biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, 3rd–4th century
Mediun: Warp; S-spun linen. Wefts; S-spun linen. S-spun wool. Technique: slit tapestry with supplementary weft wrapping

Small fragment showing a leaf with elaborate volutes at each side.
Nielle
Charles-Germain de Saint-Aubin, French, 1721–1786, 1757–68
Etching on paper
Print

A floral bouquet of corn cockle, sprigs with flowers and leaves tied together. The plate is titled and numbered.
Mountains near Machachi, Ecuador
Frederic Edwin Church, American, 1826–1900, June 19, 1857
Graphite on tan wove paper
Drawing

Landscape sketch of a sharp range in the Andes near the town of Machachi, Ecuador. Gentle slopes in foreground lead to the cliffs and precipices of rugged mountains in the distance. Above, light, hazy clouds make for a rainbow effect.
Lit de Repos à l’Italienne
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on blue paper
Print

Two designs for daybeds upholstered with floral motifs, and drapery with hanging tassels. The frames are carved with scrolling leaves, running patterns, flowers, masks (mascarons), and rosettes with feather finials. A scale below. The plate is titled, numbered, and signed.
Woman Skating
Jean-Baptiste Pillement, French, 1728–1808, 1759–76
Etching on laid paper
Bound print

A chinoiserie-style print from a series of allegorical representations of the twelve months of the year. A woman skates towards the viewer in a winter landscape, with plants and a railing in the background. Twisting tree branches, rocks, plants, wood and rococo-style acanthus ornament frame the scene. The plate is signed and numbered.
Box
, early 18th century
Wood, metal

Strong box converted to jewelry box.
Two Girls in a Rowboat
Winslow Homer, American, 1836–1910, 1880
Brush and watercolor, graphite on heavy cream wove paper
Drawing

Two girls (female figures) in a rowboat rest in the middle of a river, each caught up in her own thoughts, the oars limp and neglected.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1738
Etching and engraving on laid paper
Print

Title page for a series of mantel and cartel clock case designs. The title is lettered in the center of a roundel within a cartel clock design, decorated with dragons, lamb's tongue repeating pattern, cartouches, cornicupia filled with flowers, a mask (mascaron), c-scrolls, scrolling acanthus leaves (rinceaux), a profile portrait, ribbons, and topped with a laurel crown, horn, bow and quiver of arrows. The plate is numbered and signed.
Head of a Horse and a Saddle
Winslow Homer, American, 1836–1910, 1862
Graphite on wove paper, laid down
Drawing

Recto: Horizontal sketch of a horse's head at left, with 3 color notations of B, and a saddle drawn perpendicularly at right.

Verso:  Crossed out variations of work "Cossack".
Textile
F. Schumacher & Co., New York, NY, USA, founded 1889, ca. 1927
silk Technique: woven

Long narrow fragment with an abstract design of swirling cloud-like forms and lines crossing at angles, in yellow and brown on a coral ground.
Ten Lunettes with Muse and Mnemosine
Felice Giani, Italian, 1758–1823, 1805
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Each woman is seated, top row, at left: Mnemosyne shown in profile turned toward left reading. Right centre: Tragedy holding a theatrical mask and something indistinct; Right: Comedy holding a mask: Central row: left: Music; with trumpet and a book(?); Left center: Dance holding a book(?). / right center Love poetry; playing lyre, Cupid aims the bow at the woman. right: Eloquence; holding a book. Bottom left: Astronomy, with a sphere. right: Rhetoric; with a mace and raised right hand; Reverse: Five outlined lunettes.
Textile
, 1100–1400
cotton, wool Technique: tapestry, single interlock with discontinuous supplementary weft patterning (brocaded)

Mantle fragment of interlocking squares with geometric designs of birds and fish.
Saint Paul Preaching, after Raphael
Felice Giani, Italian, 1758–1823, ca. 1820
Graphite, pen and ink, brush and sepia wash on paper.
Drawing

A group of seated robed figures, a detail after Raphael.
Embroidery sample
, 1875–1900
silk, metal, glass; section of dress-trimming Technique: cloth with velvet applique, couched gold cord, glass sequins

Fragment of black, weft-ribbed silk cut at the bottom into three wide shallow scallops, in turn scalloped, with applied section of bottle green velvet; double row of couched gold cord outlining velvet and encircling applied faceted green glass sequins.
Drawing
Felice Giani, Italian, 1758–1823, 1800-1810
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Oval Seated beside Hebe, Mercury holds a wreath over her head with his right hand. A nymph gathers flowers for a wreath, in the right middle plane. Another stands beside a Satyr herma. The setting is a park. Drawn over an outlined octagon.
Drawing
Felice Giani, Italian, 1758–1823, 1780-1790
Pen and black ink, brush and black wash on cream laid paper

Two horses draw the chariot in which Peace stands toward right. She holds the rein with her left, caduceus in her right hand. A female genius flies beside her, blowing a trumpet and holding a olive branch. The chariot is accompanied by a crowd in the rear, by a winged genius extinguishing a torch, by two putti; on carrying a paper scroll
Catching a mouse
Kitagawa Utamaro, Japanese, 1754 – 1806, ca. 1800
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
print

Vertical rectangle. A woman, lighted match in hand, stands over a little boy, who dumps cocoons into a tray. At the left, a Kakemono showing knights in battle with a wild beast (parody on scene).
Edging
, early 18th century
linen Technique: bobbin lace, Mechlin style with five hole ground

Mechlin lace worked with a design of a plumed leaf form and conventionalized floral motifs with five hole ground and snow ball fillings.
Fragment
, 1100
cotton, wool Technique: slit tapestry with use of non-horizontal weft

Small fragment with highly stylized llamas. Half of fragment has tan background and animals in red and blue, other half has red background, animals in tan and dark blue.
Portrait of Henri, Duke of Lorraine
William Wellstood, American, 1819 - 1900, ca. 1850
Steel engraving on paper
Print

Bust length portrait of Henri (called "The Good"), Duke of Lorraine (1563-1624), facing frontally, turned slightly to the right. He wears a moustache and goatee and high ruff collar. Illustration for Guizot's "History of France."
Pricked pattern for lace
, 18th century
paper Technique: pricked pattern for 1938-49-1, Binche lace

On the paper is inscription by hand (in ink) the dates 1774 and 1775 and the number 803.
Portrait of Honoré Daumier
Auguste Boulard the younger, French, 1852 - 1927, 1880
Etching in black ink on cream-colored paper
Print

Vertical rectangle. Bust portrait of the artist, Honore Daumier (1808-1879), profile. He wears cheek whiskers and long white hair.
Brisé fan
, ca. 1830
Bronze filigree sticks with enamel; bronze guards with chased silver, silk ribbon

Brisé fan of bronze filigree decorated with blue and green enamel. The guards are covered with a chased silver design of figures, trees, and buildings.
Textile
, 1000–1450
cotton Technique: double cloth

Geometrical and animal designs in white on soft gray-blue ground. Blue and white stripes on all four sides and one horizontal stripe through the center.
Border
, 19th century
cotton, silk Technique: cross stitch embroidery

Border of coarse cotton embroidered in blue silk in conventionalized geometric designs and stylized plant forms.
Epigonation (vestment)
, 17th century
silk, metal, linen Technique: couched, chain, split, satin embroidery; backed in linen twill

Gold and silver (wound on silk core) solidly couched in small waffle effect. Hands, faces, feet in silk, chain or split-stitch. Outlines for elaborate folds of garments in red silk running stitch, rays of Christ's mandorla in red silk satin stitch, with blue outline. Symbols for foliage in green. Transfiguration of of Christ. In top corner, Christ in mandorla, flanked by Elias and Moses with book. Three disciples, Peter, James and John crouching below. Braided cord for hanging attached to top corner; other three have long tassels of green silk bound at top in metal. Backed in red linen twill; white cardboard inserted for stiffness.
Sketch of Church of St. Nicholas, Caen, France
Stanford White, American, 1853 - 1906, 1878
Graphite, pen and ink, brush and watercolor on paper mounted on board; verso: graphite
Drawing

View of the church of St. Nicholas at Caen. Verso: drawing of a campanile (bell tower).
Textile
, 18th century
silk and metal Technique: plain compound satin with brocade

Light orange (salmon) satin ground with the design disposed in stripes of bow-knots in silver with a staggered repeat of a scrolling leaf and flower motif brocaded in gold across the stripes. Selvages of green and white stripes.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller and block printed; glazed

Fragment, roller-printed; ground fine pin stripe; all-over floral pattern in green-glazed. Label attached reads "Manufacture A. Mulhouse".
Fragment
, late 18th–early 19th century
linen, cotton Technique: block printed on plain weave

Fragment printed in red on a white ground in a smale-scale floral design.
Fragment
, 15th–16th century
cotton Technique: resist-printed on plain weave

Natural cotton plain cloth ground.  Design in natural and brown on red ground arranged horizontally.  Upper border torch-like motifs and stylized foliate forms.  Center highly conventionalized uprights from lotus motifs.  Below, arabesque, foliage.
Panel
, 18th century
linen Technique: resist printed

Coverlet or hanging of blue resist with a design of harvest flowers in vases set within ascending curves that carry the grain motif. Two selvages present.
Textile
, 19th century
cotton Technique: quilted; top fabric printed by engraved copper plate on plain weave; botton fabric yellow ochre cotton 2/2 twill

Fragment of a quilt: top fabric a small scale all-over pattern of violet bows and ribbons forming a square diamond grid the interspaces of which are alternately tan and yellow. Stuffing is a natural cotton and the backing fabric is yellow ochre cotton 2/2 twill. Quilting pattern at one side forms a border with a slightly curving leafy vine between a group of narrow bands on each side and for the "field" a square diamond grid. Running stitch in quilting through three layers
L'Enseigne de Gersaint
Pierre-Alexandre Aveline, French, 1702–1760, 1732
Engraving on paper
Print

After the painting by Watteau for the dealer, Gersaint. Shop scene of a picture dealer, with figures examining and crafting pictures.
Wrap Table and Chair, First Floor Hall, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite on cream tracing paper
Drawing

Rectangle at center of page. Left: design for long wrap table with front, and view, and view front above. Right: front and side view of chair. Below rectangle, left: Detail of tabletop edge with inscription to the right; right: detail of base structure of chair.
Study of "Altarpiece of Saint-Germer-de-fly," Paris, France
Francis Augustus Lathrop, American, 1849–1909, ca. 1870
Brush and watercolor, graphite on paper
Drawing

Sketch of the altarpiece of Saint-Germer-de-fly. The Visitation is depicted with Edward the Confessor giving his ring to Saint John disguised as a pilgrim.
Laundry in the Mountains Near Rome
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

Two women are shown in profile, washing in a high basin; another carries a copper kettle; a fourth one approaches with a pitcher from the left.
Dyer's record book
Old Pacific Print Works, Lawrence, MA, USA, 1866–67
cardboard, paper, cotton

Notebook with handwritten formulas for dyestuffs to be used for printing textiles.  Book contains 236 samples in various designs and brilliant colors.
Fragment
, 17th century
silk, metallic Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation (velvet) with supplementary wefts

Interlacing linear scrolls in green.
Fragment
, 17th century
linen Technique: bobbin lace (Binche style with no ground but snowball pattern)

Binche style fragment in a scrolling ribbon and snowball pattern with braided connections.
Sampler
Elizabeth Saggar, English, 1734
linen, silk Technique: embroidery in cross, eyelet, and satin stitch with some looping stitches and detached needle looping

Long sampler embroidered in brown, blue, green, yellow and red silks on a natural linen ground.  Alphabets in cross and eyelet stitch; birds, flowers, animals, and boxing figures in cross stitch with some satin stitch and detached needle looping; floral bands in cross stitch and satin stitch.  The ground fabric is pieced across the middle.
Textile
, 19th century
silk Technique: printed and painted

Large scale pattern of twining branches, leaves, birds and flowers painted in brilliant pinks, purples, oranges and blues against a background of wide white and peach colored vertical stripes.
Fragments
, 1770–90
cotton Technique: relief printed on plain weave Label: Relief printed cotton plain weave

Two different balloons arranged in vertical stripes as an offset pattern. Both balloons have baskets carrying passengers and are probably after contemporary prints of balloonists. Picottage background with scattered birds and butterflies. In black, two reds, lavender and blue.
Sampler
Sarah Plommer, American, 1759
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Urn of flowers in the center, a flowering vine border, male and female figures in corners, cupids and birds.
Border
, 1860–1900
Block-printed on paper

Marbleized stripes in various colors.
Pleated fan
, 1850–1870
Painted parchment leaf, drilled and pierced bone sticks, mother-of pearl washer and metal bail at the rivet

Pleated fan with a painted parchment leaf showing a goldfinch with berries of either Bryony, a climbing vine whose berries are poisonous, or Guelder Rose (Vibernum Opulus), both of which grow wild in Europe. Drilled and pierced bone sticks. Mother-of pearl washer and metal bail at the rivet.
Button
, 19th century
Steel

1931-59-251-b: Flat buttons ornamented near edge with ring of dot...
Presentation of the Christ Child to the Shepherds
, 1675–1700
Graphite on paper
Drawing

The Virgin stands before the adoring shepherds, and presents the Christ Child to them. Joseph sits in the right foreground. Angels and other figures in the background.
Sidewall - fragment
, 1870–90
Machine-printed

In the Aesthetic style, stylized foliage and floral motifs set within geometric divisions, printed in mauves and tans on off-white ground.
Fragment
, 16th–17th century
linen, silk Technique: needlework on gauze weave

Fragment of a border with a red floral vine pattern on gauze weave.
Scent flask
, ca. 1800
Glass

Flattened ovoid body cut with large 8-pointed star each side, notches along the edges, a threaded neck, silver cap (glass stopper missing).
Wall pocket
, late 17th century
silk, metal Technique: applique of painted silks and painted paper plus embroidery on brown silk satin; couched gold-wrapped silk and strips of gilt foil plus attached gilt spangles

Wall pocket in yellow silk with embroidery in metal threads and applique of silk of human figures with painted faces.
Sidewall
, 1830–50
Block printed on machine-made paper

Stripes formed of gray nebulous shapes bordered by horizontal dashes and maroon dashes, alternate with stripes formed of "seaweed".
Sidewall
, 1860–1900
Block printed on paper

Realistically rendered red roses and rose buds, alternating large and small, on the diagonal. Secondary pattern of more subtle monochrome blue bouquets. also sublte monochrome blue swags connecting red roses. Printed on medium blue ground.
Paperweight
Grueby Faience Company, Revere, Massachusetts, 1895–1908, 1904–09
Earthenware, glaze

pottery in the form of a scarab, blue and ochre
Fragments
, late 18th–early 19th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Seven velvet braids of different designs.
Designs for embroidery
, ca. 1890
Black crayon on tracing paper
Drawing

Designs of abstract floral patterns for panels and borders. Each drawing stamped at top: "Dessin original a broderie." Designs numbered 182 (M)
"Feu"
, late 19th century
Ivory, pigment
Matchsafe

Rectangular container, contoured sides, and slide-off lid with carved decoration, featuring central reserve inscribed "Feu" in black pigment, beneath which is a large cloud formation. Three lighting bolt-like arrows radiate outward from cloud mass at all four corners. Background has fine, engraved horizontal lines and all is framed by a serrated or leaf surround. Small, scalloped shell on lid at right serves as thumb catch. Surface of box bottom carved with fine cross-hatch marks for striker.
Collar fragment
, early 17th century
linen Technique: needle lace

Collar fragment with symmetrical plants forming pointed tabs.
Frieze
, 1800–1830
Block-printed on handmade paper

Probably the top border to a panel decoration. Acanthus capitals with scrolling pendants alternate with turqouise cone pendant with white floral triangle. Double band of geometric border at top edge.
Sidewall
, 1835–50
Block-printed

Four sidewall layers removed from parlor wall, Creedmoor Farm.  Top layer is very abraded, with three vertical pilaster stripes.
Border
, ca. 1830
Block-printed on joined sheets

Printed four borders across width; floral garlands of bachelor's buttons, sweet william, rosa rugos on cream satin ground with green gothic-style band at either edge.
Milk Jug with Horn of Plenty and Flowers
, mid-18th century
faience, pewter
jug

Pyriform jug of pinkish buff paste with greenish glaze. Rounded loop handle; slightly domed cover, covering spout, hinged to handle by pewter hinge. Horn-of-plenty and flowers in blue, green, yellow and iron red, outlined in black.
Three Brothers, Yosemite
Carleton E. Watkins, American, 1829 – 1916, 1861–66
Albumen silver print on white wove paper
Photograph

Three-peaked mountain in the distance; tree-lined lake in the foreground.
Textile
, ca. 1840
silk Technique: satin patterned by continuous supplementary weft

Length of woven silk satin in bright green with repeating symmetrical sheild-shaped ornament in pale yellow down the center.
Border
, 1830
Block-printed

Undulating blue scrollwork entwined with a rope of orange-pink roses and green leaves. Printed on dark gray ground.
Framed plaque
John Turner, Lane End, Staffordshire, England, 1759 - 1780, ca. 1780
Molded and tinted stoneware (Jasperware), wood, glass

Horizontal oval plaque of solid blue jasperware, with darker blue slip and white relief, showing three putti pulling and coaxing a goat. A fourth putto carries grapes. Oblong black and gilt wooden frame with cut-out oval set with glass.
Sidewall
American Wall Paper Manufacturers' Association, 1879–1887, 1879–87
Machine-printed on paper

On pink or mauve ground, flat pattern in pastel green and white. Curving vine with stylized passion flowers, simplified flattened floral medallions, and Japanese decorative motifs - interlaced knot-like medallions.
Panel
, early 18th century
linen Technique: needle lace

Pointed fragment that may be part of a stomacher. Fleur volantes, cordonnet, portes, and gaze quadrillée. Style of lace commonly called Rosaline.
Sidewall
, ca. 1800
Block-printed

Stylized floral/snowflake design with blue center on cream ground.
Sidewall
Jeffrey & Co., 1836–1930 London, England, 1875–1900
Machine-printed on continuous paper

Stylized blue flowers set within tan diaper framework. Printed on dark blue ground.
Cord with tassel
, late 16th–early 17th century
metallic thread, porcelain beads, glass stones, silk Technique: braided and knotted

Long cord of alternating beadwork and knotted and braided work, terminating in an urn-shaped tassel heavily studded with glass stones.
Fragment
, late 18th century
linen warp, cotton weft Technique: block printed (two reds, two purples, blue, yellow) on plain weave

Directional allover pattern of small flowers on a deep purple background.
Socket and Screw Top
, ca. 1850
Wood, ivory, sandpaper
Matchsafe

Turned, dark wood, in columnar form, with top that comes to a point, terminating with small, protruding, ivory socket that holds match; turned upper portion of box unscrews to reveal match container; small round of sandpaper adhered to bottom for striker. Round base slightly wider so that box may stand upright on table top.
Fashion Plate from Journal des demoiselles
A. Pauquet, French, active 19th c., August 1858
Hand-colored engraving on paper
Print

Fashion plate from Journal des demoiselles.
Sampler
, 1827
silk embroidery on wool foundation Technique: embroidered in cross stitch on plain weave foundation

Five different alphabets, the last two a German script.
Black-Bodied Lapwing, Plate 26 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Three-toed water, marsh bird. Blue-black underside, cap and crest. Brown back and short wing feathers. White collar and wing strips. Title and artists' names below.
Pleated fan and case
, early 20th century
Painted and gilded paper leaf, gilt bronze guards and sticks with enamel plaques and cut steel, paste gem at rivet head

Pleated fan. Painted and gilded paper leaf. Obverse: garden scene of a woman and young girl painting. Ends decorated with designs in gold and colors on green ground. Reverse: scene of three women fishing by a stream. Gilt bronze guards and sticks, guards with oval enamel plaques and cut steel. Amethyst paste rivet head. In plain white satin covered box.
Le Louvre Colonnade, Facing Saint Germain, Plate 39 of Vues Pittoresques de Principaux édifices de Paris
L. Roger, French, active 18th century, 1792
Engraving, brush and watercolor on paper
Print

One façade of the Louvre from the courtyard, with gardens and figures. Title, artists' and publishers names and a short commentary below.
Rent Due
Eugene Higgins, American, 1874–1958, ca. 1913
Pastel on paper
Drawing

A man is seen seated dejectedly at a table on which is a lighted lamp and a bowl. A woman, with her shadow enlarged by the light from the lamp, comes down a stairway in the rear. A cats eats from a bowl at the foot of the stairs.
Purse
, early 17th century
metallic yarns Technique: knotting (macramé) Label: macramé in metallic yarns

Unlined drawstring bag with two different macramé knots used to produce a lattice-like pattern with diamond-shaped clusters of of tiny balls, in gold and silver metallic yarns.
Shaker no. 7 rocking chair
Society of Shakers, RM Wagan & Co., 1878–1910
Stained cherry or maple, modern paper "rush" seat
Rocking chair

Slat back armchair with arms and a cushion rail; back consists of four oblong slats; seven turned stretchers between legs; two at front, left and right, one in rear; simple arms on turned front stiles topped by flat knobs.
Fragments
, 16th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Two small fragments of green velvet with cut and uncut pile on a cream-colored ground. Pattern is an intertwined lattice enclosing small-scale stylized plant design.
Tower at Vevay
Arnold William Brunner, American, 1857–1925, 1883
Graphite on light brown paper
Drawing

Tower with four turrets rising out of shrubbery. Birds above.
Sampler
, 1716
silk and metal-wrapped silk embroidery on wool foundation Technique: embroidered in cross, back, four-sided, two-sided cross, rococo, half cross, and knot stitches on plain weave foundation

Religious scenes: Adam and Eve, Abraham with Isaac, and Woman of Samaria at the well; domestic objects and floral patterns.