biglam/cooper-hewitt-alt-text huggingface dataset:
Embroidered picture
, mid-19th century
wool and silk embroidery on cotton foundation Technique: embroidered in counted stitches on plain weave foundation

Berlin wool-work picture depicting a scene inside a cathedral of a woman facing the viewer and kneeling at prayer with hands folded before an open prayer book. Somber colors plus highlights in light shades of silk on foundation fabric.
Tile
Grueby Faience Company, Revere, Massachusetts, 1895–1908, 1902–09
Earthenware

Black and brown turtle with green background
Two Attendants with the Heavenly Horseman
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and sepia wash over black chalk on off white laid paper
Drawing

From the Expulsion of Heliodorus by Raphael Sanzio.
Happy May Thy Future Be
Thomas Stevens, English, 1828–1888, 1870
silk Technique: jacquard woven
Bookmark

White ribbon with a spray of roses, lilies and curling vines of ivy entwined within the words "Happy May Thy Future Be." Finished at the bottom with yellow tassel.
Design for Portion of Stairway, Château-sur-Mer, Newport, Rhode Island
Charles Salagnad, French, 1872
Brush and ink and watercolor, graphite on paper
Drawing

Vertical rectangle. Two designs on one sheet. Upper design shows east wall on main story, with hinged overlay to give alternative treatment of drapery. Lower design shows west wall on landing between main and second stories, with two windows.
Drawing
Felice Giani, Italian, 1758–1823, C. 1795
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Top row center: Alexander holds a rearing horse: Flonking***, in opposite direction, two circular representations of two Victories, They face each other; the right one holds a caduceus; Bottom center; the birth of Alexander. A group of women intending to bathe the boy are shown in the right foreground. Olympia, lying in bed, is attended by two women, in the left middle plane. Vertically in the bottom corners; at left: Alexander gives Campaspe to Apelles. He is seated beside the girl who poses for Apelles and extends both arms toward him looking at her. Apprentices are in  the left rear. At right: Alexander and Diogenes. Alexander and a companion stand beside Diogenes who is seated in the opening of his barrel. His pupils are shown in
Sketch of Winged Figures for Ascension
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Sketch of winged figures, probably for a mural of the Ascension.
Partial Sketch of a Face
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Partial sketch of a face, torn off at top above eyes. Face turned to right; neck not shown.
Fragment
, 18th century
linen Technique: bobbin lace, Mechlin style with five hole ground

Louis XV pattern, ''fond à cinq trous''.
Panel
, 18th century
crewel wool on cotton Technique: embroidered on plain weave

Half of panel for settee seat or back, of undyed cotton cloth embroidered in chainstitch in bright polychrome crewels with long wiry flowering sprays rising from the lower to the top border. Scalloped bordering line in shades of yellow, with symmetrical accenting flower motive set in each scallop; on three sides of panel.
Design for the Center Motif of a Pearl Necklace
, 1800–25
Pen and ink, brush and watercolor on paper
Drawing

A green gem in an octagonal mount is surrounded by leaves. Suspended from it are two heart-shaped pendants topped by a crown.
A Crenelated Tower by the Water's Edge
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A crenelated tower stands at the edge of a broad body of water. Two small boats in the foreground, and a round tower in center middle distance.
Panel from, "Ornements de Paneaux"
Jean Le Pautre, French, 1618–1682, ca. 1675
Etching on paper
Print

A = Jombert 26, 2, with the address in the left bottom margin: ''le Blond Avec Priuilege.'' No number. B: A left half: three classical persons are shown against a mountainous landscape. The opening is rectangular. A figure supports a curtain. A right half: two persons stand behind the balustrade, one of them busy with a cloth. Wooded landscape in the rear. Bottom oblong: the scale ''6 piez'' between: ''le Pautre Inuenit et fecit'' and ''Iollain excudit cum priuilegio Regis.''
Pleated fan
, late 18th century
Parchment leaf painted with watercolors, carved ivory sticks, wood splints, mother-of-pearl washer

Pleated fan. Parchment leaf painted with watercolors. In the center "Rebecca the Well" enframed by gold-colored outlines. Parchment is edged with a gold color on all four sides and between are scenes with floral garlands. Carved ivory sticks showing cherubs, plants and trellis work, wooden splints. Mother-of-pearl washer at rivet.
Bowl
W. E. Hentschel, 1913
earthenware, glaze

Footless bowl, tapering slightly from shoulder to base, with low neck, wide mouth, rounded lip. On cream-colored clay body, brown mat glaze ground mottled with black; four shallowly modeled flame-like forms encircling bowl mat-glazed with dark red over tan; lip and neck dark red over tan with irregular blackish-red streaking.
Four tile
, 17th century
Glazed earthenware

Two tiles each of a similar design, in blue, green and neutral yellow, with fleurs-de-lis at four corners, leaves and two small bunches of grapes; in center of tiles a and b, a pomegranate, of tiles c and d, a large bunch of grapes.
Fragment
, 17th century
silk, metallic thread Technique: satin and damask with discontinuous supplementary weft (brocaded)

Incomplete design of large scale pomegranates and interlaced strapwork in red, green, blue, and gold thread.
Knife
, ca. 1870–80
wood

Blade: single edge, curved with the cutting edge concave; one face hira-tsukuri, other with kaku mune (shin ogi unfinished or marred?); blunt boshi. Scabbard and hilt of various woods; kojiri and koiguchi of horn. Two ornaments in relief and inlaid with pearl and sawari (?) (pewter) representing hat and key. Uragawara of wood. Kurikata wood with brass ring in design of uchiwa with wrestler(?) carved in relief. Hilt: wood, polished top and band at base; (no fuchi-kashira). Set with two small tinted ivory plaques, brass-headed mekugi, and two carved relief ornaments on a central band inlaid with sawari and ivory. Tsuba: Naga maru; akagane; sashi ura, suhama-gata. Design of shippo tsunagi sukashi (enamel type linked units in openwork); unsigned. Kozuka: blade signed, handle bamboo veneer on a wood base, sawari ends. Precious jewels in relief inlay of ivory and pearl. Habaki of silver (does not fit). Red silk sageo.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Three designs, very similar, peach, yellow and burgundy leaves in vine patterns; central design with dark wreath.
Textile
, 1770–90
linen warp, cotton weft Technique: block printed on plain weave

Polychrome design of a rider blowing a french horn following a stag chased by dogs in a diamond grid of flowers and ribbons.
Design for a Six-Legged Adjustable Rectangular Dining Table
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Rectangular molded top with rounded corners and dividing stretcher running across center, raised on 6 [5 shown] carved, turned and fluted tapering legs on casters.  Floral decorations at table top corners.
Cushion cover
, ca. 1635
wool, silk Technique: tapestry woven

Square panel showing Orpheus standing playing the lyre, surrounded by birds and beasts, fruit and floral border.
Design for Corner Cabinet with Gothic-Style Glass Door Panels
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Triangular corner cabinet with canted corners and 2 glass door front panels with Gothic-inspired tracery; raised on 3 (2 shown) short tapering legs.
Orphrey band or picture
, 15th century
silk, linen, metallic Technique: 4&1 satin patterned by 2/1 twill

Nativity scene of madonna and angels worshipping the infant.
Design for a Round Dining Table of Mahogany on Scroll-Like Feet
A.N. Davenport Co., 1900–05
Graphite, pen and black ink on thin cream paper
Drawing

Round molded top with dividing stretcher running across center, raised on fluted columnar support, sitting atop "X"-shaped molded base terminating in scroll-like feet on casters.
Le Meteore
, ca. 1840
cotton Technique: printed by engraved roller on plain weave
Textile

Ships making war on what appears to be a Turkish town within a grid of leaves an blossoms of exotic plants. In purple/brown on white.
A Moorish Smoking Room
Emmanuel Coulange-Lautrec, French, 1824 – 1898, 1856
Brush and watercolor, gouache on white wove paper
Drawing

Inspired by artist-travelers and their evocations of the harem, the smoking room, here a kiosk in the Moorish style, was designed to stimulate the five senses:  sight and touch, through color, tiles, sumptuous upholstery, exotic lanterns, mirrored panels, and patterned marble floors; smell, through the aroma of tobacco; sound, through music or a water fountain; and taste, through exotic delicacies. All combined to  create the mystical environment of the smoking room.
Clifton, Roslyn, New York
Miller Iron Company, Providence RI, ca. 1868
Cast iron model on wood base
Birdhouse model

Large metal house, meant to look like brick, with pointed arches and colonnaded side verandas, on a wooden base.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis pattern formed by crossed ribbons with bow ties or knots at the intersection. Foliate sprigs in fill. Printed in yellow, green, and white mica on polka dot background.
Fragment
, 1700–1750
silk, silver foil on silk thread Technique: woven

Fragment of rectangular doily of compound satin, brocaded: Same material and facing as 1951-112-14.  Slightly different metallic galloon.
Sestertius of Emperor Trajan
, 96–117
Cast bronze

Obverse: bust facing right; reverse: Equestrian
Pleated fan
, late 19th century
Painted parchment and silk leaf; carved, pierced and painted ivory sticks backed with mother-of-pearl, rivet set with faceted stone, cast gilt metal bail

Pleated fan with double leaf. Obverse: parchment leaf painted with classical scene of figures in a garden with architecture and angels. Reverse: silk leaf painted with border design. Carved, pierced and painted ivory sticks backed with mother-of-pearl showing armor and vases. Rivet set with clear faceted stone. Gilt metal bail in shape of bellflower swag.
Study of landscape, Meiringen, Switzerland
William Stanley Haseltine, American, 1835–1900, 1856
Brush and wash, gouache, graphite on wove paper
Drawing

View of a valley between two wooded hillsides with snow-covered mountains in right distance.
Drawing
, late 19th century
Brush and gouache on cream paper, mounted on cream paper

Large peach-colored blossom on green stem on cream ground.
Courtyard, Granada
Arnold William Brunner, American, 1857–1925, 1892
Graphite on paper
Drawing

Looking down on a house from a steep slope; outline of other buildings beyond, left.
No. 3, S.Z. Goldberg
S.Z. Goldberg, 1914
Machine-printed paper, embossed
Sample book

Wide range of samples including ingrain and oatmeal papers, cut out borders, die-cut and embossed borders, floral patterns, and medallion stripe patterns.
Fragments
, late 16th–early 17th century
silk Technique: 5-harness satin damask

Large-scale design of symmetrical bouquets in ogival frames formed by broad interlacing bands, which also form heart-shaped interstices clasped with crowns; flower and leaf detail. Cloth weave on satin ground; crimson., and edged with blue and white fringe of period.
Frieze
, 1820–40
Block-printed on paper

Drapery frieze with lower edge cut to follow folds. A head molding decorates the upper edging, dots and stripes on the "hem". Printed in beige, tan, brown, black and blues.
Sidewall
, ca. 1886
Ingrain paper

Tan colored ingrain paper with no printed design, contains many grayish fibers.
Border
, 1800–1830
Block-printed on handmade paper

Four bands of a border design printed across the width. Each band consists of a wide central strip containing dragonflies framed by octagonal, beaded shapes with attached sprays of foliage alternating with lozenges pierced by two arrows. Above this strip is a band of simple floral motifs (quatrefoil) alternating with diamonds, all these punctuated by a center dot. Below the wide central strip are two narrow stripes. Printed in blue, mauve, green and white on a black ground.
H# 515
Three of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Three of Spades playing card from a pack of transformation playing cards. Figure in oriental costume depicted in outline, facing left, holds a fan. Pagoda in background at right. Three black spades appear centered vertically, overlapping the figure's head, center torso, and feet; the upper two spades facing up, the lower spade facing down.
Textile
, 1700–1750
silk and metallic thread Technique: warp-oriented plain weave pattern by continuous and discontinuous supplementary wefts

Fragments show curling ribbons patterned with flowers supporting large bunches of flowers in bright colors and gold on a background of tiny white dots and widely spaced gold blossoms.
Vase (One of a Pair)
Coalport Porcelain Factory, English, active late 18th - 20th centuries, mid- 19th–late 19th century
porcelain, vitreous enamel, gold
vase

1968-58-2-a: Porcelain white body with frit, glazed and gilded....;     1968-58-2-b: Porcelain white body with frit, glazed and gilded....
Vase
Newcomb Pottery, founded 1884 – ca.1940 sale of pottery ceased, ca. 1901
Glazed earthenware

Buff clay body, thrown.  Tapering cylindrical body, curving inward, no foot, straight rim, 3 applied curved handles.  Decorated in three panels divided by buff-colored branches.  Band at top below cobalt rim and band at bottom above cobalt band.  Pine cones in buff, outlined in blue against washy blue background.  Handles "washed" in blue.  High glaze allover.  Interior and base glazed.
Fork
, ca. 1660–90
ivory, silver, enamel, steel, iron

Two-tined fork, baluster-shaped neck. Plain silver ferrule and cap with rounded top. Tapered ivory handle stained red and green and inlaid with floral design in silverwire.
Les Vendanges
Jean-Baptiste Huet, French, 1745 – 1811, 1785
cotton Technique: printed by engraved copper plate on plain weave
Textile

Panel of cotton printed in red showing a design of women harvesting grapes; country folk dancing and courting; a man on the ground holding a bottle and a man beating a drum in front of an inn, with vessels of wine around him.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Rounded scrolled medallions containing anthemions. Printed in green, cream, turquoise blue, on gradient cream and beige ground. Two borders printed across the width.
Sidewall
, 1905–1915
Machine-printed paper

Floral medallion design. Medallions contain chrysanthemum-like flowers and are printed over vertical stripes. Scrolling foliage connect the medallions. Printed on a striped background.
Sweetmeat glass
, 1750–75
Glass

Double ogee-shaped bowl, ribbed, on tall multi-knopped stem; domed, ribbed base, folded over at edge; pontil mark base.
Cape
, 17th century
S-spun tussah silk embroidery, Z-spun cotton foundation Technique: embroidered in chain and back stitch with French knots on two layers of plain weave; inner layer of unspun cotton Label: cotton embroidered with tussah silk in chain and back stitch with French knots

Semi-circular cape with a central square flanked by two wedge shapes and framed by multiple borders, all filled with a variety of fantastic and naturalistic birds, animals, and hunters on horses or elephants. In golden tan Tussah silk in fine chain stitch with outline and knot stitch fillings and accents on cotton ground, now mellowed to a light brown color, and covered with a fine scrolling leaf pattern in same silk in outline stitch. Similar cotton backing caught in with some of the quilting and major areas of embroidery.
Design for Garden Parterres with Scroll Motifs and Boxwood Arbor, in "Nouveaux Livre de Parterres," in Oeuvres Du Sr. D. Marot..., The Hague: Chez Pierre Husson, c.1702
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1702
Etching and engraving on cream laid paper
Print

Symmetrical arrangement of parterres de broderie in four sections around a central fountain/parterre; each section consisting of a scroll pattern with leaf and floral motifs (broderie) in between; borders interspersed with urns and topiary.  Along left side, boxwood tunnel.
Lottery Drawing: Coopers Hall, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Foreground onlookers; then three rows of men in a pit, with tally sheets. The lottery game on stage above, with judges and callers. Title, artists', and publisher's names below.
Tray, from a Breakfast Service (Plateau; Déjeuner Mosaïque Florentine)
Sèvres Porcelain Manufactory, French, established 1756, 1813
hard paste porcelain, vitreous enamel, gold
tray

Oval tray with raised and everted rim.  Decorated with outer border of interlaced triangular geometric motifs in lapis blue against brown background, surrounded by thin gold rims; then a border of tooled gilding with 16 roundels painted in polychrome of exotic birds, alternating with the smaller roundels with butterflies.  Around central oval a wide band of trompe-l'oeil coffering.  Center painted with arrangement of seashells, coral, and pearls against a faux marble background.
Designs for Headboards
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and black ink on white laid paper
Print

Three designs for ornate headboards. Each headboard has intricate curving details throughout, and all end in two volutes on the side.
Rough Study of Waves
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Rough study of ocean with waves breaking at right.
Textile
, 19th century
silk on cotton Technique: embroidered on plain weave

Fragment with silk embroidery showing a stylized flower in shades of red, pink, purple, and light blue with dark blue leafy stems.
Ceiling paper
Imperial Wall Paper Co., Sandy Hill, New York, 1905–1915
Machine-printed paper, applied mica flakes

Flitter ceiling paper. Trellis or grid pattern created by the intersection of four ogival  floral medallions. Three rose blossom bouquet at interstice and floral wreath in void. Highlights of floral scrolls and flourishes printed in mica flakes.
Tassel
, late 16th–early 17th century
linen Technique: braided and knotted

Long linen tassel, pear-shaped unit, braided and knotted. To pear-shaped unit are attached four elaborate double-headed eagles made of braiding and knotting, and attached to one another. Center unit attached to pear-shaped unit hangs free. Made of three balls and knotting.
Border
, 1825–40
Block-printed and flocked on paper

Two bands of designs: a wide giulloche of two-garlands, one of assorted flowers and the other of rose leaves. Bottom edging combines quatrefoils with giulloche foliage.

H#221
The Holy Family with Saint John
, 1780–1820
Pen and black ink, brush and brown wash on cream paper; verso: red chalk
Drawing

Scene depicting the Virgin supporting the Christ-child, who reaches for a branch of a tree. Joseph kneels on the left, and the infant, St. John, stands near him. A pyramid and tower can be seen in the left background. Verso: sketch of two female and one male figures.
Pair of Chambersticks with Snuffers
William Cafe, British, 1758
silver
chambersticks

Each with circular plate with upcurved edge and reeded rim. Scroll handle with thumb plate terminating in ribbed scroll. Handle fitted to hold plain conical extinguisher with reeded edge and baluster finial. Candle socket raised on baluster shaft, and with flanged nozzle permanently affixed. On saucer of each and on extinguisher of each is engraved an unidentified crest.
Sparaxis Tricolor Varr., Plate 77 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Sparaxis Tricolor Varr." from A. C. Van Eeden's "Flora of Haarlem."
Dish, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1833–1847
porcelain (feldspar), vitreous enamel, gold
dish

1959-155-2-a: Oval dish with rim extended at short ends to form ...
Fashion Plate from Le Mercure des Salons, Modes de Paris
S & J Fuller, British, 1809 - 1862, 1836
Wood engraving, brush and watercolor on paper
Print

Two women in pink and white bonnets. One at left stands in a blue redingote; the other sits at right in a cream one trimmed with black. Title and publisher's name below.
Sidewall - fragment
, 1870–90
Machine-printed on paper

Red and white flowers and leaves on tan. Aesthetic style floral design.
Chrysanthemum Pattern Dinner Knife
Charles T. Grosjean, American, d. 1888, ca. 1880
silver, steel
knife

Elongated rectangular steel blade with rounded point. Waisted ferrule, connecting to silver handle of curving, ungulating shape, covered in a pattern of overlapping foliate scrolls and chrysanthemum buds, with engraved "B" in the central reserve. Rounded terminal, topped with chrysanthemum flower. Reverse side densley decorated with overlapping foliate scrolls and chrysanthemum buds. Side edges plain polished surface.
Waistcoat
, 19th century
silk, cotton or linen lining Technique: compound weave

Gentleman's waistcoat in black with flower clusters and trailing vines in tan, royal blue and pale green.
Border
, early 18th century
linen Technique: needle lace, 6-sided reworked ground

Border of Point de France with freely spaced floral shapes. Pattern outlined by cordonnet.
Study of foliage
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite, brush and wash on paper
Drawing

Sketch of a tree with leaves.
Two Roman Soldiers in Conversation
Giuseppe Longhi, Italian, 1766–1831, 1790–1830
Graphite on cream paper, laid down
Drawing

Two soldiers in Roman uniform are shown on a cloud facing each other. The right hand man is seated with his left arm raised while conversing with the other.
Study for a seated woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on grey paper
Drawing

Draped female figure seated with her head resting on her arm.
Project for the Decoration of a Panel
, ca. 1580
Pen and ink, brush and gray watercolor wash on laid paper.
Drawing

One half of an oblong panel with an escutcheon at top.
Designs for Furniture
André-Charles Boulle, French, 1642 – 1732, ca. 1715
Etching and engraving on laid paper
Print

Designs for four pieces of furniture and two desk sets featuring inkwells and quills. The designs include caskets, stands, a desk with two design options, a commode (chest of drawers) with two design options, and a fall-front desk. The furniture is decorated with gilt bronze mounts and marquetry featuring scrolling leaves, acanthus leaves, c-scrolls, cartouches, mascarons (masks), putti, rosettes, shells, and gadrooning. The designs are titled, the plate is numbered, and signed by the publisher.
Fragment
, 17th century
linen, cotton Technique: plain weave with supplementary weft

Supplementary blue weft floating alternatively face to face creating a pattern of quatrefoil rosettes.
Goodrich Falls, Ellis River, New Hampshire
Daniel Huntington, American, 1816–1906, 1855–65
Graphite, black and white crayon on grey paper
Drawing

Waterfall at center, with pool at lower left. Rock ridges left and right, with trees sketched, upper left.
Figure Studies
François Boucher, French, 1703–1770, 1735
Etching on paper
Print

Figure studies / sketches on a single plate. In the foreground, a woman seated with a baby in her sling and holding a basket. A man with a hat and a satchel standing to the right (from behind), a woman in profile in the background with a basket and wheat or foliage. The plate is signed and numbered.