biglam/cooper-hewitt-alt-text huggingface dataset:
Sewing instruction book samples
, 1829
wool, cotton, linen, silk Technique:

A) Square of white linen with a patch sewed with red silk.b) Eight-pointed star made of four pieces of red and four pieces of yellow flannel.c) Square of knitted material with cat-stitching at borders and square set in with yellow silk.d) Square with opening re-inforced by a patch and buttonholing, ornamented with black stitches and running in green and yellow silk. Components a-d) marked "9th Class Specimens."
Brillion Collection
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper
Frieze

Swags of roses hung from vine entwined with daisy chains linking to large ribbon bows. There are stripes on the edge.
Birds and Flowers
, ca. 1825–40
Block-printed, design mounted on modern paper
1991 inv. not located

Cockatoos and flowers printed in white, pink, red and green on yellow ground
Cymbals
, ca. 1000 BCE
Bronze

Circular form with raised dome, small hole in center.  Green patina.
Compote
Harry Powell, English, 1870 - 1920, ca. 1890–1900
Glass

Yellow-green opalescent form of shallow, circular, wavy-edged bowl on green stem with loop in center and circular foot.
Design for Oblong Serving Table with Two Shelves
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Oblong body with serpentine front having two drawers and raised on 4 straight tapering legs; 2 conforming shelves attach below; backsplash decorated with patera medallion at center.
Concert Room of Sanssouci Palace, Potsdam, Germany
Eduard Gaertner, 1801 – 1877, 1852
Brush and gouache, watercolor, graphite, gum arabic on white wove paper
Drawing

The palace of Sanssouci, commissioned by Frederick the Great in 1745, was intended as a summer residence - a pleasure palace, without care, as its name connotes. The music room is an explosion of gilded boiserie, designed by Johann August Nahl, with mirrors alternating with painted panels by Antoine Pesne illustrating scenes from Ovid's Metamorphoses.

In the nineteenth century, Frederick Wilhelm IV employed Ludwig Persius to restore the palace. A winged sofa in the Rococo Revival style upholstered in royal blue joins the original gilt seating arrangement, reupholstered in royal blue; there is also a matching fire screen. Ormolu-mounted furniture, an overmantel mirror flanked by wall lights and a gilt-mounted garniture of vases complete the room decoration.
armchair
Kimbel & Cabus, New York, New York, USA, active 1863–1882, ca. 1870–73
Ash, leather, brass

Upholstered seat and back with decorative brass nail heads, incised decoration on wood frame, the seat supported on diagonal front legs reinforced by a turned stretcher, slightly splayed back legs rise to seat back.
Men Hunting Bulls with Eagles
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1600
Pen and brown ink, brush and brown wash, white heightening on buff laid paper
Drawing

In a landscape of rolling terrain, men use birds to hunt wild bulls. Trees frame the composition at left and right, and the hunters appear on horseback in the background at right. Two bulls have fallen in the foreground, while others gallop through the center of the image. The birds—traditionally identified as falcons, although possibly eagles—alight on the heads of their prey, likely blinding them. This hunting method is probably described in an as yet unidentified ancient text.
Design for Cherry Wood Table
A.N. Davenport Co., September 24, 1903
Graphite on thin, cream paper
Drawing

Rectangular molded top with dividing stretcher running across center, raised on 6 [5 shown] fluted and carved tapering legs on cup casters.
Frieze
, ca. 1820
Block-printed and flocked

Brown and leafy ground.
Napoleon III
, 1850–1900
silk Technique: predominantly warp-faced plain weave (white) with a continuous supplementary weft (black), variously bound on the front, which on the back outside the picture is bound as plain weave
Portrait

Black and white jacquard woven portrait of Napoleon III. Lower half of the portrait is ornamented with sprays of oak and laurel leaves, an escutcheon and a ribbon that reads "Napoleon III Empereur." At the lower left and right are the woven signatures "Carquillat Tex." and "Bruyas del." Woven by Michel-Marie Carquillat (d. 1884) after a portrait by Marc-Laurent Bruyas (1821-1896).
Album of Prints: Second Series of the Oeuvre of Juste-François Boucher, known as Boucher fils
Juste-François Boucher, French, 1736 – 1782, 1774
Album

Album of prints containing books A through P of designs for various furniture and architectural interiors by Juste-François Boucher, known as Boucher fils.
Salad Serving Spoon with Pentagonal Terminal
Clara Barck Welles, American, 1868– 1965, 1910–14
silver
spoon

Part of a pair of salad servers. Leaf-shaped bowl with point tip, wide tines. At base of bowl on either side of join, edge flattens to form slight curved protrusions. Bowl and handle of integral construction. Handle stemming from narrow neck, widening towards flat, stepped, pentagonal terminal with applied interlocking monogram 'PN.' Hammered finish present allover surface.
Empress Alexandra Feodorovna's Sitting Room, Cottage Palace, St. Petersburg, Russia
Eduard Petrovich Hau, Estonian, 1807 – 1888, ca. 1835
Brush and watercolor on white wove paper
Drawing

Interior view of a small room decorated in the neo-gothic style. At left a folding screen ornamented with quatrefoils and colored panels partially obscures a portrait of a woman in a heavy gilt frame. At right a similar screen is positioned near a small day bed above which a circular portrait in a gothic-style frame hangs. A desk, chair and ornamental wastebasket occupy the center of the room, just in front of a large window ornamented with stained glass panels of green and yellow and a small replica of a painting of the Assumption of the Virgin.
In St. Peter’s, All Saint Day
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Crowd of figures standing in front of an arch at left.
Fragment
, 18th century
silk Technique: cut supplementary warp pile (velvet) in a twill foundation

Fragment with a design of a peacock and plants in multicolored cut velvet on a white ground.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On light brown ground, staggered C-scrolls in gold containing clusters of light blue flowers.
Fragment
, 18th century
silk, metallic thread Technique: plain weave with complementary wefts and inner warps; binding on the front is 1/3 twill; four dark green, salmon, and yellow wefts; the other colors are bound on the front in 1/3 twill and free floating on the back; the silver is continuous and the silks discontinuous

Fragment of a woven textile patterned by a vertically symmetrical pattern of two different offset and dovetailed rows of flowering plants. This fragment isolates on plants. Multi colors on a silver background.
Sampler
Elizabeth Andrew, English, 1661
silk embroidery on linen foundation Technique: embroidered in running, double running, fern, eyelet, montenegrin, cross, marking cross, four-sided cross, stem, Roumanian, satin, detached chain, herringbone, and detached looping on plain weave foundation

Multicolor bands of pattern including raised naked figures picking acorns followed by alphabet facing in other direction and signature and date.
Design for Wallpaper and Textiles: Flowers and Birds
, 19th century
Brush and gouache, graphite on off white paper
Drawing

Diamond-shaped compostion of  flowers: red and purple at top, pink roses at center, pink and orange carnations at bottom, all with stems and foliage.Three birds in flight at right and center, one bird at left rests atop a pink rose. 
Diamond-shaped guide lines in pencil are visible, they are bisected horizontally and vertically. Diagonal guide line to right of composition has flowers and birds visibly outlined in pencil.
Dianthuis verschaffelthii, Plate XXXVI from Edward George Henderson's "The Illustrated Bouquet"
Miss Sowerby, English, active 19th c., ca. 1857–1864
Chromolithograph on paper
Print

Dianthuis verschaffelthii, Plate XXXVI from Edward George Henderson's "The Illustrated Bouquet"
Etruscan Chimneypiece, from Diverse Maniere d'adornare i cammini
Giovanni Battista Piranesi, Italian, 1720–1778, 1769
Etching on paper
Book

1967-85-24: Fireplace decorated with Egyptian attributes: mumm...;     1967-85-24-28: Chimney flanked by inverted stepped pyramids heavi...
Tavern Scene
, late 19th century
Silver
Matchsafe

Rectangular, rounded corners, featuring raised decoration of 3 men in tavern setting, possibly 17th century, seated at table and appearing to be throwing dice. Lid hinged on side. Striker in recess on bottom. Monogram on reverse. Lid hinged on side. Striker on bottom.
Kiosque No. 6, Nouvelles constructions faciles pour jeunes enfants (Kiosk No. 6, New Easy Constructions for Young Children)
Pellerin et Cie., Epinal, France, ca. 1870
Hand-colored lithograph on beige wove paper
Print

Sheet with cut-and-paste paper model for children depicting the disassembled elements of a park kiosk. Includes trees and strolling park visitors. Hand-colored in blue, green, red, and yellow. Text (in French): at upper left : No. 6, KIOSQUE; at upper right: NOUVELLES CONSTRUCTIONS FACILE POUR JEUNES ENFANTS.; at lower left: Imp.lith.Pellerin et Cie.édit à Epinal. Labels and directions throughout.
Textile
, 16th–18th century
silk, paper with applied gold foil Technique: plain compound satin

Gold silk satin ground with pattern of sinuous vines, flowers, and lozenge shapes. Pattern woven in weft with tarnished metallic covered paper threads, green and blue silk.
Sidewall
, 1875–90
Machine-printed

All-over design of floral and foliate scrolls. Printed in burgundy, ocher and white on embossed gold ground, resembling weave of textile.
Textile
, late 18th–19th century
cotton Technique: woodblock printed, glazed

Large bouquet of roses with smaller climbing rose brances and other flowers. Background of dark brown and floral pattern in shades of red, green, blue and white.
Frieze
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper, liquid mica

Printed two borders across the width. Alternating larger and smaller acanthus medallions. larger has red center with quatrefoil. Each medallion has a foliate scroll surround with green insers. Printed on tan ground.
Band
, 19th century
silk Technique: bobbin lace

Fragment of a band with an ogee vine.
Fragment
, early 17th century
linen Technique: needle lace, reticella style

A single square of lace containing a boat with sails.
Quilt
, ca. 1830
cotton Technique: pieced and sewn patchwork of roller printed and glazed fabrics, quilted

Large-scale pillar pattern in striped effect of reds and blues and reserved white. Design shows an elaborate capital surrounded by fruit and flower clusters. On a strong red ground, festooned baskets containing naturalistic flowers flank pillars. Quilt is lined with a patchwork of the same fabric, other patterned fabrics, and bed ticking.
Frieze
Kayser & Allman, 1905–1915
Machine-printed paper, embossed

Frieze featuring central swirling vine profuse with pink blossoms. A dainty vine with smaller flowers meanders across the top border, while a border of thick leafy branches grow up from the bottom of the panel. The design is printed in shades of pink, red, pale green and gold on a beige background.
Fragment
, 19th century
silk on linen Technique: embroidered

Fragment showing a straight repeat of blossoms in multicolored silk on sheer linen.
Chintz fragment
, 18th century
cotton Technique: mordants for 2 reds, 2 purples and black applied by pen or brush; madder dyed; blue applied over resist; yellow over blue for green; chintz on plain weave

Ribbon-tied stems of flowers. Design is an Indian adaption of a European woven fabric as part of the motif is a mirror image.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Floral treillage pattern with fleurons in the resulting square negative spaces. Ground is a green beige. Printed in pink, green, and gold mica.
Printed in selvedge: "13"
Plate 1, The Lady's Magazine, Second Series, Vol. 3
The Lady's Magazine, London, England, January 1822
Engraving on paper
Print

Fashion illustration featuring a young woman, shown full-length, wearing a floor-length cloak decorated at hem with botanical elements including leaves and flowers, arranged into designs evocative of paisley motifs and borders. The cloak is parted at bust height to reveal a tailored dress and gloved hands beneath. Her hair is also adorned with botanical elements to match. Slight shading behind the figure reveals decorative interior elements.
Heart-Shaped Dessert Dish
Royal Worcester, English, established 1751, ca. 1770–1775
porcelain, vitreous enamel, gold
dish

Kidney-shaped dish. Maroon ground with white reserves filled with birds and flowers. Floral gilt decoration throughout.
Frieze
, 1800–1850
Block-printed on handmade paper

Wide acanthus rinceau at bottom of frieze, with narrow leaf and dart border at top, printed in grisaille on gray-green ground.

H# 357
Ceiling paper
F. E. James Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

Pink flowers spring from tan and green C-scrolls. At the center of the scrolls is a symmetrical and stylized red flower. Green dots stemming from the flowers indicate scrolling foliage. Printed on a light tan background.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

On gray ground, treillage composed of rinceaux of white and pink flowers; floral motifs in gold, pink and white at interstices.
Tudor Rose
W. Scott Morton, ca. 1840 – 1903, 1882–1920
Embossed canvas with backing paper
Sidewall

Embossed canvas applied to a backing paper, with a stylized design of branches of tudor roses and grape-leaf pattern.
Fragment
, early 19th century
silk, spangles, cut stones, metal, metallic yarns on silk Technique: embroidered, appliquéd on satin weave

Fragment of white silk with moiré stripes embroidered with silk and metallic yarns showing design of flowers; stems composed of gold colored sequins, petals of appliquéd stones, and leaves of metallic yarn. Border at bottom showing horizontal lines of stones, sequins and metallic yarn, with swag of gold colored sequins.
Plate XL from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machine of wood and rope-work, and weights, left. On it, a steeple for a two-story building. Fourteen figures, most of them at work. Description in Latin of verso of 1949-152-237.
Sidewall and frieze
Allen-Higgins Co., ca. 1900
Machine-printed

a) Green paper with stylized widely spaced floral stripe; b) Matching frieze - "crown"
Edging
, early 19th century
Technique: bobbin lace

Edge of bobbin lace, small vertical plant form border; early 19th century Buckinghamshire.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

A repeating "art nouveau" design of cartouches containing flower-like abstractions. Connected by horizontal bands with geometric compartments to complementary cartouches on a ground which becomes darker towards base and has a diamond-dot pattern with horizontal bands at the top and abstracted acanthus-like band at the bottom. Printed in gold, green, beige, brown cream and white.
Sidewall
, 1850–70
Block-printed on continuous paper

Central band of floral stripe growing off large vine. Band of tan along either edge. Printed on off-white ground.

H# 235
Railroad Station, Berlin
Joseph Pennell, American, active England, 1857–1926, 1921
Lithograph on cream wove paper
Print

Large crane operating on right side. Horse-drawn vehicles in foreground; in background, view of the city skyline. Part of Lehrter Station, Berlin.
Waistcoat
, 1700–1750
silk

Pink and gold iridescent silk taffeta, trimmed with cording and tassels of same color.
Fork
, ca. 1670
steel, enamel, silver

Three-tined fork with short curved shoulders and long spiraled neck. Handle white enamel with multi-colored floral pattern in yellow, red and blue. Silver mounts on top of handle.
Japanese Motifs
James Williamson, 1803
Brown ink and watercolor on cream-colored paper
Decoupage

Horizontal rectangle. Thirteen vignettes of octagonal shape, showing Japanese landscapes. To be used either for decoupage or for motifs for painted tole-ware.
Study for panel of a balustrade
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Study for the panel of a balustrade. Intricate curling motif, with a face at center, above what appears to be a coat of arms.
Sampler
, 18th century
silk embroidery on linen foundation Technique: embroidered in rococo (Queen) stitch on plain weave foundation

Multicolor flowers, hearts, and geometric patterns.
Trimming
, 19th century
linen Technique: bobbin lace, peasant style

A band with blossoms forming tabs.
Landscape, Meiringen, Switzerland
William Trost Richards, American, 1833–1905, September 16, 1867
Graphite on paper
Drawing

Sketch of a village with mountains in the background.
Textile
, 1840s
cotton Technique: printed on plain weave

Series of borders with blue flowers.
Plate, from the Industrial Arts Dessert Service (Assiette Platte, Service des Arts Industriels)
Sèvres Porcelain Manufactory, French, established 1756, ca. 1821–1827
hard paste porcelain, vitreous enamel, gold
plate

Circular plate. In center, a polychromed scene of barrel washing, "Brasserie" above "Entonnerie." beneath, gilt rim with deep blue diaper pattern.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Multi-colored floral and leaf pattern on white ground, lined graphite border.
Cornish Sea Coast and Protruding Cliffs (Recto); Study of Rippling Water (Verso)
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Recto: flat sea, four layers of cliffs on right; Verso: very rough, incomplete sketch of flat sea.
Ceiling paper
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper, liquid mica

On light blue ground, floral motifs composed of four pink and green flowers with light orange scrolls.
Frieze
, 1880–90
Machine-printed on textured paper

Large scale pink, yellow and turquoise flowers with foliage in shades of brown and olive, grow behind bottom edging of metallic gold decorated with medallions. Over blue ground, with pale pink flower and foliate forms rising behind principal flowers.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of two figures, one seated and the other reclining. The seated figure holds an object, possibly a sketchbook.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Large quatrefoil shapes composed of four marquize or pointy ovals with a squarish boss in the center. These are printed over a tan background with a small grid pattern.
Sampler
, 19th century
cotton Technique: knitting (interlooping) with overcasting stitches

Long narrow sampler of fifteen knitted patterns with a border of knitted lace.  Initials B.H. at lower edge.
APOLLON
Claude Gillot, French, 1673–1722, 1729–37
Etching on laid paper
Bound print

Plate of arabesques with the figure of Apollo at the center under a baldachin. The plate is before lettering (see 1921-6-224-3 for the version with lettering).
Vase with Bucraneum
, 1800–1830
Pencil, pen and ink, brush and wash on paper
Drawing

Vertical rectangle showing vase decorated with bucranium and swags.
Tile
Joseph Fowler Factory, mid-18th century
Tin-Enamelled earthenware

Square tile. Center reserved in white, with male figure in Chinese style, manganese and blue, standing on green and yellow mound. Blue border with double row of black circles and dots; flower quadrants at the corners.
Fragment
, 18th–19th century
cotton Technique: printed on plain weave

Design shows a basket of flowers with birds on a short fluted column and medallions with a Cupid-like figure and a goat. Design is in white on a red ground with flowers printed in dark brown.
Title Page
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

Title page for a series of ornamental trophy designs featuring lions, a gorgon's head, prisoners, spears, banners, shields, swords, cannon, and armor surrounding the title lettered in a cartouche framed by c-scrolls, fish scales, and festoons of fruit and leaves and topped with a seated female figure holding a flaming torch and a leafy branch, a flying winged putti is crowning her. A garden landscape in the background framed by curtains. The plate is numbered.
Canoe with Three Men
Winslow Homer, American, 1836–1910, 1897
Graphite on paper
Drawing

Sketch of a canoe containing three male figures and duffle bags, with slight indications of trees in the distance.
Elevation and Plan for a Public Fountain
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Elevation and plan for a large fountain within an apse under a cupola. The plate is signed and numbered.
POELE circulaire, dans le genre antique, sans tuyaux montans ni apparens, et fait pour être isolé
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a pedestal decorated with sculpted winged putti (babies) supporting the pedestal, holding a festoon of flowers, with oval cameos with female figures in between each putto. The top and base are decorated with repeating pattern moldings of egg and dart, fluting, and leaf motifs. A plan view and scale below. The plate is signed.
Sketch for a Wall Painting, Porch with a View in a Garden
, ca. 1640
Pen and ink, brush and sepia on paper
Drawing

Horizontal rectangle. The roof of the porch rests upon two pillars at right and upon two pairs of curved columns at left and center. In the compartment at left a fountain, at right two figures sitting on a bench at a table. In the garden, putti and plants.
Bottle
, 17th–18th century
dark blue glass

Dark blue vase with long neck, short bulbous body, with two applied handle at base of neck to body (one handle broken)
Mount
, ca. 1750
Bronze

Simple rinceau, with decorative knot at center.
Plan Coupe et Elévation de la grande Basse-Cour de Ste. James, construite sur le Dessin de Mr. Choffart Architect
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with a floor plan and part-elevation and part-sectional view of the courtyard and surrounding buildings of a house. The plate is titled, signed, and numbered.
Fragment
, 17th century
silk and metallic thread

Grid pattern in green and gold.
Autumn Landscape, Vermont
Frederic Edwin Church, American, 1826–1900, probably September 1848 or July 1849
Oil on cardboard
Drawing

Landscape sketch showing a view of autumn foliage around a mountain stream, probably located in the Green Mountains of Vermont. In the foreground, a fallen tree spans the width of a shallow, rocky stream. A vibrant red tree is shown along its banks at right, beside several other dead trees and evergreens. Just beyond these foreground trees, the terrain appears to descends steeply into a valley or gully, while its opposite face is visible in the middle distance through the break in the trees at center. This hillside is blanketed in yellow- and orange-toned trees whose white trunks are visible through the vegetation. A hazy blue sky is shown above.
Plan et élévation d'une porte d'Hôtel
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Plan and elevation of a mansion door. The facade features engaged columns. On either side of the doorway are large carved trophies with flags, rondels, helmet, fasces. Above the doorway is a relief with seated draped female figures around a crowned rondel with fleurs-de-lys. The plate is signed.
Boy with a Cloak
Adam von Bartsch, Austrian, 1757 - 1821, 1805
Etching on white paper
Print

A boy sits naked on a slab of marble. With his right hand he seems to be lifting the  corner of a large cloak over his hsoulder.