biglam/cooper-hewitt-alt-text huggingface dataset:
Cope hood
, late 17th–early 18th century
silk, metallic yarns Technique: 4&1 satin damask with discontinuous supplementary weft patterning (brocaded) Label: Silk satin damask with metallic thread brocading

Cope hood with brocaded silk damask in the ‘bizarre' style showing three vertical repeats of an elaborately curving metallic vine with chinoiserie elements. Brocaded in gold, silver and light blue. The cope hood is in the opposite direction from the direction of the pattern.
Bag (tobacco pouch)
, early 19th century
glass beads, metal frame Technique: beaded knitting

Green ground with white band containing a stylized flowering vine in pinks and greens, flanked by rows of blue forget-me-nots.
The Last Fall under the Cross
, 1840s
Wood engraving on paper
Print

Simon of Cyrene takes the cross.
Fragment
, 17th century
linen Technique: bobbin lace (early Valenciennes ground)

Valenciennes fragment with a loosely massed floral design.
Decorated Capital Letter Q
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter Q before a kneeling female saint.
Textile Design: Vertical
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Pen and black ink, watercolor, over graphite, ruled border in yellow waterco Support: white laid paper
Drawing

Vertical rectangle: eight branches of green flowers against four pink and white vertical stripes, yellow and green flowered bands between them. (XC '73)
Tiraz tapestry
, 10th–12th century
Warp; linen. Wefts; linen, silk Technique: plain weave and tapestry weave

A band of tapesty and three plain weave bands
Plate 3, "Decoration d'une Porte double à placards..."
Jacques-François Blondel, French, 1705–1774, ca. 1727
Engraving on paper
Print

Two double doors in a joint arch, both doors with different carving. Joint overdoor with alternate suggestions or rocaille volutes and flowers. Below, profiles. Inscribed along upper margin: "Decoration d'une Porte double à placards, variée de deux facons"; lower left: "mariette excudit"; lower right: "3".
Tiraz fragment
, 10th–11th century
linen, silk Technique: plain weave, slit tapestry

Tiraz fragment of natural-colored linen with a two-centimeter wide band of multicolored silk tapestry medallions with bird-like forms. Fragment of selvedge on one side. Possibly from the Fatamid period.
Fragment
, 17th century
silk, metallic thread Technique: compound satin weave with supplementary weft patterning (brocaded)

Orange-red ground with vertical stripes of blue silk and silver metallic thread in a floral pattern.
LE MARCHAND D'ORVIETAN
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a monkey holding up a glass vial (singerie) of snake oil (orvietan, a sort of fake medicine). This scene is set within a frame comprised of flowers, scrolls, drapery and batwing. The plate is signed.
Bust Length Portrait in Profil Perdu
Antoine Watteau, French, 1684–1721, 1723-1728
Etching on laid paper
Bound print

Bust of a man leaning leaning forward on his right elbow with both hands tucked into the opening of his jacket. His head is raised and turned to look over his left shoulder. The plate is signed.
Design for a Mass-Operational House Designed by Hector Guimard, Facade Facing the Garden
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard. This design depicts the elevation of the facade facing the garden
Table runner
H.E. Verran Company, New York, NY, USA, ca. 1910
linen, cotton Technique: stenciled and embroidered on plain weave, crocheted border

Light brown table runner has a staggered geometric pattern on either end consisting of large faceted blue and orange embroidered squares enclosed by shaded green stenciled ovals. Smaller squares in blues and orange and thin embroidered lines of brown, black and off-white extend outward from the ovals. Most embroidered areas outlined with black stem stitches. Crocheted border.
Massacre of the Innocents
Etienne Delaune, French, 1519 - 1583, ca. 1560
Engraving on white paper
Print

It is a copy in reverse of Marc Antonio's engraving. Action t aking place in foreground.
Vive France
Gonssollin Freres, ca. 1830
cotton Technique: printed by engraved roller on plain weave
Textile with chef de piece

Panel printed in sepia on natural. Scenes of a medieval battle and the personification of France at peace in the center; two scenes at left, "L'Ordre du depart" (Orders to Leave) and "Le Retour" (The return) and two at right, "Le depart" (The Departure) and "Le Repos de Guerrier" (Warrier at Peace) illustrate a narrative. Neither of the two pieces seamed in the middle contains the full repeat.
Fragment
, 17th century
silk, metallic Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation (velvet) with supplementarty wefts

Vertical palmettes and leaf motifs in deep mauve on gold.
The Inner Entrance to the Hôtel de Cluny, Paris
Lloyd Eliot Warren, American, b. France, 1868–1922, 1894
Graphite on illustration board
Drawing

View of the corner of the court of a medieval building, the Hotel de Cluny. Indication of a horiztonal line.
Band
, ca. 1810
linen Technique: needle lace with ground of loop and twist with twist return

Border of Point d'Alençon showing floral sprays on réseau with additional floral dots known as semé de larmes (sown with tears).
Necklace and pendant
, ca. 1870
Silver, enamel, jasper, pearls, glass

Chain of cross-hatched oval beads with locks and keys as links; jasper pendant in form of a sphynx in profile, set in enameled silver and attached to silver chain beaded with six small pearls; sphynx sits on bar set with twelve blue facetted stones surmounting a floriated scroll enamelled in light and dark blue, green and red.  Red stone in center from which hangs a large pearl flanked on either side by two smaller pearls.
Button
, 19th century
Steel

1931-59-249-a: Flat buttons ornamented with eight pointed star wi...
Les Losanges
Jean-Baptiste Huet, French, 1745 – 1811, 1795–1810
cotton Technique: copperplate printed on plain weave
Textile

Blue and white copperplate printed textile.
Design for Mahogany Inlay Writing Table for George M. Nowell
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Semi-circular table top with backsplash and inlaid central front panel flanked by 2 drawers on either side; raised on 4 straight tapering legs terminating in tapering feet.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-ah: Dense all-over pattern of branches laden with nuts...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...
Sidewall
, ca. 1880
Machine printed on embossed paper

Dense Neo-Rococo pattern with two distinct roughly diamond-shaped motifs of flowers with stems and leaves repeated in interlocking vertical columns; Brown, bright blue, and pink flowers in many varieties; brown stems and leaves; ground is pale green; printed simulated tapestry weave texture.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Rectangular design; linked circles in purple over blue; yellow squares dividing two rows.
Textile
, late 18th century
cotton Technique: wefts tie-dyed before weaving (weft ikat)

Narrow and wide bands of weft ikat in dark indigo and cream alternating with solid bands of medium-hue indigo.
Border
Campbell & Co., 1875–1906
Block-printed

Printed three across, guilloche pattern printed in ocher and tan with maroon band along either edge.
Sidewall
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, ribbed, liquid mica

Floral medallions with yellow rose bouquets and vining, foliate scrolls and beading connected by beaded floral swag hanging from small foliate medallions.  Secondary pattern of monochrome green foliate vining outlines medallions. Printed in light yellow, white, greens, light blue and metallic gold on ribbed ground covered in white liquid mica. Printed in right selvedge: "C&W" pattern number "4783".
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Small four-flower bouquets connected by layers of floral swag, foliate scrolls, ribbon swag, vertical lines, and twig-like swag. Ground is a light beige. Printed in greens, white, white mica, orange, grey and silver mica. Large tear.
Deer Under a Large Tree
, 1850–1875
Silhouette of white paper, cut out, on black paper mount
Silhouette

Deer under a large tree.
White My Flax, Red My Ring, Gold the Heart of My Betrothed
Henry Patrick Raleigh, American, 1880–1944, 1914
Charcoal, brush and grey, black and white watercolor on illustration board
Drawing

A young woman seated in a doorway is shown with a sheet in her lap. Beside her an old woman stands and clutches at the hem of the sheet.
Fragment
, 300–100 BC
wool Technique: embroidered in stem stitch on plain weave

Winged bird or fish-like monster embroidered in strong colors.
Cap streamers
, 1700–1750
linen Technique: bobbin lace, Binche ground

Pair of Binche-style cap streamers densely patterned with floral motifs, fronds, and urns of flowers.
Sweetmeat glass
, ca. 1800–20
Glass

Deep flute-shaped bowl, short tapered stem, slightly domed 8-sided foot; lip scalloped with fan cutting, below that cut drapery swags with narrow vertical flutes above and wider flutes below, foot cut with facets at edges
St. Stephen from façade of S. Silvestro in Capite
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Drawing after statue by Michelangelo Borgognone of St. Stephen on the façade of S. Silvestro in Capite in Rome. He wears the papal vestments and tiara, and holds the palm of matyrdom in his left hand. He pulls his robes across his body with his left hand.
Fragment
, 17th or 18th century
silk Technique: embossed plain weave cut-pile velvet

Tan velvet stamped with large floral ogee pattern. Extra warp cut-pile in plain weave foundation.
Optical Toy: "The Rival Heros" (Spooner's Transformations, no. 7)
William Spooner, England, active 1830 – 1854, 1838
Lithograph, brush and watercolor on paper, mounted
Print

Two fighting cocks in an arena - when held to the light they become Napoleon and Wellington. Below, title between two vignettes and: "Between the two gamest Birds in Europe. When Greek meets Greek then comes the tug of War." Publisher's name and the date, June 18m 1838, below.
Fragment
, early 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) in satin foundation

Incomplete section of a large symmetrical floral repeat with curvilinear tooth leaves and small and large flowers. In blue-green cut and uncut velvet on a cream satin ground.
Cromwell
, 1881–82
Block-printed paper
Decorative panel

Series of eight panels, each with British ruler, full length, in grisaille. Cromwell (1599-1658), reigned 1653-58. Printed in grisaille.
Bowl and lid
, 18th century
Earthenware

Blue footed bowl with star pattern of white pearls all over. Finial made up of crown of pearls.
Border
, 1835–45
Block-printed on continuous paper

Top wide band with guilloche pattern enclosing a quatrefoil and overlapping cable or rope twist on either side.  Narrower underband with a rod of wrapped ribbon and quatrefoils.  Printed in green, white, black, and grey on grey background.
Micro-mosaic
, 1800–1825
Gold sheet and wire, glass mosaics
Brooch

A gold oval brooch outlined in blue with an inner image of the Colisseum in Rome. Brooch is part of a set.
Cork screw
Gavet Coutelier, France, 1809–19
Steel, wood, steel

1985-103-281-a/j: Red leather holder with tooled gold borders and ve...;     1985-103-281-a: Barrel-shaped red leather case with stamped gold d...;     1985-103-281-b: Plain silver cup with flaring rim, decorated with ...;     1985-103-281-c: Red leather holder with stamped gold decorations f...;     1985-103-281-d: Blade has straight sides, upper edge tapering towa...;     1985-103-281-e: Oval spoon-bowl with pointed tip, flat slightly ta...;     1985-103-281-f: Fork has four slightly curved tines, rounded shoul...;     1985-103-281-g: Small cork screw with knob on top with hole throug...;     1985-103-281-h: Cylindrical horn and ivory container consisting th...;     1985-103-281-i: Cylindrical horn and ivory container consisting th...;     1985-103-281-j: Cylindrical horn and ivory container consisting th...
Candlestick
, ca. 1790
glass

Tall double-knopped shaft on domed stepped base with thick square foot, bulbous nozzle, wide drip pan with up-turned edge cut with vertical flutes;removable brass drip pan;glass clean and heavy
Sketchbook Page: Man in Profile
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of the head of a man with a mustache in left profile.
Sampler
, 19th century
cotton embroidery on linen foundation Technique: embroidered in satin, couching, overcasting, knot, chain, and back stitches on plain weave foundation

Unfinished whitework sampler with a house in the center and bands of floral pattern below.
Lincoln Drape Goblet
, mid-19th century
Glass
goblet

Clear glass goblet consisting of deep bowl on thick stem with stepped circular foot. Pressed swag and tassel pattern on bowl and radiating ridges on foot.
Ceiling paper
William H. Mairs and Company, Brooklyn, New York, 1905–1915
Machine-printed paper, liquid mica

Large quatrefoils of scrolls with small fleuron insets, in between which are fleurons and stylized floral motifs. Printed in peach, dark green and white liquid mica on a light blue ground. Printed in selvedge: "Wm. H. Mars & Co." pattern number "2517".
Winged figure on pedestal
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Winged figure on pedestal. Left arm is curved upward, right extends out and down.
Pedestal
Duc d'Angoulême Porcelain Manufactory, French, 1781 – 1828, late 18th century
porcelain (probably soft paste), vitreous enamel, gold
pedestal

Baluster form on octagonal base. Exterior of top and bottom decorated with gilt bands and friezes. Main body panelled by gilt vertical and horizontal bands and friezes. Main body panelled by gilt vertical and horizontal bands into four parts containing painted and gilt arabesques, swags, trophies, and, into two gilt-boredered reserves: girl holding cat, and boy with spade.
bourdalou
Aprey Pottery Factory, Active 1744–1885, ca. 1775
Tin-glazed earthenware

Oval boat-shaped vessel with indented sides and handle at high back end. Contoured rim edged in red. Handle topped by green leaf. Pink-white ground with sprays of flowers.
Bracket
, mid-18th century
Carved mahogany

Wall brackets with head of Bacchus. Bearded laughing mask among scrolls and vintage motifs supports a shaped shelf moulded with a bound laurel fillet.
Sidewall
, ca. 1800
Block-printed on handmade paper, satin ground

Curving stems from which grow a variety of flowers including cornflowers, bell flowers, roses, and sweet peas. Printed in lavender, red, yellow, blue and green on satin or polished off-white ground.
Elevation of a Wall Decoration for a Canonization Ceremony, St. Peter's, Rome, Italy
Luigi Vanvitelli, Italian, 1700 – 1773, ca. 1745
Pen and black ink, brush and gray wash on off-white laid paper
Drawing

Vertical format architectural design for the interior of St. Peter's Basilica, curved dome at top. Gallery of doors at lower level surrounded by double-height Corinthian pilasters. Above at center, a large escutcheon surrounded by drapery. On the escutcheon, a figural scene.
Fragments
, early–mid-17th century
linen Technique: needle lace

Fragments with alternating arrangements of floral and foliated sprays in a symmetric pattern connected by bars.
Cravat end
, early 18th century
linen Technique: needle lace with ground of loop and twist with twist return Label: linen needle lace

Cravat end with a central design of abstract foliated forms flanked by identical stylized representations of trees surrounded by an intricate pattern of volutes, urns, and rocaille decoration.
Dessert Fork with Carrion Beetle on Handle
Charles Victor Gibert, French, ca. 1890
silver
fork

Four tined fork with thin tines. Plain narrow stem, continues to form long leaf turning downwards at terminal. Beetle applied perching on base of branch.
Textile
, 1870–1910
cotton Technique: roller and block printed on plain weave, glazed

Textile showing a stippled salmon-colored ground with a design of scattered grasses, leaves and flowers in red, brown, lavender, solid green and bright blue. Printed using blocks from between 1830-1850.
Sidewall
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Repeating motif of a very stylized flower, perhaps a tulip. A large red flower is almost enclosed within two scissor-like leaves. Printed on background simulating textile.
Hounds at Play
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Pen and black ink, graphite on tracing paper
Drawing

Design with two running hounds, their bodies overlapping and elongated, facing left. The leftmost dog turns back towards the other, their noses touch.
fork
, 19th century
steel, ibex horn, horn

1985-103-276-a: Flat paper case for five implements covered with s...;     1985-103-276-b: Straight-sided blade with rounded ends, rounded bo...;     1985-103-276-c: Four tined fork, waisted shoulder, baluster-shaped...;     1985-103-276-d: Toothpick tapering towards both ends.50
Christ at Emmaus: The Larger Plate
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1654
Etching on paper
Print

Christ is seated at a table, facing the spectator, near the center of the composition. Two figures are in right foreground, another stands at left of the table, his hands clasped before him.
Salisbury
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite on beige paper
Drawing

Looking up a slope, house tops and chimneys are visible. Figure standing in front of arched doorway in lower center.
Bandbox
, ca. 1830
Block-printed paper, pasteboard support, varnish

Cardboard bandbox and lid covered with wallpaper with design called "Quadriga Filled with Flowers." Deep blue background, classically draped man and woman pulling chariot (quadriga) filled with flowers, white pink, deep red and yellow. Rim of lid, white and deep red redorte or link chain, block print.
Organic Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Organic forms in different shapes and sizes create an abstract pattern. The motif consists of positive and negative space.
Bandbox
, ca. 1830
Block-printed on handmade paper, pasteboard support

Two major motifs, the larger of which appears on the cover as well as on the box. A lady in flowing white robes of about 1815, seated on a bench beneath a tree, reaches towards a young man who advances proferring a bouquet. The smaller motif, above and below, is a basket of flowers. The paper is pasted on sideways on the box. The ground has small sprigs and dots. The paper is bordered by a vertical twining leaf and chevron design. It appears to be composed of small sheets.
River Rapids, Design for Washington Board of Trade Dinner, May 13, 1908
James Henry Moser, Canadian, 1854–1913, 1908
Pen and black ink, graphite on thin board
Drawing

River with rocks and rapids in foreground. Low hills with forests beyond.
Salesman's samples
, late 18th century
silk Technique: woven

Two designs for a waistcoat pocket: one has a scene of a woman and an older man under a trellis. On the left is a well surrounded by gardening tools. On the right, the young woman fends off the advances of her suitor. They are surrounded by baskets of fruits and vegetables. The other design has an elderly woman with a cane standing near a gate as she scolds two young lovers sitting under a trellis.
Louis XVI or Trianon
Desfossé et Karth, French, 1863, 1851–65
Block-printed paper
Border

Yellowish-brown horizontal molding strip, top and bottom, with a series of yellowish-brown rosettes at spaced intervals along the band between. Printed on off-white ground.
Sampler
, 1709
linen, silk, metal-wrapped silk Technique: embroidered in cross, rococo, half cross, eyelet, and satin stitches on plain weave foundation

At left, two alphabets, numerals, date, and motifs of fruit and flowers.  At right, 18 squares of pattern.
Ceiling paper
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

Diagonal squares and rectangles made up of scrolls with fleurons and roses. Background has dots and vermiculation. Ground is beige. Printed in light greens, white, tan. Bottom corner is ripped off. 
Printed in selvedge: HOBBS. BENTON & HEATH Co.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis pattern composed of foliate scrolls and foliate bosses or medallions. A quatrefoil motif is centered in each grid. Printed in green, white, taupe, and metallic gold on tick-mark patterned taupe background.
Border
, late 16th century
linen Technique: punto in aria needle lace

Border of five pendants showing stylized floral forms.
Handkerchief
, late 19th century
cotton Technique: printed on plain weave

Handkerchief in red and black showing the Swiss female national figure of Helvetia in the center. She holds a spear and a shield emblazoned with the Swiss flag and stands in a bucolic landscape of mountains and chalet-like buildings. A wreath of leaves, acorns and berries surrounds her. In an outer ring are badges bearing cantons of Switzerland with their names in French and German. In the four corners are badges for Lucerne, Valais, St. Gall and Fribourg.
Sidewall - fragment
Anthony Chardon, 1814–25
Block printed on handmade paper

Against a yellow ground is a central vertical band printed in orange and white to simulate a drapery. On either side, printed in white, are vertical bands of stylized wheat.
Border
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1875–1906
Machine-printed and embossed

Wallpaper roll.
Printed two across, torch motif, printed in gold, maroon and white.
Cap
, late 13th–early 14th century
untwisted silk, gilded parchment; Z-spun linen lining Technique: plain weave cloth, quilted, embroidered and sewn Label: Quilted and embroidered silk with gilded parchment

Man's cap of bright blue silk formed from six isoceles triangles, with a deep band to encircle the head. The triangles have quilted geometric borders and fillings; the band has a quilted interlacing pattern with narrow guard borders and a single gold metallic stripe.
L'arrivées, from La vie de Château
Gihaut Frères, French, 1815 - 1871, 1832
Lithograph, brush and watercolor on paper
Print

People seated around a dining table; a man in an overcoat, left, being introduced. Two dogs, left and center. Title and artists' names below.
Border
, 1905–1915
Machine-printed paper

Square motif set inside an octagonal framework creating a chain of such motifs.Printed on dotted or mottled ground. Two borders printed across the width.
Design for Two Console Tables, Elevations and Plans
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Elevations of designs for two console tables with the plans of their marble tabletops. The table frame is comprised of ornament motifs including putti, rinceaux, dolphins, dragons, and clawfeet. The plate is signed and numbered.
Design for an Interior Wall Elevation
Jean Mariette, French, 1660–1742, 1686–1740
Etching and engraving on laid paper
Print

Design for an interior wall elevation featuring a set of arched double doors with glass panels, flanked by paneling. The paneling and cornice are decorated with chinoiserie (in the Chinese style) and grotesque motifs, with rosettes, fleurons, rinceaux, beading, scrolling leaves, masks, dragons, webbing, putti, terminal figures, and herms. The two panels flanking the doors feature central brackets with lidded vases displayed. A scale along the left side of the design. The plate is titled, signed, and numbered. The decoration is similar to another plate in this album - 1921-6-353-15.