biglam/cooper-hewitt-alt-text huggingface dataset:
Figure of an Officer on Horseback
Meissen Porcelain Manufactory, German, active from 1710 to the present, early 19th–late 19th century
hard paste porcelain, vitreous enamel, gold
figure

Officer on horseback. On oval base painted to simulate stone, framed by gilt scrolls. A prancing sorrel supported by tree trunk. An officer on white, gold edged coat and black tricorne in saddle, holding sword hilt in front and reigns in left hand.
Candlestick (One of a Pair)
Volkstedt-Rudolstadt Porcelain Manufactory, German, established 1762, 18th century
hard paste porcelain, vitreous enamel
candlestick

Candlestick with wide spreading base. And molded floral and scrollwork decoration. At center, a rocaille cartouche enclosing painted flowers.
Sampler
, 1802
silk embroidery on linen foundation Technique: embroidered in cross, long armed cross and eyelet stitches on plain weave foundation

Two alphabets introduced by a Maltese cross. Lower field is religious motifs all in red on natural.
Cap crown
, 1700–1750
linen Technique: bobbin lace, Brussels style

Cap crown  with a dense pattern of floral and foliated forms emanating from a heart-shaped base.
Wooded Inlet View
William Trost Richards, American, 1833–1905, late 19th century
Graphite on cream-colored wove paper, lined
Album page

Tall trees with two figures beneath in left foreground look toward water inlet; cliffs in distance on the right.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1875–1900
Machine-printed

Dots, wavering vertical pin stripes in black, printed over foliage on tree boughs in shades of green, blue, ochre, outlined in maroon, on green ground.
Border
, late 18th century
Technique: bobbin lace

Edge of bobbin lace, staggered floral brackets; late 18th century Buckinghamshire.
Window shade
, 1875–1900
Machine-printed paper

Large-scale window shade printed in imitation of lace. Suspended from a cornice, with a voided center containing a basket of flowers and two tassels, the bottom of the lace curtain is trimmed with a bullion fringe and tassels. Printed on brilliant blue background. Verso is printed same blue color.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene with four figures in a tree-filled landscape, wearing Western garments; three wear turbans while the fourth wears a scarf on head; two are shirtless and two are training with wooden sticks.
Our Next President
Winslow Homer, American, 1836–1910, October 31, 1868
Wood engraving in black ink on paper
Print

Two men and three women drink a toast to General Ulysses S. Grant.
Chalice cover
, mid-18th century
linen, silk Technique: bobbin lace, discontinuous tape

Green silk chalice cover edged with border of Milanese lace showing scrolling pattern filled with animal forms.
Sketchbook Page: Self-Portrait
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Transfer from self-portrait on opposite page of sketchbook. Outline added to mark features of portrait; figure wearing classically-inspired garment.
Purse (pence jug)
, 1830–60
silk Technique: knitted

Small purse in the form of a jug, in ombre stripes from brownish-red to white. With bronze-colored beads, a gilt ring at neck, and gilt drop at botton.
Stomacher
, 18th century
silk and metallic (metal-wrapped silk core) embroidery on silk foundation, with flat metal strips, wire coils; linen backing Technique: embroidered in satin and stem stitches, couched flat metal strips, metal-wrapped silk, and flat strips with metal-wrapped silk; wire coils attached; faces and arms painted; on plain weave foundation Label: silk embroidered with silk, metallic yarns, flat metal strips, and wire coils; linen backing

Triangular stomacher in ivory silk, heavily embroidered in gold metallic yarns with scrolling leaves framing small buildings, and, in colored silks, a female figure with a rake over one shoulder, a male figure dozing, and a butterfly.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Horizontally repeating pattern of stylized poppy blossoms. Groups of three large poppies alternate with one single bud. Pattern is machine-printed in gold, greens, and reds on a tan ground. An allover-stipple pattern creates the effect of a woven textile.
Shellwork bouquet (coquillage)
, ca. 1850
Shells (coquillage), blown glass, walnut

Shellflowers assembled in tall bouquet and set in an ornamental vase with glass dome as a mantel garniture; probably English.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Purple lilacs, green and yellow leaves on brown twigs on white ground.
Gloves
, ca. 1875
wool Technique: knitted (stockinette stitch) and crocheted

Dark red gloves in small, tight stitches with a broad band of addorsed birds with stylized floral motif between in pink and yellow in the palm area. Narrow band between palm and cuff with a chain of orange figures with blue eyes. Straight deep pink cuff with a band of parading roosters in yellow.
The Lily
Arthur Wilcock, 1886–90
cotton Technique: roller printed on plain weave
Textile

William Morris inspired design of large white lilies and buds on long stems waving back and forth on a deep red ground with a small overall filling of dots and tendrils.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Quatrefoil motif formed with four acanthus scrolls, alternates with motif of foliate and floral scrolls, forming a grid or trellis pattern. Printed in red, green, gray, and metallic gold on off-white ground.
Nevers
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

View into a street and churchyard, figures walking along street.
Interior of the School of Chemistry, Plate 30 of Vues Pittoresques de Principaux édifices de Paris
Jean Testard, French, b. ca. 1740, 1792
Engraving, brush and watercolor on paper
Print

View of one end of a classical courtyard; a few people in it. Title, artists' and publisher's (and architect's) names below.
Tureen
Sèvres Porcelain Manufactory, French, established 1756, 1769
soft paste porcelain, vitreous enamel, gold
tureen

Four-footed tureen with lid having handle of vegetables in relief.  The body and lid with white ground decorated with flowers and blue bands at edges; decoration heightened by gilding at legs, handles and edges if body and lid.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Torn page in sketchbook. Recto: Partial sketch of figure with round cheeks and curly hair; list of books. Verso: Laundry list.
Border
, 1850–80
Block-printed on machine-made paper

A pair of intertwined ribbons wrap around a third element of architectonic nature. The ribbons form a guilloche pattern of fretwork. The fretwork is anchored to the narrow edge bands by tiny beads placed at regular intervals. Printed in white, gray, yellow ocher and brown on a deep blue ground.

H# 636A
Daoist priest's robe
, 19th century
silk, metallic yarns Technique: embroidered in couching, satin, stem and knotted stitches on 7/1 satin foundation Label: silk satin embroidered with silk and metallic yarns in couching, satin, stem and knotted stitches

Robe in the form of a large rectangle composed of widths of fabric which are continuous from the front hem over the shoulder to the back hem. The garment is open down the center front, and the front borders are continuous with the neck band. The borders on the outside edges are also continuous over the arm, and have openings for the hands. 
Each front panel contains two medallions with a full-face dragon chasing a magic pearl in the sky above a mountain. 
On the back, in the upper center is a large medallion with the "sacred Pagoda" (Lamaist) plus two small medallions, one with a representation of the sun, the other the moon. Below are two large medallions each with a profile dragon chasing a magic pearl in the sky above a mountain. These three large medallions on the back are placed above mountains raising out of a foaming sea. The entire field of the front and back panels is filled with clouds, auspicious symbols, and bats carring symbols. The background is metallic gold with the pattern in colored silks. The vertical borders on the front and back contain medallions with the 8 Buddhist Emblems in colors on a black background. The bottom bands on front and back have dragons raising out of the sea, medallions containing either a carp, turtle with snake, or Ch'i-lins, plus other auspicious symbols in colors on a black background. 
Many of the popular and commonly used Chinese symbols are used including the 8 Buddhist emblems, those of the Taoist Immortals, 12 Imperial, and 100 Antiques. 
The entire pattern is embroidered, as is the background on the front and back panels (the background of the borders and bands is the foundation fabric). The entire robe is lined with silk 8-harness satin damask with an all-over pattern of clouds (Ming type) in greenish-yellow and tan. There are two embroidered yellow silk pointed tabs and one button with loop on the edge of the opening.
Frieze
William H. Gledhill, 1905–1915
Machine-printed paper, liquid mica

Frieze design with bright pink poppy flowers and green foliage, scrolling acanthus framework behind, alternating high and low peak. Printed on tan ground.
Edmund Kean as Richard III
A. Park, London, England, 1839
Hand-colored engraving, embossed foil, fabric on paper
Print

Tinsel picture in horizontal format. Figure of actor Edmund Kean playing the character of Shakespeare's King Richard III. Dressed in elaborately decorated costume and holding a sword, he reclines on a grassy lawn in the foreground with a concerned expression. In the background, an elaborate domed tent, flags, and soldiers.
Border
, 1815–25
Block-printed paper, flocked

Large acanthus leaves alternate with acacia leaves, both in brown flock. Divided by ochre uprights (pilaster strip) with panels having white parallel lines forming diamonds. Top border consists of brown paired acanthus leaves on brown flock.
Sidewall
Gossler and Wilt Wall Paper Co., Philadelphia, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Large individual foliate medallions set close together, with foliate scrolls and horizontal bead and reel motifs. Ground is light green. Printed in greens, browns, gold mica, copper mica, and cream.
Fragment
, late 18th–early 19th century
cotton Technique: block-printed on plain weave

Fragment of cotton block- printed in shades of red on light brown ground, showing all-over pattern of stylized iris blossoms.
Sidewall
, ca. 1885
Fiber composition, tung oil, embossed

Imitation leather. Bands of embossed, rectilinear, close-set strap work which run parallel to one another. Black field over which brown has been washed.
Border
, 1800–1850
linen Technique: bobbin net with appliqué

Design consists of a floral spray edged by repeated blossoms. Fond: réseau dotted with semé de larmes.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plate

A plate with a wavy, brown-edged rim painted with a large spray of the leaves, flowers, and buds of a hibiscus (Ketmia syrorum), with a seed pod and various insects.
Tlingit (Indigenous Alaskan) Mask
Raimundo de Madrazo, Spanish, 1841–1920, late 19th century
Brush and watercolors, graphite on paper
Drawing

Drawing of an Indigenous Alaskan mask, brought to Spain by  Alejandro Malaspina in 1791, and on view at the Museo de América, Madrid, inventory no. 13909.
Study of a Bowing Man (Chrisopher Columbus)
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite on paper with white heightening
Drawing

Study of Christopher Columbus for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
The Eruption of Vesuvius
Favre Petitpierre, France, 1802–1818, ca. 1815
cotton Technique: printed by engraved copper plate on plain weave
Textile

Textile has four repeating scenes representing the eruption of Mt. Vesuvius as described in the letters of Pliny the Younger to the historian Tacitus. The boy reading is Pliny trying to be calm. One of the women is his mother. A visiting friend reproves their calmness. In purple-brown on white.
Map sampler
, 1790s
silk and metallic embroidery, silk foundation Technique: embroidered in stem, running, speckling and chain stitches on plain weave foundation Label: silk embroidered with silk and metallic yarns in stem, running, speckling and chain stitches

Map of the world showing the two hemispheres, titled "Western Hemisphere or the New World" and "Eastern Hemisphere or the Old World." A compass at center bottom, spray of flowers center top, and figures labelled "Europe," "Asia," "America" and "Africa" in each of the corners. The maps have been filled in great detail and the routes of the explorers have been marked on them.
Textile
, early 18th century
silk Technique: warp-faced plain weave with 3/1 twill

Length of woven silk in green and ivory with symmetrical pattern reversed along vertical axis. Design shows elaborate plant forms and pomegranate motifs crowned with foliate scrolls. Both selvages present.
LE BUVEUR
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Panel of arabesque ornamenation with a jovial figure holding a wine glass and bottle, at the center. The plate is signed.
Tile with Quatrefoil Design
Louis Comfort Tiffany, American, 1848–1933, 1880–1890
glass
tile

Square tile of red, yellow, and brown glass with quatrefoil in relief on face. Back has raised parallel strips, and grips in four corners.
Hall Seat, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on light brown wove paper
Drawing

Drawing of two different views of hall seating.
Kennet
Morris & Co., London, England, designed 1883
cotton Technique: printed on plain weave
Textile

Large-scale design of long-stemmed flowers leaning diagonally, on a ground of small all-over twining vines, leaves and flowers. In two shades of golden tan on white. Wide plain unprinted selvedges.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1780
cotton Technique: relief printed on plain weave with blue and yellow applied by brush

Two groupings of Chinese-style ceramics arranged in two columns in a half-drop repeat. The two columns have different groupings. Design is multicolored and printed on a white ground.
Fragment
, 18th century
linen Technique: bobbin lace, Mechlin style

Louis XV design; ground, variant details in ''fond de neige''.
Drawing
Felice Giani, Italian, 1758–1823, 1801
Pen, dark ink, brush, grey water color. Paper

Vertical rectangle. The woman is sitting upon a couch. The painter sits beside her working at a table in front of him. A book case is at right; a window with a curtain at left. Framing lines. On the reverse, erased, a pen drawing of a standing girl.
Bed hanging
, 18th century
linen Technique: withdrawn element with darned motifs; bobbin lace

Long hanging of white linen with drawn work band on all four sides. Bobbin lace insertions in two narrow strips, and bobbin lace edging at ends. Design in drawn work is of a symmetrically curving vine with tulip-like blossoms in profile.
Border
, ca. 1890
silk embroidery with artificial pearls on cotton net Technique: embroidered on net

Fragment of a border or flounce of ivory cotton net heavily embroidered with ivory silk floss and imitation pearls. Design of scrolls and modified rinceau with deep scallops repeated along lower edge.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Sketch of the head of a woman with dark hair, gazing downward toward the left.
Design for a Wall Fountain
, 1750–1800
Pen and brown ink, brush and watercolor on off-white laid paper
Drawing

Water flows from the mouth of a lion standing in a cavern into a sarcophagus-shaped basin. Fountain framed by a niche that is topped with a fountain and two planters. At left, a locked door.
Fragment
, early 19th century
cotton Technique: printed by engraved copper plate on plain weave

Small off-white fragment with two brown stripes on either side. The central off-white stripe is printed with a flower spray and leaf in red, blue, yellow and black. A very fine trailing vine in brown picotage forms the background pattern.
Cooper Union Museum Lace Study Card
Cooper Union Museum, 18th century
linen Technique: bobbin lace
Fragment

Lace fragment with a loosely-woven pattern of leaf motifs in a type of rose ground called "fond à la vierge." Fragment is mounted on a fabric-covered board and framed behind glass. Frame is natural wood.
Gezicht Over Den Vijver; Vüe du Vivier
, 1730-1750
Engraving on paper
Print

Horizontal rectangle. A long reflecting pool bordered by a walk and clipped hedges. In the foreground, figures stroll on a terrace.
Cover
, late 19th century
cotton, glass beads Technique: plain weave, crochet

Square of undyed cotton cloth has a deep border of flat and raised crochet in white and brightly colored cottons. Border has rows of square compartments, some with diamond shapes of raised bumps, others with raised multi-petaled rosettes with glass beads in center and deep crocheted lobes. Narrow red and white floral tape insert forms an inner border.
Wedding veil
, late 18th–early 19th century
silk, metallic thread Technique: ikat

Ribbed silk woven in wide red stripes alternating with narrower green stripes. A detached rosette is brocaded in gold in the red stripes. Smaller gold rosettes and stylized ornaments are in the green stripes. Ikat patterning in white and brown at either end.
Cachepots
, ca. 1810
Enameled and gilt tôle

Cylindrical, with slightly rounded bottom and simple handles. Black field, with gilt decoration on handles and around edge, and on each side. At center, a red female figure on a seahorse.
Fragment
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Border fragment has a conventionalized design of blossoms and scrolls with round mesh.
Study for a Mural
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Charcoal and red chalk on cream wove paper
Drawing

Cartoon, probably for a mural. Female figure in drapery, standing facing frontally. Pinholes following lines of figure and drapery.
Two Figures Approaching a Low Foot-Bridge
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

Near the edge of a forest, two figures approach a wooden foot-bridge, behind which is a pale fence.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620-1630
Black chalk, pen, brush, brown. Paper

Vertical rectangle. From a large calix rises an acanthus plant, with four pairs of spirals, disposed vertically in four rows. From the blossoms of the two upper rows spring Half-figures of eagles and lions, respectively; in four rows. From the blossoms of the third row spring three-quarter figures representing winged children. The framing moldings are sketched laterally, above and below framing line.
Fragment
, 15th century
silk Technique: 4&1 satin patterned by plain weave (lampas)

Crowned affronted lions within cartouches in green, yellow and white on red. Same design as 1902-1-316 and 1902-1-317.
Coat of Arms with an Eagle
Hans Sebald Beham, German, 1500–1550, 1543
Engraving on off-white laid paper
Print

Vertical rectangle. A shield with an eagle, its head turned towards the right. The shield is crested by a helmet with lambrequins and bearing a crown, two ram's horns, and a plume. The arms are set within a niche.
Six Landscape Studies
Leon Dabo, American, 1868–1960, ca. 1890
Pen and black ink on paper
Drawing

Five studies of fields bordered by tall trees, and one of a body of water with two figures and a sailboat in the right foreground.
Near Jericho, Wady Kilt
Lockwood de Forest, American, 1850–1932, March 20, 1876
Brush and oil paint on thin paperboard
Drawing

A stream in foreground, boarded on edges with scrub grass, leads toward distant mountain in the center rear.
Band
, early 19th century
linen and horsehair Technique: needle lace with ground of loop and twist with twist return

Scalloped border of Point d'Alençon in a pattern of repeated floral spray pattern on réseau ordinaire. Dotted with tear-shaped leaves - semé de larmes (sown of tears).
Border
, 19th century
Technique: bobbin lace (late Valenciennes ground)

Design of separate leaf motifs with dots above a border of flower motifs arranged to form scallops.
Textile
, ca. 1700
silk, metallic Technique: 4\1 satin damask with discontinuous supplementary weft patterning (brocaded) Label: Silk damask brocaded with silk and metallic yarns

Length of woven silk in a 'Bizarre' style, with fantastic vegetal forms on sinuous branches in gold brocade with touches of red, on a cream-colored satin damask ground.
DESCRIPTION DES FÊTES DONNÉES PAR LA VILLE DE STRASBOURG Pour la Convalescence du Roi : à l’arrivée et pendant le séjour de Sa Majesté en cette Ville.
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

Seventh page (recto) of the engraved text describing the festivities, within a rocaille border, topped with the three fleurs-de-lys in a roundel, military trophies on the sides and the city of Strasbourg's coat of arms in the two bottom corners. Eighth page (verso) of the engraved text, within a rocaille border with the three fleurs-de-lys in a cartouche on the top and the city of Strasbourg's coat of arms on the bottom.
Design for a Square Mahogany Dining Table
A.N. Davenport Co., April 21, 1905
Graphite on thin, cream paper
Drawing

Square molded table top raised on molded slightly flaring suppor decorated with dentils and Greek key motifs at bottom, standing atop molded base raised on 4 carved bun feet.
Authorization For the Appointment of a Military Surgeon
William Pitt, 1768 – 1788, 1768–88
Pen and brown ink, blue silk ribbon
manuscript of calligraphy

calligraphy / penmanship: autograph manuscript
Jardiniere
Olérys-Laugier Factory, France, founded 1738, 1760s–80s
Tin-glazed earthenware

Lobed oval form with mascaron and blue and ochre decoration at rim.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Graphite on illustration board
Drawing

Design of vines with central oval medallion and two circular medallions containing flowers.
Ornamental Design with Coral, Seaweed, and Shells
, 19th century
Brush and watercolor, traces of graphite on white wove paper, mounted around edges
Drawing

Design for a medallion composed of coral, leaves and shells.
Wine Glass Commemorating Prince William V (1748–1806), Governor of the Netherlands, and Princess Wilhelmina of Prussia (1751–1820)
, 1767–1775
lead glass
drinking glass

Wine glass with a  rounded funnel bowl. The remarkably narrow stem consists of a baluster knob with two rows of inserted air bubbles, underneath which is a small flattened knob, a straight part and a swelling with inserted air drop. Conical foot. 

On the bowl hanging from a crown are the coats of arms of William V and his wife Princess Wilhelmina of Prussia. Around the coat of arms of William a stylized garter with his motto: HONI SOIT QUI MALY PENSE ("Shame on anyone who thinks evil of it"). The coats of arms are held by two wild roaring lions, one laying and one standing. Underneath very fine engraved clouds.
Sidewall
, 1920
Block-printed paper, embossed, hand-rubbed oil finish

Imitation leather. Copied from a collection of old tooled leathers at The Hague, Netherlands. Large center motif composed of scrollwork with a small pineapple at the top. Enclosed in a diamond-shaped panel with wide scrolls for a border. Antiqued by hand. Design is embossed. On reverse side is written: "9002E".