biglam/cooper-hewitt-alt-text huggingface dataset:
Textile
, late 19th century
silk Technique: compound twill weave

Fragment with white silk warp and green silk weft in an allover small-scale pattern of Buddhist motifs: coin, knot, cloud, jewel, etc. On one side of fabric design worked in warp; on reverse, design worked in weft.
Man
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Partial sketch of a male figure with a mustache in profile.
Excerpt from The White Tigress from Illustrations for Short Stories: A Magazine of Fact and Fiction (XIX, No. 1, May 1895, p. 11)
Frederick Stuart Church, American, 1842–1924, 1895
Printed in black ink on paper
Ephemera

Excerpt from a short story of a man meeting a Russian ivory carver who then tells the story of the inspiration and creation of a sculpture the narrator was interested in. Illustration at the bottom of the page shows angels and trees.
Border
, 1860–70
Flocked

Horizontal portion, straight along bottom edge and shaped along top. Band of flowers and ivy leaves.  Printed in brown, blues, cream, red flock, pink and black.
Cloudy Sky over Mountains
Frederic Edwin Church, American, 1826–1900, possibly 1856
Graphite on tan wove paper
Drawing

Landscape sketch showing a portion of a distant mountain range--like the Adirondacks--and the vibrantly-lit clouds above it. In the middle distance, the contour of snow-covered treetops is loosely rendered. In the background, a mountain range with a large peak at left extends halfway across the composition before trailing off. Above, layers of puffy and hazy clouds are backlit by the sun.
Arabesque Panel Design
Juste-François Boucher, French, 1736 – 1782, 1775–88
Etching on paper
Print

An arabesque panel design featuring a two handled flowering vase decorated with fluting, masks, gadrooning, and wave motifs on a plinth or base decorated with scrolling leaves (rinceaux), festoons of leaves, rosettes, acanthus leaves, mascarons (masks), and a standing female figure below. The arabesque design is framed by a leaf molding with rosettes in the corners. The plate is signed and numbered.
A Vignette, Referring to the Arts, in Two States
Vincenzo Franceschini, Italian, 1680 - ca. 1750, ca. 1730
Etching on paper
Print

Before the lettering (see 1907-7-1-a).
Fragment
, 16th–17th century
Medium; silk Technique: 4&1 satin damask

Large scale pattern with heart-shaped leaves and Tudor rose in ivory
Sidewall
, 1875–80
Machine-printed

Small oval medallions with bowknots at top all in red with blue flower and red leaves in center, also, fine horizontal lines of mica. Medallions encircled with fine continuous curving lines of tiny leaves and flowers. This paper was the third from top of six layers of wallpaper found on walls in the old Jacob Ruf house, Kaaterskill Junction, New York.
Study of an Elm
Daniel Huntington, American, 1816–1906, ca. 1855
Graphite on grey paper
Drawing

Study of an elm with foliage, center.
Tsuba
, 19th century
Iron, shakudo (a soft copper and gold alloy)

Probably Akaska school of Edo. This iron tsuba is naga maru gata (round) in shape, and is crafted in the ji sukashi openwork style, with a positive design showing mika tsuki, korogi, ran and torii (crescent moon, cricket, orchid and shrine gate), possibly making an allusion to a poem. At the center is a wide nakago-ana, an opening through which the sword passes, with sekigane (plugs added to fit the tsuba to a sword) made of shakudo (a soft copper and gold alloy). Surrounding this is the seppadai, a flat oval area that has a migaki ji (smooth) surface finish. On either side are ryo-hitsu, openings for the kozuka (utility knife) and the kogai (skewer tool). At right is sashi ura, the side which faces the blade, whose opening takes the negative form of a moon. Opposite is the sashi omote side, which faces the sword hilt. Its tri-lobed opening is of the suhama type, and symbolically represents the coastline of Horai, the holy island of the Immortals. The rim of the tsuba is round, or maru-mimi.
Ornament Design
Jean-Bernard Turreau, French, 1672 - 1731, 1716
Etching on laid paper
Print

Design for ornament, possibly for decoration within a pediment, along a semicircular base. Scrolling leaves, rosettes, fruits, flowers, fleurons, foliate scrolls, cartouche, pedestal, shell, fluting, vases, griffins, snake, mythological creatures, satyr, mask, festoons of leaves, and flaming torch. The plate is signed
A Vignette, Referring to the Arts, in Two States
Vincenzo Franceschini, Italian, 1680 - ca. 1750, ca. 1730
Etching on paper
Print

A brush, a modeling stick, a compass form a triangle, around which a ribbon is wound, showing the inscription "AEQVA POTESTAS." The sky forms the background. Framed by two laurel branches and by an oblong moulding.
Girostée doublée
Charles-Germain de Saint-Aubin, French, 1721–1786, 1757–68
Etching on paper
Print

A floral bouquet of girostée doublée, sprigs with flowers and leaves tied together. The plate is titled and numbered.
Artist sketching
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

A figure sketching under an umbrella.
Jar and cover
, 19th century
glass

Jar, with lid etched glass,???
Textile
, 19th century
cotton; polychrome Technique: painted and dyed

Panel with pointed top. Natural colored ground. Lower half has two broad bands, each band having two cows with all-over design of red handprints, on each side of central lunette enclosing figure of a man. These bands are separated by a band of lotus blossoms on water and a floral ornamental band, both of which are repeated for border at bottom. At top a pillow (?) with a peacock over it and flanked on each side by a woman carrying a bowl. Floral border repeated at top.
Trimming
, 17th century
silk Technique: plain weave

Yellow and white band made by cutting off the fringe skirt and leaving the woven heading.
Design for the Decoration of a Ceiling, No. 9 from "Plafons a la Moderne"
Nicolas Pierre Loir, French, 1624 - 1679, ca. 1660
Etching on paper
Print

Robert-Dumesnil III. 207. 1041. Signed bottom margin: ''Loire fecit A Paris Chez N. Langlois''.
Portrait of John Hamilton, Second Early of Belhaven
W. Bautree, active 1789 - 1800, 1798
Stipple engraving on paper
Print

Bust length portrait of John Hamilton, Second Early of Belhaven (1656-1708), facing one quarter left, his gaze directed frontally. He wears a large ermine-trimmed cape. Below, inscription and artist's and publisher's names.
Chair arm fabric
, 19th century
silk, wool Technique: plain weave with discontinuous wefts (tapestry)

1898-18-2: One piece that contains four uncut chair arms has ...;     1898-18-3: One piece that contains four uncut chair arms has ...;     1898-18-4: One piece that contains four uncut chair arms has ...;     1898-18-5: One piece that contains four uncut chair arms has ...
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool

Square within a diamond. Inner square filled with geometric pattern. Outer frame with trefoil leaves.
A Villefranche-sur-Mer (Environs de Carqueiranne)
Adolphe Appian, French, 1818 - 1898, 1882
Etching on cream-colored Japan paper
Print

Horizontal rectangle. Two fishermen are seen under a large rock overhung with trees on the bank of a large body of water, left. Sailboats in the distance.
Via crucis - Station VI, Saint Veronica Wipes His Face
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

First state
Designs for Two Decorative Panels
John La Farge, American, 1835–1910, 1890–1900
Graphite and watercolor on paper
Drawing

Incomplete horizontal panel (left), and vertical panel (right) with leaf meander enframing a blank panel.
Page Six from "Premier Livre De Differents morceaux A l'Usage de tous ceux qui s'appliquent aux beuax Arts Inventé Par G.M. Oppenort Architecte du Roy Et Gravé par Huquier," Serie A (Moyen Oppenord)
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

On a console heaped together, writing material, a bust, rooster, putti, olive branches, etc. Inscribed upper left: "6"; upper right: "A"; lower left: "Oppenort in."; center: "Avec privilege du Roy"; lower right: "Huquier sculp. et ex".
Cap streamers
, 18th century
linen Technique: bobbin lace, Brussels style

Cap streamers with a design of sprays of flowers with brides. Edges have leaves, flowers and rococo forms. The tip of the streamer has an ornamental needle ground finished with bobbin made single blossoms.
Mount
, ca. 1780
fire-gilt bronze

foliage; acanthus leaves, with seeds in the center.
The Sham Castle, Schloss Wilhelmshöhe, near Cassel, Germany
Friedrich Schroeder, German, 1768 - 1839, 1796
Engraving on paper
Print

A path leads up a rocky slope, with a large ruined castle in the right middle distance. Two groups of figures in the foreground.
The Basin
Abraham Genoels, Flemish, 1640 - 1723, ca. 1680
Engraving on white laid paper
Print

View of a section of a formal garden - a sunken rectangular pool, with woods to the left and beyond.  In foreground, a walk with potted and unpotted plants. Two stairways, right.
Bell pull
Thomas Bentley, English, 1730 – 1780, ca. 1780
blue and white jasperware

1952-166-109: Blue and white jasperware baluster shapes, pierced...;     1952-166-110: Baluster shape, pierced longitudinally for passage...
Genuine Turkey Red
Sun and Lion Brand, England or Scotland, late 19th–early 20th century
Label: Woven cotton samples, leather binding, paper label, brass rivets
Sample book

Bound manufacturer's sample book with eighteen swatches of dyed red cotton. Each swatch shows a progressive increase in density and weight of the twill woven cloth. Bound in blue leather with two brass rivets and a paper label reading Genuine Turkey Red with the logo of Sun and Lion Brand.
Fragment
, 1000–1450
cotton, wool Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Fragment of a funerary mantle in light brown cotton plain cloth ground (paired warps) with figure of a man brocaded in yellow, red, and brown wools.
Medallion
, late 19th century
linen Technique: needle lace

Oval medallion has a woman ice skating.
Puppet
, late 19th century
Painted papier-mâché, woven cloth

Peaked hat, red and gold in front, blue behind. Green cotton flannel shirt with blue sleeves, white cuffs and blue-figured white collar.
No. 132
Professor Josef Storck, Austria, 1830 - 1902, 1870
Mouth-blown crystal, facet-cut and polished
Cordial glass

Mouth-blown crystal cordial glass with engraved ornaments, facet-cut and polished.
Tablecloth
Unknown, ca. 1900
linen, cotton Technique: embroidered on plain weave

Square off-white tablecloth has in each corner two stylized pink roses with pale yellow-green spade-shaped leaves. Roses reminiscent of the Glasgow rose design.
Album of Trophy Designs
François Marie Isidore Queverdo, 1748 - 1797, ca. 1767
Print

An album of hanging ornamental and allegorical trophy designs featuring attributes and medallions with putti. Most of the plates are signed and dated.
Cushion cover
, 17th century
silk on linen Technique: embroidered on plain weave

Cushion cover with small tassels in an allover pattern of interlocked octagons containing small blossoms, needlework trimming. In red and yellow silk on linen.
Textile
, ca. 1825
paper, cotton Technique: printed

48 Swatches of printed fabric (24 per side of page) each about 5.5 x 8 cm. (2 1/8" x 3 1/8") each numbered in pen and ink from 1241 through 1288. Small scale floral, geometric and fine stripped patterns in one to three colors. Ten samples of the "Lapis" technique. Yellow over blue for green. Page is double-sided
Four 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

Four of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Sidewall
, 1875–1900
Applied ground color on paper

No printed design, overall pink paper.
Fragment
, 16th–17th century
linen Technique: plain weave embroidered with withdrawn element work

Fragment of a woven linen border with pointed tabs on one edge. Geometric design has rectangular quadrants decorated with embroidery and small squares with needlemade filling stitches.
Border
, 1800–1825
Block-printed on handmade paper

Wide central band of anthemia or palmette motif, alternating with a stylized floral motif. Band of chevron or herringbone along top edge. Band of wave scroll along bottom edge. Printed in lavender and yellow on black ground.
Border
, late 16th century
linen Technique: needle lace (punto in aria)

Border of pendants of triangular shapes.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, ca. 1757–1769
soft paste porcelain, vitreous enamel
plate

1955-163-1/12: A group of twelve plates decorated with painted fr...;     1955-163-1: Flat marly springing from scalloped inner rim. Rai...
Sidewall - sample
Maxwell & Co., S.A., Chicago, Illinois, USA, 1907–08
Machine-printed on paper

On dark salmon ground, treillage of white rinceaux containing bunches of flowers in green, yellow and red.
Tenth Commandment
Winslow Homer, American, 1836–1910, March 12, 1870
Wood engraving in black ink on paper
Print

Two ladies at prayer in church.  In the background, a neighboring gentleman looks at them.
Mourning handkerchief
, 19th century
silk Technique: bobbin lace, Chantilly style Label: silk bobbin lace

Black handkerchief with a sheer center center field and a deep border of black Chantilly-style lace. A large flower with leaves marks the four corners and the center of each side. Between are rows of scallops and small sprigs of flowers.
Fragment
, 19th century
silk, metal, and cotton Technique: embroidered on plain weave

End crossed by two types of shrine forms (?) alternating in blue, green, and pink silk silver thread with touches of brown and cream. Fret border in cream and silver across the bottom and a short distance up the sides; Stylized floral border above this with much-rubbed silver braid across the end.
Ceiling paper
S. A. Maxwell Company, 1905–1915
Machine-printed paper, liquid mica

Scrolling acanthus-like motif interlaced with floral springs. Motif surrounds a central floral bouquet of rose-like flowers and leaves. Gold, brown, pink, white, and shades of green on a pale yellow ground. Pattern number 2455.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

On tan-pink striated ground, vertical fluted bands with fanned motifs in white and tan.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

On gray ground, allover scrolled vines in white and browns.
Design for Mosaic Floor
Frederick Krieg, American, b. Germany 1852–1932, ca. 1900
Brush and watercolor, pen and black ink, graphite on white wove paper
Drawing

Border pattern with leaves and alternating curved forms. Punched hole at left.
Aesop's Fable: The Fox and the Crow
, 1840
Block-printed paper, polished ground
Sidewall

In Greek revival style. The fable of the fox and crow depicted in central framed medallion with black background: surmounted by fruit, flowers, grape vines, Greek palmettes, birds, scroll-work. Printed in 9 colors: orange, brown, blue, black and lavender on white satin ground.
Chintz fragments
, 18th century
cotton Technique: mordants for reds, purples, black and browns applied by pen and brush (sometimes over resist); blue applied over resist; yellow applied over blue (chintz) on plain weave

Four fragments of a larger design of exotic blossoms, tree trunks, and birds on a white ground.
Sidewall
, 1850–1900
Flocked on ingrain paper

Solid flocked wallpapers: "a" is solid red, while "b" is solid green. Each is printed on ingrain paper.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

This frieze features a horizontal repeat of symmetrical sprays of roses sprouting from a stylized acanthus bunch. A small area of mesh pattern supports the acanthus leaves, and a festooned rose garland and scrollwork border follow the bottom edge of the panel. An allover woodgrain pattern adds texture to the paper. Selvedge is printed "14 Exclusive Design." This design was printed in shades of pink, green, tan and pale yellow on a beige ground.
Elevation and Plan of a Country House
John Trumbull, American, 1756–1843, March 5, 1781
Graphite on paper
Drawing

Elevation of a single-storied house with a classical central portico and two flanking wings, with oval windows in the pediments. Arcades join the wings with the central block. Below, a plan of the house.
Sampler
Matea Gonzalez, 1821
silk embroidery on linen foundation Technique: embroidered in satin, cross, back, four-sided, and stem stitches on plain weave foundation

Bands of geometric pattern arranged in concentric squares.
Box
, 1501–50
Iron, wood, red velvet lining

Rectangular, with hinged, flat-domed cover; wood, covered with two thicknesses of sheet iron pierced in parallel rows of repeating tracery patterns, the borders iron over half-round wire; at one end, elaborate iron lock with long hasp; on each of the broader sides, two loose rings for attaching coffret to saddle bow or to the inside of a large trunk or chest; lined with red velvet.
Textile
, 1850–1880
silk Technique: damask, 7&1 satin

Yellow, large scale pattern with large flowers including daffodils.
Decoration for a Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Partial gold circle framing a group of purple flowers with green leaves outlined in gold.
Curtain panel
, ca. 1880
cotton Technique: chain stitch embroidery on machine made net

Large embroidered curtain panel with Egyptian-style motifs.
Winter Landscape
, 1820–1830
Brush and gouache on sand, glued to paper
Picture

A man and a dog are seen on a road near a thatched cottage in the snow. Gnarled tree and fence, left signpost, right.
Frieze
, 1905–1915
Machine-printed paper

A repeating design of lozenge cartouches, connected by a repetitive pattern of dark and light dots resembling mest, below a border consisting of a geometric design hung with tiny pearls. Printed in beige, tan, cream, olive green and brown.
Map sampler
, ca. 1790
silk and paint on wool Technique: cross, split and half cross on plain weave foundation; counted and uncounted stitches

Map showing all the countries of England and Wales, with portions of Scotland, Ireland and France.  Embroidered inscription at top: "South Britain is divided into 62 counties 40 of which are called England and 12 of the most western Wales.  There are 2 Universities 2 Arch-bishoprics and 24 bishoprics."  A cartouche at the right reads "England and Wales."
Tassel
, 17th century
linen Technique: braided and knotted

Linen tassel, braided and knotted. Spherical base suspended from double loops. Five design elements hang from bottom of tassel, including a center element. All made through knotting.
Stylized Tendrils
F.S. Gilbert, ca. 1905
Silver
Matchsafe

Oblong, with rounded corners, sloping sides, curved top and bottom, featuring stylized, intertwined tendrils in abstract motif, identical on both front and reverse. Lid hinged on side. Metal pinched and grooved on front and reverse at bottom to form striker.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Shield motif, each containing six fleur-de-lis. The shield motifs are joined by a foliate swag.Printed in red and shades of brown on tan ground.
Design for a Jug
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gouache, watercolor, graphite on cream paper
Drawing

Design for a jug or ewer with molded handle, thick gold on upper rim; neck contains green floral scheme; below this Greek key in green and gold; body has vertical registers; one containing black blossoms with gold details and borders, and another with a double arabesque in white with green and red outline on a staff of green.
Eight of Diamonds from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Eight of Diamonds from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and watercolor, graphite on paper
Drawing

Sketch of rocks and foliage.
Portrait of a Young Man
Thomas Sidney Moran, American, 1863–1930, 1908
Charcoal on laid paper
Drawing

Head of a young man seen from the right, turned slightly to the front, wearing a large brimmed hat on the back of his head.
Plate 37, from Neüw Grotteßken Buch (New Grotesque Book)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

Ornamental cartouche, composed of cartilage-like membes which terminate in wings, bird feet and fish forms. In the center, a lion's head with long mane.
Textile
, 19th century
silk embroidery with metal on linen foundation Technique: embroidered on plain weave

Narrow panel of cream-colored linen, embroidered at one end with silk and metal paillettes. Large floral spray with zigzag borders.
Textile
, ca. 1790
cotton Technique: printed by engraved plate

Straight repeat containing small landscape vignettes in which children play various games. The scenes are tied together by garlands of flowers. The games being played are: battledore, shuttlecock, kite flying, marbles, cards, playing of fife and drum, dart blowing, and a boy being pulled onto a wagon.
Banknote Proof: The White House
Bureau of Engraving and Printing, U.S. Department of the Treasury, Washington, D.C., ca. 1900
Engraving in black ink on paper
bank note

Proof of bank-note engraving. Vignette, showing north front of the White House, Washington, D.C.
New England Coast with Cliffs
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Sketch of rough ocean; waves breaking against rocks and cliffs at right.
Planter
, late 18th century
Painted tôle

Rectangular planter, low bombe body painted black with gold and polychrome chinoiserie decoration.
Folding Fork and Spoon Bowl
, ca. 1690
silver
fork and spoon bowl

Folding Fork and Spoon Bowl. Fork (a) has three curved tines, flat tapering handle widening towards bowl-shaped terminal, scrolled shoulders. Hinged at neck, with faceted sliding lock bar. Handle decorated with engraved foliate pattern within central reserve with plain wide border. Reverse of bowl terminal decorated with engraved flower. Oval spoon bowl (b), engraved on back with symmetrical floral design. Two wide slots on the reverse side to insert tines of the fork when attached, with fork handle serving as spoon handle when attached.
Bag
, 18th century
silk and glass beads Technique: looping incorporating strung beads; worked as a tube starting at the top

Small bag with four sprays of multicolored flowers coming out of yellow bases on a white background lined with rose colored silk. Drawstring ribbon of salmon colored silk.
Vauxhall Garden from Ackermann's Repository
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint in watercolor on paper
Print

Vertical rectangle. Large facade, with lights strung over it, and an orchestra playing in it, center. People walk and dance about before it, at night. Title, artists' and publisher's names below.
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed on handmade paper
Scenic

In sepia tones. Scene of a village along a waterway, A small boat with passengers on the water, a small bridge crosses the water. Two figures playing in front of large tree.
Pattern of Holes
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Pattern of holes (kagome) originates from a basket (kago) and eyes (me). "Kagome kagome" is a Japanese children's song. This pattern is created using two types of punch shapes, repeated in a geometric pattern.
Study of foliage
William Trost Richards, American, 1833–1905, October, 14, 1865
Graphite on paper
Drawing

Sketch of a tree with foliage.
Single Early Tulips, Plate 70 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Single Early Tulips" from A. C. Van Eeden's "Flora of Haarlem."