biglam/cooper-hewitt-alt-text huggingface dataset:
Mariner's Compass
Lacy Jones, American, 1845
cotton Technique: pieced and sewn patchwork of plain and roller-printed fabrics Label: pieced and sewn patchwork of plain and roller-printed cotton fabrics
Patchwork quilt top

Small pieces of printed cotton in various colors patched to form a star medallion with scalloped outer edge. Each medallion set in white cotton about eighteen inches square. Twenty-five squares, each five by five inches, joined in a grid of strips of printed cotton, predominantly green. The center of each medallion plain white and several have handwritten inscriptions:

"Our mother / The First to Cherish / The last to desert us. / Wm D. Jones / Frances L. Jones / May 11, 1845."

"Made by Our Mother / Lacy Jones/ for / I.S. and M.P. Jones / 1845 / in her 64th year."

"Our Parents / May the Evening of their / lives be as the morning sun / I.P. and M.E. Jones."
Sampler
, early 19th century
silk, wool canvas Technique: embroidered

Embroidered sampler. Silk on wool canvas showing Adam and Eve surrounded by plants and animals. Below, three moralizing Bible verses and figures with a brick house and large chalice. Meandering green border with plants and birds.
Figure Study for Diana and Her Attendants among the Constellations
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper, laid down on board
Drawing

Nude male figure facing towards the left with arms raised. Both knees bent, with the right ahead of the left.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. green ground with 2 shades of gold color
b. bright pink ground with gold color and green/gold
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1785–90
cotton Technique: block printed on plain weave

All-over pattern of large scale flowers on branching stems, printed in polychrome red, green, yellow, blue, and purple on white ground.
Nypmhs Sacrificing to Mercury
Bonnefoy, ca. 1790
Stipple engraving, brush and watercolor on paper
Print

Classical scene with two nymphs making a garland, while a third is about to plae a crown of flowers on a bust of Mercury on a high socle.
Design for a Trophy
Antoine Watteau, French, 1684–1721, ca. 1735
Etching on laid paper
Print

Design for an ornamental trophy with musical instruments hanging from a tied ribbon. The trophy incorporates a tambourine, mask, bells, jester's staff, and a violin. The plate is signed and numbered.
Chef de piece
Belliard Freres, 1783, 1786
cotton Technique: block printed on plain weave

Intersecting curving vines and exotic flowers in red or black. Appears to be an alternation of a floral stripe and a vine stripe.
Fragments
, 19th century
silk, cotton. metallic Technique: woven

Diagonal lines of floering plants in rose and gold.
Advertisement for a Megalethoscope, Invented by Charles Ponti
Charles Ponti, active 1860s, 1862–65
Photostat on white paper
Photostat

The advertisement is titled, Mégaléthoscope de Charles Ponti, with a picture below, and each part lettered. Above and below, faces of a medal awarded by the London Exposition in 1862 to the inventor, Charles Ponti. Above, a description and key in English.
Portrait of Albrecht Waldstein
Joseph Bergler the younger, Austrian, 1753 - 1829, ca. 1800-1820
Engraving on paper
Print

Full length standing portrait of Albercht Waldstein, Duke of Freidland, Sagan and Mecklenburg (1583-1634), shown with his armor beside him, and resting his right hand on a table on which is his helmet. Below, a four line explanatory inscription in German.
Sewing sample
, late 19th century
Cotton

Square sample of white muslin with embroidered decoration of flower in center; border of heavier cotton is elaborately shaped, edged with fine buttonhole and attached to main square with joinings of fine buttonhole stitch. Flower design in center in heavy relief and ground cut away at back.
Studies of Nude Figure
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on cream paper
Drawing

Top: The boy is shown laying on his side, the left leg bent and foreshortened. Bottom right: Bust with arms, the head lies on the left forearm and hand.
Sketch of Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman with hair parted in the center and tied back, looking slightly down and to the right.
Pillow cover
, 16th–early 17th century
silk on linen Technique: running and cross stich embroidery on plain weave

Oblong pillow cover of fine linen, embriodered in black silk. A design of scrolling stems and flowers originates in the center and flows, symmetrically left and right. Thin vine stems scroll to frame clusters of honeysuckle, strawberries (?) and leaves. A cluster of leafs and berries forms each corner. The vine stems and outlines of flowers and leaves are in a twisted stitch forming a fine cord; leaves and blossoms ornamented with many diaper fillings in running and cross-stitch. The bottom edge shows remains of black silk handstitch. On reverse at one end, the top is longer than backing, and was apparently where pillow slipped in.
Collar and cuffs
, 17th century
linen Technique: needle lace

Set of Bertha collar and two cuffs.
The Two Goats, Illustration for Aesop's Fables
Victor Wilbour, ca. 1916
Pen and red ink, crayon on white board
Drawing

Two goats in profile facing each other, center. They each stand on two feet. Trees at side. Water below.
Textile
, late 18th–early 19th century
cotton Technique: woodblock printed on plain weave, glazed

Long, narrow fragment with an allover design of large scale naturalistically drawn flowers: roses, poppies, etc. Block printed in reds, blues, drab green and faded yellow against against a plum-colored background. Considerable over-printing with yellow and blue producing green, but yellow is much faded. Repeat incomplete.
Fragment
, 17th century
silk Technique: satin with supplementary wefts

Miniature sprigs in white on coral ground.
The Minuet, a Midnight Revel
William Day, British, 1797 - 1845, 1828
Hand-colored lithograph on paper
Print

Horizontal rectangle. A kitchen scene in which all the furniture and foodstuffs have become humanly animated. Some dance, others walk a tight-rope, or look on. Title and publisher's name and date below.
Coat of arms with cornucopia and masks
Giacomo Rossi, Italian, 1751 - 1817, 18th century
pen and ink, brush and green, gray wash on laid paper
Drawing

A scrollwork frame around a shield. On top is a man's mask between two cornucopiae. In the center below is a satyr's mask. A festoon hangs upon the lowest lateral and the central scrolls below.
The Prodigal Son among Swine
Hans Sebald Beham, German, 1500–1550, ca. 1540
Engraving on off-white laid paper
Print

Horizontal rectangle. The Prodigal Son stands at left, leaning on his staff; around him is a heard of swine.
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation

Leaves forming cartuches which contain plant form in red on tan.
Ribbon
, ca. 1900
silk Technique: plain weave with brocade and some warp floats (jacquard woven)

Red roses and bright green leaves on a yellow background.
Frieze
M.H. Birge & Sons Co., 1834, 1905
Block-printed, glazed, embossed paper

The central motif is the Renaissance castle set high upon a hilltop, with a wide road drawn in a strong perspective, leading the viewer up into the castle. A horse-drawn wagon and guard appear on the road. The tops of the castle towers are cut off, making the castle feel more imposing. The surrounding country side is dotted with hills, trees and little cottages. Block-printed on paper embossed to resemble leather.
Sidewall
, ca. 1880
Block-printed on paper

Grisaille roses in random arrangement on greenish-gray moire ground.
Goblet
, ca. 1880
pressed glass

Clear glass.   Tapering cylindrical cup on flaring conical stem on stepped circular foot.  Cup molded with Japanese-inspired decoration of fret work, flowers, and flowing stems and leaves on a pebble-textured ground above a broad band of hatched lines.
Ornament Design with a Fountain
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–50
etching and engraving on paper
Print

1921-6-212-6-a: Design for title page, asymmetrical cartouche deco...;     1921-6-212-6-b: Elevation of a candlestick with a partial view of ...;     1921-6-212-6-c: Panel with fountain at center and shell atop casca...
Embroidered picture
, ca. 1810
silk, wool Technique: appliqué and embroidery in satin and stem stitch.

Rural scene with red tavern and pond with ducks and weeping willow appliquéd in wool felt and embroidered on a silk ground.
Box
, 18th–19th century
Tin-glazed earthenware, metal (mount)

Short, cylindrical form with hinged, slightly domed circular lid; polychrome decoration on white ground, lid with scene of blue-robed maiden flanked by two putti; sides decorated with ochre and green flower garlands.
Lekythos
, early 5th century B.C.
Terracotta with painted decoration

Ovoid body with tall narrow neck, short flaring mouth and curved handle leading to flat shoulder; low flaring foot. Body with engraved black figure decoration of a horseman between two warriors carrying spears and sheilds; two rows of dots just below shoulder, front only; tongues and rays on shoulder; details of horse, warriors, garments and sheilds picked out in red and white.
Handkerchief
, 1876
cotton Technique: printed by engraved plate on plain weave

Commemorative handkerchief from the Centennial Exposition at Fairmount Park, Philadelphia. In the center is a diagonally placed depiction of Horticultural Hall in blue on a white ground. A blue printed zigzag border is on all sides. Three hemmed sides and one selvedge are present.
Textile
, 1800–1825
wool Technique: printed without dye \by heated roller on velvet (Baste fiber plain weave with wool supplementary warp).

Flower shapes in relief against a pressed background. The illusion of two colors is given because part of the pile has been flattened. In strong yellow.
Sampler
Mary Lish, American, 1809
silk and cotton embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Sampler embroidered in blues, greens and yellows on a loosely woven natural linen ground. In the center, a large urn of flowers rests on a grassy mound, with a female figure standing on either side. Spot motifs of birds, baskets of fruit, and flowering trees fill the field. The inscription is framed in a vine at the top, followed by a verse:
Could I by bearing Mary's name like her be wise in heart 
All worldly cares would disclaim and choose her better part
Designs for a Gate, a Railing Panel, Two Key Hole Ornaments, and a Key Top, in Nouveau Livre de Serrurie (New Book of Ironsmithing)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Engraving and black ink on cream laid paper
print

Designs for an ornate gate set within a stone building facade, with 2 designs of key holes flanking the design for a key top pictured center.
Sidewall
, 1780–90
Block-printed on handmade paper

Arabesque design on pale yellowish ground, vases with flowers, standing on drapery-covered supports, alternate with ribbon-wrapped wreaths containing bouquets and framed by flowering scrolled branches. Drop repeat, straight match.
Bracelet
, ca. 1830
Dyed horsehair

A red colored bracelet made of weaved balls, with a centered flower, dangling two tear drop shapes at the end. Part of a set.
Border
, late 18th–early 19th century
linen Technique: needle lace

Borders show floral and foliated sprays running in serpentine arrangement, interspersed by bow-knots.
Drawing
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Gouache and graphite on laid paper

Left corner border of flowers against black background patterned with curly-leafed tan vines, outer band of purple, blue and white, four single flowers in white upper field.
La manie de la Truelle, from La vie de château
Gihaut Frères, French, 1815 - 1871, 1832
Lithograph, brush and watercolor on paper
Print

Four women, two men and a boy on a ridge, right, overlooking the chateau, left. The men listen to a workman explain something.
Scissors
Walter Thornhill & Co, ca. 1851–75
steel
scissors

A pair of steel scissors with a decorative handle. The handle is an intricate design including two lions on hind legs against a shield. Below the shield are the thumb holes to use the scissors.
Dish
, ca. 1790
Glass

Oval dish with wide rim scalloped at the edge, star cut at center, cavetto with facets, the rim cut with flat diamond pattern, glass clear and heavy.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene of three conversing figures in a landscape with palm trees. A woman dressed in a striped shirt and turban, a man facing the woman with back to viewer in striped pants and white shirt, and a second man wearing native West Indies dress in skirt and headband.
Border
, mid-19th century
linen Technique: bobbin lace (late Valenciennes ground)

Naturalistic vine with a wreath of floral scalloped edge.
Sampler
, 1708
silk embroidery on linen foundation Technique: embroidered in cross, back, satin, and eyelet stitches on plain weave foundation

Alphabets and bands of pattern.
Handkerchief
, 19th century
Technique: block printed

Square handkerchief with brown ground and a border with large roses and other smaller flowers in blue, yellow and red.
Cap
, 1700–1750
cotton, linen, silk, metallic Technique: embroidery

Cap of cream white cotton, made in four conical sections. Seams stitched in silver thread, joined at top with metal tassel. Embroidered with small-scale flower sprays in blue, white, and metal thread. Cuff embroidered in symmetrical pattern of pomegranate and foliage sprays.
Textile
, 18th century
cotton Technique: block printed on plain weave with blue applied by brush

Printed length has half drop repeats of twined garlands and large flowers on short leafy stems.
Bowl
, ca. 1860
glass, silver

8-sided rectangular bowl, sides slightly flared, scalloped rim, sides cut with series of widely-spaced vertical lines; tall looped silver handle withshaped edges and engraved arabesques.
Christ on the Mount of Olives (Agony in the Garden), from the Great Passion
Albrecht Dürer, German, 1471–1528, ca. 1498
Woodcut on laid paper
Print

Christ is represented on His knees, facing left, in center middle ground. Two apostles sit asleep at lower right, and another at lower left. An angel at upper left. In the distance, right, Judas leads a group of soldiers through an entrance gate.
Milk Jug
, ca. 1790
copper, silver
milk jug

8-sided helmet-shaped body with tall looped handle, splayed 8-sided foot; embossed vertical fluting around body, under spout a bright-work octagonal shield with leaf motif, thin reeding around upper edge.
Border
, 1850–70
Block-printed and flocked on machine-made paper

This design consists of a six-pointed star enframed in a winged oval, each separated by rayed lozenges against a half-flocked background band. Printed in black flocking, yellow, gold, browns and tan.

H# 190
Teapot and lid
Kuznetsoff Pottery, founded 1810, late 19th century
Enameled and gilt porcelain

Lobed, straight-sided body; curving spout; tripple c-scroll shaped handle; domed lid with matching lobes and mushroom-shaped finial.  Body enameled with pink; gilt, polychrome arabesques falling from shoulder.
Textile
, 19th century
silk Technique: plain compound satin

Decorated floral circles on diaper background in blue, red, green on beige ground.
Fragment
, early 19th century
cotton, vegetable dyes Technique: printed

Figural groups from Burmese iconography, in close-set vertical repeat about 16" high. Blue ground, right half textured with tiny white dots and left half with faint yellow bars suggesting architectural framework. Reds browns, and tans. two wide cloth selvedges with double warps.
Textile
, 11th–15th century
cotton Technique: plain weave with paired warp and supplementary weft

Unfinished woven sampler with bands of geometric pattern, figures, and birds.
Sidewall
, 1820–1840
Block printed on handmade paper

a and c) Pillar and arch design containing locomotives and train tracks, very abraded and degraded; b) architectural border, with bracket detailing.
Border
, 1850–1900
Roller printed on machine-made paper

3 widths of narrow passementerie border on black ground between rope and gimp edgings.  Machine printed flowers in red, pink, blue, orange with green foliage.

H#34
Sketchbook Page: Caricatures
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Caricature of man with long nose and bow tie in profile.
Verso: Caricature of man with mustache, facing frontally.
Soccer Game
Ricardo de los Ríos, Spanish, 1847 - 1929, ca. 1890
Engraving on vellum
Print

Young men in striped shirts playing soccer; crowds washing from the fence. Mountains beyond. Lower right, a boat, with the artist's name. His signature in pencil, lower left.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a seated man with his legs up and his chin in his left hand.
Border
, 1850–80
Block-printed and flocked on paper

Metallic gold quatrefoil medallion printed on flocked background. The flock is overprinted with edge bands of a ribbon twist on rod. a) Printed on green flock ground; b) Printed on purple flock ground.

H# 35B
Ghent
Arnold William Brunner, American, 1857–1925, 1883
Brush and watercolor on blue paper
Drawing

View of houses lining the canal, with the spires of the cathedral and belfry visible behind them.
Shirasuka Pass, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

The sea with dotted with sails seen in the dip between two hillsides, each with pine trees, just below which appear the heads of daimyo procession. Lower half, the beach, with fishing nets drying. Boats offshore.
Sampler
, ca. 1851–1900
wool embroidery on cotton foundation Technique: embroidered in counted cross stitch on spaced, plain weave cotton foundation (Penelope canvas)

A church with a steeple, a large figure of a priest, and scattered motifs of a cornucopia, birds, butterfies, and a flowering plant fill the ground. At the top, IHS is encircled by a floral wreath supported by cherubs.
Fragment
, 18th century
crewel wool on cotton Technique: Uncounted stitches chain stitch [done with a needle] and knots and satin stitch on a 2/2 twill foundation.

Piece of crewel embroidery colored yarns with scattered motifs in a grid arrangement.  The motifs do not repeat in a regular manner but alternate a florral motif [8 different ones, sometmes facing in different directions] with an animal or bird motif [8 different ones]   Different colors are used when a motif is repeated.
'Egyptian' Pattern Berry Spoon
Whiting Manufacturing Company, 1866 – 1926, ca. 1875
silver
spoon

Oval bowl, with rounded point. Narrowing towards join, with curved fins flanking each side of base. Bowl engraved with wide border of plume motif. Narrow stem, shape following form of papyrus stem, leading to tiered papyrus leaf decoration. Stem widening to flat rounded handle with pharaoh-like figure decorating terminal, flanked by peacocks in profile with papyrus leaf extending on either side, above a central reserve with engraved monogram 'ALL.' Reverse side of similar papyrus leaf decoration, devoid of pharaoh-like figure and monogram, and devoid of engraving on reverse of bowl.
Sampler
? Youde, American, 1804
silk embroidery on wool foundation Technique: embroidered in cross, rococo, eye, satin, fishbone, back, knot and chain stitches on plain weave foundation

In the upper third, a verse flanked by two butterflies, with a stylized floral border below. The verse reads: 
My life is a flower.  The 
time --- to last its 
mixt with frost and shook 
with ev'ry blast
In the middle third, a scene with a house, a tree, and birds. 
In the lower third, a second verse, with urns of flowers on each side. The verse reads: 
Virtues the Chiefest
beauty of the mind the noblest ornament of womankind
Virtues our safeguard and our 
guiding star that stirs up reason when our ---

With a curving strawberry border with hearts enclosed in upper corners.
Sampler
, 19th century
cotton, glass beads Technique: embroidery with beads and needle lace with beads on plain weave foundation

Rectangle of white cotton with patterned beadwork edge on all sides. In the field, a flower and a Mexican eagle with a snake on a cactus embroidered in multicolored beads.
Sketchbook Page: Pressed Leaf
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Dried leaf pressed between pages of sketchbook. 
Verso: Sketches of flowers and leaves.
Christmas Greeting
, ca. 1890
Chromolithograph on paper
Greeting Card

Children are seen busy in a kitchen. They are dressed as three cooks and a kitchen maid. At top: "A Happy Christmas".
Waistcoat
, 1780–95
silk, linen Technique: chain stitch embroidery made with a tambour hook using 12 colors of silk, on silk plain weave. Back: linen plain weave

Man's waistcoat with standing collar and welt pockets. Embroidered on the center front edges with floral motifs and at the lower edge with images of river gods, on puce silk.
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

C-scrolls alternating with rectangles containing scrolls. Beaded framed borders. Printed in white on tan ground.
Design for Printed Textile
, 18th century
Block print on laid paper
Print

Allover pattern of orange dots and small black dots. Stylized orange and black blossoms, with intertwined vines and a bird in upper right.
Illustration of Architectural Ornament
Wendel Dietterlinn the Elder, 1551 – 1599, 16th century
Engraving on paper
Print

Design for a brick/tiled wall with various ornamental motifs.
Band
, 18th century
linen Technique: bobbin lace, Binche style with snowball ground

Band with symmetrical blossoms.
Panel
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Oblong cotton panel in black, dark blue, cream-white, and light brown. Shows six "wayang" puppets, moving toward center shrine, bearing Rama, a god-like figure. Outer border shows "ship of the dead" design and "lar" (wing of Garuda, the mount of Vishnu) motif.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Art nouveau / mission style. Bands of large and small stylized floral (tulip) medallions alternating with bands of s-scroll motif. Background of small three-dot dash pattern. Printed in light green, pink and beige on beige ground. Printed in selvedge: "Carey Bros W. P. Mfg. Co."
Brisé fan
, early 19th century
Lacquered, painted and gilded wood sticks, silk ribbon and tassels, gilt metal bail

Brisé fan. Lacquered wood sticks; black ground with figures in landscape, surrounded with borders and other decorative detail exquisitely painted in two tones of gold and minute touches of vermillion. Reversible, so the in one direction, the composition seems to be thrown out of proper relation. Black silk ribbon. Red and green silk tassels. Gilt metal bail.
Curtain panel
, 18th–early 19th century
cotton, linen Technique: resist printed warp (ikat) on plain weave

Vertical curtain panel with four broad vertical bands; each filled with a single broad serpentine band in shaded blue with a small blaze in each scallop and with a straight narrow pale blue stripe on each side. All formed by blue ikat in the warp direction.
brocaded silk fragment
, 18th century
silk Technique: compound weave with discontinuous supplementary weft

Cream-colored fragment with floral sprigs in blue, light green, yellow, orange, and red.
Twixt the Gloaming and the Mirk
Mary Nimmo Moran, American, 1842–1899, 1883
Etching and mezzotint, printed with plate tone in brown ink on paper
Print

View of a country bridge across a small stream. Barn roofs and a windmill in the distance.