biglam/cooper-hewitt-alt-text huggingface dataset:
Box
, early–mid-17th century
silk, metal Technique: embroidered

Rectangular box, probably a missal case, of red velvet embroidered in gold in high relief in a strap work pattern with stylized floral motifs. One side is hinged and fastened with small silver hooks. Silver eyelets on the end for cord handles.
Shawl
, 19th century
wool Technique: printed on twill weave Label: printed wool twill

Square cream-colored shawl printed in strong shades of pink, blue, green, and brown with a deep border of large, stylized paisleys on a ground of close-set flowering branches; more trees rise from these into field. Paisley and floral guard borders.
Firenze, Veduta dal Giardino Bobol
Johannes Ruff, Swiss, 1813 - 1886, ca. 1850
Aquatint, brush and watercolor on paper
Print

View of Florence from the Boboli Gardens. The city, center. A path into woods, left, and others, with strollers, center. Title, artists', and publisher's names below.
Storm King, Northern Entrance to the Highlands, Hudson River
Edwin Whitefield, American, born England, 1816 - 1892, 1842–1853
Brush and wash, gouache, graphite on paper mounted to board
Drawing

A sketch of Storm King Mountain from across the Hudson River at the base of Breakneck Ridge; Center left, sailboats under sail on the Hudson River and an American colonial house on the west bank of the river.
Band
, 17th century
silk on linen Technique: cross stitch variation; needle lace edging

Pattern of tulips, pomegranates and Turkish-like floral forms in reserve against a green silk embroidered background.
Design for a Chinese Pavilion
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and ink on paper
Drawing

Vertical rectangle. An open pavilion, rectangular in plan, with a two-tiered pagoda roof supported by four columns. The structure stands on a podium. A low balustrade, decorated with lattice-work, encircles the porch.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Sampler
, 17th century
silk and linen embroidery on linen foundation Technique: embroidered in cross, satin, stem, running, double running, eyelet, long armed cross stitches and areas of withdrawn elements with needlemade fillings on plain weave foundation

Bands of pattern in browns, blue, and green with alphabets followed by bands of white work pattern including an alphabet.
Architectural Details from Bourges
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Nine or ten sketches of chimneys and finials.
Fragment
, 18th–19th century
linen Technique: plain weave embroidered with deflected element work

Fragment of woven linen with a scalloped border, and showing a flower and vine pattern.
Cup and Saucer, from a Tea Service
Spode Ceramic Works, English, established 1776, 19th century
porcelain, vitreous enamel, gold
cup and saucer

1992-5-52-a,b: Cup has handle with raised spur. Exterior decorate...
Bandbox
, 1830–40
Block-printed paper, pasteboard support

Lid only. On what may have been white background, scene enframed in oval frame of blue lines: Man and woman seated in chairs at small pedestal table with basket of grapes, boy standing nearby hands grapes to man. Blue, brown, faded yellow or green. Rim: Yellow background simple border pattern of green and white lines, simplified leaves.
Expanding Toast Rack
James Edward Hutton, British, 1838 – 1890, 1884
silver
toast rack

Form consisting of five silver wire partitions looped at the top to form circles, all mounted on a lattice work base, the joints hinged so the rack can be expanded or compressed; supported by five ball feet; raised circular handle on center partition.
Stick pin
, 1890–1900
Silver

In the form of fleur de lis
Dado
Pignet et Cie, 1825
Block-printed paper

Hercules with lion pelt and club, between arched landscape scenes.
Pantheon Masquerade, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Ballroom, orchestra center rear, on a stage. Balconies and floor crowded with people in bright costumes. Title, artists', and publisher's names below.
Sidewall
, ca. 1840
Block-printed

a and b are joined together. a): Outlines (incomplete) of a possible medallion, and pin dots, in green. Traces of white scroll work; b): A vertical stripe of dark green set with medallions to one side of which are white wavy grasses. Additional fragment adheres to this; c): Red and green ladder design.
Sketchbook Page: Le Point du Jour
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on blue-grey laid paper
Sketchbook folio

Two verses of a poem in French.
Border
, 1650–1700
linen Technique: bobbin lace of discontinuous tape; six bobbins used for connecting bars; the bobbin-made relief decoration with loops was made separately and sewn on using a needle

Border with elaborate scrolling leaves and flowers.
Button
, 18th–19th century
Painted paper, metal, glass

Component -a is on card 68.  Two buttons with a portrait of a lady.
Chapel
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite on paper
Drawing

View of chapel from side on a vise, trees beyond.
Design for a Sugar Bowl
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and black, gold gouache, yellow watercolor, graphite on cream paper
Drawing

Close-up, cropped design for a sugar bowl with a black and gold rim; at center an area made up of gold scrolls and floral motifs with garlands; pineapple at center.
Cap fragment
, possibly 5th century
linen Technique: quilted

Cap fragment of striped linen stuffed with twisted pieces of linen and quilted.
Miser's purse
, 1810–30
metal beads, silk Technique: netting

Netted black silk with areas of red, blue and tan crochet.  The red crochet is outlined with gold beads to form uniform butterfly shapes which are further decorated with iridescent dark blue beads.  A zigzag pattern of blue and tan crochet, connected by gold beads, runs lengthwise.  Two gold rings control side opening; gold tassels at each end.
Cap crown
, 18th century
linen Technique: needle lace

Cap crown with an architectural center motif surrounded by elaborate garland of ribbon and floral forms.
Tradecard, Frederick Crace and Son
, ca. 1837
Engraving printed in gilt
Print

Trade card with center inscription flanked by two female figures on left and right. Upper center, coat  of arms.
Boxing Glove
, late 19th century
Silver
Matchsafe

In the shape of a right-handed boxing glove, with outline of hand incised in palm of glove, ties near wrist. Wrist area forms lid, hinged on side. Striker on curved top of glove.
Seated bishop
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Seated bishop. A caduceus to the right of the chair, and a book in his lap.
Sampler
Dolores Cortes, 19th century
silk embroidery on linen foundation Technique: embroidered

Two varied borders (including vine and chevron patterns) surrounding center of animal figures, foral motifs, and the words: "DE MANO DE DOLORES CORTES LO ACABO EL DIA 17 DE AGOSTO."

Translation: "From the hand of Dolores Cortes, finished on the 17th of August."
Sidewall
, 1820–50
Block-printed

Tile pattern, with each tile containing a rosette in the center. Anthemion motif separating tiles at corners. Printed in blue and brown on tan paper. The paper is backed with newsprint. Inscribed in graphite on recto: "Galligan '51".
Spoon with Snake and Leaf Terminal
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval shaped bowl, narrow stem, leading to large triangular leaf-shaped terminal. On reverse side stem of handle continues to form central stem of leaf terminal. Stem adorned with coiled snake tail wrapping around stem and terminating with raised open-jawed snake head hovering above leaf terminal.
Domino paper
, ca. 1720
Block-printed and stenciled on handmade paper

A wallpaper fragment of domino pattern removed from a house in Paris, c. 1720.
Window shade
Unknown, 1870–80
Machine-printed

Framework with white beading on the top three sides, large bouquet centered between two dome shapes containing landscapes, with fringe running across bottom. Printed in red, yellow, green and white on deep brown ground.
Boston Evening Street Scene, at the Corner of Court and Brattle Streets
Winslow Homer, American, 1836–1910, November 7, 1857
Wood engraving in black ink on paper
Print

Illustration on first page of issue, showing a street scene with numerous figures. A man in a top hat gazes through a telescope.
Footed bowl
, ca. 1880
Blown glass, enameled and gilt

Footed bowl in blue glass with painted decoration showing women on horseback, bathers and two portrait medallions. In the Renaissance revival style.
Pair of pitchers
Holiçs, founded 1743, late 18th century
Tin-glazed earthenware

Green parrot perched on branch, which forms handle. Top of head and upper beak form lid. Light pinkish paste with white glaze, completely covered with bright colors.
Plate I, from Theatrum instrumentorum et machinarum
Bartholomeo Vincent, 1582
Woodcut on paper
Print

Showing instruments and mechanical aprts. Center, a large screw, partially uncut, and a joint below. Upper right, a compass. Upper left, a coiled metal strip. Description in Latin on verso of 1949-152-198.
Textile
, late 19th century
cotton Technique: printed on plain weave, glazed

Allover design of asters in red, purple, blue and green on an off-white ground.
Christ in Limbo (Harrowing of Hell), from The Little Passion Series
Albrecht Dürer, German, 1471–1528, 1509–11
Woodcut on off-white laid paper
Print

Christ is in right foreground, holding his banner in his left hand, and with his right assisting an old man. A group of men and women stand at left. The cross is seen at upper left. Monogram of Dürer at lower right.
The Progress of Steam
S & J Fuller, British, 1809 - 1862, 1828
Engraving, brush and watercolor on paper
Print

Two steam-driven carriages pass a coal-vendor. Below, title, publisher's name and date, and "I say Fellow, give my Buggy a charge of Coke, your Charcoal is so D--d dear".
Knife with Porcelain Handle (One of a Pair)
, ca. 1695
steel, silver, porcelain
knife

Leaf-shaped blade with straight upper edge. Plain bolster. Tapering silver ferrule with traces of gilding. Tapering white porcelain handle with rounded end. Floral decoration, with birds and decorative bands along the sides, top and bottom of the handle in black, green, yellow, red and blue. Small button cap at the end of the handle (Famille Verte).
Thanksgiving Day – Arrival at the Old Home
Winslow Homer, American, 1836–1910, November 27, 1858
Wood engraving in black ink on paper
Print

The grandfather and grandmother greeting the daughter and grandchildren at the door. Carriage at right, with snowy landscape in background. Lower half of the page.
Purse
, 1640–1700
silk, gold-wrapped silk Technique: tapestry woven with continuous and discontinuous wefts

Flat envelope-shaped pocketbook woven in cream-colored silk with pattern in light-colored silk and metallic thread. Symmetrical arrangement of stylized floral sprays. Bound on edges with narrow gold braid. Loop of the same for fastening flap, but button is missing. Lined in bright coral taffeta. Same pattern on both sides.
Cassolette (perfume burner or essence vessel)
, ca. 1785–90
Marble, gilt bronze

Part a, square marble plinth supporting gilt bronze tripod with lions feet and heads; snake twisted around center stem; marble bowl mounted in wide band; double chains hanging from ring held by lions' heads. Part b, dome-shaped marble lid with gilt bronze pine cone finial; interior fitted with gilt bronze nozzle for candle (can be inverted to act as candle holder).
Advertisement for Patented Medicine
, ca. 1880
Chromolithograph
Trade card

Depicted on recto is the obelisk in Central Park, New York, NY.
Waistcoat, uncut
, 1780–95
silk Technique: embroidered in satin, stem and knotted stitches on silk 7\1 satin foundation Label: silk satin embroidered with silk in satin, stem and knotted stitches

Panel of ivory silk satin embroidered with the left and right fronts of a gentleman's waistcoat, with stand collar, pocket welts, and button covers. The embroidery consists of an overall scattered floral with floral borders up the center front; on the pockets and at hem edge are scenes of monkeys drinking rum and playing musical instruments. In sixteen colors of floss silk.
Chintz fragment
, 1750–1800
cotton Technique: block-printed for outlines and imbricated background with mordant painted over resist for fillings (chintz) on plain weave

Curving floral stems on white islands on a background of red ribbons and picotage.
Border
, 1820–25
Block-printed on handmade paper

Three borders printed side by side on the length of paper. A frieze of roses and other flowers, printed in red, yellow, blue and green on a white ground. Above, a border of rope with one blue and four yellow strands.
Frieze
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper, liquid mica

Landscape view of trees and rolling hills seen through window panes, with every third column of panes containing flowers in a vase. A curtain valance hangs above. Printed two borders across the width.
Pieces D'eaux à compagniee d'orangeriée et despalliers, magnifique (Fountain in Garden Design), 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 with fountains.
A Snow Slide in the City
Winslow Homer, American, 1836–1910, January 14, 1860
Wood engraving in black ink on paper
Print

A crowded street in Boston, showing many figures caught in falling snow, possibly sliding off of an awning or building above.
Fragment
, 17th century
cotton Technique: block printed and/or painted on plain weave Label: block printed on cotton plain weave (qalamkar)

Coarse red cotton is printed in saffron yellow and silver shows scrolled floral border and a row of cone-shaped trees, each tree has a large bird in it.  Trees and birds are drawn in silver only.  Design may be painted or block printed or both.
Adam and Eve Expelled from Paradise, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, 1510
Woodcut on paper
Print

Adam and Eve move toward right, pursued by a winged angel, carrying an upraised sword in his left hand, and gently pushing Adam with his right. Monogram of Dürer and date 1510 on tablet suspended from branch of tree at upper right.
Sanjo Bridge, Kyoto, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock, brush and watercolor on paper, ink with color
\Print

Lower half, long trestle-bridge with people crossing. Upper half, city lies along river bank at foot of range of many-peaked hills and mountain range.
Embroidery sample
, 1785–90
silk, hand-knotted net and paper Technique: embroidered and appliqued on a taffeta foundation

Multicolored silk embroidery in a floral design showing roses and sprays on a dark brown ground.
Setting a Squirrel Trap
Winslow Homer, American, 1836–1910, ca. 1858
Graphite, brush and watercolor on wove paper
Drawing

Sketch of two boys and a girl climbing over rocks in a wood and advancing towards a squirrel trap.
Stage Design: City with a Loggia
Fabrizio Galliari, 1709 - 1790, 1725–1750
Pen and brown ink, brush and wash, black chalk on paper
Drawing

Vertical rectangle showing a palace façade and loggia surmounted with balus
Title Page
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Title page illustrating a grotto interior or garden building with a large fountain in the center, arched windows, and doors. A cascading fountain within an arched niche in the center behind the fountian. The walls are decorated with a grotto effect, shells, vases, mascarons (masks), and frostwork. Figures standing and walking around within the interior. The plate is titled and signed.
Plans du premier et deuxieme Etage de la Mission Royale de Nancy
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving
Bound print

Plans of the first and second floors of the royal mission of Nancy, with rooms labeled. In the center of the plate is a scale bar of "50 Pieds de France." The title is printed at the top within a rocaille frame of flowers and scrolls.
Design for a Fountain in a Park
Carlo Marchionni, Italian, 1702–1786, ca. 1790
Black chalk, brush and watercolor on paper, mounted
Drawing

A circular bowl stands in the center of an oblong basin. A fountain springs in its center, and water pours into it from the mouths of two satyr masks at the top of the hermae. These stand upon dados, from which water pours into the basin at several places. Groups of trees are behind the fountain, permitting, in the middle, a view into the open country. Black framing line.
Design for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Variation of the scheme of -1534. The arch at left is decorated  in the scheme of -1532. A semi-circular painting of classical monuments is inscribed in an oblong panel and flanked by gaines, shown in profile, supporting festoons. The central with a bust portrait is transferred over the panel.
Oeuvre de Boucher fils
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for ceiling decoration with ornament motifs including rosettes, lamb tongue, cornucopia, and bound leaf, and faux text framed with leaf garland and ribbon. The plate is signed.
Design with Classical and Winged Figures
Felice Giani, Italian, 1758–1823, late 18th–early 19th century
Pen and brown ink on cream laid paper
Drawing

Two adjacent roundels with scenes featuring classical and possibly mythological figures.  Six winged figures along the perimeter of the paper.
Design for Two Brooches
, 1820–30
Pen and ink, brush and watercolor, sepia on paper
Drawing

At top, am escutcheon in the shape of fleur-de-lys, with a diamond in the center. A pearl hangs below. Below, an octagonal diamond is framed with a volute motif. Two small pearls on the sides and a larger one hanging below.
Design for an Oval Gallery Tray, with Alternate Suggestions
Joseph Anton Seethaler II, German, 1799–1868, 1827–35
Pen and black, brown ink, brush and gray washes on wove paper
Drawing

Oval gallery tray with six alternate designs for the galleries, composed of stylized plant or leaf forms.
Andiron Designs
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Designs for three andirons decorated with garlands, acanthus leaves, scrolls, shells, fluting, rings, ribbon twist, and mascarons. The plate is signed and numbered.
Design for a Painted Wall
, early 19th century
Pen and ink, brush and wash on paper
Drawing

Two flying putti with a cloth between them.
Design for a Brooch with Oval Diamond
, 16th century
Pen and sepia on paper
Drawing

A circular diamond is framed by an escutcheon with masks and festoons. Three pearls hang from the bottom.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs decorated with mascarons, garlands, portrait medallions, lion heads, vases, putti, pendules, and scrolls. Between the chimneypieces is a panel of grotesque ornamentation. The plate is not signed but is lettered "H."
Designs for Composite Capitals and Bases
, 1530–1540
Pen and brown ink on off-white laid paper
Drawing

Group of architectural designs showing fourteen portions of composite capitals and four bases. Top row: three right halves of capitals shown in elevation. A figure of a harpy with a fishtail scroll. Second row: two left and two right halves of capitals. Third row: four right halves of capitals, one left half. The tops of the shafts are shown below four of the designs. The fifth is supported by a fluted bracket. Bottom row: two right parts of bases of fluted columns, the left half of a capital, a bearded head supporting a fluted bracket fragment of a moulded base, shown from a corner. Verso: at top right, a capital obliquely shown. At bottom edge, three top parts of capital and the left half of another.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1772–77
Etching on paper
Print

Six designs for war themed trophies incorporating leaves, cannon, flags, axe, helmet, shields, measuring devices, rulers, caliper, bellows, chains, barrel, and a cannon ball. The plate is numbered.
Elevation de lambris d'appui
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for paneling at the base of a wall, each flanking fireplaces. The plate is signed.
Border
, 1825–50
Block-printed, flocked

Central motif of bead and reel, surrounded by red flock, with edge banding in shades of gray at top and botom edges.
Study of a Coach
, ca. 1750
Pen and brown ink on laid paper
Drawing

Horizontal rectangle. Sketch of a carosse.  At left is the front of the coach with a small wheel.  Above it sits a coachman's seat with a cushion, hammer cloth with a scalloped edge, tassels, and fringe.  At center is an oblong shaped body of the carriage with a large central window and smaller ones on either side. Highly ornamented decoration; two half figures of women support the upper edges of the carriage roof at left and right. Rectilinear framing lines.
Excerpt from Juno’s Wonderful Troubles from St. Nicholas Magazine (V, No. 5, March 1878, p. 313, 314)
Frederick Stuart Church, American, 1842–1924, March 1878
Printed in black ink on paper
Ephemera

Two pages from a short story on a lonely dog adopting various animals, living in a zoo. Illustration on page 313 shows the dog looking in at the Pelicans in their cage. Illustration on page 314 shows the dog in a bonnet sitting in a rocking chair with a baby hippo in its lap.
Design for a Woven Fabric, Fragment
, 1815-1840
Gouache on oily tracing paper, mounted
Drawing

Flower sprays.
Ver (Spring)
Gérard de Lairesse, Dutch, 1641–1711, ca. 1680
Etching on paper
Print

Spring seated on a cloud, surrounded by 3 nymphs with baskets and garlands of flowers. The title and artist's name below.
Figure "La Feuille à l'Envers"
Sèvres Porcelain Manufactory, French, established 1756, ca. 1760
biscuit (soft paste)
figure

Two figures. A woman reclining on right elbow, clutching flowers. Left hand and foot upraised. Man seated on stump, leaning forward.
LE GRAND PARTERRE DU TRIANON DE ST CLOUD
Adam Perelle, French, 1638 – 1695, 1681–1703
Etching on laid paper
Print

A view of the grand parterre in the garden of St Cloud with a central fountain with a sculptural group including the goddess Venus, and smaller fountains in the corners, framed by a trellis arcade. Trees in the background. Figures, sedan chairs, and chariots along the paths. The plate is titled with a description of the garden.
The Dinner Horn
Winslow Homer, American, 1836–1910, June 11, 1870
Wood engraving printed in black ink on paper
Print

Vertical view at left of the corner of a house with an open door showing portion of interior where a table is laid for a meal, at center of a woman with her back turned blowing trumpet, and in the distance beyond a well with sweep and a field with workers.
View from Olana, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Oil and graphite on off-white paperboard
drawing

Landscape sketch showing a view from the artist's New York estate known as Olana, possibly looking east toward the Taconic Mountains. In the foreground, a green pasture or field descends to a dense and dark line of trees. The middle distance consists of a rolling, green, and pastoral landscape that extends into the background, where the dark silhouette of a low mountain range stretches across the horizon. A long bank of billowing cumulus clouds rises behind the range, and are tinged in reddish orange light. Sporadic wispy clouds hang in an otherwise dark blue sky above.