biglam/cooper-hewitt-alt-text huggingface dataset:
Textile
, 9th–10th century
cotton Technique: painted and printed; tiraz printed

Small rectangle of undyed cotton cloth stamped in red (now very faint) with square formed by two lines of outlined characters of decorated Kufic; painted over (at a later date?) with more flowing version of the same characters in dark brown adhesive substance, to much of which gold leaf still sticks.
Textile
, early 18th century
silk Technique: compound weave with supplementary weft patterning (brocaded)

Panel  in the ‘bizarre' style made of four widths of silk satin, originally white. Alternating horizontal rows of repeating motifs show a church built on rocks with tall sheltering trees, and disproportionately large pink flowers  and buds with leaves. Backed with silk and linen. Two short ends trimmed with coral and yellow silk fringe.
Vignettes with Angels and Instruments of the Passion
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

In the manner of high reliefs. The column is flanked by two flying angels with scourges.
Elevation of Salt Cellars
Felice Giani, Italian, 1758–1823, 1800-1825
Black chalk on cream laid paper
Drawing

Tripod in classical style with three legs standing upon base in center of which stands a pineapple.  Four figures, standing upon base, carry bowl. Only toe shown of fourth figure in rear. Drapery festoons connect clasped and raised hands of figures.
Fringe
, 17th century
silk Technique: woven

Fringe with a red and blue checkerboard heading. Skirt threads are red.
Sketch of Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Young woman, her head turned to the left.
Factory mark
Thomas Wardle, United Kingdom, 1831 – 1909, ca. 1890
cotton Technique: printed on plain weave

Printed in red on pink field with white reserves. Floral design in Pre-Raphaelite style.
Textile
, 16th century
silk Technique: cut supplementary warp in 4&1 satin foundation (velvet)

Design of concentric circles in blue/green.
Flounce
, mid-18th century
linen Technique: Mechlin style bobbin lace

Design of ornamental curving bands with flowers and leaves forming ogival shapes in which appear vases with flowers, insects, trophies, and fountains.
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape with net added)

Fragment of a continuous tape lace with a Valencienne-like braided ground.
Textile
, 19th century
silk Technique: ikat on twill weave

Oblong panel with a large plaid design made by groups of white and green stripes. Warp print pattern in shades of purple, red, blue, green and yellow. Pattern of a tree appears in alternate rows.
The Pancake Woman
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1635
Etching on off-white laid paper
Print

Vertical rectangle. In the center middleground an old woman is seated, facing right in profile, making pancakes. A child and a dog in the foreground; several figures, lightly etched, in the background.
Fragment
A .G. Jennings & Sons, American, ca. 1884
cotton Technique: machine made lace

Dots and floral border on net ground.
Textile
, 10th–14th century
linen Technique: plain weave with supplementary weft

Tan linen ground with design of rosettes in red and tan. Design arranged in horizontal stripes with rosettes in diamond frames. No selvage present.
Study for "Zodiac"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Brush and watercolor, gouache, graphite on paper
Drawing

Sketch of an octagonal ceiling panel with figures in loose garments.
Ornament, Christmas tree
, 1850–99
Brown sugar, dough

Roasted duckling; part of left drumstick missing.
A General Assault from Twelve of the Most Remarkable Sieges and Battles in Europe
Carington Bowles, British, 1724 - 1793, ca. 1760–1770
Engraving on paper
Print

A panoramic view of a city, with soldiers entering through a ruined fortress in the foreground. Naval brigs fire from a harbor, left distance. Inscribed in the lower margin: "A GENERAL ASSAULT", followed by a three-line description, and below: "Printed for and sold by Carington Bowles, at his Map and Print Warehouse, No. 69 in St. Paul's Church Yard, London". In the upper right corner, the number "5".
Orphrey band fragment
, 15th century
silk, linen, metallic Technique: complementary weft twill

Fragment of orphrey band with rosette and trees.
Panel with images of four women
Unknown, 1610–40
silk and metal-wrapped silk-core threads Technique: supplementary warp pile (velvet) in a 4&1 satin weave foundation with three warps in each pile warp unit; use of pile warp substitution; use of supplementary facing wefts bound in 1Z4 twill order; use of looped discontinuous supplementary wefts bound in 2Z3 twill order Label: silk velvet with metallic facing wefts
Panel

Horizontal rectangular panel with a gold metallic ground and polychrome silk velvet figures of four women separated by large flowering plants. From left to right: a woman holding a long-necked jar in one hand while the other holds up her skirt, in which she has gathered fruits; a woman holding a pitcher in one hand and cradling a large bowl or basin in the other; a woman wearing gloves, holding a bird of prey in her left hand while about to hood the bird with her right; a woman with a long stick with which she is prodding a hound held by a lead in her right hand; the hound is straining the lead. Two of the flowering plants grow at the edge of ponds, one rests on a cloud form and the other grows among the rocks. The iris, carnation, and poppy are recognizable. Clouds and butterflies dot the sky. In shades of blue, green, yellow, reds, and neutral and flesh tones on a gold metallic ground. Slightly more than one unit of the repeat is present; the pattern fills the width of the fabric and is oriented perpendicular to the warp.
Textile
, 1830–1850
cotton Technique: roller and block printed

Half-drop repeat of a group of very full blossoms superimposed on a scrolling vine on a brown ground.
Textile
, ca. 1820
cotton Technique: block printed on plain weave

Peacocks on rocky landscape in half-drop repeat.
Panel
, 19th century
silk, glass beads Technique: knitted

Oval panel of glass beads forming a group of flowers in bright colors, on a rectangle of white plain knitting. Probably intended for a bag or purse.
Standardized Rural House
Hector Guimard, French, 1867–1942, 1920
Diazo print on beige wove paper
Print

Shows plans of a house.
A Group of Three Peasants in a Village
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Paper
Drawing

Two wear blue, the third a red wrapper.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Green and white vertical strips with morie effect and supplementary warps in pinks, red, yellow and green.
Christening gown
, 1853
linen, cotton Technique: embroidered

Bodice with square, low neck and revers in front, collar in back; no sleeves; full skirt with revers. Embroidery on front panel, revers, shoulders and bottom of skirt in solid stitches, drawnwork and eyelets in design of flowers, scrolls and waving bands. Card attached reads ''Made in England for Layette of Karrick Riggs 1853''.
Design for a Rectangular Dining Table on Bun-Feet
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Rectangular molded and beaded table top with a dividing stretcher at center and foliate carvings at corners; is raised on four column-like legs joined by molded stretchers and terminating in carved square elements on bun-feet.
Design for Rectangular Sideboard with Vases of Flowers
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular sideboard with 4 square reeded legs; center front has 3 drawers arranged in 2 rows, flanked by suggested carved vases and bouquets; shallow top supported by backsplash.
Fragment
, 1770–90
cotton Technique: block printed on plain weave

Alternation of floral stripes and figurative stripes. In the figurative stripes there is an alternation of two scenes, each involving adults playing with a child dressed as a clown. The figurative stripes are offset; the floral stripes are in straight repeat. Black, two reds, blue and yellow ocher. Piece is shaped like a valance.
Textile
, 18th century
cotton Technique: mordant painted and resist dyed on plain weave (chintz)

Two pieces which were originally part of a larger panel. Both are made of two separate cloths. A border of fantastic undersea life on a purple background and a field of birds and flowers emanating from a vermicular tree.
Folding chair
Edward W. Vaill, American, active 1861–92, 1863–75
Carved, joined and turned wood or mahogany, woven wool upholstery, metal tacks

Curved front legs rise to form back supports; curved back legs rise to form front seat rail.  Chair folds at crossing of front and back legs.  Legs have two turned stretchers, one front, one back.  Back of chair has arched crestrail with two turned ball knobs (top metal tack finial missing on one side) and two back slats.  Red, tan and cream wool pile upholstery panel stretches from crest rail to front seat rail.
Birth Glass of the Repelius Family
, 1777
lead glass
birth glass

A large rounded funnel bowl on a stem with a capstan (an angled knop above a rounded knop), an inverted baluster with two rows of airdrops and a basal knop. Conical foot.
Fragment
, 17th century
cotton and wool Technique: slit tapestry

A small fragment of figured tapestry with stylized plant details on a crimson ground.
Textile
, 1775–85
linen warp, cotton weft Technique: block printed on plain weave

Curving stem with flowers and leaves on a picottage and vermicular background. Black, mustard, red, and  blue.
Handkerchief
L. & G. Cramer, German, 1876
cotton Technique: printed by engraved roller on plain weave

Commemorative handkerchief made for the Centennial Exhibition of 1876. In the center is the Memorial Hall Art Gallery surrounded by roundels containing the Agricultural Hall, Horticultural Hall, Machinery Hall, and the Main Exhibition Building.  Between the two top roundels is an eagle with a shield flag and a banner clasped in its beak that reads "E Pluribus Unum." Border is orange while the exhibition buildings are black and white.
Table cover
, ca. 1840
wool Technique: block printed on plain weave

Bold design of central medallion surrounded by a full border. In black on red.
Border
, ca. 1810
Block-printed and flocked on joined sheets

Wide central band of vining geraniums. Narrow top band of rope twist. Bottom band of chintz. Printed in green flock, blue, pink and yellow on white ground.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Alternating large and small floral bouquets in a vase connected by foliate swags printed in shades of green, white, and metallic gold on a patterned green background
Snuffbox
Chelsea Porcelain Manufactory, English, 1745 – 1784, 18th century
porcelain, vitreous enamel, gold, brass, diamonds?
snuffbox

Box in form of woman's head with small 18th-century bonnet and black domino mask; decorated in natural colors in white porcelain; eyes set with rose diamonds; hinged cover of Battersea enamel at back of head, decorated with polychrome flower sprays; gilt metal rims with flame mouldings and twisted gilt wire thumb-piece.
Fragment
, 17th century
silk Technique: 8-harness satin (red) patterned by weft floats (yellow), alternate shots of which are complementary (dark and light blue); floats were bound on the front in plain weave (now worn off)

Fragment with vertically symmetrical pattern of rows of a double-headed bird with outspread wings and holding arrows in its talons. Floral vines make an ogee pattern.
"What is this bill? Give it me to look at."
John French Sloan, American, 1871 – 1951, 1911
Charcoal, brush and gray wash on wove paper
Drawing

A male figure in a frock coat and top hat stands at right. He is being questioned by a male figure wearing a white apron at left. A female figure wearing a kerchief stands behind a counter. The setting is a small dry-goods or grocery store.
Quilt
, mid- 19th century
cotton Technique: roller printed, quilted

Small quilt of printed cotton with the face in a foliage design of brown, green, red, and light blue. Foliage appears in irregularly curved enframements. Reverse has small scale design of red flowers on a light brown ground. Bound in woven tape.
Religious Figure
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on cream paper
Drawing

Man in robe praying, sketched from different angles, some kneeling some standing
Sampler of embroidery and crochet
, late 19th century
cotton Technique: embroidered in satin, fishbone, buttonhole, running, cross, and double running stitches, with deflected element work, withdrawn element work, and looping on plain weave foundation

Three embroidered samplers, a crochet sampler, and a tatting sampler all mounted on one piece.  Eight tatting patterns. Ten crochet patterns. One of the embroidered samplers is signed "P.S." "712".
Sampler
Peggy Dodge, American, b. 1774, 1785
silk and wool embroidery on linen foundation Technique: embroidered in cross, satin, stem, chain, feather, Rumanian, buttonhole, surface satin, half cross, and eyelet stitches on plain weave foundation

The center field contains bands of alphabets and numerals embroidered in black with the inscription Peggy Dodges Sampler. A wide border contains flowering plants, baskets of flowers, butterflies, female figures, and a house in a landscape, embroidered in many colors and with the ground fabric completely covered.
Tea or Coffee Cup and Saucer
Royal Worcester, English, established 1751, 1903
porcelain (bone china), vitreous enamel, gold
cup and saucer

Tea cup with straight sides and loop handle. Cup and saucer decorated with spiraling bands of conventionalized florals and geometric gilding.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on off white paper
Drawing

Brown branch at center of page with orange flowers all around, topped by green foliage. Branch of light blue, smaller flowers placed in front of brown branch.
Tumbling Blocks
, 1870–79
silk Technique: pieced and sewn patchwork of woven fabrics Label: Pieced and sewn of woven silk fabrics
Patchwork fragment

Fragment of a quilt top in "Tumbling Blocks" pattern, made from small diamond shapes stitched together to create the illusion of cubes. The woven pieces are in silk stripes, plaids and a few small floral patterns.
Tile
Paul Revere Pottery, American, 1908 - 1942, 1913
Glazed earthenware

Glazed tile depicting a green three story house in a neighborhood. Underneath the image says: "Hartt House Hull Street".
Coverlet
, 17th century
tussah silk embroidery on cotton foundation Technique: embroidered in chain stitches on plain weave foundation Label: cotton embroidered in tussah silk

Rectangular linen coverlet embroidered in yellowish silk on an off-white ground. Eight cartouches showing a mixture of European and Indian figures of hunters on horseback and on foot, with exotic animals and vegetation. Devil-like figures with horns appear throughout. The bottom vignettes contain scenes from the biblical story in which Judith severs Holoferne's head to save her people. Figures fill all of the space inside and outside the scrolling framework of the cartouches.
Cord
, 18th century
linen, silk, wire

Buds and flowers made of ribbons and silk floss fastened closely to linen cord.
Corner Design for Mosaic Floor
Frederick Krieg, American, b. Germany 1852–1932, ca. 1900
Brush and watercolor, black gouache, graphite on white wove paper
Drawing

Corner border design with fleur-de-lys ornament.
Sidewall
Janeway & Carpender, New Brunswick, New Jersey, est. ca. 1872, 1890–1900
Machine-printed

On textured paper, robin's egg blue moire ground, with two vertical bands blue ribbons, pink roses, green foliage.
Sampler
Increase Giberson, English, 1796
silk embroidery on linen foundation Technique: embroidered in cross, satin, stem, roumanian, and half cross stitches on plain weave foundation

Within a curving border of carnations and tulips two texts, flowers, parents' names and initials.  At bottom large house on lawn with sheep.  This looks like an English prototype of a later Pennsylvania work.
study of a male costumed figure
Elihu Vedder, American, 1836 – 1923, ca. 1890
Sanguine crayon, white chalk on salmon-pink paper
Drawing

Horizontal rectangle. Full-length figure of a boy in costume, lying prone, facing right in profile. He is blowing a horn or flute.
Garden seat
Mintons, 1882
Molded and glazed earthenware

Cylindrical with swelling sides, flat open base, flat top. Molded overall with woven wicker pattern in relief, and with flat crossed bands painted to resemble mosaic inlay in black, gray, brown, blue, and green. Wicker sections left white, with clear glaze. Top pierced in center with three holes within circle to form hand grip.
Sidewall
, 1875–1920
Machine-printed

On light blue ground with vertical blue-edged mica stripes, alternating lozenge-shaped medallions with blue & white floral edge; metallic gold center field with bouquet of pink, red and blue flowers and green leaves; medallions are linked by vertical mica ribbons at the top and bottom, and small white daisy chains forming a trellis pattern.
Textile
, late 16th–early 17th century
silk Technique: 5-harness satin damask

Medium-scale classical urn and flowers in roughly ogival framework formed by stylized leaf sprays at angles and crowns at tangent points. Double cord selvages.
Fragment
, 100 BC–800 AD
Technique: plain weave with continuous supplementary warp and weft patterning

Fragment with a plain blue cloth background with red geometrical motifs.
Folding Traveling Knife with Ivory Handle
, 1535–50
ivory, steel, gold plated, brass
knife

Straight-sided blade, the upper edge curving sharply towards the point. The blade is engraved and gilded, a flower spray on one side, a monk or saint looking up to the sky on the other side; blade folds into back of ivory handle. Small brass caps at the hinge. The handle is carved in the shape of the torso of a monk, bold with beard, holding a staff with his arm and a Bible and a church in the other hand. (Possibly Dominic [1170-1221] holding the Lateran Church?)
Geometric Pattern
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

This geometric pattern uses tool punching to cut out the geometric shapes that create a lattice like complexity with other square like compositions alternating between the weave.
The Windmill on the Road
George Hitchcock, American, 1850–1913, 1887
Graphite, pen and black ink on cream-colored paper
Drawing

A windmill is seen isolated on the bank of a body of water. Small trees before it, and another windmill in the distance.
Figure of a Male Performer
Spode Ceramic Works, English, established 1776, late 18th–early 19th century
porcelain, vitreous enamel, gold
figure

Leaning forward with right hand upraised and left foot advanced, the figure of a gesturing man dressed in a violet-flowered cloak lined with yellow and with turquoise collar and cuffs, white shirt, black knee-breeches, white hose and red-brown shoes. Black ribbon secures grey hair.
Ceiling paper
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper, liquid mica

Circular medallions composed of scrolling acanthus foliage with petite metallic gold floral centers alternates with a smaller scrolling motif. Printed in green, white mica, and metallic gold on light yellow ground.
Study for "Fortune"
Elihu Vedder, American, 1836 – 1923, ca. 1899
Pastel crayon on paper
Drawing

Sketch of drapery falling over an arm.
Border
, 1550–1600
linen Technique: withdrawn element work with needle lace, edging is bobbin lace of continuous braid like

A row of intertwining hexagons enclosing alternating male and female figures. Geometric edging on three sides.
Die Thierwelt (The Animal Kinggom)
Henri Frederich Müller, German, active 19th c., ca. 1835
Marbled paper slipcase with applied printed label
Game

Booklet of ten leaves giving directions as to names of animals and how to play the game; title in German and French.
Frieze detail of winged figure
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Winged figure wearing a sort of chiton. The figure's legs are spread wide and the right leg is exposed. The right hand holds some of the figure's costume, and the left is raised. Part of an escutcheon is visible on the right side.
Trimming
, mid–late 18th century
metal strip, metal strip wrapped around silk core Technique: bobbin lace, metallic

Wide border of metallic lace in bold design of large diamond shapes alternating with large floral forms. Outer edge is scalloped.
A Roman Soldier Fighting one of Hannibal's Elephants, pl. 7 in the Venationes Ferarum, Avium, Piscium series
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or after
Engraving on laid paper
Print

Horizontal rectangle. Public combat between armeed warriors and an elephant. All of the warriors have fallen, except one, who faces the elephant, his sword upraised. A portion of the elephant's trunk has been severed. Spectators in enclosures, right and rear. Left to center, below: "Ioan. Stradanus invent. / Carol de Mallery Sculp. / Phls Galle excud." Below: "ANNIBAL IN BELLO CAPTOS CONFLIGERE COGIT..."
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Delicate floral sprigs in pink and white with light green stems and leaves enframed within quatrefoil-like motif. The framing element contains four fleur-de-lis along with small flower motifs. These garland frames are connected to smaller garland frames that encase polka dot designs. In between the large and small frames are five pink and white flowers in a square formation, with one larger flower at the center. These flowers mimic the even larger flower bunches that are the focal point of the sidewall.
Sidewall
, 1860–70
Machine-printed paper

Bright green and tan rectangular medallions alternating with inset panels. Printed on light tan ground.
Umbrella Handle
Henry Rado, American, 1859–1921, late 19th century
silver
handle

Upper part of umbrella stem in the form of a gnarled branch with pricked symbols on edge, with slightly flaring repousse silver handle with four floral panels and a foliated cap.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, applied mica flakes

Flitter frieze. Large floral medallion alternating with smaller floral medallion. Each contains rose swags. Printed on broad striped background, with scrolling foliate band and petite rose swags across top edge.