biglam/cooper-hewitt-alt-text huggingface dataset:
Album of Hand Fan and Panel Designs
Bellay, French, active from 1734, ca. 1734-49
Album

Album of ornament prints - designs for hand fans / hand screens, panels, title pages and a blank cartouche - featuring rococo and chinoiserie motifs. The album contains counterproofs of some of the prints also bound within.
Tomb cover
, 18th century
silk Technique: lampas, 4&1 satin patterned by plain weave

Zigzag bands with Kufic writing in green and white. Both selvages present.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a pattern of a small branch with a portion of two small scalloped blossoms attached to it.
Coverlet fragment
, early 19th century
wool, cotton Technique: plain compound cloth (overshot)

Traditional, geometric design showing combinations of small triangles in dark blue on a white, undyed cotton ground. Reversible.
Unterschiedlich Augspurgische Goldschmidts Arbeit, Suite 1, Title Page
Abraham Drentwet, German, 1647 – 1727, 1721–40
Engraving
Print

Vertical rectangle. Title page of suite of different Augsburg goldsmith works. The title with the publisher's name and artist's name on a fringed tapestry held up by Mercury and a putto. Below, men and classic (mythological or allegorical) figures depicting the stages in the goldsmith's art. Below, the artists' names.
Sketch for the Head of an Angel
Francis Augustus Lathrop, American, 1849–1909, ca. 1893
Graphite on laid paper
Drawing

Shown turned to left and blowing a trumpet. The bust and part of the right arm are shown.
Cup and Saucer with Chinoiserie Vignettes
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel, gold
cup and saucer

Simple hemisphere, plain looped handle. Saucer has rounded bottom, curved side. Decorated with Chinoiserie figures in landscape, with painted and gilded imbricated borders.
The Risen Christ
, 17th century
Chalk, pen and ink on paper
Drawing

Contour drawing of Christ holding a white banner.
Conch Divers
Winslow Homer, American, 1836–1910, 1885
Graphite on paper
Drawing

Vertical rectangle. Top: Negro and negro youth in rowboat, across the stern of which is a dead shark. Sailing boat on horizon, at right. Center, in opposite direction and invalidated: bust of a negro, shown in profile. Verso, horizontally: a diver on the floor of the sea, with sea plants and fish and under side of boat.
Button
, 19th century
brass

1931-59-917-a: flat buttons ornamented in design of basket of flo...
The Supper at Emmaus
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1779
Engraving on paper
Print

Within a circular enframement, two pilgrims, seated at table, behold an aura of light, right. Scene represents the appearance of Christ at the supper of Emmaus. Enframenement top has a trophy made up of pilgrims' attributes.
Lithophane of Hagar and Ishmael
, 1825–1900
biscuit
lithophane

Vertical rectangle with impressed design showing Hagar, seated, serving a drink to Ishmael who kneels with left hand on his mother's lap. Four smiling cherubs watch from above.
Decorative Frame
, ca. 1750
Etching with engraving on paper
Print

The frame consis of pedestal and rocaille motifs, of vine and flowers. A phoenix is in the top center.
Wall tile
, early 17th century
Tin-enamelled earthenware

Cobalt blue on white ground. Conventionalized plant design of three tulips on single leafy stem within a circular scrolled cartouche extending to edges. Fret ornament in corners.
Sewing sample
, late 19th century
Cotton

Small square of white cotton embroidered in black. Scalloped edge, button-holed in black; border of fret etc. in simple outline stitch. Center, spray of flowers in outline stitch, but on two layers of the muslin, which has been cut away on back, leaving only form of design in two layers.
Thetis observing Vulcan fabricating the arms of Achilles
Felice Giani, Italian, 1758–1823, About 1800
Pen and brown ink with brown wash (iron gall ink)
Drawing

In an octagon Vulcan kneeling in the right foreground, raises the hammer; he holds a blade with a tongs. Mars and Minerva standing at left, look on.  Cupid raises one of the thunderbolts with his right hand, and holds another in his lowered left hand.
The West Street Building from the Singer Building
Joseph Pennell, American, active England, 1857–1926, 1908
Etching in black ink on laid paper
Print

View from on high looking toward the New York waterfront. The West Street Building rises above all surrounding structures.
Trimming
, early 17th century
silk dyed blue, silver metallic foil wound onto white silk Technique: bobbin lace, metallic

Short piece of bobbin lace, green silk and silver gilt thread. Design in scallops.
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Pen, ink. Sepia wash. Light bluish paper;

Lucretia trying to leave her bed is kept down by the left hand of Tarquinius who standing behind her menaces her with his sword. The room and its furnishings are elaborately shown. A camp is burning. Narrow paper margin.
Wall tile
, 18th century
Tin-enameled earthenware

Square tile with decoration in roundel, in manganese purple, of Christforetelling the destruction of the temple; small floral motifs in spandrels.
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Design of a detached leaf between straight borders. In red velvet on a yellow ground.
Sampler
, 1815
silk embroidery on linen foundation Technique: embroidered

Biblical scenes, a ship, a church, baskets of flowers, and an alphabet enclosed in a border of strawberries.
The Battles of Culloden, Scotland
Carington Bowles, British, 1724 - 1793, ca. 1760-1770
Engraving on paper
Print

A mounted general salutes his officers in the foreground. In the distance massed troops in formation are in battle. Ships in the left distance.
Sewing sample
, late 19th century
Wool

Small oblong of wool embroidery in brilliant green, gray, and magenta yellow. Made up as a small model for a rug; center worked on canvas; with designs of conventionalized open flower, is in the tufted wool know as ''Berlin Wool Work;'' border double fringe of looped green wool.
Carpet fragment
, 1850–1900
wool Technique: double cloth

Fragment in olive green, red, yellow and off-white patterned by a row of a motif of two large flowers with a bunch of leaves in alternate alignment with a row of a motif of two large leaves with a branch of smaller leaves, scrolling tendrils between the motifs with small flower sprigs. Subtle background patterning of a diamond lattice.
Over There
, ca. 1917
wool foundation, cotton embroidery Technique: machine embroidered and appliquéd on felt
Service banner

Rectangular red wool felt banner appliquéd with a navy blue arch across the top, on which "Over There" is embroidered in small white stars. Underneath the arch is an embroidered white rectangle with a navy blue five-pointed star in the center. A metal rod with a hook holds the piece at the top. During World War I, banners like this were hung in the window of a home to denote that a family member was serving in the U.S. military.
Healey Gold
Emily Healey, American, b. 1854, ca. 1893
Gilt porcelain
Dinner plate

1991-11-1: Comprising: -1 Dinner plate -2a Cup -2b Saucer -3a...;     1991-11-3-a,b: elongated tall tapered cylindrical form with loop ...;     1991-11-5-a,b: sugar jar50
Album of Ornament Prints: Designs for Girondoles, Candlesticks, Candelabras, Chandeliers, Clocks, Barometers, and Boxes (Caskets)
Jean François Forty, active 1775 – 1790, 1774–94
Pen and chinese ink, with water colors; ''bound''***
Album

Album of ornament prints, from two different series, published as the works (Oeuvre) of J.F. Forty, including designs for objects sculpted in bronze - Girandoles, Candlesticks, Andirons, Chandeliers, Candelabras, Clocks, and Barometers. And designs for boxes and caskets that can be produced in gold, silver, or porcelain.
Fragments
, 17th century
silk and metal Technique: Combination of two stuctures: 4 harness irregular twill [foundation] plus 3/1 twill \ [supplementary facing and pattern]. Foundation fabric has an integrated set of supplementary wefts free floating on the front to pattern. The supplementary fabric has a set of two complementary weft faces the pattern background covering the 4 harness twill, and the other backs the discontinuous wefts. The discontinuous supplementary wefts pattern and are bound by the interlaces with the foundation wefts in 2/2 twill.

Fragments cut from a continuous pattern of gold or silver diamond-shaped floral forms set in a loose diamond lattice made of green, salmon, and ivory blossoms.  The background would have been gold or silver.  Each fragment has one selvage intact.
Sussex
Morris & Co., London, England, late 19th century
Ebonized wood, rush
Settee

Ebonized beech bench with turned back sections, supports, and legs.  Rush seat set into frame.
Designs for Two Telamons (Atlantides) and Two Furniture Legs
Richard de Lalonde, French, active 1780–96, 1857–59
Engraving on paper
Print

On the left, two designs for telamons (atlantides): two male figures (torsos) in classical dress as columns with capitals above their heads, and tapered columns in the place of their legs. To the right, two designs for fluted tapered furniture legs, with scrolling leaves and foliate ornament. The plate is signed with the printmaker, publisher, original designers and date of designs, and numbered.
Portrait of Guido Reni
Galgano Cipriani, 1801
Engraving on paper
Print

Portrait of head in a circle. The head in three-quarter view towards right. Circular inserted into a rectangular field on which are inscriptions.
Design for a Cipher (Interlaced Letters)
Charles-Germain de Saint-Aubin, French, 1721–1786, 1766
Etching on paper
Print

Design for the crowned letters P and possibly V, interlaced and comprised of branches of leaves and flowers and ribbons. The plate is signed and numbered.
Ersten Ausgab seines vorhabenden Wercks
Johann August Corvinus, German, 1683–1738, 1728–31
Engraving on cream laid paper
Print

Plate 2. Design for a bedroom and bed in the à la Duchesse Style placed between a candlestick and a chair
Border
, 1800–1825
Block printed and flocked on handmade paper

Pairs of stylized swans holding between them lyres that rest upon garlands of quatrefoils and lozenges. The garlands terminate at each swan with a trident/ scepter. Printed in rust and dark red-brown flocking, yellow, tan, white and shades of gray over a blue base coat.

H# 319A
Scent flask and cap
, ca. 1800
Glass, silver

Rectangular shaped body with rounded corners, both sides cut in with rectangular panel of small diamonds in oval border, fan flutes at ends, fluting around edges; threaded neck, glass stopper, silver cap.
Creamer
Christoph Christian Küchler, active 1852 – 1871, 1854–1871
silver
creamer

Wavy baluster-shaped creamer on conforming foot, with double C-scroll scroll handle.
Valentine Greeting
, ca. 1850
Wood engraving, brush and watercolor on embossed paper
Greeting Card

In the center, morning glories with Venus and Cupid resting in the blossoms. Inscribed (printed in black ink): "Sweet floral Spirits in thy Flight / Thro balmy bowers of bliss above, / Let drop a wreath which may unite / In roseate bonds thy heart I love".
Fort at Villefranche
Arnold William Brunner, American, 1857–1925, 1892
Graphite on paper
Drawing

Fort, left, on shore with palm tree, center. Water, right, with mountains beyond
Border
, 1835–50
Block-printed on handmade paper

Narrow cable molding or rope twist border. Printed in shades of orange.

H# 341B
Sidewall - sample
, 1906–08
Machine-printed on paper

In shades of brown, rows of almond shapes containing some foliage and berries.
Fork
, 1750–1800
glass, steel, gold, brass
fork

Four curved tines, curved shoulders. Spiral-shaped neck, baluster-shaped towards the handle. Plain brass ferrule, round in section. Tapering handle, round in section, of white milk glass with Chinoiserie design in gold. A man with spear, landscape in background with trees and houses.
Handkerchief
E. Renault, late 19th century
cotton Technique: printed on plain weave

Cotton handkerchief printed in black on red and cream ground showing a group of drinking soldiers gathered around a letter that contains a picture of a woman with cow. At left, a woman dispenses beverages. At left, text from the letter printed to resemble handwriting. Printed at top, in trompe-loeil resembling a pinned banner: lettre du pays (country letter). Striped border.
X Pattern
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Crosses and carved out are thorn-like, or two star shapes overlapping divots are alternated designs to create this pattern. Written on the bottom half in black is Japanese calligraphy.
Textile
, mid–late 18th century
silk Technique: 5-harness satin damask

Blue damask with a large scale symmetrical pattern, the vertical center-line is middle of fabric in light blue; large oval frame in the form of a ribbon from the top of which is suspended a basket of flowers from a ribbon.  The ribbon frame is the full width of the fabric, and is repeated one on top of the other.
Miser's purse
, early 19th century
silk, metal Technique: knotted netting

White silk purse ornamented with cut steel and gold beads in small diamond pattern. Two rings of cut steel in gold control side opening. Twisted gold beads ending in larger cut steel beads form fringe on one end, a tassel on the other.
Tassel
, 17th century
linen Technique: braided and knotted

Pear-shaped linen tassel, braided and knotted. Double loops are attached to pear-shaped unit from which hang seven braided and knotted elements (including center).
Border
, 1845
Block-printed

Grisaille scrollwork frames enclosing, alternately, a cluster of flowers and leaves on gray ground, and a smaller cluster on a red ground which is striped with black. Grisaille moldings along upper and lower edges. (Probably clipped along both edges).
Textile
, mid-17th century
Technique: needle lace

Needle lace; mid-17th century Point Plat de Venise
Ten of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Ten of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

A) Grey ground of stripes and foliage over-printed in design of flowering vine.
B) Similar groudn to A but printed in clusters of natural size rosebuds. 
C) Same groudn effect as A but in blue; pattern over-printed of rose clusters with a birds nest and bird.
Boy playing a lute
Elihu Vedder, American, 1836 – 1923, ca. 1890
Graphite on paper
Drawing

Full-length sketch of a young male figure, his right knee bent, playing the lute. Profile of a boy, partly seen, right.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of two figures seated on the groud. One figure plays a pan flute.
Band fragment
, 16th century
linen Technique: bobbin lace, coninuous braid-like

Two parallel rows of crosses and diamonds.
Wall Elevation Design, probably for the King's Apartments, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1802
Brush and watercolor, white gouache, graphite on paper
Drawing

Elevation of a wall with a doorway at right, surmounted by a painted tablet bearing Chinese characters. The decoration of the wall at left consists of a Chinese scene within a circular frame, flanked by narrow panels with neutral fields.

Original album associated with this collection still exists: see 1948-40-1 accessory.
Casa de Campo, Malapu
Arnold William Brunner, American, 1857–1925, ca. 1891
Graphite and white heightening on cream paper
Drawing

House on top of a ridge, a clump of trees, lower left.
Punchbowl for U.S.S. Louisiana
Reed & Barton, American, 1824–2015, June 16, 1906
Graphite, pen and ink, wash on cream wove paper
Drawing

Design for footed metal punchbowl with sculptural composition made up of eagles, cornucopia, medallions, and a central cartouche.
Dessert Spoon with Beetle on Handle
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form leaf shaped handle, with terminal turning downwards. Beetle applied as if perched on very end of  terminal, with bottom half hanging below end of leaf.
Brooch
, ca. 1860–70
Hair, gold

Brooch consisting of a wide "U" shaped piece made out of woven brown hair capped at the ends with gold. Within the "U" shape are three balls of woven hair; hanging from the "U" are three teardrop shaped pendants of woven brown hair, accented with gold hardware.
Fragment
, late 18th–early 19th century
cotton Technique: roller printed on plain weave

Printed cotton fragment. Blue dye on white ground showing equestrian hunters with hounds in landscape.
Sidewall
, 1800–1850
Block-printed

Small oval shapes formed with two demiloon shapes. Printed in rows, separated by four-petaled flower motifs and dots. Printed in dark gray and white on medium gray ground.
Darning sampler
, 1735
silk embroidery on linen foundation Technique: embroidered in running (pattern darning) and eyelet stitches on plain weave foundation Label: linen embroidered with silk in pattern darning and eyelet stitches

Square sampler with stitching in violet, pale blue, lime green, fuschia and yellow on a cream-colored linen ground. Eighteen crosses and four darned corners demonstrate different repairs in different weave structures. Large square in center was removed and darned back. Additionally, one corner square was cut out and then darned back into the fabric. The eighteen crosses and other three corners were cut away, then the fabric was rebuilt by darning or "needle weaving."
Textile
, 18th–19th century
silk, metal Technique: woven

Fragment of a narrow border pattern. Red silk with design of lozenge shapes in flat silver foil strips.
Borders
, 1780–1810
Block printed on handmade paper

Five bands of a border design printed across the width. Generalized, small-scale classical revival (?) Each band consists of four strips of varied patterns, i.e. lowest strip consists of a cable alternating with six beads. The second strip has three alternating medallions, two larger ones flanking a small one. The third strip contains palmettes alternating with a shield-like form enclosing a five-blossomed sprig. The fourth strip consists of a Greek key fret interspersed with diamonds and simple flowers. Printed in orange, white, blue, ocher and yellow on a dark brown background.

H# 616
Frieze
William H. Mairs and Company, Brooklyn, New York, 1905–1915
Machine-printed oatmeal paper

Large-scale poppies on stem with flowers running along top edge and stems at bottom. The space between the band of poppy flowers and the top edge is printed deep red. Printed on pink oatmeal paper.
Candlestick
, 1750–1800
glass
candlestick

Tall shaft with series of faceted knops; faceted nozzle with cut and shape everted rim; domed base spreading to flat circular rim, cut with facets at top and with circular row of printies on underside, notched around bottom outer rim; pontil mark; glass greenish, light, bubbly.
Button
, probably ca. 1840
Wood, gilt and lacquered metal

Carved wood relief of a 16th century man in hat with fleur de lys border.

On card 43
Border or sidewall
, 1905–1915
Machine-printed paper

Repeating motif of overlapping circles, against a deep blue background. On either side is a band of beading.  Printed seven across.
Furniture mount
, ca. 1780
Gilt bronze

Hunting trophy consisting of bow, two lances, helmet, club, drum, animal skin and tambourine, suspended by sash.
Fragment
, late 17th–early 18th century
linen Technique: needle lace

Fragment of a band with a very fine floral scroll and raised details.
Sidewall - sample
Liberty Paper & Bag Co., 1906–07
Machine-printed

Art nouveau; tall stylized tulips on long stems and elongated curls vertically placed. Printed in shades of green and red on dark olive background.
Sampler
Elizabeth Groome, 1667–78
silk, wool, mica and metallic embroidery on linen foundation Technique: embroidered in stem, satin, cross, bouillon, couching, and padded couching stitches on plain weave foundation; counted and uncounted stitches

Scene of a crowned shepherd and shepherdess in a rural landscape with sheep and a dog, an oak tree to the left and an apple tree with a large parrot to the right, the sun at the top and a church at the bottom. Mica is used as the windows of the church; the background is of couched metallic yarns. In the center a reserved circle with the inscription:
By this you see my parents took great care of me 
Love the Lord and he will be tender Father unto thee
July the 23 Elizabeth Groome aged twelve year 16678 (sic)
Quilt
, 18th century
cotton Technique: printed by engraved plate on plain weave, quilted

Complete quilt of copperplate printed cotton, with a design in red on a white ground. The design shows men and women dancing in the yard outside a cottage, a windmill, and boys riding in a hay wagon. A horse is bearing sacks on its back with the initials "WC". The quilt is lined with polychrome printed cottons in patchwork.
Plate XXXVI from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machien for transferring liquids from ships to the shore. Large buckets with spigots at either end of pipes on a screw. Worked by one man on a platform beneath. Description in Latin on verso of 1949-152-233.
Winged figure between window and column
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Winged figure standing between a window on the left and a column on the right. She stands in a contrapposto position and her eyes are closed.
Frieze
Liberty Paper & Bag Co., 1900
Machine-printed

Bright red and pink rambler rose with green leaves; pink twisted double band. On mica-coated paper.
Textile
, 1200–1500
cotton, wool Technique: discontinuous supplementary weft in plain weave foundation; Plain weave patterned by brocaded supplementary weft floats. Selvege on right side intact. Bottom edge.

All-over pattern of diamonds each containing a bird in red and black on a natural tan cotton background (foundation fabric).
Brisé fan
, 1880–1900
Ostrich feathers, tortoise shell sticks, silk ribbon

Brisé fan. Natural-colored, uncurled ostrich feathers applied to sticks which are tortoise shell to the shoulder; the remainder to the tip is whale bone to which the feathers are attached with thread. Brown satin ribbon.
Sidewall - fragment
, 1860–70
Machine-printed

Stylized floral sprig, in metallic gold, printed on a creamy, off-white ground.
Frieze
, 1820–40
Block-printed on joined sheets of paper

Architectural elements; a) column tops and gothic arches in shades of pink, shades of brown, black, white over small scale yellow pattern of intertwined bandings with alternating quatrefoil rosettes in centers of figures formed by intersections; b) apparently a column to fit under this or a similar frieze though the background pattern differs and columns are too wide for capital.

H# 457
Handkerchief
, mid- 19th century
cotton on linen Technique: buttonhole, padded buttonhole, padded satin, overcast cord, stem over running, and speckling stitch embroidery on plain weave; cutwork with needle lace fillings

Elaborately embroidered handkerchief of fine white linen. Corner design worked in naturalistic flower spray, bird's nest with baby birds, and a pair of adult birds with overhanging flower clusters. Latter are worked with raised separate flower petals, possibly made and attached separately. With openwork and buttonhole details in centers. Adult birds have raised wings. Partly free from ground and probably made separately. Edge is scalloped and worked in a kind of lambrequin design.
Cobban Brothers, Wall Paper and Room Mouldings
Cobban Brothers, American, ca. 1900
Machine-printed paper
Sample book

All of the samples included in this album are combination sidewall and frieze papers. The samples include landscape papers, lace effects, moiré, and grape vine designs, with several of the designs printed in deep saturated colors. There are no ceiling papers in this album. Most of the designs are in the art nouveau or Louis XVI style.