biglam/cooper-hewitt-alt-text huggingface dataset:
Card case
, 19th century
leather, glass and metal beads Technique: embroidered beadwork

Octagonal leather case stamped with a gold border has a central diamond-shaped cartouche with a stylized floral and leaf design embroidered in glass and metal beads. Glass beads are turquoise, white, orange, yellow, and black with metal bead accents. Surrounding the central diamond are scrolling forms and flowers in green, yellow, orange, red, and black beads with metal bead accents. Design is the same on the reverse with a palette of green, navy blue, red, yellow, orange, black, white, and clear bead with metal bead accents.
Shawl fragment
, early 19th century
wool and silk Technique: tapestry weave

Triangular-shaped fragment with a white ground and a multi-colored design of roses and foliate. Along the upper edge is a border of dark blue with red dots. White silk threads, part of the construction, extend on two sides.
Fragment
, 19th century
silk warp, cotton, silk, and metallic wefts Technique: plain weave with supplementary weft

Woven fragment has a design of red and green floral sprigs arranged in rows on an off-white ground.
Edge
, 18th century
linen Technique: needle lace with ground of loop & twist with twist return

Band of Point d'Alençon worked with scattered sprays of flowers. Irregular edge of rococo design.
Panel
, late 18th century
linen Technique: deflected element and withdrawn element work

Oblong panel with elaborate patterns of drawn work with the main elements of the design reserved in the linen ground. Embroidered outlines and details. Symmetrical design of curving lines, flowers and vines originating from central motif. Lower edge trimmed with bobbin lace.
Dish
Gerint Evers, German, ca. 1790
Lead-glazed earthenware with sgraffito and slip decoration

Deep circular dish. Incised slip decoration showing a horse and rider with sword charging to left. Symmetrical border. Pale green, sienna and blue on reddish-brown ground under a clear glaze.
Fragment
, 16th–17th century
linen Technique: bobbin lace, continuous braid-like and withdrawn with needle lace

Band of bobbin lace in a reticello pattern of continuous braid like, between 2 narrow bands of needle lace.
Fragment
, 18th century
wool Technique: twill

Panel of dark blue-green wool twill with a thick, coarse texture. No selvages.
Design for a Memorial Tablet
John La Farge, American, 1835–1910, 1898
Graphite and watercolor on paper
Drawing

Pilasters flank an inscription: "IN LOVING MEMORY OF / OR ANY INSCRIPTION" and below a wreath encricling the date: "18XX / 1898"
Escutcheon
, ca. 1700
Tin

Pierced and repoussé plate with foliage motifs and scrollwork.
Fragment
, late 18th century
linen Technique: bobbin lace

Fragment of Valenciennes lace with large oval blossom or fruit with leaves and bud. Round mesh.
Sewing instruction book samples
, 1829
Linen plain cloth sewed with silk.

A) Shirt of fine white linen; open at neck and sides, gathering at yoke (front and back) and on sleeves, collar and cuffs with buttonholes. Sewing in yellow silk.b) Shirt of white linen, open at neck and sides, pleated bosom, collar, long sleeves with cuffs. Sewing in white silk.
Fragment
, 19th century
wool, linen Technique: complementary weft

Coarse wool and hand-spun linen in beige, dark brown, orange, red, and white. Patterning: simple geometric bands and lozenges, done by weft-floats, which hid warps entirely. In patterned areas, heavy woolen wefts are used two at a time in contrasting colors, rise from the face to the back of the fabric in a compound weft satin.
Fringe
, 17th century
silk Technique: plain weave

Blue and pink fringe with a heading and looped skirt threads graduated to form scallops, ending in tufts of floss of the same color.
Fragment
, 16th–17th century
silk Technique: supplementary warp forming raised pile (velvet), then embossed.

Stamped pattern of fleur-de lys within a trellis in green velvet
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Pen + brown ink over bl. chalk. Paper;

Shown obliquely de face standing with the right foot upon the corpse of Goliath. The outstretched right hand holds the head of the giant. The left hand shoulders the sword, and is shown outstretched leaning on the sword, for the pose of which two suggestions are made.
Fringe
, 17th century
silk, linen Technique: plain weave

Red fringe with a heading and small loops supporting tufts of floss.
Fragment
, 12th–14th century
cotton, wool Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Fragment, irregularly cut, showing small-scale highly abstract polychrome pattern of cats, geometric shapes and dots on buff ground. Ground is of tightly S-spun undyed weft which is used only where color is needed, interlacing back and forth in color area with "weft onlay" since pattern weft does not enter teh shed of the ground weft. Loom ending at top of fragment, one selvage on right side.
Four tile
, 17th century
Glazed earthenware

Painted in blue, green, yellow band brown; tulips, grapes and oranges, with foliage and foliated circles.
Fragments
, 14th–15th century
silk, metallic technique: 4&1 satin patterned with plain weave

Affronted phoenixes within a cartouche in gold on coral.
Les Plaisirs de la Ferme
, 1785–1790
cotton Technique: printed by engraved plate on plain weave
Textile

Red and white toile with rural scenes, the principle ones being a cow under a tree, people by an aqueduct and women washing clothing in a river.
Footed dish
, late 18th–early 19th century
treen

The squat globular body of the cup is formed of polished half of a coconut shell. The shell is attached to a circular foot turned with stepped moldings. A wooden dowel is inserted through the foot and the base of the shell.
Textile
, late 18th century
cotton Technique: block printed on plain weave

Vertical curving vines with lilacs framing roses on a natural white background.
Textile
, 1650–1700
silk, metallic threads Technique: 4&1 satin damask with discontinuous supplementary weft patterning (brocaded)

Length of red silk damask brocaded with silver and yellow/green silk. Both the damask design and the brocade design show sinuous curving elements and exotic blossoms.
Handkerchief
, late 19th century
cotton Technique: printed on plain weave

Red cotton handkerchief printed with the scene of a cleric pointing at a book before a seated woman. Printed at bottom: Le livre défendu (the forbidden book). Border with stripes and diamonds.
LE TEMPLE DE DIANE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation with a statue of the goddess Diana on a pedestal under a baldachin supported by terms at the center. The statue is worshiped by two young women. To the right of the page are hunting dogs; to the left, a fleeing stag. The plate also features garlands, bucranium, scrolls, acanthus leaves, and at the bottom a spear and a horn. The plate is signed.
Turtleback Tile Chandelier
Tiffany & Company, American, established 1853, ca. 1910
glass, bronze
chandelier (hanging light)

Two rows of amber-range iridescent glass "turtleback" medallions surrounded by bronze framewark and interspersed with smaller triangular pieces of glass, all surmounted by flattened onion-domed shaped crown, supporting a ring to which a chain is mounted.
L'Odorat
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with a vignette of two Commedia dell'arte figures (Pierrot and Harlequin) sitting in a landscape. They are surrounded by scrolls, batwings, and vines. The plate is signed; the title is inscribed in graphite, but can be found printed in other versions of the plate.
Design for a Cipher (Interlaced Letters)
Charles-Germain de Saint-Aubin, French, 1721–1786, 1766
Etching on paper
Print

Design for the crowned letter A and possibly another letter, interlaced and comprised of flowers, leaves, and wheat. The plate is signed and numbered.
Edging
, 19th century
Technique: machine made

Machine made ???
Idmone e Mopso argon guidati da Apollo, from Vessels of the Argonauts for the wedding celebration of Cosimo de' Medici in 1608, plate 15
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
etching on laid paper
Print

This ship of Idmon and Mopsus, emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Button
, late 18th century
steel

1931-59-254-a: flat circular button with befelled edges; steel sh...
Textile
, ca. 1791
cotton Technique: printed by engraved copper plate on plain weave

Textile printed in red on white showing country scenes and architectural remains. The wide spaces between vignettes is filled with garlands and festoons.
NEUVIEME LIVRE D’ORNEMENS Propre pour la Menuiserie Inventé par Mondon Fils
Jean Mondon, French, fl. 1736 – 1745, mid- 18th century
Album

Album of ornament prints with designs by Mondon, including a series of designs for boiseries (paneling), and a title page for a series of carriage designs, all featuring rococo motifs and ornament. The first series of ornament prints may be a later edition or copy by the publisher Crepy, with some of the previous addresses removed but still visible on some plates. The plates are numbered.
Fragment
, 17th century
silk, metallic Technique: woven

Closely spaced rows of metallic palmettes on green ground.
Sidewall
Ericson & Weiss, 1810–20
Block-printed on handmade paper

On gray/taupe ground, gray fill of powdered dots, lines; gray vertical borders of symmetrical, stylized flowers; vignette of seated woman and man in turban. Printed in gray, white and turquoise.
Sidewall
, 1875–1900
Block-printed paper, embossed, oil finish

Imitation leather. Circular motifs containing C-scroll or horseshoe-shaped inserts, alternating with smaller rosettes. All-over textured background. Printed in umber.
Jar (One of a Pair)
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, ca. 1725–1750
soft paste porcelain
jar

On plain foot, an inverted bell-shaped cup; the outside covered with relief-cut artichoke leaves, forming scalloped edge above inner rim. Cover with slight dome, covered with relief-cute artichoke leaves, and a row of standing leaves around edge. Four-leaf knob finial. Undecorated.
Ceiling paper
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper, liquid mica

Floral sprig in metallic gold surround by gray shadow effect altnates with quatrefoil motif. Separating these elements of petite five-petaled flowers and smaller gold floral motifs. Printed on off-white ground covered with moire effect.
Nude Study of Man with a Staff
Kenyon Cox, American, 1856–1919, 1880–84
Charcoal on laid paper
Drawing

Nude study of man standing, facing frontally, holding a staff in his right hand.  His left hand rests above his hip, with his elbow out, away from his body.
Sketchbook Page: Woman in Profile
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Seated woman shown in right profile, with hair in a bun.
Bodice
, 1830–40
silk (warp) and wool (weft) Technique: block printed on plain weave; patterned by warp floats

Fragment composed of bodice of dress: on white, diagonally-striped, waffed ground [silkl warp, wool weft], block-printed pattern in lavender, green and orange, of vertically serpentining flowering vine.  Height of repeat about  9".  Goods probably machine-woven.  Skirt has been dismantled.  Bodice: low boned, cross-over folds in front with point, fastens by hook and eye in back; full gigot sleeves tight with shaped, edged with lavender piping as are seams of bodice.

Card packed with dress reads, "Catharine Beck V.C. 1818-1895"
Equipment Used for Making Silk Textiles
Louis-Jacques Goussier, French, 1722 - 1799, ca. 1775
Engraving on paper
Print

Equipment Used for Making Silk Textiles
Fragments
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation

Green cut and uncut velvet; stylized plant in diamond frame with dark yellow ground.
Bandbox
, 1860–70
Machine-printed paper, pasteboard support, sized cotton

On light blue ground, slightly deeper blue bandings, vertical, with green pattern of: vertical lines, scrolls and leafy patterns. Over the vertical blue bandings, green pattern with leaves between paired bordering lines giving ribbon-like effect, interrupted by assymetrical lambrequin-like shape of scrolls and flowers with diagonal linear fill and pin-work. Paper covers sized cotton reinforcement which is visible at worn edges.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Sidewall or ceiling paper containing small bunches of grapes, hanging on loosely intertwined vines.
Border
, late 16th–17th century
linen Technique: needle lace (punto in aria)

Fragment of a border with flowerheads, probably carnations, supported by scrolling forms.
Out of Doors, Direct Method, Foot ot 17th Street
James Henry Moser, Canadian, 1854–1913, ca. 1890
Brush and watercolor, graphite on paper
Drawing

Brick house with wooden sheds, left. Two figures, and furniture in front. Telephone pole, right.
Figure of a Beggar Playing a Hurdy-Gurdy
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1735–1740
hard paste porcelain, vitreous enamel
figure

Smiling musician wearing torn clothing, seated on a white outcrop, playing a hurdy-gurdy.
Band
, late 16th–early 17th century
silk embroidery on linen foundation Technique: embroidered in counted back and stem stitches on plain weave foundation; bobbin lace edging Label: linen embroidered with silk in counted back and stem stitches

Border of natural linen, embroidered with red silk; the red outlines the details of the pattern but also fills in the background entirely. Central trunk entwined with wildly curving branches; flowers, birds and butterflies throughout. Trimmed on one long side with gold bobbin lace.
Tassel
, 17th century
linen, metal wire, silk Technique: braided and knotted

Linen tassel, braided and knotted. Single loop attached to pear-shaped unit from which hang three elaborate knottings in shape of human figures holding on to one another. From bottom of pear-shaped unit hangs a ball decoration, with smaller knotted balls. Silk bows stitched to top part of pear-shaped unit. Hair of human figures made of tarnished metal wire.
Antler
, late 19th century
Antler, metal
Matchsafe

Oblong, snuff box style box, its body comprised of pieces of hollowed out antler, the lid framed in decoratively cut metal with a thumb catch at its front and a small unadorned plaque attached to its top. The sides are attached to the main body with continuous ribbed bands that wrap around the irregular, slightly tubular container. Matches were likely intended to be struck on highly textured box body itself.
Arabesque with griffins
Arthur & Robert, 1789
Block-printed on handmade paper
Sidewall

Arabesque design. At bottom, a pair of griffins below a vase supported by two birds containing floral bouquet. At top, beneath an arbor is an altar, with wheat shafts above. Printed on light green ground.
Sampler
Francesca Martin, 1867
silk and wool embroidery on cotton foundation Technique: embroidered in cross, long-armed cross, satin, and double running stitches on plain weave foundation

Patchwork of six small samplers.  Predominantly in red and blue.  Motto "Ni me presto ni me doy solo de mi dueño soy."
Sampler
, 19th century
silk embroidery on cotton foundation Technique: embroidered in cross, long-armed cross, running, satin, back, and eyelet stitches, with withdrawn element work with needle made fillings, on plain weave foundation

Bands of pattern. Rebus (pictogram) at top and a double-headed eagle in Aztec stitch in the middle.
World's Columbian Exposition
F.M. Whiting, 1892
Silver
Matchsafe

Oblong, rounded corners, curved sides, featuring raised decoration of 2 stacked globes, the top inscribed "World's Columbian", the bottom inscribed "Exposition 1892", both set against foliate backdrop of oak and laurel leaves. Reverse features oblong wreath of oak and laurel leaves on unadorned background. Lid hinged on side. Striker recessed in groove on bottom.
Figure Toy
Harriet Blackstone, American, 1864–1939, 1922
Brush and oil, graphite on board
Paper doll

Paper doll of a female figure in a green dress.
Frieze
, 1905–1915
Machine-printed paper

Alternating large and small foliate medallions underneath which are floral swags with roses. Ornamental top band similar to egg and dart pattern. Beaded bottom band with additional ornament. Background is a stylized landscape. Grounding shades from dark red to pink (bottom to top). Printed in reds and pinks with black and metallic gold detail.
Valance
, 1750–1800
linen Technique: block printed on plain weave foundation

Valance with scalloped edges made of printed linen with a large scale floral pattern in brown. Bound with a yellow silk ribbon.
Paperweight
Grueby Faience Company, Revere, Massachusetts, 1895–1908, 1904–09
Earthenware, glaze

pottery in the form of a scarab, green
Fragment
, 18th century
silk Technique: plain compound satin, brocaded

Small fragment with scrolls and flowers in green and blue on an orange and yellow background.
Fork from Traveling Cutlery Set
, ca. 1730
silver
fork

1985-103-139-a/c: Two curved, pointed tines. Square neck, waisted in...;     1985-103-139-a: Sharkskin case for two implements. Plain silver mo...;     1985-103-139-b: Knife with steel blade with straight lower edge, u...;     1985-103-139-c: Fork with two curved, pointed tines. Square neck, ...
Garden Party of the Children
James Joseph Tissot, French, 1836 – 1902, 1880
Etching on paper
Print

A garden with a woman seated on the grass, at left. Four children seated and reclining, left to right. A woman and a small boy walking in background.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Alternating large and small bouquets of simplified flowers with vining scrolls. Cream ground. Printed in orange, white mica, light blue mica, and pink mica.
Printed in selvedge: "Cresswell & Washburn. Phila. 0.420"
Sidewall
, 1850–1900

Very fragmentary piece, scrolling architectural framework with floral motifs. Printed in shades of gray on green background.
Earrings
, ca. 1860
Gold, enamel, mosaic

"Florentine Mosaic" parure, set in gilt metal filigree and granule decoration surrounding circles (upper portion of earrings), and half-circles of porcelain or enamel. The parure is composed of: brooch; pendant locket; pair of cuff studs; pair of earrings. A specially designed box (-3 G) of black "morocco" lined with pale blue satin.
Dado
, ca. 1815
Block-printed on handmade paper

Large horizontal rectangle containing motif of doves perched on a quiver of arrows. On either side are vertical rectangles the designs of which are identical: a trophy made up of a wreath, cord and tassel, and crossed tridents. Printed in grisaille on gray ground.
Sketchbook Page: Portrait of Man in Profile
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Portrait of man with tall hair and stubble on chin shown in right profile.
Waistcoat fragment
, late 18th century
silk Technique: woven

Fragment of a waistcoat front brocaded in a multicolored chinoiserie pattern of a fisherman with a large bird along bottom edge. Flower and bead garland on the center front and pockets.
Sidewall
, 1900–1920
Machine-printed

Full repeat of a figural landscape design with Dickens characters and other scenes. One scene contains the Old Curiosity Shop while another contains an inn.
Fragment
, 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a satin foundation

Fragment of cut and uncut dark pink velvet in a design of a curving leafy vine with flowers on an off-white ground.
Crocodile hunt
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1595
Black ink on paper
Print

Horizontal rectangle. Crocodiles are baited by pigs, caught in the act of devouring the small animals tied up close to the edge of the beach.  The crocodiles, unable to retreat easily, are stoned by men, waiting for them on the beach. At lower left: "Ioan. Stradanus invent."; center: "Ioan. Collaert sculp"; near lower right: "Phls Galle excud."
Sidewall
, 1870–90
Machine printed on paper

Irregular vertical rectangle with significant losses. The Anglo-Japanesque design has an asymmetrical arrangement of seemingly unrelated motifs including columns, potted plants and geometric shapes. Very abraded surface. Printed in dull browns, reds and blues on neutral ground.
Bonad
, 1730–1800
Hand painted on canvas

Three figures in decorated wagon being pulled by large spotted horse.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Stylized yellow flowers and scrolling acanthus foliage create a loose framework with a centered single yellow flower.
Sampler
, 1702
silk and linen embroidery on linen foundation Technique: embroidered in satin, cross, chain, eyelet, back, feather, and threaded running stitches on plain weave foundation

Alphabet, monogram, and bands of pattern all in white with some letters and date in red silk.
Sidewall
, 1800–1850
Block-printed on handmade paper

Diamond diaper design, with white framework containing green six-petaled floral motif. Printed on gray, ungrounded paper.
Two putti
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Two putti, one with bent leg and extended arms, the other below, only partially drawn.
Ceiling paper
, 1905–1915
Machine-printed paper

All-over mottled pattern printed in blue or gray on off-white ground.
Sampler
, 19th century
silk embroidery on cotton foundation Technique: embroidered in withdrawn element work and chain, satin, stem, cross, and buttonhole stitches on plain weave foundation

Bands of withdrawn element work on an embroidered curving floral vine in the middle.
Frieze
Wagner, Wagner & Co. Inc, 1905–1915
Machine-printed paper

On cream ground, scrolls creating negative space in brown flocked areas with green and white roses.
Sketchbook Page: Three-Lobed Leaf
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Study of a three-lobed leaf; sketch of decorative motif below, with four symmetrical three-lobed leaves. 
Verso: Sketch of two decorative friezes, above, and pattern with flowers, below.
Shoreline with Rocks, Boats and Birds
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Shoreline with calm ocean and rocks at left. On horizon at left center, two boats. Birds in sky at right.
Border
, 1840–60
Block-printed and flocked

Feathers and leaves intertwined to form a rope-list twist border.
Decorative Frame; verso: Frieze with Pageant
, early 17th century
Charcoal, pen and ink on paper
Drawing

Frame with grotesque decoration. At top center, child and lion masks flanked by half figures of armless mermaids with acanthus tails. Below, escutcheons, trophies, and birds. Blank central panel. Double framing lines. Verso: A figure seated below a canopy in a wagon drawn by cows.
Elevation of an Altar
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Elevation of an interior with an altar at the left. The altar has at its base a scene of sacrifice on its front, and on top of it tall torchères and a sculptural group of the Nativity. Above the group of the holy family is Christ on the Cross under a baldachin. To the right of the altar is a panel with a carved trophy and a console table with cups for the Eucharist. Above the door, farther to the right, is a scene of gifts being brought to the infant Christ. The plate is signed and numbered.
Figure
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

A partial sketch of a figure.
Developpement d'une Fenêtre Corinthienne
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design and profile of a window decorated according to the Corinthian order and with a profile medallion and helmets in the pediment. The plate is signed and numbered.