biglam/cooper-hewitt-alt-text huggingface dataset:
Border
, late 19th century
raffia Technique: plain weave, pieced, pom-poms

Natural, brown, and rust-red strips of plain woven raffia stitched together on long edges, finished with buttonhole embroidery and raffia pompoms.
Countryside with Stream and Trees
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Countryside with river in center foreground extending back and curving around to the right.  At the river's bend is a stand of large trees. In far distance at left, a dark line of trees on horizon.
Panel for women's trousers
, 18th–19th century
silk embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave

Naqsh embroidery of polychrome silks, predominantly red and green, solidly worked in cross stitch on cotton canvas in diagonal rows of lozenges separated by narrower diagonal bands; all forms built up of minute floral motifs. Vertical border at one end.
Wood Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Thinly carved strips form an abstract image of wood. The edges of the stencil seem to be faded or worn away from use.
Folding Fork and Spoon Bowl with Eagle Finial
, early 17th century
silver
fork and spoon bowl

Folding fork and spoon bowl. Fork (a), three curved tines, short, rounded shoulders, decorative chiseling at the joint and neck. Hinged at the neck, locket engraved with floral pattern. Square handle with eagle on top. Spoon bowl (b), large oval-shaped spoon bowl with three rings on the back which can be slotted over the tines of the fork.
Chintz
, 18th century
cotton Technique: mordants for 3 reds and black applied by pen and brush; madder dyed; 2 blues applied by brush over resist; yellow applied by immersion over resist; madder in orange stripe applied by block; chintz on plain weave

Curving lace and flowers on a yellow ground.
Sidewall - sample
, 1906–08
Machine-printed

Repeating landscape scene, with large single tree in center. Columns with foliage growing out of cappitals. Printed in colors on white ground. Surface overprinted with fine black lines, giving impression of being a textile.
La Maison qui brule
, ca. 1785
cotton Technique: printed by engraved copper plate on plain weave
Textile

Two prominent images, a wine press at the left and a burning house at the right with other spaces filled with people, buildings, and other rural scenes. In red on white.
Three Designs for Wall Sconces in the Chinese Taste, Plate 48 in One Hundred and Fifty New Designs
Thomas Johnson, English, 1714–1778, 1756–57
Etching on cream laid paper, bound in book
Print

Three designs for wall sconces in the Chinoiserie style. Left: a Chinese man sits above branches and scrolls, a clock below and a candle right and left. At center:  A rocaille head, a candle, right and left center; Right: a small windmill with branches around and a mule below.
Sketch of Ocean with Tall Vertical Cliffs
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Flat ocean with three tall cliffs at right.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Stylized floral stripe design. Very simple flower motif on ribbon stripe. Printed on background having wood grain effect.
Pleated fan and case
Tiffany & Company, American, established 1853, 1910–1920
Silk leaf embroidered with steel sequins, mother-of-pearl sticks with steel piqués, mother-of-pearl washer

Pleated fan. White silk mousseline de soie leaf embroidered all over with small steel sequins. Mother-of-pearl sticks inlaid with small round steel piqué work. Guards have inlaid steel piqué decoration of graduated size. In white satin box marked "Tiffany & Co."
Design for Grotesque Decoration
Unknown, mid–late 16th century
Pen and brown ink, black chalk on off-white laid paper, mounted on laid paper
Drawing

The edges of the sheet are framed by candelabra (rendered in half form) composed of a variety of swags and animals, notably a pelican at top center; a monkey  wearing a jester's cap at upper left; a saytr at center facing left and climbing stairs; a duck and a dragon fly at center and two frolicking rabbits at lower right.
Frieze
, 1905–1915
Machine-printed paper

Scrolling acanthus assuming the shape of paisley. These motifs are joined by a foliated ribbon. Printed on a background that shades from tan at top to dark blue at bottom.
Sampler
, late 19th century
cotton Technique: crochet (interlooping)

Very long narrown sampler of fifty-nine knitted patterns in white cotton
St. Francis from façade of S. Silvestro in Capite
Vincenzo Felice, ca. 1759–70
Red chalk on paper
Drawing

Drawing after the statue by Vincenzo Felice of St. Francis on the façade of S. Silvestro in Capite in Rome. Figure in monk's robes holds a cross in his right hand and looks downward at it.
Sketchbook Page: Notes on Ancient Egyptian Gods and Goddesses
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Notes about Ancient Egyptian gods and goddesses, including Isis, on Recto and Verso.
Design for a Frontispiece, Allegory of America
Marten de Vos, Flemish, 1532-1603, ca. 1590
Graphite, pen and brown ink, red chalk, brush and gray wash on white paper lined with heavy laid paper
Drawing

Reclining figures, symbolizing American Indians, flank a bison head, forming adjuncts to a cartouche enframement. At either side, portrait busts of Amerigo Vespucci, left, and Christopher Columbus, right. Crocodiles form outer side extremities, left and right (left one may be a later addition).
Sheath
, ca. 1650
silver, enamel

1985-103-62-a: Tapered sheath, blue enamel surrounding silver flo...;     1985-103-62-b: Small blade straight-sided, the upper edge taperin...;     1985-103-62-c: Two-tined fork, curved shoulders, long neck with b...
Sampler
, 1708
silk embroidery on linen foundation Technique: embroidered in satin, eyelet, and threaded running stitches on plain weave foundation

Alphabets and initials in bright color. Decorative hem over withdrawn element work on four sides.
Frieze
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper, liquid mica

Large floral medalions enclose foliate medalions and connected by floral swags. Smaller floral swags are suspended from bouquets and run across the top.  They connect to smaller foliate medalions which alternate with larger medalions.  Metalic gold stipes of beads run across the middle of paper.  A gold and green stripe on bottom.  Modeled background.  Printed in green, gold and yellow.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Sketches of male figures, emphasizing the legs. Below, left: bust-length study of a man blowing a trumpet, facing right in profile.
Sujets et Liste des Objets de Dessert par ordre (List of Subjects for the Service on the Theme of Desserts by Order)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brown ink, red crayon on cream laid paper
Drawing

List, in three columns, of subjects for designs on the theme of different desserts.  Verso:  design of plate with a central roundel of two roughly sketched figures and a rim decorated with seven empty roundels.
Sidewall
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1847–48
machine-printed on machine-made paper

A floral striped paper. Wide bandings of wavy gray lines alternate with one banding of swagged floral garlands, one of rose sprigs over stripes formed of gray dashes. Blue dots, stripes, leaves, pink flowers, green foliage, on a white ground
Study of Seated Nude Figure
Louis Schaettle, American, 1867–1917, ca. 1900
Charcoal on light brown paper
Drawing

Seated female nude, right arm reaching downward, left arm extended to the right, head bent forward; study of drapery at right.
Sidewall - fragment
, 1820–50
Block-printed on joined sheets

Stripe of gray leaves with white veining surrounded by black strip, edged on either side by black simplified rosettes; alternates with diamond diaper of stepped white lines.
Border, uncut
J. & Comp'y., 1880–98
Machine-printed

Sample of two widths of border printed on one length of paper. On greenish-cream ground, brown geometric ornament, central banding of red, blue, pink and pale apricot flowers.
Fragment
, 17th–18th century
silk Technique: 5-harness satin damask, 4&1 satin weave

Short length of red damask in a symmetrical arrangement of large and small blossoms with scrolling leaves.
Overskirt
, late 19th century
raffia, hemp Technique: embroidered with buttonhole and pile stitches on plain weave

Center field of large squares of diamonds and trellis patterns in dark brown and natural pile embroidery. Wide border with interlacing pattern on three sides, edged with buttonhole embroidery in hemp cord.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Large waving scrolls with foliate scroll tendrils that alternate with other foliate scroll motifs. Each motif is filled with a simplified petal design, and the large waving scrolls have tendrils of the simplified petal design. Ground is light green. Printed in greens, yellow, white mica and gold mica. 
Printed in selvedge: "Janeway & Co."
Design for Wallpaper and Textiles: Flowers and Birds
, 19th century
Brush and gouache on gray paper
Drawing

Three branches oriented diagonally, upwards to the right,  with foliage and pink flowers on gray ground with flecks of white, representing snow. Bluebird facing viewer rests on central branch.
General Thomas Swearing in the Volunteers Called into the Service of the United States at Washington D.C.
Winslow Homer, American, 1836–1910, April 27, 1861
Wood engraving in black ink on paper
Print

A large group of soldiers stand at right with their right hands raised. The general stands before them, at left. A man leans against a tree in the foreground.
Design for Wallpaper and Textile: Flowers
, 19th century
Brush and gouache on cream paper
Drawing

Three rust colored flowers surround two gold and rust colored flowers. All on stems. On light gray ground.
Beating Cotton
, ca. 1815
Brush and watercolor on mulberry paper
Drawing

Figure of a Chinese man beating cotton on a broad, flat table. He is shown facing right in profile. Chinese characters in upper left.
Coverlet fragment
, early 19th century
wool, linen (or cotton) Technique: plain weave with supplementary weft patterning (overshot)

Large geometric pattern in square framework suggesting "Lover's Knot." In dark blue wool floats on a lighter blue linen ground; possibly a natural linen ground dyed at a later date.
Tile
J.G. & J.F. Low Art Tile Works, 1883 – 1902, late 19th–early 20th century
Glazed stoneware

Square molded tile of white clay, reverse impressed with inscription: "J.G. & J.F. Law/ Art Tile Works/ Chelsea, Mass. U.S.A.". Face of tile decorated with all-over pattern of angular coil figures, framed in irregular cell-like compartments. Brown glaze.
Reclining Woman
Eugene Andre Champollion, French, 1848 - 1901, ca. 1880
Etching on paper
Print

A half-nude reclining woman, lightly clothes in chiffon, her hair spread over a pillow. Half-length figure.
Textile
, late 18th century
cotton Technique: block printed (2 reds, 2 purples, yellow, brown and blue) on plain weave foundation

Part of a design of tree trunk and large scale flowers. Two pieces (each with a selvedge) seamed.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, mica flakes

Flitter frieze with large rose swag suspended from small architectural bracket. Background shades from tan at top to brown at bottom. The swags are highlighted with fragments of mica glitter.
Orphrey
, early 17th century
silk, metal, linen Technique: embroidery, couched gold and silver threads

Two sections of an orphrey embroidered in silk and metal on linen. Two Saints under gothic canopy. Figures embroidered in colored silks and metal against background of couched gold and silver. Upper figure, St. Andrew. Lower, St. Stephen? Sections framed in borders of couched metal thread and whole mounted on cardboard with border of 17th century cut and uncut red velvet.
Waistcoat
, late 18th century
silk Technique: embroidered and appliquéd

Gentleman's waistcoat of white ribbed silk has a small standing collar with revers and is cut straight across the bottom. Applied border of navy blue silk is decorated with single flower heads and covers the front collar, center front, pocket flaps, and the bottom edge. Body has small detached geometrical motifs while small clusters of leaves and flowers decorate the center front. Larger leaf and flower clusters with elaborately shaded ribbon garland decorate the spaces above and below the pocket flaps. Pockets flaps have applied pale blue medallions filled with a single large flower head.
Sidewall
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed paper

Foliate medallions arranged in diagonal row format.  Larger medallions set within framework of vining foliage containing smaller medallions. Dark pink ground. Printed in dark red, pinks and black.
Sampler
, 17th century
silk embroidery on linen foundation Technique: embroidered in running, double running, stem, satin, eyelet and buttonhole stitches on plain weave foundation

Bands of pattern with isolated motifs at bottom.
Design for Fountain with Coat of Arms and Equestrian Statue
François de Cuvilliés the younger, German, 1731 - 1777, 18th century
Etching and engraving on off-white laid paper
Print

Scene of a fountain with a coat of arms and an equestrian statue at center of a park, with well-dressed figures walking on the stairs around it. The plate is signed.
The Reeling of Silk
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1595
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink, brush and brown and black washes over black chalk, with corrections by the artist in opaque white paint, on laid paper
Drawing

Recto: Several women appear seated at tables on which silkworm cocoons are placed. They work at unwinding the cocoons, the thread being wound on large spools. A woman stands at right, holding a child in her arms. Another tends the fire in the left foreground.
Verso: A kneeling figure, at center, identified as Esther, kneels before a king, at left, identified as Ahasuerus. He lowers a crown onto her head. Many figures stand nearby, observing.
Ribbon
, early 19th century
silk Technique: warp printed

Ribbon with warp-printed design of closely-spaced flowers in rose, blue, brown and green. Green picot edges.
Lit à Colonnes dans le gout moderne
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a four-poster canopy bed (view from the side) with upholstered headboard. The bed linen and drapery are decorated with flowers, scrolling leaves (rinceaux), fleurons, flaming torches, lyre, arrows on shield with a heart, cornucopia of flowers and fruit, and festoons of flowers. The canopy is topped with feather finials. The bed curtains are drawn by and tied to the headposts. The plate is titled, numbered, and signed. A scale below.
Heraldic Achievement Designs
Nicolas Guérard, French, ca.1648 – 1719, late 17th–early 18th century
Etching on laid paper
Print

Seven designs for heraldic achievements supported by angels, putti, eagles, animals, birds, dolphins, and mermaids. With individual designs for animals in outline, including a goat, cow, and elephant. The heraldic achievement in the upper center has the French coat of arms in the shield, with the three fleurs-de-lys, royal crown, cross of the Saint-Esprit, arms and armor and flags. The plate is numbered.
Peep-Show Print: Venice
, mid- 18th century
Engraving, brush and wash on paper
Print

View of Venetian canal.
Project: Eagle displayed, with inverted wings, standing upon a French bicorne hat
Felice Giani, Italian, 1758–1823, ca. 1800
Pen and ink, brush and sepia wash.
Drawing

Vertical rectangle.
Frieze
, 1890–1900
Machine-printed, mica

Green, brown, gold printing on olive, mica finish.
View of the Palazzo Barberini; Six Landscapes by Vincenzo Martinelli; Sixteenth Century Capitals, Bologna
Felice Giani, Italian, 1758–1823, 1809–1910
Pen and bistre ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Recto: page divided into eight parts, from left to right: Palazzo Barberini shown from rear; view of seashore; two views of castle towns surrounded by mountains; all works by Martinelli.  At bottom: six left halves of capitals.  Verso: top: pitcher with handle on top; Dionysus represented on body.  Two-handled vase; "1814" written on it.  Pitcher with handle, shown sidewise.  Center row:  two-handled kraters.  Bottom row:  two-handled bottle.  Vase with snakes as handles.
Suite du Jardin de St. James
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating various garden buildings and structures including an elevation, plan, and section for a Chinese pavilion, and two elevations, a plan, and section for a bridge. section for a bridge. The plate is titled, signed, and numbered.
Printing roller
F. E. James Co., New York, New York, 1850–55
Wood, brass, felt

Close-set, repeating floral medallions. The complete design is drawn on the flat portions of the cylinder. Made for same paper as 1943-54-3.
View from Mount Salus, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Graphite on tan wove paper
Drawing

Landscape sketch showing the view of the Liguanea Plain and surrounding mountains near the city of Kingston, Jamaica, from Mt. Salus. A wooded ridge comprises the foreground, and descends from left to right across the composition. In the middle distance, the flat plain extends eastward toward the horizon until it meets the foothills of the Blue Mountains. Above, the sky is partially cloudy.
Rocaille Fountain Design
François Boucher, French, 1703–1770, 1736
Engraving on laid paper
Bound print

Folio 2, plate 2 of a series of 7. Design for a fountain. Rocaille marine design with figures of a triton, nymph, putti, and snake depicted with a large shell above and below, which serve to catch water. Grotto garden landscape indicated in background.
Arabesque Design
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Arabesque ornament design with neoclassical motifs featuring scrolling acanthus leaves, flowers, festoons of flowers and beads, fleurons, rosettes, vases, and a terminal angel figure. The plate is signed and numbered.
Design for a Long-Case Clock in a Niche
Charles-Nicolas Cochin the younger, French, 1715–1790, ca. 1732
Etching on paper
Print

The rich decoration of the clock refers to Apollo, who is seated upon a globe, which is surrounded by a band serving as a dial. Flanked by parts of French windows. The plane of the niche and clock is shown on the floor. Framing line. Signed: "A. Vassé invenit deli." bottom left; "C. N. Cochin Filius sculp." bottom right.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on cream laid paper
Bound print

Design for an upright symmetrical rocaille cartouche, the frame topped by a shell form and surrounded by tree branches and vegetation. Within cartouche, a garden scene with putti figures surrounding a sculpture of a female bust; architectural ruin with columns partially visible in the background.
Title Page and Two Trophy Designs
Jacques Ignace de Latouche, French, 1694 – 1781, ca. 1750
Etching and engraving on paper
Print

Title page and two ornamental trophy designs. The top includes an ewer, spear, a snake, a horn, grapes and vine leaves, all hanging from ribbons. The bottom includes a basket of flowers, roses, spears, flute, ribbons, and a musette (bagpipe). The plate is titled, signed, and numbered.
Plate 16, from Grotteßco in diverßche manieren (Various Grotesques)
Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, 1564
Etching on laid paper
Print

Grotesque panel with central oval showing two mounted warriors fighting and two dead men below. Above, Moses and Christ. On either side, trophies.
Four chalices
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At left the high foot is decorated with medallions, connected by festoons. The stem is a richly decorated baluster. Above it is a row of cherubim which support the bowl, whose lower part is decorated with festoons supported by bunches of ears of grain. Center: the stem is a standing angel, supporting with both hands upon his head the bowl. It has below a leaf calyx and is decorated with crossing ears of grain rising from the hands of the angel. A cloth hands from his left shoulder around his hips, forming below a background for him. At right, in smaller scale: at left, festoons supported by cherubim surround the foot. The stem has below the shape of a baluster, to which ears of grain are fastened by a ribbon. The bowl emerges from them. At right: the stem is an angular baluster. The bowl has a short foot and is decorated below by festoons supported by cherubim. Usual background.
Design for a Salon Wall
, ca. 1760
Pen and ink, brush and watercolor, graphite on paper
drawing

A folding door between two mirror wall panels.
Designs for two doorknockers
Richard de Lalonde, French, active 1780–96, ca. 1780
Pen and black ink, brush and watercolor on white laid paper
Drawing

Design for two doorknockers, scroll-shaped, decorated with acanthus leaf motifs. Bottom fills center of S-curve, example at right. Framing lines.
Project for a Fountain
, late 18th century
Pen and brown ink with, traces of graphite on off-white laid paper
Drawing

Poseidon stands upon a sea shell carriage drawn by three horses.
Design for a Brooch
Giovanni Sebastiano Meyandi, Italian, active 1762 - 1794, ca. 1765
Pen and black ink, brush and gray watercolor on paper
Drawing

Jewelry design for a brooch. A branch with leaves and blossoms, curved to the right; it springs from something like a knob: ribbons with a pearl between them.
Mountains by the Königssee, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 1868
Oil paint and graphite on tan paperboard
drawing

Landscape study showing a view of the Königssee in Bavaria, Germany, and the precipitous alpine mountains that form its abrupt shores. The emerald water of the lake extend from the foreground into the middle distance, where it meets steep mountainsides. On a small field on the shore at left, St. Bartholomew's Church is visible. At right, a massive, rugged slope extends out of the picture frame. Across a gully at center, a partially wooded, pointed peak is shown at left. In the background, a rocky, snowy, and rugged mountain range forms a high horizon.
Purse
, late 18th century
silk, steel Technique: embroidered

Melon-shaped purse of white silk moire with steel ornaments and steel frame.
Floral Ornament Design
Gabriel Huquier, French, 1695–1772, 1738–49
Etching on laid paper
Bound print

Sixth plate from a series of twelve designs for rococo ornament by Huquier. The design incorporates chinoiserie elements and is made up of branches with flowers and leaves and shell ornament. The plate is trimmed and pasted onto the album page. It is signed, and numbered.
Design for a Holy Water Spout
, late 18th century
Pen and ink, brush and sepia wash, gray, yellow watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a holy water spout attached to a wall, intended to be executed in yellow and white metals. The bowl is supported by two flying angels in clouds and has above a group of three cherubim in clouds, a fourth in clouds being covered by a strip of paper. Further up is the dove of the Holy Spirit, in clouds, with three groups of two cherubim each, in front of a glory, the rays of which form the background for the whole representation. Vertical graphite lines on both sides.