
Drawing

Courtyard of a medieval manor. Flight of steps leads up to an open gallery, where a figure stands ready to receive a bucket which is being raised on a hoist by a man.
Sketchbook Page: Figural Groups
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Small sketches of two groups of three figures each.  Adittional figure sketch between them, center.
Textile
, ca. 1815
cotton Technique: block printed on plain weave

Half-drop repeat of two birds attending nest with four blue eggs below a flowering tree growing from a mound. Multicolors on a tan background.
Fragment of a garment with printed inscription
, 10th–11th century
cotton, gold pigment Technique: block-printed on plain weave

Fragment of white cotton cloth block-printed in closely repeated horizontal line of Kufic inscription meaning "The Kingdom of God"; in gold with black outlines.
Detail of the Combat sculpture on the Dewey Arch, Madison Square, New York
, 1899
Photographic print on paper
Print

Detail of the sculpture The Combat on the Dewey Arch. In the sculpture men with weapons such as a tank are gathered at the bottom. An angel holding a spear and shield floats above them.
Cup and Saucer, from a Tea Service
Spode Ceramic Works, English, established 1776, 19th century
porcelain, vitreous enamel, gold
cup and saucer

1992-5-49-a,b: Cup has handle with raised spur. Exterior decorate...
Border
, mid–late 18th century
linen Technique: needle lace with 6-sided reworked grounds

Band with a design of floral and foliated sprays balanced by ribbons and elaborate filling stitches.
Headband
, probably 19th century
wool Technique: doublecloth

Man's headband with geometrical motifs in tan on black background, red border. On each end, pompom pendant on attached cords.
America
Rudolph Ackermann, English, b. Germany, 1764–1834, 1801
Engraving with black ink on green paper
Print

Horizontal rectangle. "America" is seated on a rock, seen in profile, dressed in Indian costume and carrying a bow and arrows. A winged cupid crowns her with a feahered headdress. Another cupid shoots an arrow at a stag to left. Caption below: "America London Pub. 1 Jan 1801..."
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace pillow border, floral forms; mid-18th century Brussels
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1880–1900
Machine-printed

Stripe with conventionalized floral & foliate motif interjected on rigidly diamond grid. Printed in green, maroon and pink with metallic gold on red ground.
"Just One [Pipe] More"
, 1886–87
Silver, enamel
Matchsafe

Rectangular, with vertical sides curved, the front inscribed with the word/picture rebus "Just one [pipe] more," the text in black enamel, image of a pipe in black, brown and white, all on a white ground. Reverse features elaborate, incised monogram (BW). Flat lid hinged on left. Striker on bottom.
Fire screen
, ca. 1860
Embroidered in wool on a linen foundation Medium: wool embroidery, linen foundation Technique: embroidered in cross and pile loop stitches; plain weave canvas

Panel from a firescreen with embroidery in raised Berlin-work.  A large urn with flowers and fruits worked in many colors, with a small red-breasted bird to the right and a large white cockatoo on the left.
Textile
, ca. 1785
cotton Technique: printed by engraved plate on plain weave

Length of cream cotton, composed of two pieces stitched lengthwise, copperplate printed in brown. Six satirical scenes in a military encampment: soldier being thrown from his horse, a woman in a large bonnet being escorted into the camp. etc. On a barn are the initials A.D., and on the end of a drum the words Royal Artillery G. 111. Based on satirical engravings by Henry Bunbury (1750 - 1811).
Ace of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Ace of Hearts playing card from a pack of transformation playing cards. Female figure depicted in outline, wearing a dress, hat, and boots. A red heart appears as the bodice of her dress.
Fragment
, 17th century
silk, linen, metal Technique: bobbin lace

Border fragment of gold metallic lace with three circular pendants. Gold foil is wound around a linen core.
Child's dress
, early 19th century
linen (?) Technique: rick-rack used as tape with needle lace fillings.

Cream white tape worked into loops with connecting needle work.
Border
, 18th century
silk Technique: punched work

Fragment of band with a design of a scrolling vine and flowers made by punching a painted pattern on a silk fabric.
The Mass of St. Gregory
Albrecht Dürer, German, 1471–1528, 1511
Woodcut and black ink on paper
print

Christ, left, appears to Saint Gregory during a celebration of the Mass. Two monks kneel before him. A figure in the back holds a censor, and there are three bishops on his left. An angel and man are pictured in the sky above Christ.
Matchsafe
, ca. 1890-1900
White metal, celluloid film, photograph

Retangular metal form wrapped in sheet of celluloid immitating tortoishsell; recto with circular portrait photograph of William Jennings Bryan; hinged flip-top; striker on bottom.
Exterior, Frederick Crace and Son Establishment, 14 Wigmore Street, London
Frederick Crace, English, 1779–1859, 1827–40
Graphite, brush and watercolor on paper
Drawing

Horizontal rectangle. Exterior of three buildings, the central one bearing the Crace name over the entrance and on the two windows on the lower floor. The second story balcony bears the royal arms. Carriage-maker's Establishment, left (Davies and Son): "Glass shade-warehouse," right.
Ashford
, 1800–1850
Block-printed
Sidewall

Small stylized floral motif within oval shape having appearance of laurel wreath. Printed in blue on off-white ground. b) is a machine print.
Snuff Box in Shape of a Moor's Head
, mid-18th century
amethyst, gold, silver, diamonds, rubies, emeralds, turquoise, moonstone, platinum
snuff box

Box in form of a Moor's head; hinged cover; box and cover carved from single pieces of amethyst quartz in such a way that the natural white portions of the stone form the turban; surface highly polished except that hair is mat cut; eyes of moonstone with platinum (?) pupils at front and on left side of turban, applied floral ornaments set with rubies, turquoise and diamonds in gold and silver mounts; earrings each set with a rose diamond and small cabochon emerald; gold rims of box and cover carved with flame moldings and small scrolled thumb-piece.
Sampler
Elizabeth Silk, October 25, 1741
silk embroidery on linen foundation Technique: embroidered in satin, cross, eyelet, Roumanian, stem, long armed cross, herring bone, rococo, double running and detached looping stitches on plain weave foundation

Vertical rectangle with bands of pattern, alphabet, numeral and singnature "Elizabeth Silk her work ended in the thirteenth year of her age October the 25 1741."
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Allover dark brown heart motifs on brown ground.
Band
, late 19th century
silk on cotton Technique: embroidered

Narrow band of embroidered geometric pattern in black silk on cotton.
Coverlet
, 1854
wool, cotton Technique: beiderwand

Beiderwand-style coverlet has flowers in octagons covering the central field with a plant border. Colors are red, light blue, and dark blue. Woven inscription reads: "Made by Peter Seibert, Easton 1854."
Unfinished Study of Mountains
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Border box containing horizon line. At right, on horizon, rocky mountains.
Bandbox
, 1825–28
Block-printed paper, pasteboard, wood, wool

Workbox for seamstress, covered with simple geometric small-scale floral pattern, cloth pocket inside.
Necklace
, mid-19th century
Silver

Four strands of links of graduated length, alternately beaded and fasetted, on concealed inner chain; fastened at ends to two triangular elements decorated with filigree and flattened granules; ring and bolt closure.
Dress
, 19th century
silk embroidery on cotton foundation Technique: embroidered on plain weave foundation

Long dress of heavy white cotton, straight sleeve, body flares slightly at hem as long, wedge-shaped pieces are sewn in from under arm to hem. Ornamented at the hem with a deep border of embroidery in black, brown, olive green and red. Design is highly stylized: at bottom, solidly worked from 6 3/4 inches in narrow bands of zigzag patterns; above, an arrangement of pillar-like forms and stylized plants, with a plant at the top of each pillar, so that the whole suggests a wall. Height of the whole border is 14 inches. Cuffs of sleeves are also finished with a deep border of embroidery in brown, red, white and yellow silks, in geometric forms. Mainly cross stitch; on sleeve coarse darning stitch.
Study of arm
Elihu Vedder, American, 1836 – 1923, ca. 1885
Pastel crayon on gray paper
Drawing

Sketch of a male figure's right arm, raised to the right.
Roman Skyline with St. Peter's Basilica, Italy
Frederic Edwin Church, American, 1826–1900, October 1868 - April 1869
Graphite on tan wove paper; verso: graphite
Drawing

Landscape and architectural sketch showing a view of the Roman skyline with the domes of St. Peter's Basilica prominently featured in middle distance at center right. In foreground, nearby buildings are outlined with a tower shown at center left. In the background, the undulating horizon suggests the hills and buildings of Rome. 

Verso: Landscape and atmospheric sketch showing a view of a partly cloudy sky near Rome, Italy. In immediate foreground at center, a slice of nearby wooded terrain is loosely rendered. Above, long and hazy clouds intermingle with puffier ones in a dynamic sky scene.
Hope
Francesco Bartolozzi, Italian, active England, 1727–1815, 1787
Stipple engraving in brown ink on white paper
Print

Hope sits turned slightly to the right, with a curved spike in her left hand, and a rope about her wrist. A clifff, and mountains in the background.