biglam/cooper-hewitt-alt-text huggingface dataset:
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. Diaper scheme of two motifs, staggered in alternate horizonal rows, with stars in the intervals.
Fragment
, early 19th century
silk Technique: painted

Light green-blue satin, machine woven, painted in strong clear colors, probably in France in imitation of Chinese style; flowers, foliage, birds. Incomplete widths; left selvages present.
Inkstand
Charles-August LeBourg, French, 1829 – 1906, late 19th century
Marble, bronze
Inkstand

Inkstand, marble base with bronze figure - entitled ''La Travail,'' by Le Bourg and two bronze inkwells in form of book presses;???
Fragment
, 16th century
linen Technique: needle lace (reticella)

Rounded tab of reticella with design of concentric circles and triangles.
Ornament, Christmas tree
, 1850–99
Dough

Symmetrical loop.
Band
, early 19th century
silk, painted silk, metallic thread, metal paillettes Technique: embroidery and appliqué

White satin ribbon band or border probably from the bottom edge of a robe with ornamentation in appliqué of silks, velvet and paillettes. Design of converging S-scrolls, sprays of foliage or petal forms in painted silk in between and leaf shapes in ribbed velvet. Colors are cream and purple with flecks of color on leaf sprays. Remains of metal thread outline on some leaves. Purple and white braid on bottom.
Textile
, ca. 1740
silk Technique: woven with continuous and discontinuous supplementary weft patterning (brocaded)

Silk brocade with a loose lattice framework formed of naturalistic flowers and leaves, in pale greens, pinks and oranges on an off-white ground.
Wood engraving. Vignette.
, 1800–1830
Engraving and etching

Thyrsus and rose wreath against hatched, octagonal background.
Design for a candlestand
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on white laid paper
Print

A stylized figure wearing a turban, feathered belt, and gladiator-style shoes, stands atop a pedestal, hoisting a basin above his head is shown through an arched frame with raised curtains. A cat crouches beside, and a wall with decorated panels forms the background.
Decorative Panel: Sea Monsters
Theodor de Bry, Flemish, 1528 – 1598, ca. 1550
Engraving on paper
Print

Horizontal rectangle. Dolphins, dogs, elephants, and sea-monsters are bing ridden by putti. Inscribed below: "de Bry Excud."
Border fragment
, early 18th century
linen Technique: bobbin lace

Narrow border of Binche-style lace with scalloped edge. Flower and leaf design. Ground: "fond de neige."
Design for Tabernacle, from "Tabernacles"
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching on paper
Print

Jombert 73,4,5,6,without numbers.
Fragment of a band
, 3rd–4th century
warp; S-spun linen. Wefts; Z-spun linen, Z-spun wool Technique: slit tapestry weave

Walking nude figure under a large circle.
A Peasant Family in the Campagna
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

The group of grandmother, mother, and child, and the setting are similar to plate 31, loc. cit. The father watches leaning upon his staff.
Curtain panel
Louis Comfort Tiffany, American, 1848–1933, ca. 1897
Technique: stenciled velvet

Curtain of light brown velvet, stenciled in a simple design of reddish-brown; a central circle and side border.
Livery trimming
, 18th century
silk Technique: uncut voided velvet

Heraldic shield surmounted by a standing bear in profile holding a staff or a flag that is held over the shoulder.
Skirt fragment
, 18th century
silk, metal; lined with linen Technique: satin with warp pattern stripes and brocade

Deep coral pink satin with serpentines of silver-gilt leaves, small pink and coral flowers; set off by broad vertical stripes of dark brown warp ribbing with cherry-patterned stripes.  Broad stripe selvages with cloth outer edges with heavy silk warps. Lined with undyed glazed linen. With a pocket and rows of buttonholed coral silk loops across upper and lower part.
Sewing instruction book sample
, 1829
linen Technique: plain weave and printed plain weave, glazed

a) Fragments of white linen, folded and overcast at edges; five rows of backstitching. b) Fragment of linen printed in pink with hemming on four sides. c) Four squares, each hemmed on four sides, overcast together to form one larger square (of white and printed fabric). d) Rectangle of glazed linen with four hemmed sides, one flat seam and two tucks. e) Strips of white and printed pink fabric joined to form chevron pattern by flat seaming, overcasting and hemming. a) is marked "1st Class Specimen;" b) and c) "2nd Class Specimen;" d) "3rd Class Specimen;" e) "4th Class Specimen."
Brooch/Pendant in the form of a Purple Flower
, 19th century
amethyst, gold, diamonds, pearl
brooch/pendant

Carved amethyst brooch in the form of a five-petaled flower with a central pearl surrrounded by five tiny rose-cut diamonds; diamond-studded stem at the top forming a loop, possibly for hanging as a pendant.
Glass
, 19th century
Glass

Three clear ovals in goblet
Border
, 1700–1750
linen Technique: needle lace with ground of loop and twist with twist return

Fragment with a scrolling vine and flower design. Some scrolling lines have a stiff quality.
Ocean View with Light Breaking through Dark Sky
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves crashing against rock in left foreground, ocean out to horizon, dark sky with dramatic, billowing clouds at right.
Sampler
, late 19th century
silk embroidery on cotton foundation Technique: embroidered in cross stitches on plain weave foundation

Alphabets, Virgin, and Christ in cartouches, large basket of fruit, and floral border.
Brisé fan
, early 19th–early 20th century
Tortoise shell sticks pierced and painted with gouache, silk ribbon

Brisé fan. Brown tortoise shell sticks pierced in flat openwork all-over design. Painted with gouache showing forget-me-nots and sprays of flowers. Blue connecting ribbon.
Bandits Pursuing Cowboys
Victor Semon Pérard, American, 1870–1957, ca. 1905
Ink on paper
Print

Trial proof for illustration. Mounted cowboys guarding a coach carrying a woman flee from mounted pursuers.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

Diaper or trellis pattern containing circular foliate wreaths connected by small scrolls. Printed in brown, metallic gold and white mica on a light tan ground.
St. Stephan's Walbrook, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Large church interior with coffered dome. Pews filled. Pupit at the right center, viewed from the rear. Title, artists', and publisher's names below.
Vase
, late 19th century
Earthenware

Figure of seated cat, upturned tail forming handle; top of head open; exterior body glazed black, eyes yellow, muzzle white. Interior clear-glazed over light cream body.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Torn page within sketchbook. Recto: Caricature with human face on spider's body. Verso: Laundry list.
Tangiers
Arnold William Brunner, American, 1857–1925, 1891
Graphite, brush and watercolor on paper
Drawing

A narrow street on a slope, with a profile view of a figure, wearing a white a white hooded cloak standing before a doorway. Animal stands near him.
Narrow Street with Houses
Arnold William Brunner, American, 1857–1925, 1892
Brush and watercolor on paper
Drawing

A narrow street lined with houses. A small street bridge with arched opening below and a single window facing the spectator, is seen in the middle ground.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Yellow geometric fleur-de-lis motifs are in the center of a decorative framework. The framework consists of barbed quatrefoils that are made up of two tones of pink scrolling patterns. The scrolls that connect the barbed quatrefoils makes an X-shape and has symmetric and geometric green foliage in the corner lobes. This design is repeated on a light tan background.
Design for State Bedchamber, in Second Livre d'Appartement (Second Book on Interiors)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Design for a bedchamber with allover patterning of rinceaux and curved lines and cartouches.
Group of Heads
Pierre-Paul Prud'hon, French, 1758–1823, 1750–1800
Black chalk on cream paper
Drawing

Eleven heads of figures of both sexes, including one child, are grouped together and seen in left profile. The faces portray various attitudes of emotion.
Fragment
, 17th–18th century
silk Technique: 5-harness satin damask

Short length of red damask in a symmetrical arrangement of large and small blossoms and scrolling leaves.
Frieze
, 1905–1915
Machine-printed paper

This frieze features a horizontal repeat of alternating oval and trefoil medallions bordered by leafy branches and linked by foliate scrollwork. The bottom of the panel is edged with a stylized vegetal scalloped border, and the top with a festooned garland of leaves, flowers and bows. Groupings of four fleur-de-lis icons fill the space between medallions, and an allover pattern of trefoils adds texture. This design is printed in tones of red, green and tan on a beige background.
Sampler
, early 17th century
silk and linen embroidery on linen foundation Technique: embroidered in cross, back, buttonhole, whipped running, withdrawn element work with needle-made fillings; overcasting, looping, and darning stitches on plain weave foundation

Bands of pattern, alphabets, spinning monkey.  Then bands of pattern in withdrawn element work.
Miser's purse
, early 19th century
silk, metal Technique: crochet

Crocheted dark green silk with eight small areas crocheted in pink and white silk.  Gold beads outline these small areas in a fretwork pattern. Opening controlled by two gold rings with cut steel insets. Gold drops at either end; one an acorn shape, the other, a ball.
Sidewall
American Wall Paper Manufacturers' Association, 1879–1887, 1879–87
Machine-printed and embossed

Aesthetic style design. Large-scale stylized floral medallion, printed in metallic gold and burgundy on a yellow ocher ground.
Devotional Picture: The Miraculous Virgin of Cell
, ca. 1750
Brush and pink and gold watercolor on paper, mounted
Drawing

An icon is shown with the Mother and Child above, resting on cornucopiae and below two vignettes of a man on horseback and an encampment. Below, a ribbon is inscribed in gold paint: "Ursprung S[ancta] M[aria] Ceel[am See]". Green framing line on mount. Souvenir of The Shrine of Cell-am-See, on Lake Constance.
"The Storm"
, ca. 1900
Silver
Matchsafe

Oblong, curved top, bottom and corners, sides slightly indented just above center, featuring raised decoration of running couple in loose, flowing garments, each holding end of billowing cloth above their heads, he has arm clasped around her waist, all framed by scroll work. Reverse features inscribed monogram and scroll work near edges. Lid hinged on side. Striker on bottom.
Sampler
, 1808
silk on linen Technique: cross stitch on plain weave foundation. Counted stitches.

Bands of geometric pattern, four alphabets and two sets of numbers. At the bottom is a wreath containing the initials I.C.E. and a G. Two birds on either side of "1808."
Comme song quelques-unes
Pierre Maleuvre, French, 1740 - 1803, 1810–1815
Engraving, brush and watercolor on paper
Print

Bedroom scene. A woman surreptitiously removes money from the trousers hanging by the bed of her sleeping husband. Below, title, publisher's and engraver's names. At top: "Musée Grotesque, No. 48".
Sampler
, 18th century
silk, flat metal, and metal-wrapped silk embroidery on linen foundation Technique: embroidered in stem, cross, satin, back, rococo and couching stitches on plain weave foundation

Alphabet, initials in cartouche, pastoral scene with two shepherdesses, sheep, and a fountain with twelve patterns at bottom.
Bachelor's Wall Paper
Charles Dana Gibson, American, 1867–1944, 1902
Machine-printed paper
Sidewall

Repeating pattern containing the faces of Charles Dana Gibson's unmistakable "Gibson Girls". a) The faces are printed in black with light blue patches of color for the hair, on an off-white ground. "a" is machine printed; b) a 1969 Birge reproduction of the original. Same design as "a" but reversed and slightly larger scale. The faces are printed in black over a possibly 3 color floral ground having the appearance of camouflage. "b" is screen printed.
Sidewall
, 1875–1920
Machine-printed and flocked

Solid ground of deep red flock.  There is no design on this ground.
Knife from a Cutlery Set
, ca. 1630
steel, gold, horn, mother of pearl
knife

Knife with lance-shaped blade and baluster bolster. Pistol-shaped horn handle, octagonal in section, piqué with gold wire and inlaid with mother of pearl and green-stained horn in bands of heart-shaped motifs, dots and rozettes. Inlaid rozette at flat end of handle.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

All over floral diaper pattern with four-petal simplified small yellow flowers. Background of dotted hexagonal pattern on beige ground. Printed in yellow, light green and white liquid mica. Printed in right selvedge: "S.A. Maxwell & Co." Pattern number: "2350" "B"
Sidewall
Frederick Beck & Co., 1860, ca. 1912
Machine-printed paper

On white ground vertical stems bearing light blue poppies, with watered glazed area between them. Drop repeat, straight match. On left margin: "Fr. Beck and Co. / 110 D W".
Plate 9, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for two pendants. At left, strapwork surrounds a central faceted gem. Pearl drops hang from moon-shaped masks. At right, pairs of putti and breasted lions flank a central reserve. Below, a horned mask and large pearl.
Sidewall - sample
, 1906–08
Machine-printed

Poppy-like flower, set within dense foliage. Printed in green on green ground.
Border
, 18th–19th century
linen Technique: knotting (macramé)

Fragment of the end of a cover in blue and white line with a knotted border.
Border
, 1815–40
Block-printed on handmade paper

Printed two across, large-scale feather-like leaf, surrounded by yellow flowers, with architectural acanthus band at bottom edge. Printed on deep blue ground.
Untitled Montage of Figures in Landscapes
Unknown, American, 1850–60
Steel engravings cut out and mounted, with pen and ink additions on paper
Print

Montage scene that shows many people, predominately women and children, in various activities within a broad landscape that includes a Gothic ruin, the Rhine Valley and the Capitol at Washington.
Chintz fragment
, 1750–1800
cotton Technique: mordant for 2 reds and purple applied by pen and brush; madder dyed; blue applied (probably by immersion) over resist; chintz on plain weave

Stripes of roses and ribbons on different background. Three pieces sewn together.
Ace of Clubs
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Ace of Clubs playing card from a pack of transformation playing cards. Male figure depicted in outline in elaborate military costume. He wears wide boots with spurs, voluminous pants, an armored vest, cape, and a feathered hat. A sword at his hip. The black club symbol integrated into his armor at center.
Wall tile
, late 16th–early 17th century
Lead-glazed earthenware

Similar to 1951-66-9
Textile
, 19th century
cotton Technique: printed by engraved copper plate on plain weave

Scenic pattern in red - piece A from the left third and piece B from the right third. The pattern arranged in two alternating repeating bands divided by swags and floral garlands. The scenic bands depict dancing in the center areas with spectators in theatre boxes at left and right of fabric completed when fabric lengths places side by side.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper.

Alternating large and small yellow rose bouquets surrounded by green foliate scrolls and floral swags. Background of solid dark red stripes that gradually transform to dots and terminate at top bands of scallops and scrolls. The top has stripes and floral swags. Ground shades from dark pink to cream (bottom to top).
Border
, 16th century
linen Technique: grid of laid cords with needle lace (reticella style), edge of punto in aria

Border with geometric pattern of squares showing alternating human shapes and star motif. Edged with triangular pendants.
Great African Kingfisher, Plate 11 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Large stocky bird on a branch over a waterfall, swallowing a fish. He has a white underside, with black spots, a brown bib, and the rest blue. Title and artists' names below.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene of three women in the foreground and a seated man in the background in a partial landscape. The women are all wearing white dresses, turbans and scarves around their necks. The central figure wears a dark turban and has lighter skin than the other two.
New England Factory Life – "Bell-Time"
Winslow Homer, American, 1836–1910, July 25, 1868
Wood engraving in black ink on paper
Print

Factory workers going home with their dinner pails and baskets.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Quatrefoil shapes formed with foliate sprigs, flower at center point, linked to other quatrefoils by scrolling foliage. Four-pointed star or boss in void between motifs. Printed in colors on tan ground.
Fragment of band
, 17th century
linen Technique: bobbin lace, discontinuous tape

Band with elongated blossoms forming tabs.
Jar and lid
, early 19th century
Glass

Round body with tall vertical fluted lip rim; double knopped stem, square base; domed top with flat cushion finial cut with diamonds; lower part of top and sides of body cut with arched panels filled alternately with small diamonds or strawberry diamonds, row of blazes base of body.
St. Bruno in Ecstasy
Marc Antonio Franceschini, Italian, 1648 – 1729, 1800–20
Pen and ink, brush and brown wash, graphite on paper
Drawing

Figure of Saint Bruno is seen kneeling in a landscape, before a stone altar, with a crucifix. His left arm is raised in amazement, and he rests his right hand on a skull. Seraph in the sky above. A cherub reading, lower left; a seated reading monk, lower right.
Une visite au Village
Gihaut Frères, French, 1815 - 1871, ca. 1830
Lithograph, brush and watercolor on paper
Print

Peasant family in the doorway, left, of a cottage. Gentlewoman seated, facing them, center. Title, artists'' names below.
Sketchbook Page: Iris
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of the head of an iris in profile, labeled with numbers corresponding to colors, listed in leged at left. 
Verso: Sketch of iris from above, at left; sketch of iris and stem from side, at right.
Christ in Limbo (The Harrowing of Hell)
Albrecht Dürer, German, 1471–1528, 1510
Woodcut on laid paper
Print

Christ is in the foreground, kneeling, facing right in profile. He extends His right hand toward two figures appearing in an archway, below. A group of figures stand in the background. Demons at upper left.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace border, symmetrical floral; early 18th century Brabant
Italian peasant family
, 1820–1840
Brush and oil paint on rigid paper
Drawing

A group of figures including a woman with a child on her lap, a man playing a bagpipe, accompanied by a child with a tambourine, and a dog. Three other children in the scene. Mountains in the distance.
Hacienda on the Lerma River, San Juan, Mexico
Thomas Moran, American, b. Britain, 1837–1926, 1892
Brush and watercolor, white gouache, pen and red ink, graphite on gray laid paper. Ruled border in graphite, mounted on off-white wove paper.
Drawing

Horizontal view with foreground filled by water or a river, wooded banks at right and left middle ground.  Peasants gathered at water trough at left. Two barges at right center. Buildings on top of hills in background.  Church with dome and tower included at right.
Fragment
, 17th century
silk Technique: 4&1 satin damask

Bands of palmettes and scrolls. Red with yellow selvage.
Sidewall
M.H. Birge & Sons Co., 1834, 1920
Block-printed paper, hand-rubbed oil finish

Imitation leather. Geometric design of interlacing bands with embossed edges. These bands encircle alternately a square and a rosette, each with an embossed design center. Field is plain. The entire surface is antiqued by hand. On reverse side is printed: "8811".
A Man with a Bird
Jean-Baptiste Pillement, French, 1728–1808, 1760-1775
Etching on paper
Print

A chinoiserie-style design for a panel after Jean Pillement, depicting a standing man, holding a stick with a bird perched on the ring, hanging from the stick. A child sits at his feet. The figures stand under a double-roofed canopy structure within a landscape, with steps leading downwards. The steps and the canopy are supported by wooden beams and the trees that surround them. Below the vignette, supporting the structure is a turf of grass, plants, flowers, branches and logs growing from a rococo-style frond.
Design for a Monument
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and ink, brush and wash on paper
Drawing

An obelisk with a star on top. Around are garlands and small urns with burning flames.
Design for a Sedan Chair
, ca. 1775
Pen and black ink; brush and red, green yellow and gray watercolor over graphite on heavy, textured cream laid paperboard
Drawing

Three-quarter view of a sedan chair diminutively decorated with cartouches  containing bird and cupid, and circular medallions with chain-like swags. Tassels hang at corners of roof line and an urn draped with swags crowns the roof.
Band
, 16th century
silk, linen Technique: embroidered

Red silk on linen in a pattern of diamond-shaped fields and foliated star motifs.
Title Page, from "Livre de Fleurs..."
Gilles Demarteau, Flemish, 1722 – 1776, ca. 1750
Engraving in a crayon manner on paper
Print

In a garden setting, a baroque tablet, surmounted by a vase with flowers.
A Roman Horse, from the first set of "Equile Joannis Austriaci"
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1575
Engraving on paper
Print

A riding horse for ladies.
Album of Prints: Designs for Sculpted Trophies by François Roumier
François Roumier, French, 16..–1748, 1740-1748
Book

Album of prints containing François Roumier's book of sculpted, religious trophies.
Sampler
Pepi Beda, 1812
silk Technique: satin, stem, knot, split, chain and laid stitches on plain weave

Border of eight floral patterns. Inset are two landscapes, a lion, baskets of flowers, insects, etc.
Urn with the Representation of the Salvation of Loth
, 1825–1850
Red crayon on paper
Drawing

Urn with frieze representing an angel holding the hand of Loth and guiding him. Followed by two women carrying bottle on their heads.
Sidewall
, ca. 1900
Machine-printed paper, varnish

Full width. Sanitary paper composed of simulated tiles, with green lines marking the squares and three units of design to the width of the paper. Simple radial geometric figure set with foliage scrolls. Printed in yellow-green on plain ground.
Coupe et Elévation du Château de St. Assise, Restauré sur les Dessins de Mr. Sobre Architect
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

Exterior elevation and sectional view of a chateau with trees in the background. The Façade features telamons (atlantids), friezes, and lion sculptures on plinths. The plate is titled, numbered, and signed.