biglam/cooper-hewitt-alt-text huggingface dataset:
Sidewall
, 1800–1835
Block-printed on handmade paper

On blue ground, rows of almond shapes composed of yellow tulips on vertical stripes of blue; in between, columns of flowers composed of yellow rinceaux filled with brown dots.
Embroidered picture
, 17th century
silk and metallic thread on a silk foundation Technique: embroidered

Picture showing a stag resting on a hillock surrounded by oversized vegetation such a tulip, an oak three with acorns, a strawberry plant, and other flowers. The scene also includes a large parrot on a branch, a butterfly, and other insects.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, textured, liquid mica

Stylized foliate motif within a gold medallion, set within a foliate diaper pattern. Printed in greens, brown, metallic brown, metallic copper, metallic gold and metallic teal on a textured cream ground. Printed in left selvedge: "S.A. Maxwell & Co. New York & Chicago." "3". Printed in right selvedge: "Exclusive Design No. 2740" "EA".
Brisé fan
, 1820–30
Gilded and painted horn sticks with steel paillettes, gilt metal bail and faceted stone at rivet, silk ribbon and tassel

Brisé fan. Gilded and painted horn sticks with steel paillettes; central cartouche shows figure in a landscape. gilt metal bail and faceted stone at rivet. Silk tassel and connecting ribbon.
Fragment
, 13th century
silk Technique: 2/1 twill with complementary wefts

Fragment of woven silk with a pattern of rows of eagles in beige and blue.
Les Contes de revenants
Gihaut Frères, French, 1815 - 1871, ca. 1830
Lithograph, brush and watercolor on paper
Print

Seven women and a man around a table, left. Men asleep in armchairs, right. Title and artists' names below.
Armchair
, 18th century
wood, metal, tapestry

Louis XV armchair with back, seat and top of arms upholstered in red-to-blue Aubusson tapestry with floral design; domed metal tacks along edges of fabric; carved scrolling and floral decoration at center front of seat rail, knees, feet, and arms.
Window shade
, ca. 1880
Printed, hand painted, and flocked on textile support, applied mica flakes

Pale green fabric or Holland shade, with band of geometric ornament at bottom somewhat resembling a balustrade, outlined with deep red flock. Floral decoration with carnations and palm fronds above was hand painted before printing.
Byzantine Scroll—Bonn
Arnold William Brunner, American, 1857–1925, 1879
Graphite on beige paper
Drawing

Study of a relief panel or border. Left, bird facing left with beak inside dog's mouth. Right figure running, right corner of panel or border is a basket filled with food and an arm.
Pleated fan
, 1775–85
Painted and gilded silk leaf with tambour work and metallic spangles, carved and pierced ivory sticks, mother-of-pearl backing on guards, glass stone at the rivet

Pleated fan with double leaf. Obverse: painted and gilded silk leaf with tambour work and metallic spangles. At center, figures in a landscape; to the left and right, portraits and monograms. Reverse: painted silk leaf. Carved and pierced ivory sticks showing putti and figures. Mother-of-pearl backing behind the guards. Glass stone at the rivet.
Sugar Bowl and Stand
Mennecy Porcelain Manufactory, French, active 1735 – 1773, mid- 18th century
soft paste porcelain, vitreous enamel
sugar bowl and stand

Round bowl with large scalloped edges; lid has plant form loop handle. Lid rim is painted in deep purple. Decorated with deep pink-purple, yellow and blue blossoms and green leaves and stems on white background. Bowl's interior has painted green leaf.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Large foliate medallions with white rose bouquets at bottom, torches at the center, and floral swags. Bottom has stripes and small floral arch motif, above which are scrolls with fleur-de-lis. Backgrond of medallions has stripes of solid color, horizontal lines, and mosaic-like pattern. Top has scrolls. Ground shades from blue to cream (bottom to top). Printed in dark red/brown, dark blue, green, white, and beige. Printed in top selvedge: "14 S. A. Maxwell & Co. New York & Chicago" Printed in bottom selvedge: "Exclusive Design 3282" "P"
Fan case
, 1725–40
printed paper

Paper fan case with removable lid, made from bookbinder's paper with floral decoration in red and green.
Four Trencher Salts
James Rood, English, active 1710 – 1718, 1722
silver
saltcellars

Oval octagonal bodies with shaped profile. Oval, concave well. Each engraved-on underside of well with Roman initials: "WB".
Fragment with factory stamp
Miles & Edwards, 1847, ca. 1830
cotton Technique: block printed on plain weave foundation; block registration marks visible

Mark faces in opposite direction to direction of pattern. Pattern of polychrome bunches of flowers on natural.
study of hand to mid bicep
Elihu Vedder, American, 1836 – 1923, ca. 1890
Pencil, white chalk on tan paper
Drawing

Woman's hand and arm, detail of thumb to the right
Fragment
, 14th century
silk on linen Technique: embroidered

Fragment of a narrow band with blue geometric diagonals on natural linen. Early form of cutwork and double running stitch and hem stitch.
Brooch
, ca. 1830–40
Gold, silver, rubies, diamonds

In the form of three berries, with gold leaves and stems.  Eleven diamonds, fifty-eight rubies.  One loose berry was repaired in 1957 (see object card for details).
Sidewall
, 1765
Block-printed on joined sheets of handmade paper, mica

A delicate climbing floral with multi-colored flowers and two larger roses as the major motifs. Interspersed are light white sprays with mica. Drop match.
Sidewall
, 1880–90
Machine-printed paper

Japonaiserie pattern of rectangular panels of various sizes containing vases of flowers, assymetric format. Printed in olive green, black, plum and yellow.
Goblet
, 18th century
Glass

Clear glass goblet with 2 rows of shields decoration painted on body.
Fragments
Nixon & Co., 1705 - 1765, ca. 1775
cotton Technique: printed by engraved plate on plain weave foundation; plain weave has paired warps and paired wefts

A valance and five fragments of a pattern showing two chinoiserie scenes; the first a woman and children in front of a stall with urns, man leaning on counter; the other a seated couple, the man playing a musical instrument with two children and an adult in the background. In red on white.
Study With Still Life
Arnold William Brunner, American, 1857–1925, 1882
Graphite on paper
Drawing

Bust of man asleep on ground, hat covering face, pipe in mouth with handle bar mustache. Head resting on arm, below, drawing of vegetation.
Band
, 19th century
undyed linen, silk Technique: bobbin lace, Eastern European, peasant

Strip of insertion with undyed linen framework with central band of rosettes in yellow silk; blue and yellow silk guard stripe. Much of the silk is worn away.
College Life in New England
Winslow Homer, American, 1836–1910, August 1, 1857
Wood engraving in black ink on paper
Print

Double page spread, showing, at top: The Match Between the Sophs and Freshmen - The Opening; at bottom, vignettes showing: Freshmen; Sophs; Juniors; Seniors.
Handkerchief
, 19th century
linen Technique: needle lace

Handkerchief with a linen center and trimmed with Point de Gaze needle lace. Pattern shows medallions and floral elements.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Delicate, thin sprigs of two-tone pink flowers with light and dark green leaves and stems are evenly spaced within the design. In each register, one flower is facing right and the other flower is facing left. This pattern is repeated vertically and makes the flowers look as though they are falling. Around each flower is a white, delicate garland printed in mica. Printed in red, green and mica on an off-white ground.
Design for a Painted Ceiling with Alternative Suggestions, Possibly for the Entrance Hall
Frederick Crace, English, 1779–1859, 1801 or earlier
Brush and watercolor, pen and black ink on white wove paper mounted on heavy white wove paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. Painted sky ceiling, curved top with four alternative border suggestions.
Personification of "Ceramics," Study for the Dome of the Manufacturer's Building, World's Columbian Exposition, Chicago, IL
Kenyon Cox, American, 1856–1919, 1891
Brush and watercolor, white gouache, graphite on paper
Drawing

Mural study for pendentive. Female figure in white and blue drapery, standing before a railing. She holds a blue and white jar in her left hand, propped against her hip, and a brush in her right hand.
Textile
, 18th century
crewel wool, linen, cotton Technique: embroidery on plain weave

Delicate attenuated pink stems bearing small rose-buds, daisies, carnations, in shades of tan and pink; various small leaves in blue; each stem rising diagonally in continuous somewhat irregular serpentines from small mound in tan and blues. Two and one half mounds in this piece. In satin, herringbone, a little knot stitch. Linen warps; cotton wefts; except for two heavy cotton warps inserted at intervals.
Elevation of Wall with Three Niches
Richard de Lalonde, French, active 1780–96, 1780
Pen and black ink, brush and green watercolor, gray wash, graphite on white laid paper
Drawing

Elevation of wall with three niches, top moldings decorated with shells and garlands. Brackets flanking center niche show a covered vase at left.
Sketchbook Page: Hilly Landscape
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of hilly landscape with trees.
Drawing
Louis Apollinaire Sicard, French, 1807–1881, Lyon, late 19th century
Brush and gouache on cream paper, mounted on cream paper

Partial depiction of pink blossoms and green leaves. On right, four birds in gray-black.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

On tan ground, rhomboid motifs of arabesques containing eight-pointed stars, and small scalloped flowers. Printed in green-yellow and red.
Frieze
, 1905–1915
Machine-printed paper

Alternating large and small medallions with yellow rose insets, connected by yellow rose swags. Above the smaller medallions are floral scrolls. Top has metallic gold and slight beading, scrolls, and floral swag. Bottom has stripes, beading and scrolls. Background of medallion has horizontal and vertical brown stripes. Ground fades from a brown-green to a beige (bottom to top). Printed in greens, browns, and creams, and metallic gold.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller and block printed on plain weave; glazed Label: cotton, printed by engraved roller and blocks, glazed

Fragment of glazed, printed cotton. The ground is printed by "molette" in minute grey zig-zag, leaving white areas, where an interlace design is printed in brown. Strawberry vines with clusters of little red flowers and green foliage form a diamond trellis.
"Eddie, Teddie, and Babe"
, 1900–10
Plated brass, printed celluloid
Matchsafe

Rectangular, curved top and bottom, featuring sepia toned photographic image of man in dark suit and bowler hat, seated in white wicker chair, gesturing towards a pair of small, long-haired spaniels at his feet, inscribed beneath "Eddie, Teddie, and Babe," reverse inscribed "Greetings, Eddie Gosnell, Original 12 Points Saloon. 1267 Maple Ave., Terre Haute, Ind.," inscribed in fine print just below "Roberson-Putnam Co, Chicago." Lid hinged on side. Striker in recessed groove on bottom.
Sampler
Martha Goddard, American, 1832
silk embroidery on wool foundation Technique: embroidered in counted cross and satin stitches on plain weave foundation

A verse and inscription at the center, surrounded by trees, flowering trees, birds and animals, with a strawberry vine border. The verse reads: 
Blessing for ever on the Lamb
Who bore the curse for wretched man
Let angels sound his sacred name
and ev'ry creature say Amen
Arch Rock from Freshwater Bay
I. W., active 19th c., 1820–1830
Brush and gouache on sand, glued to paper, mounted on embossed paper
Picture

A liff, left, and a pierced rock, right, enframe a sailboat in the distance. Embossed paper frame. Title and artist's initials inscribed below, in ink.
Plate IV, from from "Characters who Frequented Button's Coffeehouse About the Year 1720"
William Hogarth, English, 1697 - 1764, 1786
Aquatint on paper
Print

Interior scene with four men around a table. Two of them are seated in the middle, two are standing: one at left has placed his hat upon table; the other one at right pointing with his finger. Two men with names inscribed above their heads.
Border
, mid-18th–early 19th century
linen Technique: needle lace, six-sided reworked ground

Border with floral sprays forming garlands and edging one border. Isolated sprays powdered over remaining area.
Peonies and Blossoms
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Blossoming peonies are accompanied, in dark zones, by other blossoms: Irises, stylized irises, cherry blossoms, and dianthus. Silk threads have been added to support the stencil structure.
Wooded Landscape with Elijah Awakened and Nourished by an Angel on Mount Horeb [above left]; Annunciation [below left]; The Banquet of King Ahasuerus [above right]; Christ Surrounded by Angels with the Arma Christi [below right].
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1605
Pen and brown ink, brush and brown and black washes, over black chalk on laid paper
Drawing

Recto, above left: Within a wooded landscape, an angel stands over a reclining figure, handing the latter something to eat. An explanatory inscription in Italian appears beneath a framing line at the bottom of the image. 
Recto, above right: King Ahasuerus reclines on a couch at the head of a long dining table, at center. Other figures surround, seated at the table or attending in the hall. Two archways in the background at left and right open onto more banqueting scenes. An explanatory inscription in Italian appears beneath a framing line at the bottom of the image. 
Recto, below right: The figure of Christ in glory appears in a burst of light at the center of the composition, framed by a decorative border. Possibly a design for a title page for a Passion series. 
Recto, below left: Waist-length figures of Gabriel and the Virgin appear in two isolated rectangular enclosures. 
Verso, above left: A king reclines on a couch at the head of a dining table in a large hall filled with people. A figure lies on the ground at right, with two others bending over him. An explanatory inscription in Italian appears beneath a framing line at the bottom of the image. 
Verso, above right: Within a portico, dense with columns, two figures kneel before a priest to receive Communion. An explanatory inscription in Italian appears beneath a framing line at the bottom of the image. 
Verso, below right (inverted): St. Anthony of Padua, dressed in monks' robes, stands before two kneeling figures. He holds a flaming heart in one hand, and a book in the other.
Pair of waistcoat fronts
, mid- 18th century
silk Technique: embroidered in satin stitches on satin weave

Pair of waistcoat fronts with curved hems and flap pockets. Yellow silk satin, embroidered in satin stitch on front, lower and pocket edges with a dense, small-scale floral design in pale green, yellow and pinks. Badly damaged.
Frieze
Robert Graves Co., New York, New York, 1890–1900
Machine-printed paper, mica

Tan, cream and red stripes with whirls and conventional olive design. Mica finish.
Venus of Medici
Pietro Fontana, Italian, 1762 - 1837, 1819
Line engraving on white paper
Print

Frontal view of Medici Venus.
Valentine
, 19th century
Machine cut paper, decoupage on paper doily, laid down
Greeting card

Bouquet of colorful flowers in pink, blue, yellow, and leaves of different greens. Cut paper is decorated with spirals and dots. Inscriptions throughout.
Bed with Eagle
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a bed with a canopy of drapery held aloft by an eagle. The plate is signed and numbered.
Design for a Fountain in a Park
Gilles-Marie Oppenord, French, 1672–1742, ca. 1710
Pen and black ink, graphite on paper, framing lines in black ink, lined
Drawing

A large urn, with divided handles rests on a plinth from which water issues from masks on three sides.  At left, a tree and relief of a group of standing figures.
Donkeys
Robert Frederick Blum, American, 1857–1903, 1882
Graphite on wove paper
Drawing

Sketch of two donkeys and a male figure.
Design for Doors
Pierre Lepautre, French, 1652–1716, 1686–1716
Etching and engraving on laid paper
Print

Fifth plate from a series of designs of portes-cochères (doors), newly made for various French royal houses. Highly ornamented arched double doors with different decoration on each door. The arched upper panels are the same, framed by a repeating pattern and a corbel in the center decorated with fleurons and palmette motifs. Below a double frieze with a wave pattern and a lamb's tongue pattern below. Below, two central small rectangular panels framed by repeating patterns. The right side topped with a gadrooning running pattern and a central shell with s-scroll motifs. The left side, similar panel but topped with a central female head mask, s-scrolls, and fleurons motifs. The lower half on each door is the same with a vertical panel above a small horizontal panel, framed with repeating pattern moldings. The lower section of the doors features a wooden trellis pattern. The plate is signed and numbered, with a scale below.
Female Nude on a Stool
Daniel Huntington, American, 1816–1906, 1858
Black crayon and white chalk on light green wove paper
Drawing

Female nude facing front resting on her right hip on a stool and holding the model stick.
Border
, ca. 1890
Machine-printed paper

Baguette motif formed of blue ribbons and green rod, with alternating clusters of moss roses and forget-me-nots, printed in colors on a white field.
Ornament Panel Design
Nicolas Pierre Loir, French, 1624 - 1679, 1660–1716
Engraving and etching on paper
Print

Ornament panel design with a cartouche of a woman seated with spilling jug of water and a putto, framed by foliate scrolls, festoons of leaves, female torsos morphing into scrolling leaves (rinceaux), rosettes, vase of flowers, putti, and mask (mascaron). The plate is numbered.
Tile
, late 18th–early 19th century
Earthenware, glazed and high frie decorated

Still life of lemon and grapes on a plate, a knife, and oil and vinegar flasks.
Design for a Cartouche Representing the Continent of America
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

A parrot is perched atop the asymmetrical cartouche, a bow, arrow, and horn at right, a monkey holding a long-handled fur-trimmed fan at bottom right, and a small animal at left. Leaves, flowers, and a gourd decorate the border of the cartouche.
Ironwork Designs
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork balustrade and ornament designs decorated with masks (mascarons), eagle heads, snakes, festoons, shells, rosettes, foliate scrolls, fleurons, and scrolling leaves (rinceaux). The plate is signed and numbered.
Galerie métallique des grands hommes français (Great Men of France)
Jacques-Édouard Gatteaux, French, 1788 - 1881, 1820
Cast bronze
Medal

Bust of Jean Varin (1604-1672).
Two Facades of a Public Building
Antonio Sarti, Italian, 1797 - 1880, ca. 1840
Pen and black ink, brush and watercolor, graphite on paper
Drawing

Two elevations of long horizontal buildings. Positioned horizontally, one on top of the other; the bottom project suggests a greater length than the top one. The top project has a slightly projecting central section of nine bays and lateral sections of three bays each. The bottom project has a central section of seven bays and pairs of lateral sections of three bays each. In both buildings, the central sections show embedded fluted Doric columns supporting an entablature with triglyph friezes. In each intercolumnar space are a window and a relief depicting classical scenes. The lengths are inscribed in the bases of the buildings. A section, in graphite, beside the top design shows the top story as a sham one. Indication of scale in Palmi beneath each elevation and in lower margin
Chimney Piece Design
D. Antoine Pierretz, French, active 1647, 1647
Etching on laid paper
Print

Design for a chimneypiece and overmantel in the form of a classical temple façade with classical baroque motifs including festoons of leaves, masks (mascaron). Above the sculpted pediment, the overmantel features a trophy of arms with a sculpted bust, shields, spears, banners, swords, and quivers of arrows. Flaming vase finials, moldings and sculpted motifs featuring acanthus leaves, lamb's tongue, laurel leaves, rosettes, and ribbons. The plate is numbered.
Design for a Pendant Trophy
René Charpentier, French, 1680 - 1723, ca. 1736
Etching on laid paper
Print

A design for an ornamental pendant trophy from a series of twelve plates. The trophy features a central cartouche with a figure holding a caliper. The cartouche is supported by a bird, intertwined with foliate olive branches, and tools for sculpture, a caliper, paper, rulers, hanging from a tied ribbon or textile. The plate is signed.
LA PORTE ST. MARTIN
Adam Perelle, French, 1638 – 1695, 1674–1703
Etching on laid paper
Print

View of a Parisian monument, a triumphal arch - The Porte Saint-Martin (St. Martin Gate) - decorated with classical motifs, rustication and a scene with figures and angels sculpted in relief. Above a long transcription in Latin. The street is filled with figures, horses, and horse drawn carriages. Buildings on either side along the streets and cityscape visible in the background. The plate is signed and titled with a description below.
Design for a Necklace
, late 18th century
Pen and black ink, brush and gray watercolor, gold on light green paper
Drawing

Jewelry design for a necklace. For the chain, four different shapes are suggested. Hanging from a knotted ribbon is an oval pendant with a bouquet of flowers tied with ribbon in the center, framed by a row of diamonds. Bevelled corners.
Design for a Pendant
, 1820–40
Pen and ink, brush and watercolor on paper
Drawing

A big square diamond framed by a segmented pediment at the sides by volutes with masks in profile. Below, a chalice with two volutes. Pending a bead. Above, a link.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1887–1903
Brush and gouache on paper
Drawing

On light green ground, two wreath-like patterns composed of white butterflies and flowers and green vines and leaves.
Title Page
Charles-Germain de Saint-Aubin, French, 1721–1786, 1753-1757
Etching on laid paper
Print

Cartouche made of butterfly wings and acanthus leaves. In the center is the title of the series as well as a spider spinning its web. The plate is not signed or numbered.
Design for an Interior
, 1800–1820
Pen and ink, brush and wash on paper
Drawing

Elevations of a room. At top, two doors flank a console table and mirror. Left door had an overdoor painting with a temple in a landscape. To the right, detail for a ceiling. At bottom, elevation with man in a bicorne. Between pilasters are niches in which floral vases stand. Frieze decorated with bucranium and swags.
Vases and Urns
Jean-Charles Delafosse, French, 1734 – 1789, 1770
Pen and ink, brush and watercolor, graphite on laid paper
Drawing

Assemblage of vases and urns in a classical cemetary. Some stand on pedestals, others are on the ground. At lower left the vases are on two applied pieces of paper. Bordered in brush and black ink.