biglam/cooper-hewitt-alt-text huggingface dataset:
Plate
, 18th–mid-19th century
black transfer ware

"La Bouquetiere..."
Design for Stained Glass Window: Over Main Entrance - Lateral Building, Carnegie Hall, New York, NY
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and wash, gouache, graphite on paper mounted on tan illustration board
Drawing

Lunette filled with tiles of different colors; interior a torch flanked by pink C-curves.
Cape
, 1810–20
cotton Technique: discharge printed on plain weave

Woman's printed cotton cape, open down the front,  with a hood with a pleated ruffle all around. Fabric is dark indigo blue a discharged design in light blue, with touches of orange.
Sidewall
, 1800–1850
Block printed on handmade or machine-made paper

Octagon medallion having appearance of coffered panel, with inner band of acanthus wrapped rod, and center band of palmettes. These medallions are separated by smaller foliate and floral medallions. Printed in light gray on white ground.
A Prussian Officer's Quarters
Unknown, German, 1830
Brush and watercolor, pen and ink, graphite on white wove paper
Drawing

This interior view, clearly dificient in perspective, may have been painted by a Prussian cavalry officer. The trappings of an army officer - green and red military jacket hung over a chair back, plumed helmet, sword belt, three swords - indicate an officer's quarters. Pale wood furniture in the practical Biedermeier style, trellis-patterned wallpaper and simple white curtains create a quiet environment for sleep and study. Further details include a book-lined desk, a zither placed on the skirted table in front of the sofa and fencing gear hung on the fire screen next to the large black iron stove.
A Study Interior at St. Polten
Matthäus Kern, Austrian, 1801 – 1852, 1837
Brush and watercolor on white wove paper
Drawing

The angled view of this study is dominated by portraits: large oval portraits dating from the Empire period and smaller pictures from the 1820s-1830s. Racks of pipes near the door in the rear and a large businessman's desk in the center foreground show that the room belongs to a man. A large woven urn-shaped basket in the  foreground next to the desk may have served as a wastepaper basket. On the left, a library table sits in front of a banquette. The bare floor of wood planks is in keeping with the Biedermeier style.
Textile
, ca. 1800
cotton Technique: printed by enrgaved copper plate on plain weave

Four scenes, one of a mother reading a letter from Nantes to her sons, a cottage scene of parents and children, a picnic during haymaking and a domestic scene with a woman writing or drawing. In sepia on white.
Jacket
, 19th century
cotton, mica, shells Technique: embroidered on plain weave

Short jacket with long sleeves. Woven in stripes of dark blue, orange and red. Back and neck opening elaborately decorated with mica and small shells.
Album of Designs for Furniture (Beds, Chairs, Sofas, Stools) and Waistcoats
Pierre Ranson, French, 1736–1786, late 18th century
Album

Album of designs for furniture: canopy beds, chairs, armchairs, sofas, ottomans, daybeds, stools, and men's embroidered waistcoats by Pierre Ranson, published in several series. Some of the series are incomplete, and some of the plates appear as duplicates (some of the waistcoats are hand-colored with watercolor). Bound in a late 18th-century or early 19th-century mottled calf binding with gilt double lines framing the edges of the covers.
The Green Drawing Room of the Earl of Essex at Cassiobury
William Henry Hunt, British, 1790–1864, 1823
Brush and watercolor, gouache, graphite on white wove paper
Drawing

This stately drawing room features a fashionable sky-patterned ceiling with a trompe l'oeil of an eagle holding the central chandelier; matching dark green wall covering and curtains; and wood carvings by Grinling Gibbons. Paintings flanking the door are by J. M. W. Turner; the one to the right is titled The Thames at Walton Bridge. On either side of the fireplace, pediments holding bronze statuettes are attributed to Andre Boulle himself, while mounted porcelain vases decorate the tops of Boulle-style cabinets. A table and chais are in the Louis XV style. On the left, there is a woman seated at a piano and on the right, a small dog in the foreground.
Bowl
, 19th century
Glass

Mold-blown bowl of amber colored glass with an inverted rim, a ring foot, low and flat; sloping sides of radiating petal shaped flutes. Interior of bowl is smooth while glass on exterior is rough. Base polished flat, parallel striations on exterior sides.
Lantern
, 1765–66
Gilded tôle (iron, tin), glass

Ebonized and gilded tôle square lantern. Small ball feet and circular stepped top with pierced pattern. At each upper corner, an upright gilded elm leaf. At top, a flat suspension ring. Square bottom inset with two candle holders painted red.
Mourning sampler
Ann Crosley, 1828 with later additions
silk and wool embroidery on linen foundation Technique: embroidered on plain weave foundation

Seven figures in the center all dressed in a 17th century manner.  Memorial urns at each side "Joseph Crosley died Sep 2 1814 aged 57 years" and "Sarah Daughter of Joseph Crosley who died Sept 19 1831 aged 30 years."  In center "Ann Crosley her work May 8 1828."  Picture may have been started at one date and finished at another as there is a great variation in the size of stitches.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Printed two across. Pink floral bouquets, alternating low and high. Metallic pink foliate scrolls below. Printed on off-white/yellow ground.
Unfinished Study of Waves and Distant Hills
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Unfinished sketch. Waves in left foreground and dark rocks at right. In center, along horizon, hills with two peaks.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace border, symmetrical plant forms; early 18th century Brabant
Design for Wallpaper and Textile: Flowers and Birds
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Two birds surrounded by branches with leaves. Red bird stands on ground with one leg lifted facing top right, blue and green bird is flying downward, facing bottom left.
Birdcage with fishbowl
, early 19th century
Sycamore-inlaid fruitwood and fruitwood veneered wood, carved gilt wood, blown enamel-painted and gilt-decorated glass, cast brass, stamped gilt metal, metal wire

Square wooden box-type cage (a) cut on each side with fan-shaped opening inset with metal wires; quarter columns at corners; bun feet; gallery along top, decorated with circular cutouts and ball finials at corners; stamped gilt-metal decorations at fan-shapes and capitals and bases of columns.  On top of box, cradled in large circular hole with flange, is a globular fishbowl (b) with circular neck and central hollow globe, all formed from single wall (allowing bird entry/egress from and to wooden cage below).  Base of bowl decorated with polychrome enamel band of landscape / water scenes showing European men hunting birds or fishing (retrieving birds?) from boats / sailing ships at sea (one flying two red, white and blue Dutch flags), and a rocky island with a tall castle-like building on top; floral decoration just below neck, gilded foliate decoration on neck and band at mouth.
Study of seashore, Point Judith, RI
William Trost Richards, American, 1833–1905, ca. 1877
Graphite on paper
Drawing

Sketch of a rocky coastline with a lighthouse at center.
Freiburg
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Sketch, looking up to row of houses behind trees.
Vase (Plate 1 of a Series)
Enea Vico, Italian, 1523–1567, 1543
Black ink on paper
Print

Vertical rectangle. Covered urn with handles composed of lions' heads. In the center of the body, a garland above which is a striding lion on a branch. Inscribed below: "SIC ROMAE ANTIQVI SCULPTORES EX AERE / ET MARMORE FACIEBANT."
Causeries du soir, from La vie de château
Gihaut Frères, French, 1815 - 1871, 1832
Lithograph, brush and watercolor on paper
Print

Two men on a scarlet couch, right, and two women in armchairs, left. A third woman lighting a candle, left. Title and artists' names below.
Figure Toy
Harriet Blackstone, American, 1864–1939, 1922
Brush and oil, graphite on board
Paper doll

Paper doll of a female figure wearing a green dress.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Stylized floral motif within a geometric ornament. These ornaments are separated by a scrolling laurel vine. A similar motif without the ornament rests on bottom edge. Printed in metallic gold and tan. THe background shades to darker towards bottom of paper.
Sidewall
, 1830–40
Block printed on handmade paper, polished ground

Vining floral design containing several varieties of flowers, printed in colors, on white polished or satin ground.
Preliminary Design for a Bank and Office Building in New York City, N.Y.
Montague Flagg, American, 1842–1915, May 10, 1916
Brush and watercolor, pen and black ink on cardboard, with metallic gold border
Drawing

Elevation of a building with a peaked roof, possibly five stories tall.
Abstract Gourd Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Abstract organic shapes resemble bottle gourds. These plants were dried and used as containers for flasks and sake.
Ceiling Paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Sparsely arranged floral and foliage scrolls.  Gold and shades of pink on a pale yellow ground.  Pattern number 0563.
Comb
, 19th century
Tortoiseshell

Two-teeth tortoiseshell comb with vine patterning arranged into three circular shapes, extending out from the teeth
Sidewall
Cole and Son, Ltd., 1845–55
Block-printed

Serpentine rose branches ascending a thin diagonal trellis. The latter makes an over all network of horizontal diamonds. Roses and buds, pink; leaves, branches and trellis, green, printed on off-white ground.
Panel
, 16th–early 17th century
multicolored silk and hand-woven linen Technique: counted stitch embroidery

Flame stitch embroidery in an allover multicolor pattern of offset rows of flattened diamonds in knot-like diamond grid. Narrow outer borders with two-strand twin motif in blue and yellow.
Fragment
, 1800–1808
cotton Technique: relief printed and glazed

Triangular fragment in shades of yellow, dark brown, orange and green. Part of the repeat is a pillar-type pattern, the vertical motif being a slim "Gothic" tower. Between towers, a large-scale serpentine is wound with big flowers and foliage on a white ground covered by a small black and brown rectangular motif. One selvage present.
Capelet
, 18th century
silk, wool, metallic thread Technique: plain weave with supplementary weft; twill (lining)

Part of a garment made from silver brocade with salmon-colored silk ruffles and lined with twill in natural wool.
Chalice cover
, 17th century
linen Technique: needle lace Label: linen needle lace

Square punto in aria needle lace chalice cover with a biblical subject, possibly Christ at Gethsemane, in the center field, surrounded by a double border of highly stylized floral forms.
Fragment
, 1770–79
linen warp, cotton weft Technique: block printed and painted on plain weave

Leaves and feathers facing various directions on a red picotage background.
Textile
, 19th century
cotton Technique: relief printed on plain weave

All-over pattern of a group of small scale flowers in a landscape-like setting. Colors predominately red and green on an ivory background.
Textile
, 1760–70
linen, cotton Technique: block printed on plain weave

Fragment of printed cotton with a fine curving vine with scattered exotic blossoms in shades of blue, purple and red on a white ground, which is filled with very fine red branching vines.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Bursh and gouache, graphite on white wove paper
Drawing

Blue and pink flowers on purple twig branches, green ferns on whtie ground.  Lined graphite border.
Rebecca and Eliezer
, 17th century
linen, silk Technique: embroidered
Embroidered picture

Unfinished picture embroidered in colored silks on a linen ground. Design suggested by a print by Gerard de Jode after Martin de Vos, "Eliezer and Rebeka."
Textile
, late 18th century
cotton Technique: blocked printed on plain weave

Fragment with a small-scale chinoiserie design in red, brown and black. Pattern shows a man in a tall hat and long robe fishing as a woman looks at him through an arch; at right, a servant offers refreshments. At the far right is a fantastic arch with an acrobat balancing at the top on one foot. A projecting arm draped in cloth is attached to the top of the arch, and on the end sits a lute player. At the far left is a tall spray of roses and foliage. In the foreground of the vignette is foliage and fruit. Some picotage in background. Overprinting of brown and red to give shading.
Three Sketches of a Nun Wearing a Hat
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Three busts of a nun in a white triangular hood. Upper center, figure faces left, with head slightly tilted upward; below, figure faces left; lower right, face is not entirely visible, figure faces right.
Roundel
, 14th–15th century
silk, metallic thread Technique: embroidered

Embroidered circular picture of St. Mark in his study.
Study for Maximum Mass Permitted by the 1916 New York Zoning Law, Stage 4
Hugh Ferriss, American, 1889–1962, 1922
Black crayon, stumped, pen and black ink, brush and black wash, varnish on illustration board
Drawing

Rendering of very dark, monumental high-rise building consisting of tall set back central tower, flanked by two smaller towers, each with set back upper stories. Dramatic "fan" of light rays in background. This is an early proposal for the set back skyscraper form that was to characterize many skyscrapers built from the mid-1920s to the ca.1950s.
Fujikawa, Approach of a Nobleman, 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

Villagers bowing down as head of daimyo procession reaches the entrance of village. On either side of road, walled bank with trees and bamboos. Lower center, rice fields.
Knife with Porcelain Handle
, 1750–1800
glass, steel, gold, brass
knife

Sabre-shaped blade, engraved and gilded on both sides with a cartouche of eagle's head and initial "W." Plain bolster and brass (?) ferrule, both gilded. Tapering handle, round in section, of white milk glass with gold Chinoiserie design in gold. Figure with parasol in front of table with vase of flowers set in landscape, trees and pagoda/house.
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 figures in a tree-filled landscape with possible field or clearing in background. A seated man on left playing a drum is pointed at by two standing women, one is striped and the other in white dress.
Spoon
, late 17th century
ivory, silver, brass

Oval-shaped spoon bowl, rattail on back of bowl. Curved and facetted neck flaring on the sides. Conical silver ferrule. Ivory handle carved in deep relief. Three putti, one of them kneeling, the other two standing on his shoulders, holding each other by the hand.
Purse
, 1640–1700
gold-wrapped silk, horsehair Technique: plain weave with discontinuous wefts (tapestry)

Pocketbook woven with tete-de-nègre horsehair and gold and silver-wrapped thread. Areas of pink, yellow, and green silk. On one side, a crowned coat of arms flanked by lions and garlands of fruit and flowers. On other side, a crown supported by cupids, flowers and garlands.
Architectural Details
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Above, support for window, Venice. Below, tops of capitals and details.
Ceiling paper
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

Polka dot pattern with striped green dots resembling stitchwork or applique with a tromp l'oeil effect. Printed on spotted background.
Border
, 1815–30
Block-printed

Marbleized cartouche-shaped figures in a series connected with each other by circles. Brown shading. Above, a narrow marbleized band, salmon, dark red, and green.
Allegorical Figure of "Asia"
Meissen Porcelain Manufactory, German, active from 1710 to the present, 18th–19th century
hard paste porcelain, vitreous enamel, gold
figure

1960-1-29-a/d: (a): Standing female figure, wearing jeweled mantl...;     1960-1-29-a: Standing female figure, wearing jeweled mantle and...
The Domes from the Valley, Yosemite
Carleton E. Watkins, American, 1829 – 1916, 1861–66
Albumen silver print
Photograph

Landscape featuring shore with forest; foot of mountain on right, and snow-covered mountain in background.
Band
, 17th century
silk Technique: appliqué

Narrow band with yellow leaves on red ground.
Vues d'Italie [Bay of Naples]
Dufour et Leroy, 1815–20
Block printed on handmade paper
Scenic

In sepia tones, foreground: fisherman and women, figures admiring view across water, temple-like building high on rocks, waterfall to right.
Sidewall
Thomas Strahan & Co., Manufactory, 1920
Machine-printed

Ascending branch scheme, branches terminating in clusters of gray, pink, and blue roses, occassional morning glories, pink and blue carnations, and other blossoms. The vertical repeat is long for its width and the match is dropped at the sides. Printed in eleven colors on cream ground.
Plate LVII from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Two covered ships; one run by a water wheel, above, resembles a kayak with a box on it. Below, a boat with many covered decks; an eagle on the prow, right. Description in Latin on verso of 1949-152-254.
Portrait of Anthony Cornelissen, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, 1660
Etching on paper in black ink
Print

A half-length portrait of Anthony Cornelissen. His body is in three-quarter view to the right and his bare head turned to left. He holds his right hand at his waistline and his coat hangs loosely over his shoulders.
Orange Blossoms
, April 23, 1832
Brush and watercolor, pen and ink on paper
Drawing

A branch with orange blossoms. Dated, in ink, lower right: "23rd April 1832".
Dado
, 1800–1830
Block-printed on handmade paper

Inset panel dado. Printed in grisaille on joined sheets.
A Scene of Execution
Maynard Dixon, American, 1875–1946, 1900–04
Brush and black ink, white gouache on brown paper
Drawing

Book illustration. Within framing lines is seen a half-length figure of a soldier in right profile, rifle and fixed bayonet at his side. Behind, other figures in high silk hats, and silhouetted above rocks, in right background, are two hanged men.
Rocky Outcropping, Trees, and Distant Boats on Ocean
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

View of ocean from beach, looking out towards horizon. In left foreground, a rocky outcropping with trees and bushes. Possible boat or boats on right horizon.
Design for Berlin Wool Work
W. Gabbe Nieder, ca. 1860
Brush and gouache on pre-printed squared paper
Drawing

A band of roses and leaves on graph paper.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Subtle grid or trellis pattern composed of foliate scrolls and floral motifs, larger four-pointed motif at intersection, filled with lattice. Roughly square motif of floral spring on shadow foliage centered in each void. Printed in yellow, green, brown, and grya mica on off-white ground.
Border
, 1825–45
Block-printed on joined sheets

Central motif of blue foliage wrapped around a rod, alternating with acanthus scrolls. A blue cable motif runs along the top edge, while a wider ribbon and cable motif runs along the bottom edge. Printed in shades of blue, ocher and yellow on a brown background.
Ulos ragidup (ceremonial shoulder cloth)
, 19th century
cotton Technique: tied resist patterning in warp or weft (ikat) on plain weave, with supplementary weft patterning

Ulos ragidup, 'the cloth with the pattern of life', is a large ceremonial selendang (shoulder cloth) which is wrapped around the groom's mother by the bride's father at a wedding. Center area in dark maroon with vertical stripes of light blue and a bright red-brown. Ornamented on either end with intricate insets of cream color with horizontal bands of design, by making use of one additional warp. Wide borders in dark red, with a narrow stripe of dark blue on outer-most side and a stripe showing a geometric pattern in gold on the inner most side (touching the center panel), run the length of the piece on both sides of the center panel. Woven in three sections and fringed.
Textile
, early 17th century
silk Technique: plain compound cloth

Brilliant yellow ground woven in cherry red with symmetrical design of alternating rows of upstanding floral shrubs surmounted by pairs of opposed birds. Wide yellow cloth selvedges. Lined; striped silk fringe.
Sidewall - sample
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1906–07
Machine-printed

Vertical stripe-like stems interrupted every 48" by a poppy-like flowers. Distance of thems is 7 5/8 inches. A fine line braided stripe and two fine lines form an all-over background. Printed in red, burgundy, ocher and green on a dark chamois background.
Border
Pittsburg W.P. Co., 1896 – 1915, 1890–95
Machine-printed

Oval with rose cluster and rose sprays framed in approximately horizontal rectangle with scroll outline is major motif. This repeats horizontally with vertical scroll motif intervening. To be cut along center. Printed in eight colors on pale blue ground.
Mexican Children near a Well, New Mexico
Eugene Higgins, American, 1874–1958, July 1921
Graphite on paper
Drawing

Two children are seen seated at the base of a well.
Border
, mid-18th century
Technique: needle lace

Needle lace pattern on bobbin net ground, floral vine; mid-18th century Alencon Barbe
Abstract autumn grass motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Tall autumn blades of grass form a natural motif. Amongst the linear design show half of the stalk decorated with the grass fruit. This stencil may resemble a feather motif as well.
Sampler
, 1816
cotton Technique: embroidered in chain, button hole, satin, overcasting, threaded running, and knot stitches with needle made lace-loop and twist on plain weave foundation

Whitework sampler with seven plackets and eight button holes.  Two separate samplers sewn together.
Waistcoat panels
, ca. 1780
silk Technique: embroidered

Gentleman's waistcoat panels of cream-colored ribbed silk are embroidered in a floral pattern in bright multicolored silks. Front edges and pocket have embroidered borders of dark-brown silk.
Eight of Clubs
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Eight of Clubs playing card from a pack of transformation playing cards. Vertically, a group of African figures in an exotic landscape, a palm tree at upper right and an umbrella topped with a crescent moon at center. The symbols of the black clubs used to depict figures in blackface, some stereotypical figures shown, including a mammy at lower left. Facial features are highlighted in white.