biglam/cooper-hewitt-alt-text huggingface dataset:
Sampler
, 1879
silk, cotton, and wool on plain weave cotton, knitted cotton, and machine-made cotton Technique: embroidered, sewn and knitted

Sampler divided into three vertical panels. Panel at left: bands of withdrawn element work with overcasting, cross, herringbone and running stitches; insertion of woven tape; looping and buttonhole stitch (placket); insertion of woven rick-rack and tape; insertion of embroidery (looping and running stitches) and cutwork with needle-made fillings; insertion of crochet and woven tape; looping and buttonhole stitch (placket): insertion of folded woven tape: panel of embroidery (buttonhole, back feather stitches): insertion of gathers: bands of withdrawn element work with overcasting and running stitches alternate with fether and herringbone stitches: fringe.
Cenral panel (from top): panel of mended knitting (squares cut out and discarded): knitting patterns: embroidery on machine-made net (running, satin, and looping stitches) plus patch  cut out and reinserted and darned hole: band of embroidery (double running): darning sampler (center of crossed cut out): and eyelet stitch: scalloped edge (buttonhole, stem,, satin, double running).
Patches and curved hems: band of embroidery (chain, running, knots, satin, double running): insertion of machine-made lace and looping: insertions of a crocheted medallion made of woven rick-rack and looping: insertion of two rows of hairpin lace (looping) crocheted together: applique of braid: canvas work (satin, running, eyelet, back, upright Gobelin, chain, cross, half cross, Roumanian, herringbone): panel (satin, stem, tied back, bullion knots) lace border made of two machine-made tapes and crochet.
Miser's purse
, early 19th century
silk, metal Technique: crochet

Purse or long sac of crocheted dark green silk, ornamented evenly with gold beads; opening at side controlled by two rings.  Small round gold drop at each end.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Two alternating motifs: one more round medallion and one more square medallion, all conected by red and gray scrolls.
Sidewall
, 1850–1900
Machine-printed

Red quatrefoil motif, outlined in orange, set within diaper framework composed of smaller tan quatrefoil motifs.
Fragment
, late 19th century
bark, raffia Technique: bark, beaten and/or chewed, pieced with raffia stitching

Fragment of bark cloth with a center field of alternating black and natural triangles, with borders on two sides of natural color with a single black stripe in the center.
Frieze
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed paper

Alternating large foliate medallions connected and outlined by foliate scrolls. Small inset medallions in bottom of one medallion. Ground is dark pink. Printed in dark reds, pinks, and black. 
Printed in top selvedge: "Antiseptic Pat'd" "8.9.04" "Wm Campbell Wall Paper Co"
Printed in bottom selvedge: "596"
Tassel
, 17th century
linen Technique: braided and knotted

Pear-shaped linen tassel, braided and knotted. Double loops attached to pear-shaped unit from which hand two elaborate female figures, attached and alternating with equally elaborate design units. Bell unit attached to pear-shaped center.
Sampler
, 1830
silk embroidery on linen foundation Technique: embroidered in cross stitches on plain weave foundation

Within a curving acorn vine border, isolated motifs including an alphabet and crowned monograms, a pair of affronted rabbits, and a coat of arms of the city of Amsterdam.
Native American Motifs
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, ca. 1910
Silver
Matchsafe

Oblong, curved sides, top and bottom, featuring raised decoration of Native American Indian motifs, central reserve displays feathered headdress, necklace strung with animal's teeth, arrowhead at bottom center, flanked by 2 tomahawks, lid features smaller necklace and other motifs, monogram inscribed on central reserve; reverse features Native American's face in central reserve with identical surrounding decoration. Lid hinged on side. Striker in recessed groove on bottom.
Bookplate for Leonard Cox
Kenyon Cox, American, 1856–1919, ca. 1900
Pen and black ink, brush and white gouache on thin, light brown paper
Drawing

Nude female figure riding a unicorn with a stylized fish tail. Other figures, including putti, to either side. Below: "LEONARD COX - HIS BOOK"
Panel
, 19th century
silk, metallic Technique: slit tapestry

Fruit and flowering trees growing from rocks on a dark blue background. Two cranes and two bats in sky. Some painted details.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Various lines, with boxes or a ladder-like shape on the left. 
Verso: Two figures, one kneeling on the left and the other upright with arms raised, possibly crucified.
Tassel
, 17th century
linen, metal wire Technique: braided and knotted

Tassel of linen, braided and knotted. Single loop attached to pear-shaped tassel, from the middle of which are suspended three elaborately knotted human figures attached and holding on to one another. Figures decorated with metal wire and pailettes throughout.
Frieze
, 1810–25
Block-printed on joined sheets of handmade paper

Frieze on beige ground, diamonds of yellow-gold-tan shaded; foliage in white scrollwork diamond frame.  Green and black bandings, beading and bunches of flowers in brown, top of broad arches, paler beige leather like leaves.

H# 226
Sidewall - sample
, 1906–07
Machine-printed

All-over stripes with overlay of fine lines. Printed in shades of green and black.
tray
Grieksche A [de] (the Greek A Factory), Delft, Netherlands, founded 1658, 1757–1765
tin-glazed earthenware

Flat 8-sided tray with raised rim, on three flattened ball feet; painted in underglaze blue on white with center roundel showing dragonfly, rocks, flowers, surrounded by 8 panels painted with "precious objects" alternating with flowers; feet painted blue.
Hôtel de la Monnaie, Plate 36 of Vues Pittoresques de Principaux édifices de Paris
Mlle Guyot, active 18th c., 1792
Engraving, brush and watercolor on paper
Print

View of the Hotel de la Monnaie from across the river; three small boats on the water. Title, artists' and publisher's (and architect's) names below.
Cord with tassels
, late 16th–early 17th century
linen Technique: braided and knotted

A long cord completely covered with knotting and braiding, to which are attached two equally large tassels arranged in tiers of elaborate knotting and braiding.
Ornament Design with a Heraldic Achievement
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

An ornament design incorporating a heraldic or armorial achievement to the right. The coat of arms is a crowned lion, framed by a helmet and scrolling foliage. To the right a large ornament design featuring a female terminal figure or herm, connected to scrolling foliage, acanthus leaves, and rosettes, with a perched bird. The plate is numbered and signed.
Project for the Decoration of a Frieze
, early 19th century
Graphite, pen and ink on paper
Drawing

A fantastical head is shown at left, holding a fruit festoon, the other end of which passes the right arm of the bust of a winged female genius holding a cornucopia. A part of an acanthus rinceau forms the background at left.
Studies of Meadow Flowers
Samuel Colman, American, 1832–1920, ca. 1880
Brush and watercolor, graphite on cream wove paper
Drawing

A thistle, right, with sketches of its leaves, far right and left. A wild aster, clover, and cowslip, center, with notes on colors.
Church Gate Design
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

A design for a wrought-iron church gate with two large double doors, topped with a segmental (arched) pediment decorated with a pyramid surrounded by rays of light and clouds. The doors are decorated with a diaper and fleuron pattern, scrolling bands, fleurs-de-lys, and two oval roundels with the French royal cypher of double L's. The doors are flanked by fluted pilasters and geometric, wave, and scrolling bands. The plate is signed and numbered.
Moonlight
Frederic Edwin Church, American, 1826–1900, 1860–65
Brush and oil, graphite on heavy cardboard
Drawing

Landscape and atmosphere sketch showing a view of a full, orange moon at center that shines warmly over a darkened, nocturnal landscape of rolling hills. A dimly lit tree in right foreground serves as a framing device. The clouds above the moon reflect its glow.
Vase
, ca. 1825
Enameled tôle

Square in plan, flaring toward top, with rolled edges. Red field, decorated on three sides in gilt, with trophies, and a band of grapes in gilt on all four sides.
Autel
A. Le Canu, French, active 1746 – 1768, 1768
Etching and engraving on laid paper
Print

Design for a Neoclassical altarpiece featuring a sculpted male saint holding a cross within an arched niche, framed by a garland of laurel leaves, columns, a pediment with a central cartouche, topped with a cross, flowers, and two flaming vases. A scale below the design. The plate is signed, numbered, and titled.
Design for an Altar
Filippo Marchionni, Italian, 1732–1805, ca. 1780–90
Pen and brown ink, brush and gray wash, black chalk, streak of brown chalk on white laid paper
Drawing

Vertical rectangle. The mensa, altar stone, stands in the center of a sockle part, upon which a second sockle row stands. A small tabernacle stands in front of it, containing in its central part a reliquary shrine. The retable has the shape of an arch, which is flanked by three embedded columns on either side supporting the entablature and the broken pediment. Figures sit upon the cornices. Two angels support an ovoid with the dove in front of the central part, upon the entablature of which two more sit. Cherubims are on top of the ovoid. A small angel sits under it.
Guéridon propre à porter des torchères
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a pedestal for a two-arm candelabra, decorated with ornament motifs including a standing, draped classical female figure, fluting, an ionic capital, acanthus leaves, and garland. The plate is signed.
Orphrey band
, 16th century
silk, linen Technique: combination of two structures; 4&1 satin plus twill

Repeat of a medallion enclosing a scene of the Resurrection.
Two stories of a steeple; doorway for a villa
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink on off-white laid paper
Drawing

Left row: above is the elevation, below the plan of the steeple. Right row: above is the left part of the elevation of the central part of the doorway; below is the elevation of nearly an entire door (compare to -1185). On verso, horizontally: two rough sketches of elevations.
Sidewall
Arthur & Robert, 1791
Block-printed on handmade paper

Vertical rectangle. Fountain from which drink confronted reindeer with lowered heads. At top, arch with radiating fluting, from which hang two harps. This is the top portion of a much larger arabesque design.
Tsuba
Kawaji Tomotomi, Japanese, 1754, early 18th century
Iron, gold

This iron tsuba is kaku mokkō (square with lobed corners) in shape and has a kaku mimi (square outer rim). Marubori-Sukashi  (round openwork carving) shows a design with a military baton decorated with kin hira zogan (flat gold inlay)  

At the center is the nakago-ana, an opening through which the sword passes. Surrounding this is the seppadai, a flat oval area that is migaki (burnished). The outer rim is round, or maru-mimi. On either side are ryō-hitsu, openings for the kozuka (utility knife) and the kogai (skewer tool). At right is sashi ura, the side which faces the blade, whose opening takes the hangetsu-kei (half moon) shape. Opposite is sashi omote, the side which faces the sword hilt. Its tri-lobed opening is of the suhama type, and symbolically represents the coastline of Horai, the holy island of the Immortals.
Border
, 1840s
Machine printed and embossed paper

Three borders printed across width of paper; Greek key design printed in black on embossed gold ground.
Design for a Sepulchral (Funerary) Wall Mounted Monument
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

A design for a sepulchral (funerary) wall mounted monument with classical motifs featuring a rectangular frame topped with a pediment, a cartouche, and two putti on top. Flaming heart vase finials on either side. The ornament includes masks (mascarons), festoons of leaves, s-scrolls, a medallion, gadrooning and leaf moldings. A scale below. The plate is numbered.
Fragments
, late 19th century
Technique: machine embroidery

Transparent substrate embroidered with white thread with alternating rows of single flowers with stems. Scalloped border with small rosettes surrounded by curlicues.
Decoration du Lambris du côté du Sopha du Salon de Brunois
Jean Mansart de Jouy, French, 1705 - 1783, 1750–75
Etching and engraving on laid paper
Print

An architectural design print depicting an interior wall elevation for a Drawing Room in the Châteaux de Brunoy, designed by Jean Mansart de Jouy for Jean Pâris de Monmartel, marquis de Brunoy. The wall features a central sofa set into a niche flanked by paneling, doors with overdoor paintings, and a cornice. The paneling (boiserie) is decorated with rococo motifs - feathers, c-scrolls, s-scrolls, fleurons, scrolling leaves, shells, floral diaper pattern, and flowers. The plate is titled, numbered, and signed with a scale below the design.
Esther before Ahasverus
, 1750–1775
Brush and watercolor on paper, mounted
Print

Ahasverus rises from his throne, at left, to extend his scepter to Estcher who is fainting and supported by women. A guard with a spear and an old man are by the throne. Trees at right and left. Bottom: "Esther devant assvarus" "à Paris chés Charpentier rue St. Jacques au Coq. Avec privilège du Roy".
Lettre sur les Eléments de la gravure á l'Eauforte (Letter on the elements of etching), Page 1
Adolphe-Martial Potémont, French, 1828 - 1883, 1864
Etching on paper
Print

One of five sheets on the techniques of etching with illustrations of various processes involved, as vignettes.
Medallion
, mid-19th century
plaster

angel holding sleeping infant.  tan colored stain on surface.
Design for an Engraved Tazza with a Portrait of the Duke of Alba as Commander of Folly
Theodor de Bry, Flemish, 1528 – 1598, ca. 1578
Engraving on white laid paper
Print

A bust of the Duke of Alba and the head of a fool in the center. Grotesque representations on black ground outside. Inscriptions in French and Low German.
Lit à la Panurge
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Two designs for four-poster canopy beds. Above, a view from the side of the full bed. The canopy (baldachin) is topped with feathered hat finials, and acanthus leaf clasps. The bed curtains are tied to the poles with bows. The headboard and footboards are the same height, the back of the board is upholstered with floral motifs, hanging festoons of flowers, and the frame is carved with an acanthus leaf clasp and feathered hats. Below, a design for a four-poster bed, detailed view of the bed without the canopy visible. The bed linen features floral motifs, hanging tassels, and rosettes. The headboard and footboard are the same height and feature feathered hats. A scale below each design. The plate is titled, numbered, and signed.
Interior Wall Elevation
L. Janneret, French, active late 18th century, 1788
Etching and aquatint on laid paper
Print

A wall elevation featuring rococo and neoclassical motifs. In the center a fireplace with an over mantel mirror or plain panel and a panel above featuring a vase and two putto blowing horns. Candelabra on either side of the mirror with winged putto. A set of double doors on either side of the fireplace. The doors each have four panels with only the smaller horizontal panels featuring ornament - birds, and heads of Apollo. Smaller narrow panels flanking the doors featuring arabesques - trophies of musical instruments, flowers, fruits, and ribbons. The overdoor panels feature classical female figures and putto. At the cornice level, a frieze with feathers, flowers, and olive branches. The plate is numbered and signed with a scale along the right margin of the plate.
Alterations to 14-15-16 Washington Square, New York, NY, Sketch No. 23
Maynicke & Franke, March 20, 1922
Graphite on cream paper mounted on board
Drawing

Drawing shows several designs, for the alterations of two buildings, including a door, balcony, iron fence, and 2nd story window, and 1st floor lintels. There are measurements throughout. Upper left: BED RM. TRIM IN #14 WASH SQ.; upper center: TRIM IN #15 WASH. SQ / 3RD FLOOR; upper right: OUTLINE OF TYPICAL WINDOW / JAMB IN #14 WASH. S.; center: DOOR ON 2nd FL #15 WASH SQ. / ¼" SCALE; lower left: MEASURED DETAILS  OF NOS 14 & 15 / WASHINGTON SQUARE N./ BALCONY RAILING. AT #14 WASHINGTON SQ.; lower right: IRON FENCE AROUND #14 & 15 WASHINGTON SQ & ON / FIFTH AVENUE; lower right: ELEVATION OF LINTELS OVER UPPER / STORY WINDOWS IN #14 & 15 / WASHINGTON SQUARE
Maison de Mr. Moitte à Mantes par Mr. Happe Architecte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a house with two exterior elevations, and a sectional view of the interior. The house features neoclassical motifs, columns, statues, domed ceiling, coffering, and decorative paneling. The plate is titled, numbered, and signed.
Veuë generale de Liencour
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Bird's-eye view of the chateau of Liancourt within its formal garden and landscape. In the foreground the bridge and gate leading over the dry moat through to the inner courtyard. Parterre formal planting and fountains flanking the chateau and beyond. The gardens stretch far back into the distance with landscape beyond. Figures, horseman, and a horse drawn carriage in the foreground and throughout the grounds. The plate is titled.
Sidewall
, 1840s
Block-printed paper

Gothic Revival; Framework of vines alternating large and small motifs. Large motif alternates between two figures in a portico, and two figures surveying a landscape with Italianate architecture; smaller motif represents a masonry wall.
Seated Artist
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1635–1650
Pen and ink on paper, lined
Drawing

Seated artist sketching a putto and skull.
The Narrows, North Fork of the Rio Virgen, Utah
Thomas Moran, American, b. Britain, 1837–1926, April 1875
Wood engraving on cream wove paper
Print

View of landscape from one side of narrow round opening in mountain. River running below and very tall cliffs in middle distance. Snowy peaks in background.
Design for a Chimneypiece at Badminton House, Gloucestershire
, ca. 1773
Graphite, pen and ink, brush and watercolor on paper
Drawing

The fireplace is laterally framed by two pilaster strips of colored stone. They are framed by tori in gilded metal as is the upper edge of the opening. Fantastic plants in gilded metal are shown in the stripes. Upon the same base as these stand beside them caryatids holding lamps of gilded metal. They are shown in profile. Above is an entablature with a frieze of colored stone, with gilded metal. Bucrania hold festoons over which are objects resembling a dipper, a disk, a pitcher. In front of the frieze and the adjoining moldings is a relief with five dancers, after the "Borghese Dancers," a Roman relief now in the Louvre. Base line. Below are the plans and the scale (in English feet) with the figures added in ordinary ink. Framing line and stripe.
Studies of a Leg, Foot, Arms, Hands, and a Baby
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1773
Crayon-manner with red ink on laid paper
Print

Studies of a young child's limbs (two arms, two hands, one leg, and one foot) and a full body, from a series of figure studies for the education of artists and amateurs, printed in red ink in the crayon manner. The plate is numbered.
Lantern
, 1860
Tin, brass, glass, cotton webbing

(A) Ovoid clear glass shade cemented to pierced tin top and bottom.  (B) oil lamp with brass cap, cylindrical and fitted at sides with flat brass springs. (C) curved shapped plate with colored webbing strap, to carry (A) and (B) against the rounded middle portin of a railway train conductor. Oval brass plate attached to (C) reads: "S.J. SHAW / & / H.J. BATCHELDER. / PATENTED FEB. 28 1860 / MANUF'D BY / S.J SHAW & CO / MARLBORO, MASS."
Oval Diamond Brooch
, 16th century
Pen and ink, brush and sepia on paper
Drawing

An oval diamond is framed by an escutcheon, having outside four volutes with backwards disposed scrolls.
Sampler
Elanor Guest, early 18th century
silk, metal-wrapped silk and hair embroidery, linen foundation Technique: satin, Montenegrin cross, long-armed cross, knot, stem, chain, rococo, and running stitches on plain weave

Alphabets, floral designs, verse, signature and Virgin and Child with Shepherds.
Plate 11, from "Suite de Douze Pêcheurs et Chasseurs"
Jean-Baptiste Pillement, French, 1728–1808, 1771
Etching on paper
Print

Decorative landscape with figure holding net on a pole from which a large fish, caught on a hook, is suspended. Under giant umbrella. Two framing lines.
Water color; A fruit stall in Naples at Christmas
Saverio della Gatta, Italian, 1777 - 1829, 1828
Black chalk and various water colors on paper.
Drawing

Horizontal rectangle. The fruit boxes are displayed at left outside of a house at a square. A scaffold is erected on poles which are covered with leaves. Two men serve the customers. A woman sits upon a chair in the left corner; a boy stands beside her. A girl and a boy with a dog leave the shop at right. Framing lines. Signature: "Gatta 1828."
Sketch of a Standing Man
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Sketch of a male figure, shown from the left back from below. The man wears a coat, but no trousers.
Albornoz Fortress, Narni, Italy
Frederic Edwin Church, American, 1826–1900, October 1, 1868
Graphite on tan laid paper; verso; graphite
Drawing

Landscape and architecture sketches showing multiple views of a castle in the mountains terrain near Terni, Italy. In the upper portion, a view of a barren prominence surmounted by a faintly visible castle is shown. In the middle register, that same castle is viewed more closely, with one prominent rectilinear tower rising above the others. Below, a loose sketch of two trees is also included. Along the lower margin and oppositely oriented, another sketch of the same castle is visible.

Verso: Multiple architectural sketches in or around Terni, Italy, showing four views of buildings with arched windows at center, two elaborate chimneys along upper margin, along along lower margin and oppositely oriented, a sprawling castle on a hill is loosely rendered.
Study of Titian for "Titian Showing the Entombment to Charles V and Clement VII"
Daniel Huntington, American, 1816–1906, 1872
Graphite, white chalk on brown wove paper
Drawing

Portrait of a man with a short beard and mustache, in slightly left profile, wearing a hat. Verso: Woman seated facing frontally, her hand to her chest.
Decoration of a Panel
Giuseppe Barberi, Italian, 1746–1809, 1775–90
Pen and brown ink, brush and brown wash on cream laid paper, lined
Drawing

Below, in the center, is a circular altar; beside it are two figures upon bases. They are connected with the altar by a festoon and with each other by a hemicycle. Upon the latter stand two gaine candelabra with winged busts on top which support the oblong frame of a landscape. Beside it are stems rising from scrolls of the candelabra, dividing above into scrolls. Above, are two half figures raising a wreath over an eagle. Two putti stand upon the frame.