biglam/cooper-hewitt-alt-text huggingface dataset:
Purse
, mid-18th century
silk and metal thread embroidery on silk foundation Technique: embroidered in stem, satin, padded satin and knotting stitches with attached coils of gilt foil and gilt wire on plain weave foundation

Small shield-shaped purse on steel frame with spring catch, embroidered front and back in fine knot stitch with metal threads. One side shows a figure of a youth in a green coat, knee breeches, red stockings, and a round cap with a tassel holding a spade, with a castle and tree in the background.  The other side shows a young woman in green bodice, red skirt, apron and green hat, holding a basket of flowers, with a house and trees in the background.  With an elaborate enframement of gold embroidery in purl and flat satin stitches. The sides of the purse are of orange velvet, with woven gold metallic braid at the edges; lined with rose silk taffeta.
Fragment
, 17th–18th century
silk Technique: damask

Short length of red damask in a symmetrical arrangement of large flowers and scrolling leaves.
Tassel
, 17th century
linen Technique: braided and knotted

Linen tassel, braided and knotted. Pear-shaped tassel suspended from double loop. Seven design elements, including center element, hang from bottom of tassel. Made of knotting.
Textile
, 1850s–70s
cotton Technique: printed by engraved roller on plain weave

Lengths of cotton printed by engraved roller. Pattern has a small-scale vine with tiny flowers in black, green, and rust on a purple-gray background. The gray tone achieved by a cross-hatching pattern.
Ceiling paper
W.N. Peak, Brooklyn, New York, 1880 - 1900, 1905–1915
Machine-printed paper

Floral wreaths with floral sprig at top center, alternates with arched floral sprigs with floral motif at join. Printed on light yellow ground.
Pleated fan and case
J. Creven, late 19th–early 20th century
Painted and embroidered silk leaf, pierced, engraved and gilded horn sticks

Pleated fan, leaf of cream-colored silk painted on the obverse with a scene in a medallion of an interior with a man and girl dancing, with three women at left watching, all in Empire costume; a tripod at right and open door at back showing a landscape. Border at top and sides of leaf, green, with gold and brown rinceaux, central mascaron ornament, and festoons of roses and gilt 8-point sequins. Reverse decorated with gold eagle on blue-green ground in gold frame, border on leaf painted with gold scroll design. Top of leaf sewn with gold loop edging. Guards and sticks of horn with scalloped outline, pierced, obverse engraved, gilded and decorated with steel piques.
Border
, 19th century
cotton on linen foundation Technique: cross stitch embroidery on plain weave

Border from a table cover or hanging made from three pieces stitched together. The top has a repeat of a star in an octagon in red embroidery. The middle piece has a narrow scroll in red embroidery along the top and bottom edge. The bottom has a woven tape with weft fringe alternately red and white. The tape turns the corner at one end and ends halfway up the side.
Square
, 19th century
undyed linen warp, silk weft Technique: 9&1 satin damask

Center field has a straight repeat of four small flowers. Borders have a garland of roses threaded through a ring attached to a bar along the outer edge. Warp ends are hemmed, and weft is selvage to selvage.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. red ground with white and pink/orange motifs
b. red ground with pink/orange and gold motifs
Fragment
H.R. Mallinson & Co., New York, NY, USA, founded 1915, 1915–1920
silk Technique: printed on plain weave

Fragment of white silk plain weave with widely-spaced repeat of sprays of cosmos and violets printed in rose, red, pink, purple, yellow, and green.
Calendar and card
National Ribbon Company, Inc., Paterson, NJ, USA, incorporated 1901, 1905
Technique: jacquard woven

Woven calendar for the year 1905.
Fringe
, 17th century
silk Technique: woven

Fringe in pink, tan, yellow, and white with a plain-woven heading. Skirt threads are arranged to form pink, tan, yellow and white stripes.
Head of a Roman matron (rendering from a plaster cast)
Pietro Montana, b. 1890, March 1910
Charcoal on paper.
Drawing

Vertical rectangle. The head is seen turned slightly to the left, and rests on a socle. Signed (in charcoal), lower right: "P. Montana / Mar. 1910".
Sewing sample
, late 19th century
Linen

Small square of very fine darning or mending, worked into pattern of squares and oblongs.
Fragment
, 17th century
Medium" silk, metallic Technique: brocaded satin

Diagonal braches and leaves in gold and silver on brown/mauve ground.
Handkerchief
, 1790s
cotton Technique: printed with engraved plate on plain weave

Square handkerchief of cotton printed in red showing hunting themed designs. Four oval medallions show hunting and sporting scenes: round center medallion, a drinking scene. At left, a song with music, "Old Towler a Favourite Hunting Song." At right, a song with one line of music above, "The Dogs and Guns, a Favourite Shooting Song." Spaces between medallions show guns, baskets, bows and arrows, all arranged as decoration; birds in corners; a narrow border is composed of birds, hares, bows and arrows. Cotton is hand woven, plain cloth and selvages have fine blue threads in warp.
Printing block
, ca. 1810
wood, copper

Printing block with copper insets. Design shows warrior with pulled arrow, tree and mountains in the background. Used as a bale block for marking sacks and ends of bolts of cotton fabric.
Panel
, 19th century
silk embroidery, linen foundation Technique: embroidery in buttonhole and overcast stitches on plain weave

Panel of linen with rolled edges stitched in buttonhole and overcasting; embroidery at one end in design of conventionalized stem with flowers and leaves arranged as borders on three sides of a filed of small ornaments placed in rows worked in counted stain stitch.
Roundel
, late 18th century
wood, carved and gilded

Oval, with laurel wreath and flowers enclosing crowned eagle, wings erect, talons spread, head in profile to the left, beak open, tongue protruding, the tail ornamentally treated.
Button
, 19th century
painted and gilded porcelain and brass

reddish-brown buttons ornamented by small floral spray within scrolling border - double shank of brass.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1650-1675
Pen, brush, bistre. Paper

Vertical rectangle. Shown from the front, standing on his right leg, and raising the left one. The sole of the left foot is shown. The left arm is lowered. The candelabrum has the shape of a cornucopia. The head is lowered. The right arm is raised. He carries a bunch of flowers or fruits.
Syrinx Pursued by Pan in a Wooded Landscape
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

In a wooded landscape, Pan pursues Syrinx in the left foreground. She is about to run into a swamp.
Altar
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

Two steps lead to an altar in the form of an aedicula, above which is a large oblong frame for a painting. This is flanked by detached Ionic column columns which support a single entablature and a triangular pediment.
Church by a Stream, Spanned by a Covered Bridge
Augustin Hirschvogel, 1503 – 1553, 1545
Etching on off-white laid paper
Print

Horizontal rectangle. At the junction of two streams stands a church with a clock in the gable and a high pointed steeple. Connected with the church and spanning the stream is a covered bridge. Mountainous landscape setting.
Textile
, 1850–1900
cotton Technique: block and roller printed, glazed

Flowering branches in shades of red, green, yellow, and blue on a pale green ground.
A Shepherd Boy
Leendert van der Cooghen, 1610–81, ca. 1650
Black chalk on white paper
Drawing

A boy, wearing a broad-brimmed hat, is shown half-length, turned half right. He rests his elbow on a rock, head leaning on his left hand, and gaze directed upward. Beside him is his staff.
Design for a Playing Card: Valet (or Jack) of Hearts
, 1825–1850
Graphite, brush and watercolor
Playing Card

Sully is shown standing beside a pedestal upon which a helmet stands. He carries a paper scroll with an inscription of which "Roy" is intelligible.
A parade float in Reggio, Italy: "Carro trionfale della Confraternità del S.to Sacrame.to di S. Stefano" (The Triumphal Carriage of the Confraternity of the Holy Sacrament of St. Stephen). Plate 2a from A. Isacchi, "Relatione di Alfonso Isachi intorno l'origine, solennità, traslatione, et miracoli della Madonna di Reggio [...]" published by Flaminio Bartoli, Reggio.
Giovanni Luigi Valesio, Italian, ca. 1583 - 1633, 1619
etching and engraving on cream laid paper
Print

A parade float: the Virgin and Child within a small domed structure set on a carriage decorated with allegorical figures and animals, pulled by bulls. Printed in black, inside a paper scroll above them: "Carro trionfale della Confraternità del S.to Sacrame.to di S. Stefano à car. 68 no. 19" (The Triumphal Carriage of the Confraternity of the Holy Sacrament of St. Stephen, page 68, no. 19).
Portrait of Philip Melancthon
Albrecht Dürer, German, 1471–1528, 1526
Engraving on laid paper
Print

A bust portrait of a man, seen almost in profile, facing right.
Two Couples and the Buffoon
Hans Sebald Beham, German, 1500–1550, 1535
Engraving on laid paper
print

Horizontal rectangle. A landscape with five figures. A couple is seated at left, facing the spectator; at right, another couple, seated, seen in profile. A buffoon stands behind the couple at left.
Group of Angels
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Group of angels, moving toward the right.  The first one carries a bundle, possibly a child.
Border fragment
, 17th–18th century
silk, metallic technique: woven

Pattern of flowers and grapes within outer guard borders. heavily mended.
Button
, 18th century
Mother-of-pearl, steel beads

Button of pearl shell with central ornament of steel knob on pearl shell disc cut to represent many petals; outer part of button cut to represent many petals and decorated with ring of steel knobs. Copper shank.
Fragment
, 17th century
silk Technique: supplememntary warp forming raised pile in 4&1 satin foundation (velvet)

Detached branches, several with acorns, in green on yellow.
Fragment
, 6th–7th century
linen, wool Technique: slit tapestry weave

Coptic fragment in the form of a medallion has a pair of rampant spotted animals and other geometrical motifs enclosed in decorative borders.
Foot Warmer
, ca. 1700
Brass, wood
foot warmer

Rectangular, with indented quadrant corners. Hinged cover with three circular pierced designs. Elaborately shaped hinge riveted on back; shaped plate with engraved scrolls and armorial bearings riveted to front face. Four cast feet in shell form, one at each corner. At either end, repoussé plate in form of mascaron, to which handle is attached.
Sampler
Jane Paterson, ca. 1810
silk, wool Technique: chain and cross stitch embroidery on plain weave

Embroidered sampler with a central octagonal enclosing an inscription embroidered in red: Job 14.1 Rev. 21. Top section filled with spot motifs such as trees, birds, flowers, baskets with flowers, geometrical shapes, and initials: JP, AP, HD, AP. Below, other motifs surround the inscription and fill the bottom section: bird perched on a branch, strawberries, cherries, floral sprigs, bowls of flowers, seashells, trees, dog, and a rabbit. Initials are JP, AP, JD. Green curlicue border.

Inscription:
Job 14.1 Rev. 21.
Few are thy days and full of woe
O man, of women born,
Thy doom is written. Dust thou art.
And shalt to dust return.

O may we stand before the Lamb
When earth and seas are fled,
And hear the Judge pronounce our name
With blessings on our head.
Album of Prints: Coach Designs from the Louis XV Period by Chopard
Jean-François Chopard, French, active 18th century, ca. 1750
Bound album of engravings on paper
Book

Bound volume of engravings with designs for carriages and coaches.
Design for Sideboard- Like Cabinet
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Open tri-partite cabinet with curving table top-like shelf center between molded conforming bracket-shaped shelves and small cubic glass display cabinet with 2 lower shelves either side; raised on 8 tapering legs; books, photographs, glass, and procelain on upper shelves; lower part of a painting suggested center, above cabinet.
Pitcher
, 18th–mid-19th century
Stoneware

Embossed decoration on pitcher. Hounds in purple, yellow and white landscape. Beneath spout and loop, feathered handle, a shell framed with purple. Open spout and rimmed with metallic purple.
Design for a Round Table on a Multi-Faceted Support
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Round molded table top raised on molded flaring muti-faceted support sitting atop conforming base raised on 4 splayed legs with casters.
Album of Arabesque Ornament Design and a Frontispiece
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1779–89
Album

Album of arabesque ornament designs featuring neo-classical grotesque motifs bound with a title page for an unrelated book.
Album of Ornamental Letter Designs
Jean Baptiste Piauger, French, active 1760s, 1767
Album

Album of designs for letters of the alphabet from a series published within Pouget's DICTIONNAIRE DE CHIFRES ET DE LETTRES ORNÉES, A L'USAGE DE TOUS LES ARTISTES [...]. Each plate has six designs for letters, decorated with rococo motifs and scenes.
Album of Floral Bouquets Designs
Charles-Germain de Saint-Aubin, French, 1721–1786, 1757–68
Album

Designs for floral bouquets from two incomplete series of prints. Two title pages (one hand colored) with plates 2-4, 7-9, and 12 from BOUQUETS CHAMPETRES, DEDIÉS A MADAME LA MARÉCHALE DE BIRON Par son très Respectueux Serviteur de Saint-Aubin Dessinateur du Roy bound with plate 23 from BOUQUETS CHAMPÊTRES, DEDIÉS A MADAME LA MARQUISE DE POMPADOUR Dame du Palais de la Reine, Par son très respectueux serviteur, de Saint-Aubin, Dessinateur du Roy. Two of the plates are hand colored. Each plate illustrates a bouquet of flowers or sprigs of flowers and leaves with their names lettered below. Plates are titled and numbered.
Half cloth binding with hand marbled covers, gold lettering on spine: SAINT AUBIN - BOUQUETS CHAMPETRES.
Brisé fan
, late 18th century
Carved ivory sticks, paper ribbon

Brisé fan of carved ivory decorated on obverse with all-over relief carving of Chinese figures, trees, flowers, birds and animals, against a ground pierced with fine vertical lines. Guards carved in relief on obverse with man, dragon and cloud motif, and on reverse with flowers forms in flat carving. Sticks and guards rounded at ends and connected with a white paper ribbon.
Cuff link
Theodore W. Foster & Bro. Co., 19th century
Gold

Relief ornament of a lion and  lioness
Border corners
, ca. 1850
Block-printed paper

Resembles cut black ribbon tacked on a lavender band, narrow rope twist or cable molding outlines the lavender., gold framework on the outside. Printed in lavender, gold, ocher, and black.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Square window decorated with blue anthemion; above mosaic pattern.
Salon Interior with Gabriel d'Arjuzon Playing the Violin and Pascalie Hosten, Comtess d'Arjuzon, Playing Guitar
Achille-Louis Martinet, 1806 – 1877, 1810–20
Brush and watercolor on white wove paper
Drawing

In this small genre scene, the Count d'Arjuzon, plays the violin and his wife, the guitar, in front of open French windows. A serene background of pale blue walls and bare parquet floors enhances the portrait paintings and blue painted armchairs in the style of Louis XVI. To the right of the windows, a globe is seen on a corner table; just forward of that is a white flowering plant on a draped table.
Sampler
Unknown, 1788
linen Technique: hollie point

Piece of white linen with six pieces of hollie point insertions in the center. Initials MB and 1788 on the top edge. Other insertions below have an animal, crown, tree, diamond, and a heart.
Minerva Giustiniani
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Drawing after Minerva Giustiniani from the Giustiniani Collection. The goddess Minerva is seated with a coiled snake on her lap. She has a Roman hairstyle and headress, and holds something between the fingers of her raised right hand.
Membership Certificate, Society of Journeymen Cabinet-Makers
, August 2, 1796
Engraving, pen and brown ink, sealing wax on paper
Print

An escutcheon relating to cabinet-making in center, flanked by desk and chair. Below, legend with the recipient, John Hewitt; Secretary W. Philip; Chairman Edward Barkhouse and date written with pen and brown ink. Red wax seal on bottom.
Recueil d'ouvrages curieux de mathématique et de mécanique..., Plate 1
Gaspard Grollier de Seviere II, French, 1677 - 1745, 1732
Engraving on laid paper
Print

Three mechanical objects on stands pierced with strapwork decoration, probably intended to be carried out in metal, or ivory. Two alternative schemes are given for the vertical members joining small, regularly-placed disc. Numbered fig. 1, 2, 3.
Border
, 1820–24
Block printed and flocked on handmade paper

Parallel double frieze, running the length of the paper. Above a row of blue cockscombs with khaki flock leaves on a lacy patterned ground in shades of gray, is a torus-like border with khaki flock ribbon decoration.
Sea and Cliffs with Sunburst
William Trost Richards, American, 1833–1905, 1885–90
Graphite, pen and black ink, and white gouache on cream wove paper, bound
Sketchbook folio

Ocean in foreground with tall cliff at left and second cliff in distance at center. Sun coming through gap between the two cliffs.
Sampler
Juliana Vieytez, 1833
silk embroidery on linen foundation Technique: embroidered in cross, long-armed cross, satin, double running, and aztec stitches (running stitch and wrapping over withdrawn elements) on plain weave foundation

Three columns of geometric and floral patterned bands in many colors. Pelicans in middle of right hand column. An inscription at the top center reads Juliana Vieytez 1833.
Vase
Rookwood Pottery, American, 1880 - 1967, 1882
earthenware
vase

Vase in form of flattened oval, with truncated top forming oval lip.  Flat base.  Decorated with mottled brown and white underglaze slip at back.  At front, pale blue ground decorated in trailed and brushed slip with winter landscape;  foreground mottled white and brown, with double row of leafless trees.  Interior clear glazed over tan body.  fine crackle over entire surface.
Dress panel
, 1780–89
silk, silk chenille, silk-wrapped corrugated strips of flat metal, silk-wrapped wire coils, feathers, brilliants, paper Technique: embroidery on 8-harness satin using satin, stem and couching stitches, 5-harness satin appliqué

1950-121-57: Long shaped panel from the left side of a robe. Pa...;     1950-121-58: Long shaped panel from the left side of a robe. Pa...
Rotherhithe
James McNeill Whistler, American, 1834–1903, 1860
Etching and drypoint on paper
Print

View of the harbor in the background, with sailing ships of various types visible. In the foreground two figures of men, shown half-length, are smoking.
Ceiling paper
Alfred Peats Company, 1905–1915
Machine-printed paper, ribbed, liquid mica

Floral medallions connected by floral swag with fleurons in the resulting negative spaces. Ground is light green cream and embossed with a vining foliate scroll pattern. Printed in greens, yellows, silver mica and gold mica.
Printed in selvedge: "Alfred Peats--New York, Chicago, Philadelphia and Boston"
Printed in opposite selvedge: "Prize Pattern Trade Mark"
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Rococo-inspired frieze with horizontally repeating pattern of alternating large and small medallions composed of scrollwork and floral garlands. The medallions rest atop a bottom border of roses linked with chain-like branches. Pattern is machine-printed in dark red, white, browns, pale yellow, pale pink and pale green on a tan ground.
Landscape with Trees and Mountains
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Dark trees on a hill in left-center foreground with additional trees at right. In left middleground, a distant lake. In background, a mountain range.
Whitehall, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Altar at center rear, with painting behind it. Minister in pulpit to the right. Congregation in box pews in foreground. Title, artists', and publisher's names below.
Brisé fan
, late 18th–19th century
Pierced and carved ivory sticks, silk ribbon

Brisé fan. Ivory sticks pierced and carved with florals, stripes and a shield in center containing monogram RH (?) in Spencerian letters. Landscape carved on guard.
Frieze
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper

Diamond-shaped motifs alternating with other motifs. Band of diamond motifs run across the top edge. Printed in green, burgundy and gold on tan background.
Sidewall - sample
, 1906–07
Machine-printed

Art nouveau; three clusters of tulip leaves on curvy stems which are enclosed in vase-like art nouveau design. This is a vertical one directional stripe-like design. Printed in dark gold mica on an off-white, gold-dusted background.
Textile
, 18th century
silk Technique: predominately warp-caced plain weave patterned by a continuous supplementary weft (white) and discontinuous supplementary wefts (multi-colors); supplementary wefts bound on the front in 1 3 twill

Vertically symmetrical pattern of exotic flowers loosely held together by an ogee foremat. Yellow background.
Waistcoat
, 1780–95
silk Technique: embroidered in satin, stem and knot stitches on 7&1 satin weave foundation

White silk satin waistcoat with white silk plain weave back; with standing collar and straight hemline, pocket flaps and covered buttons. Embroidered with polychrome silks in fifty-three colors, with an over-all floral sprig, floral border at center front, and a design of a boy playing a horn with a turkey at the lower edge.
Ceiling paper
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper

Repeating pattern of larger quatrefoils, each connected by a foliate scroll. Smaller quatrefoil motif in the center void of the cluster of four larger. Printed in red, taupe, and light blue on tan ground.
Ribbon
, 18th century
silk Technique: woven

Narrow ribbon in pinks and greenin a repeated, small-scale striped pattern. Elaborate tassels at either end.
Versailles, Groves of the Garden, the Ballroom
, 1730
Etching and engraving. Black ink on rolled paper.
Print

Horizontal rectangle:  In the foreground strolling courtiers and dogs.  In the middle a depressed lawn area, at the right of which there is a bank of cascades with basins, jets and urns.  At the left, tiers of seats.  Hedges surround the area with woods beyond.
Study of foliage, Trachselwald, Bern, Switzerland
William Trost Richards, American, 1833–1905, August 2, 1867
Graphite on paper
Drawing

Sketch of rocks and flowering plants.
Sidewall
, 1860–70
Block-printed and glazed

Glossy-finished paper in browns, with scroll-work, and simulated inset panels with enframed bunches of roses.
Jar and lid
, 1675–1725
Tin-glazed earthenware

Ovoid body, short straight-sided neck; painted in underglaze blue on white, with Chinese cloud collar band around center, surrounded by stylized leaf border bottom, diaper and leaf border top, pseudo-Chinese squiggles inter- spersed; straight-sided cover, painted with scroll and flowers.