biglam/cooper-hewitt-alt-text huggingface dataset:
Design for an Escutcheon in Form of Sailboat, in Recueil Noveau de Differens Cartouches
Jacques de Lajoüe, French, 1687–1761, 1734
Pen and brush and black ink, wash, graphite on off-white laid paper
Print

De Vesme 1036II. MAS 1036 (10), p. 157
Fragment
, 18th century
linen Technique: bobbin lace (early Valenciennes ground)

Leaf and scroll motif, square mesh field. Milanese type.
Two Studies of a Hand
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

The left hand is shown. Above, large and shaded. Below, the same position, only the thumb and two fingers are finished.
Tobacco box
, 1850–1900
camphor wood

a: box
b: metal pot
c: metal pot cover
d: wood frame around metal pot
e/f: Long drawers
g/j: drawers( top to bottom in tower)
k: enamel incense holder( in drawer g)
l: long incense holder ( in drawer g)
m:wooden tray ( in drawer g)
n:copper canister ( in drawer j)
o: Cooper canister lid ( in drawer j)
p: wood collar for copper canister ( drawer J)
q: wood lid ( in drawer j)
Pin cushion
, mid- 18th century
silk embroidery, silk foundation Technique: embroidered on satin weave

Pin cushion of cream colored silk satin embroidered with silk showing design of thorny flowers bound with ribbon.
Textile
, mid-19th century
wool Technique: probably printed by engraved roller with over print by block on twill weave

Fragment cream colored wool, twill weave; semicircular in shape, printed in shades of red, yellow, olive green, drab, violet. Naturalistic cluster of roses, tulips, etc. Probably roller print with overprint by block. Left selvage present.
Fragment
, mid-18th century
silk Technique: plain weave patterned by supplementary warp floats and complementary weft floats

Serpentine white lace ribbons and polychrome bouquets on orange ground.
Textile panel
, late 19th century
silk, silver paper on silk core Technique: plain compound twill

White silk ground figured with swags of five-petal flowers in pale pink silk; drooping branches with lance-like leaves in green silk, wave and spray motifs water, and geometric design in paper-silver.
Textile
, 19th century
wool Technique: warp rep with warp-patterned stripes

Contained square with thin stripes in two shades of brown with broader stripes at intervals in tans, black, white with narrow geometrically patterned central stripe. Edged on four sides with fancy buttonhole stitch in black, tan, and white wool.
Bag
, 18th century
silk Technique: knitted

Knitted bag of rose colored silk with a geometric design; with rose ribbon upper edge and handles.
Fragment
, 1750–1800
silk Technique: plain compound weave with supplementary weft

White silk with a horizontally ribbed ground. Multicolored design of deeply curving ribbon serpentines and large floral sprays that extend alternately from left and right.
Cup and Saucer, from a Napoleon III Table Service (Tasse et soucoupe, Service à Chiffre Doré de l'Empereur Napoléon III)
Sèvres Porcelain Manufactory, French, established 1756, 1849–1856
hard paste porcelain, gold
cup and saucer

Cup shallow, with flaring sides and circular handle with knobs. Saucer flat, with curved edges.
Sketch for Central Figure in the Ascension
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Figure standing center, left arm around a cross, gaze directed downwards.
Portrait of Frederick Adolphus, Duke of Cambridge
D. J. Pound, British, active ca. 1860, ca. 1860
Engraving on paper
Print

Three quarter length portrait of Frederick Adolphus, Duke of Cambridge (1774-1850), shown frontally in military uniform, his left hand resting on the hilt of his sword, and his right on his hip. Beyond a balustrade behind him can be seen an army encampment.
Plate
Thomas Wieldon Factory, English, ca. 1760
Lead-glazed earthenware

Plate with wavy border, brown speckled pattern with green and light bluish-grey biomorphic shapes.
Vestment
, 18th century
leather, lambs-wool, silk Technique: stamped, tooled, painted

Gold ground with details of silver, red, green and blue painted over stamped repeat of scrolling leaves, flowers and berries, with central panel of stylized symmetrical curving motifs in silver and gold, which are stamped and tooled. Lined with lambs-wool and backed with modern green silk.
Page T hree from "Quatrieme Livre Contenant Des Montans où Pilastres Inventés par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three "candelabra-like" arrangements of various motifs, characterized by: first, a fountain of putti; second, Atlas with globe; third: a mermaid. Inscribed, upper left: "D"; upper right: "3"; lower left: "Oppenort in."; center: "Avec privil. du Roi"; lower right: "Huquier sculp. excudit".
Cleopatra (?)
François-Nicolas Chifflart, French, 1825 - 1901, ca. 1860
Etching in black ink on white paper
Print

Vertical rectangle. Woman seated on a throne holding what may be an asp; group of astonished men in foreground.
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape with bars added)

Fragment with a design of closely-worked, ribbon-like scrolls.
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation (velvet)

Scroll and quatrefoils in green on tan.
Drawing
Jacques Dumont, French, 1701 – 1781, ca. 1760
Red crayon. Light brown paper.

Vertical rectangle. Over a sarcophagus bowl rises a pedestal with an obliterated fantastical inscription and with ram heads supporting festoons. A high base with the representation of a sacrifice carries the cinerary urn. Mountainous country.
Band
, 17th century
linen Technique: needle lace (punto in aria)

Design of stem with scrolls surrounding flowers including rose,  daffodil, columbine, and tulip.
Mug
, 18th–mid-19th century

poly-chromed tulip border
St. Catherine confounding scholars before Emperor Maxentius
, 15th century
silk, gold thread Technique: embroidery
Roundel

Five small roundels embroidered in colored silks and gold. Three illustrate scenes from the legend of St. Catherine of Alexandria; two others scenes from the life of St. Martin.
Textile
, ca. 1720–30
cotton Technique: painted with mordants and dyed on plain weave (chintz)

The design is a border pattern with the mordant for red painted on the cloth, then dyed, and accents of yellow hand painted.
Ornamental Candelabra Design
A. Panier, French, active 18th century, 1767-1771
Crayon-manner engraving with red ink on paper
Print

Design for a candelabra with two arms formed from stylized leaves. The center of the candle has a pinecone finial, and a columnar body with fluting and acanthus leaf patterns. The base is tapered and has a vegetal band at the bottom. The print is engraved in red ink (sanguine) crayon manner. The plate is lettered and numbered.
Kioto
Bates, Gildea & Walker, active 1879 – 1881, ca. 1879–81
Glazed earthenware
Platter

Of oval form, the cream colored crackled ground with Japanese-inspired brown transfer-printed decoration, the wide rim with panels ornamented with birds, flowers and geometric patterns; in center of platter is an oval band of flower blossoms surrounding an oval panel with geometric design on left, and scene of bird among flowering plants on right.
Border
, ca. 1810
Block-printed on handmade paper

Vertical border printed two across with neoclassical-style shell, volutes and rosettes framed within egg and dart motifs. Borders have shadows printed on opposite sides of motifs. Golds, white and gray on gray background.
Mourning picture
Unknown, ca. 1800
silk, paper Technique: embroidered with painted details

Mourning picture depicts a woman in an Empire-style gown standing alongside a tomb, willow trees on both sides and an angel above. Face and arms of the woman, clouds and angel are painted on the silk ground. Tombstone worked in silk with paper inserts embroidered with silk thread.

Inscription: 
In the memory of Orlando Shaw who died Jan 11th AD 1782 and Cyrus Shaw who died Sept 12 AD 1794 Aged 17

Man dies to live 
And lives to die no more. 
There is rest in heaven.
Design for Rectangular Mahogany Table with Inlay Top
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular molded table top with suggested inlay decoration aroung lower rim, raised on 4 cabriole legs terminating in carved ball-and-claw feet.
Sidewall
, ca. 1880
Machine-printed paper

Aesthetic dense all-over pattern with scattered leaves and large fanciful flowers; diamond-shaped pattern repeat in off-set columns; patterned petals and leaves; color scheme of brown on cream ground.
Maufacturer's lace sample books
, ca. 1910
cardboard, linen, silk, metallic Technique: linen embroidery with ground cloth dissolved Examples of embroidery on net produced by the Schiffli machine Metallic embroidery on net Machine-made openwork in imitation of hand-embroidered net Mostly floral and a few geometric patterns, some designs described as "Spanish" Imitation hand-made filet Machine filet Imitation filet crochet Ploven (burnt-out lace) Fancy curtain lace made on the Levers machines Real filet (handmade) next to Machine-made filet Spotted curtain nets, made chiefly at Nottingham, England and Caudry, France.

Samples of machine-made openwork and several examples of hand made lace mounted on boards. They imitate hand-embroidered net, crochet, or needlepoint.  All are floral patterns plus a few of early 1920's geometric style.
"Embroidered net" produced by the Schiffli Machine.
Bedcover
, 16th century
linen foundation, flax embroidery thread Technique: embroidered on plain weave

A square bedcover with a wide border on all sides, a central medallion and smaller medallions in each corner, with an allover floral lattice ground. The central medallion contains a double-headed eagle and the corner medallions each contain a fantastic beast.  The outer borders are linked repeats of an S-shaped floral vine.  All executed in light gold color flax thread on an off-white ground.
Designs for embroidery
, ca. 1890
Black crayon on tracing paper
Drawing

Designs of abstract floral patterns for panels and borders. Each drawing stamped at top: "Dessin original a broderie." Designs numbered 158 (E)
Sampler
, late 18th century
silk embroidery on linen foundation Technique: embroidered in cross, stem, and satin stitches on plain weave foundation

Large crown top center, deer in the middle, motifs at bottom.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Printed two across. Floral medallions alternating with floral bouquets, connected by floral swags. Foliate scrolls along bottom. Printed in shades of blue, metallic gold and silver on ground that shades from blue at bottom to off-white at top.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Sketch of a female figure in costume holding a sheet of paper in her hand.
Hamamatsu, Wintertime, 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

Here is the subdued scene of farmers warming themselves by a fire under a giant cryptomeria tree overlooks the famous battlefield of Mikatagahara and castle of the first Tokugawa shogun, Ieyasu.
clock
Alphonse Giroux & Cie, 1799–1867, ca. 1870
gilt bronze

Elaborate gilt bronze form composed of a stepped domed top with ball finial and scrolling elements supported by four baluster-shaped columns on a stepped circular base on four spherical feet. The whole embellished with realistically rendered gilt bronze beetles of various types and sizes. In the center a spherical clock, the face with numerals represented by different beetles in graduated sizes in a circular arrangement, the smallest at the one o'clock position, the largest at twelve o'clock; minute and hour hands in the form of stick insects; two circular openings for winding keys.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Reating pattern of ogival shapes or quatrefoils printed to resembe a woven textile or cord applique. Four-pointed floral motif in center of each. Printed in tan and white on light tan ground.
Embroidered picture
, 1721
silk and wool embroidery on linen foundation, applied to silk Technique: embroidered in split and stem stitches on plain weave foundation and appliqued to plain weave backing

Portrait of King George III embroidered on linen, which was later appliqued to a silk ground fabric.
Textile
, 18th century
cotton Technique: block printed on plain weave; yellow applied by brush

Rows of rosettes and swags in a straight repeat on a picotage ground.
Sampler
Teresa Sepeda, early 19th century
silk embroidery on linen foundation Technique: embroidered in chain, satin, cross, four-sided and running stitches with withdrawn element work on plain weave foundation

Sampler divided into twenty squares, nineteen with small geometric patterns and one with the inscription.
Miser's purse
, 1815–40
silk, metal beads Technique: metal beads sewn to white silk machine-made net using running stitch.

Netted white silk ornamented with cut steel beads in small star and anchor motifs and a larger triple zigzag pattern. Two faceted steel rings control side closing; small cut steel drops at each end.
Sampler
, 18th century
silk embroidery on linen foundation Technique: embroidered on plain weave

A female figure on the left side and a male figure on the right, surrounded by spot motifs of flowering plants. At the bottom center, a basket of fruit with a bird perched on top, flanked by the letters S and H. Two crowns at upper edge. A narrow wavy border on all four sides.
Allegorical Figures of the Four Continents
Le Nove Porcelain Manufactory, Italian, established ca. 1727, late 18th century
biscuit
figures

1960-1-54-a/d: Allegorical figures of the four continents with th...;     1960-1-54-a: Allegorical figure of "Asia" with animal attribute...
Border
, 1845
Block-printed

Undulating length of lavender moire ribbon with parallel white stripes of two widths. Bows or gathers, bound transversely by twisted cords, occur at intervals. White portions are shaded with gray. Printed on white ground.
Design for a Compact
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gouache on cream paper
Drawing

Design for a compact cover with a woman in a pink dress wearing a floppy had, looking back and holding a powder puff in one hand, against a blue ground.
Square
, 16th century
linen Technique: grid of withdrawn element work with needle lace, reticella style

Large square formed by three rows of three squares each. Modes: brides, portes.
Sidewall - sample
, 1906–08
Machine-printed

Florall stripe design. White flowers on a blue stem, printed over a blue stripe.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Multi-colored flowers, green and yellow leaves on lilac branches, white ground, graphite lined border.
Design for a Box
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Top and side view of rectangular box decorated with gold and a landscape with a cottage, a path, and a lake at right, mountains in the distance.
Border
, 1795–1820
Block-printed on paper

Architectural moldings, including dentil, beading, egg and dart, and twisted ribbon. Printed in grisaille.

H# 464
All in the Gay and Golden Weather
Winslow Homer, American, 1836–1910, June 12, 1869
Wood engraving in black ink on paper
Print

View of a man and woman in a row boat.
Knife with Silver and Tortoise-Shell Handle
, ca. 1800
steel, tortoise-shell, silver, wood
knife

Blade has straight upper edge, tapering towards the point.  Drop bolster straight handle with flaring end. Tortoise-shell attached to wood core, decorated on front and back with tortoise shell, inlaid with silver. Scrolls, scallops acanthus leaves, a squirrel and a man in costume on one side; a bird and a nude figure on the reverse.
Sampler
Elizabeth Glanvell, 1797
silk embroidery on wool foundation Technique: counted and uncounted stitches; cross and satin stitches on plain weave foundation

Floral border enclosing motifs and columns over a verse: 
"Religeon prompts us to a future state
The last appeal from Fortune and from fate
Where God's all righteous ways will be
Declar'd the bad meet punishment and the Good reward.
Elizabeth Glanvell aged 10 years 1797"
Countryside with Many Trees
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Sketch of shady, heavily-wooded countryside.
Sketchbook Page: Isis
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: List of citations related to Isis and priests. 
Verso: Sketch of Isis, holding a staff, with citations below.
Spoon with Enameled Grapes and Grapevine Handle
Charles Victor Gibert, French, ca. 1890
silver, enamel
spoon

Deep round bowl, thin neck and stem with plain surface. Handle formed grapevine shape with large grape leaf and applied across front side and at terminal cascading enameled grapes adorning y-shaped twig terminal.
Chinoiserie Pavilion
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and colored inks, graphite on white wove paper
Drawing

Horizontal rectangle. Design for a small rectangular building with a pagoda-like roof, supported by tall columns. A narrow open porch encircles the inner shell of the staircase. At right, leading from it, an open passageway, with a roof carried on columns.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Chalice cover
, 17th century
silk on linen Technique: embroidery

Chalice cover showing chalices with "IHS" and seraphims. In red silk on linen.
Flounce fragment
, 18th century
linen Technique: needle lace

Portion of a flounce with an elaborated variant of "candlestick" pattern, interspersed with human and animal figures. Style of lace commonly called Rosaline.
Pendant with Madonna
, 19th century
Silver, gold, diamonds, garnets, glass
Pendant

Bell-shaped pendant, surrounded by wreath of garnets and small rose diamonds, attached to bow-tie pin, again studded with garnets and diamonds. Pendant of thick glass contains an image in gold of Madonna and Child.
Sampler
, 19th century
glass beads, cotton Technique: beads sewn on individually with half cross stitch on plain weave foundation

Twelve embroidered bead work pictures and monograms.
Frieze
, 1905–1915
Machine-printed paper

Medallions framed by laurels. A swag of acanthus leaves runs across the bottom while undulating "C" curves run across the top. Printed in white, and shades of green and turquoise on tan ground that shades to green at bottom.
Geometric motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Within three conceptual rows that suggest bamboo stalks are sets of striped rectangles overlapping one another. This repeat is the stencil design.
Textile
, 17th–18th century
silk Technique: damask

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

Linen tassel, braided and knotted. Single loop attached to tiny braided stem which in turn is attached to round ball. Letter completely covered with numerous tiny knottings.
Bonnet veil
, late 19th century
silk Technique: machine made bobbin lace

Black lace rectangle showing a horizontal repeat of swags enclosing a tall floral form. These motifs are densely filled and outlined with several strands of black silk against an open net ground. Bottom edge and two sides are scalloped.
Vices Theme, with Large Goblet
, late 19th century
Silver
Matchsafe

Oblong, with curved sides, top and bottom, featuring raised decoration of oversized champagne goblet with image of female's face visible inside, goblet sits on table with large, table-top matchsafe, and burning cigar at table's edge, smoke swirls fill background and extend into lid where there is a champagne bottle and cooked poultry. Reverse slightly concave. Lid hinged on side. Striker on bottom.
Bonad
, 1700–1725
Hand painted and flocked on canvas

Horizontal rectangle with a fragmental pattern of stylized flowers in gold on a black flocked ground enclosed with a gray, brown and black arch and scroll. Margin at left. Printed with black and brown flock and gray and gold paint on canvas.
Sidewall
, 1900
Machine-printed

Vertical stripes of interrupted lines in brown and green, interspersed with red dots. On brown ground, imitating textile weave.
Chintz
, 18th century
cotton Technique: mordants (for black, purple, brown and 2 reds, including madder) and dye (yellow) applied by brush or pen; blue applied by brush over resist; chintz on plain weave

Very loose diamond lattice made up of flowering vines and fruits, in black, brown, blue, purple, red, and pink on a white ground.
Border
, 1860
Block-printed, flocked

Horizontal band of multi-colored flowers with green leaves set below a gray ground and above a field of dark red flock.
Suspenders
, early 19th century
silk, leather Technique: counted stitch embroidery

Pair of suspenders of heavy silk mesh. Embroidered in colored silks in a vine design with small Chinese figures. Lined with magenta and white plaid taffeta. White leather straps and points to fashion to trousers.
Nine of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Nine of Hearts playing card from a pack of transformation playing cards. Figural scene depicting two men holding a shield at center decorated with an eagle. Above, a helmet and banners. Below, a group of weapons and musical instruments. Red hearts integrated into the figures of the scene.
Sampler
Bicenta Rodriguez de Arze, 1815
silk embroidery on linen foundation Technique: embroidered in satin, cross, back, and four-sided stitches on plain weave foundation

Center field with double-headed eagle and spot motifs, surrounded by borders of geometric pattern.
Allées en gazon pour les Therasse Sableux (Grass Walkways, Sandy Terraces), in Nouveaux Livre de Parterres contenant 24 pensséz diferantes (New Book Containing 24 Different Variations for Garden Beds)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Landscape architecture design for garden.
Dragons
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Japanese dragons (ryu) originate from Chinese dragons and represent a wingless serpent with three-clawed feet. Each part of the body is a composite of nine different animals: Horns - Deer, Head - Camel, Eyes - Rabbit, Neck - Snake, Abdomen - Cockle, Scales - Carp, Claws - Eagle, Paws - Tiger, and Ears - Ox. Depictions of dragons are symbols of strength, courage, and magic. These five dragons are shown flying in the sky. Silk threads are added to support the stencil structure.
Box Lock
, ca. 1745
bronze, gold
lock

1909-25-13-a: Rectangular brass lock box overlaid with chiselled...;     1909-25-13-c: scroll design50
sidewall
, 1675–99
Block-printed and flocked canvas

Similar wallhanging used in two rooms in Winterthur Museum, Delaware (1955). Has been folded under along top and cut to fit about a ceiling beam. Has been moth-eaten, and perforated with nail holes. Small stylized floral motif set within tracery, printed in green flock and orange pigment, on metallic gold color ground.
Ciborium
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Design for a liturgical Eucharist chalice with acanthus leaves decorated the foot and stem of the goblet. The chalice is also decorated with drapery, tassels, bead course, and a lamb and cross at top. The plate is numbered.