biglam/cooper-hewitt-alt-text huggingface dataset:
Bag
, 17th century
silk, metal Technique: plain weave with discontinuous supplementary weft (brocaded)

Small bag made from four sections of yellow silk brocaded with pink, green and white silk and silver metallic thread in floral desing. Bound with metal thread galoon, with drawstring at top.
Drawing
Felice Giani, Italian, 1758–1823, About 1815
Pen and brown ink with brown wash (iron gall ink)

Center, oblong. Aeneas seated upon a curved bench points at the representation of Prian in the tent of Achilles at the outer wall of a partially shown temple. Other buildings of the city are in the right rear. Pairs of lozenges flank in vertical rows the central design. Each contains a flying female genius, the upper ones being shown in the opposite direction. They carry: a standard with SPCS, bottom left, a wreath, bottom right, a trumpet, top right, a legionary sign, top left.
Fragment
, 13th century
silk Technique: plain weave

Striped in blues and browns.
Villa
, ca. 1650
Pen and brown ink with brown wash and traces of graphite Support: light brown laid paper on secondary paper support
Drawing

Vertical rectangle. A high doorway, with on top a coat of arms and rustic frame at right. For the small walls are suggested, at left, three panels above a bank, at right a similar solution: the decoration of the central panel with a head above a drapery festoon and a moulding. The apartment floor has in the center a balcony and a door and two lateral windows. Above: a surbased pediment with a square window.
Ornament, Christmas tree
, 1850–99
Dough and sugar

A ring with yellow frosting, with a colorful bird of sugar on dough perched in it, all in relief.
Fragment
, 17th century
silk, metallic Technique: woven

Conventionalized vine design with palmettes.
Sketch for an Angel
Francis Augustus Lathrop, American, 1849–1909, 1880–90
Graphite on paper
Drawing

Head and torso of a winged figure shown from the right back, turned toward right, blowing a trumpet.
Clock
, ca. 1775
bronze, gilding, marble

Drum clock flanked by figures of a scantily draped angel representing ''Love,'' with extended arm holding a laurel wreath over the head of a nymph, symbolizing ''Innocence,'' on the opposite side, who is ascending , clouds with doves at her feet. An oblong statuary marble plinth with outset fluted corners chiseled with a frieze of sportive putti centering an oval shield of arms and mounted in gilt-bronze, with vasiform feet.
Study for "Titian Showing
Daniel Huntington, American, 1816–1906, 1866
Graphite Support: Gray wove paper
Drawing

Vertical rectangle. Man in tights and a long coat, holding a palette and brushes, facing slightly right. A right leg at left.
Textile
, 17th century
silk, metal Technique: appliqué and couching on velvet

Green panel of green velvet applique and olive green couching in formal curving vine design on a green background. Border of green velvet, trimmed with gold fringe. Lined in green silk.
Edging
, 19th century
linen Technique: bobbin lace, peasant style

Provincial style with small scallops and stylized carnation motif.
Catafalque
Jean-Michel Moreau le Jeune, French, 1741–1814, 1781
Etching
Print

Bocher 460III.
Roundel
, 868–904
wool, linen Technique: tapestry weave

Roundel with a golden yellow ground filled by walking bird with back-turned head; in blue-green, yellow-green wools and undyed linen on linen warps. Remains of cloth ground at bottom. Warps paired in tapestry weave.
Button
, 18th–19th century
Brass, steel beads

Flat button with design of Twelve-petalled daisy and four tulips (cut-out) and four oval pieces of cut steel.
Catafalque
Baldassare Longhena, 1598–1631, ca. 1631
Pen and brown ink, brown wash Support: white laid paper laid down
Drawing

Vertical format. The elevation and a quarter of the plan, ''un quatro/ della pi[a]nta are shown. A square domed pavilion with flight of four steps leading up to interior. Two statues flank the front. Angels sit upon corners of the broken pediment of the doorways. They support a crowned escutcheon over an inscription tablet at the front. Candlesticks on pedestals beside the base of drum. Candle brackets fastened to the dome.
Study for "Diana and Her Attendants among the Constellations"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper
Drawing

Sketch of a model's legs.
Textile
, 17th century
silk Technique: two integrated fabric structures, 4&1 satin plus plain weave.

Very worn green and white.
Cover
, 17th century
linen, silk, leather, metallic thread Technique: embroidered

Silk and metallic embroidery on silk backed by linen. On both sides a floral vine encloses a monstrance. The inside is lined with leather and the edges are trimmed with metallic braid.
Brooch
, ca. 1860–70
Hair (human), gold

Stick pin with spiral gold center section; head of gold wires encloses woven brown hair spiral. Domed button cap. Elongated pin in gold.
Textile
, ca. 1810
cotton Technique: block printed on plain weave using seven colors

Pheasant on a branch in half-drop repeat.
Page from Ackermann's Repository
, April 1809
paper, cotton, and silk Technique: printed and glazed plain weave; plain weave with warp float patterning; plain weave with thick weft insertion yarns that form ribs and loops

Single printed page from Ackermann's Repository No. IV, April 1809. Three textile samples are pasted on the center of the page. The largest is a printed and glazed cotton in red, purple and blue. The other two samples are a cream-colored silk with a float diamond pattern, and white cotton with horizontal ribs with an alternating loop design.
The Madonna and Child
Jean Morin, French, 1605 - 1650, ca. 1630
Engraving on paper
Print

The Madonna is seen seated, facing one-quarter right, with the Christ Child on her halp, holding a rose. Mary holds a bunch of flowers in her left hand. One-line Latin inscription below and artist's and engraver's names.
Tea Screen
Tiffany & Company, American, established 1853, ca. 1905
glass, bronze
screen

Three vertically rectangular panels of marbleized glass, each panel framed with narrow copper edging oxidized to green and orange-red tones with two small ball feet at each end. The panels are hinged together by means of wire at juncture of feet and screen. Cut out copper overlay.  Glass marbleized in tones of lavender, blue and green overlaid with cut out copper in "Grapevine" pattern.
Louis XVI visitant le port de Cherbourg
Petitpierre et Cie, Nantes, France, 1770–1848, ca. 1787
cotton Technique: printed by engraved copper plate on plain weave
Textile

Horizontal rectangle made up of three short lengths sewn together correctly. Design of several scenes pertaining to Louis XIV's 1786 visit to the city of Cherbourg where he viewed the cones that were being used to help build a dike. In red on white.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Mold-blown favrile glass

Long tall cylindrical and footed vase in iridescent purple to green glass.
Medallion
, late 19th century
linen Technique: needle lace

Oval medallion of a man holding a scythe.
Fragment
, 17th century
silk, metallic Technique: brocaded damask weave

Scrolling vines and arabesques brocaded in silver.
Border fragment
, 17th–18th century
silk, vegetable fiber? Technique: uncut supplementary warp pile (velvet)

Fragment of a band for a border. Design of flower and branch in white, blue, black, and green loose pile on yellow silk ground. Weft of coarse vegetable fiber.
Frieze
, 1815–25
Block-printed on handmade paper

Gray and yellow floral swags frame gray and yellow sheet with vine decoration on ends held by rosettes. In center of cloth is a large green, yellow and gray medallion with radiating spokes ending in Grecian palmettes. At one side, a yellow and brown laurel border, at the other, a Greek key pattern. Printed on red and green ground.
Knife with Triangular Pattern Ivory and Bone Handle
London Cutler's Company, ca. 1610
steel, silver, gold, ivory, bone
knife

Blade with straight sides and leaf-shaped point. Hollow bolster, ferrules silver gilt with floral pattern. Tapered handles are ivory and bone in triangular pattern. In the middle of the handle black inlaid dots and two horizontal bands. Silver-gilt caps with floral pattern on the end of the handle.
Frieze
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper, mica flakes

Flitter frieze. Alternating large and small foliate medallions with horizontal striping connected by foliate scrolls. Bottom and top have striping and scrolling motifs. Background of vining foliate scrolls. Ground shades dark green to light green (bottom to top). Printed in dark red, white, greens and gold mica flakes. Printed in top selvedge: "Imperial Wall Paper Co." "Sandyhill, N.Y."
Fashion Plate from "Le Moniteur de la Mode"
E. Gailland, French, active 19th c., 1886
Engraving, brush and watercolor on paper
Print

Four young women, one with a jump rope, right; a young man, left, on a bicycle, and a small child in white. Trees and a building beyond. Description on verso. Artists' and publisher's names, title and date, below.
Sampler
, 1836
silk embroidery on linen foundation Technique: embroidered in cross, satin, running, long-armed cross, and back stitches, with withdrawn element work with needle made fillings and aztec stitches on plain weave foundation

Three columns of geometric and pattern bands in many colors, with spot motifs including birds.
Sampler
, probably late 19th century
silk embroidery on linen foundation Technique: embroidered in double running, stem, cross, satin, and long armed cross stitches on plain weave foundation

Bands of pattern arranged horizontally and vertically.
Frieze
, 1905–1915
Machine-printed paper, ungrounded

Repeating floral design of yellow rose swags with each peak defined by a simple three-flower grouping. Two horizontal lines and two vine-and-flower stripes separate the two borders. Printed on a solid background with a simple overall flower and leaf pattern bordered by horizontal strips. Printed in gray, white, green, yellow, tan and burnt orange. Two borders printed across the width.
Sidewall
, ca. 1800
Block-printed on handmade paper

Six-petalled flower shapes outlined in white and filled with picotage and four four-petalled black flowers. Between them, ground seme with black and white diamonds.
King of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

King of Hearts court playing card from a pack of transformation playing cards. Colorful figure of a cupid with pink wings, wearing a crown and holding a shield decorated with a flaming heart. A vase with flowers on a pedestal at left. At upper left corner, a red heart topped by a crown.
Three of Diamonds from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Three of Diamonds from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Sidewall - sample
, 1907–08
Machine-printed

Floral bouquet in medallion, printed in void of moire-like background. Printed in green, pink and white.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted black silk embroidered with minute red and green squares and ornamented with gold beads in floral pattern.  Two gold rings control side closing; gold beads form a tassel at one end, a fringe at the other.
Door and Over Door, Blue (South) Drawing Room
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and watercolor on white wove paper, silhouetted
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. Design for a section of a wall, with double-doors bearing painted panels of lattice-work design. The over door consists of a painted scene with Chinese figures and landscape, enclosed in a frame and set against a representation of crossed swords. Cornice with a painted border of lattice-work design.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Sampler
Caroline Piovan, Italian, 1839
silk, mercerized cotton and wool embroidery on linen foundation Technique: embroidered in cross, eyelet and four sided cross stitches on plain weave foundation

Short and wider rectangle with alphabet, signature and isolated motifs including Italian flag.  Mercerized cotton present in the sampler makes the embroidered date impossible.
The Lamentation, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, 1509–11
Woodcut on off-white laid paper
Print

Scene at the foot of the cross. The arms of Christ are supported as he is placed on the winding-sheet. The Marys and Saint John are at left. Monogram of Dürer in foreground, center.
Sampler
Francisca Herrera Piebla, 1864
cotton embroidery on cotton foundation Technique: embroidered in withdrawn element work on plain weave foundation

Eleven bands of pattern including a dated signature, all in white withdrawn element work.
Copy of Hogarth's Shop Card
Samuel Ireland, English, ca. 1744–1800, 1720-1794
Etching on paper
Print

A rectangular frame decorated with two angels and a frieze in the upper part. The lateral sides decorated with a female figure at left, and a male figure at right.
Bishops Nicholas, Ulric, Erasmus
Albrecht Dürer, German, 1471–1528, ca. 1508
Woodcut and black ink on paper
Print

Three bishops standing. The one in the center holds an open book in has right hand and a fish and staff in his left hand. The bishop on the left appears to be holding a tray of bread, and the bishop on the right gestures with an open hand. In the background, a doric column and suggestion of barrel vault. Durer's monogram on lower right.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plate

A plate with a wavy, brown-edged rim, painted with a spray of pancratium (Proiphys amboinensis), four leaves, and three winged insects.
Sketchbook Page: Sketch of Figure in Hose
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of figure in hose and cap holding a long pipe or staff. 
Verso: List of colors, upper left; sketch of duck, upper right; sketch of rabbit with head shaded out, lower right; sketch of gothic window, lower left.
Fashion Plate from Journal des demoiselles
A. Pauquet, French, active 19th c., ca. 1860
Hand-colored engraving on paper
Print

Fashion plate from Journal des demoiselles.
Orphrey
, 15th–16th century
linen, silk, metallic thread Technique: woven

Orphrey in a design of the crowning of the Virgin in red and gold.
Design for a Ceiling: A Bishop Saint in Glory
, ca. 1830
Black chalk on paper
Drawing

A Bishop Saint is seen seated on a cloud, surrounded by angels. Below are allegorical figures of Fortitude, Justice, and Order. The shape of the sheet is four-lobed, barbed oval.
Sidewall
, 1875–1900
Composition paper, embossed in relief

Imitation leather. Samples of composition paper wallcovering imitating leather, embossed in relief. From third floor library at 21 East 72 Street, New York City.
Fashion Plate no. 353 from L'Iris, Moniteur des Modes
Imprimerie Mariton, French, active mid-19th c., 1861
Hand-colored engraving on paper
Print

Fashion plate from L'Iris, Moniteur des Modes.
Bonad
, 1730–1800
Hand painted on canvas

Wave motif, in yellow, orange and blue. Between each crest is a circle.
Textile
, ca. 1860s
wool Technique: block printed on 4&1 satin

Design of polychrome blossoms on a green and white striped background.
Sidewall
W.H. Mairs & Co., 1855, 1905–1915
Machine-printed paper, liquid mica

Design of red and pink roses on vining stems. Roses are shown in all stages of development from small buds to full blown flowers. Printed on off-white ground.
Plate 8, 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, ignudi flank the central reserve. Above, a vase with mask; below, a lion mask and two drop pearls. At right, a central oval with goat and shepherd is surrounded by strapwork. Below, a flaming bucket suspended from a mask.
Study of Ocean, Waves, and Clouds
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Flat sea in foreground, dark sky on left lightens to right
Designs for embroidery
, ca. 1890
Black crayon on tracing paper
Drawing

Vertical rectangle. Designs of abstract floral patterns for panels and borders. Each drawing stamped at top: "Dessin original a broderie." Designs numbered 152 (B)
Decanter and stopper
, ca. 1783–99
glass

Ovoid body, 3 triple neck rings everted lip; stopper mushroom-shaped with deep cut rays; pontil mark bottom.
Woman's robe (munisak)
, late 19th century
silk Technique: plain weave with tied resist patterning in warp (ikat) Label: silk warp ikat

Woman's coat with full skirt gathered into the waist seam, asymmetrical front opening, and long sleeves which narrow to the wrist, made of silk warp ikat in bright colors of blue, green, yellow, burgundy, and white. Ties at waist are a flat braid of green and red silk with silver beads and elaborate red and green silk tassels at the ends. Unlined.
Flip glass
, mid-18th century
Glass

Straight-flaring sides, decorated with etched sprays of flowers with foliage, heightened with engraving.
Sampler
Elizabeth Jane Alden, American, 1834
silk embroidery on linen foundation Technique: embroidered in cross, satin, and stem stitches on plain weave foundation

Three alphabets separated by floral vine borders, with a floral garland below. With a floral border on four sides. At the bottom, a verse and inscription. 
The verse reads:
Let every virtue reign within thy breast
That heaven approves or makes its owner blest
Hillside with Trees, Water and Distant Mountains
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

In right foreground, a hill covered in trees. In distance at left, water (maybe a river or lake). In background across water, distant hills.
Sidewall and border
American Wall Paper Manufacturers' Association, 1879–1887, 1879–1887
Machine printed on paper, embossed ground

a) Sidewall: floral and grassy motifs printed in browns, pinks and blues on embossed gold ground; b) Frieze: floral and grassy motifs with band of brick-like pattern below. Printed in browns, pinks and blues on same embossed gold ground.
Drawing
, late 19th century
Brush and gouache, graphite on cream paper, mounted on cream paper

Partial design. String of pearls with large floral gold pendant with pearls, emeralds, and rubies. Left, curved band framed by gold chains and filled with blue flowers and gray leaves on white ground.
Sidewall
, ca. 1800
Block-printed, stenciled, handmade paper

On pale blue ground, white lace-like fill, black and pink flowers.
Nawate Highway (Hiratsuka), in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print in colored ink on paper
Print

Here we see the thin and zig-zag Nawate Road. The raised highway was above marshes and surrounded by tall pine trees. Three merchants, heading in opposite directions, are about to collide in the foreground. Off into the distance are two other travelers. In the background contains one rounded mountain on the left and a jagged mountain on the right. In between the two different styles is Mt. Fuji peeking through the ravine.
Canal Scene Near Bruges, Belgium
William Stanley Haseltine, American, 1835–1900, 1875–80
Point of brush, gray, blue-gray, and black washes, white gouache, graphite, possibly charcoal on blue-gray wove paper, laid down on illustration board.
Drawing

View of canal cutting through flat farmland from right foreground, to left middleground, to right distance. Tall trees border edge of canal, their foliage screens two farmhouses. The moon is high in sky.
Ornament Design, Altar Dedicated to Mars between Roman Standards
Michel Angelo Pergolesi, Italian, active ca. 1760–1801, 1776
Pen and ink, brush and watercolor, gouache, over graphite on laid paper
Drawing

Ornament design with, at center, a three-sided altar decorated with an image of a putto carrying the armor of the Roman god Mars, ornately decorated with rams' heads, garlands, etc.  At left and right are roman standards.
Frieze
Robert S. Hobbs & Co., Brooklyn, New York, 1905–1915
Machine-printed paper

Alternating bands of swirling floral garlands and pink stripes with diagonal hash marks run horizontally across the panel. Two pink stripes are located in the center of the panel, and one at both the top and bottom edge. A wider pink band runs behind the two stripes of floral garlands. This design is printed in shades of brown, pink, yellow, gray and off-white on a beige ground.
Perspectiva: Corporum Regularium
Wenzel Jamnitzer, German, 1508–1585, 1568
Engraving on laid paper
Print

Two decorative cones.
Textile
, ca. 1815
cotton Technique: block printed on plain weave

Half-drop repeat of a fruit tree growing in a flowering mound with two pheasants. Multicolored on a yellow background.
Fragments
, 17th century
silk Technique: cut voided supplementary warp pile in a five-harness satin foundation (velvet)

Red cut velvet pattern on a voided red ground; an ogee lattice formed by a leafy floral vine, the branching leaves and flowers of which fill the ogee shapes defined by the main vine. A bracket or ring encircles the points of the ogee lattice.
Ceiling of a Small Cabinet, Palazzo Quirinale, Rome
Felice Giani, Italian, 1758–1823, 1812
Pen and dark gray ink, brush and gray wash over black chalk ruled lines on light greenish-beige wove paper
Drawing

Four sides of vaulted ceiling indicated by four trapezoidal shapes. In center of each is small rectangular composition with god in chariot: on long sides, Venus in dove-drawn chariot and Poseidon in horse-drawn chariot; on short sides, Diana in stag-drawn chariot and Apollo in horse-drawn chariot. Surrounding these compositions, pairs of decorative motifs: female figures with herms, winged genii, dancing genii, and octagons with dancing female figures, and masks in circles.
Rocaille
François Boucher, French, 1703–1770, 1740
Etching and engraving on white laid paper
Print

One of five panel designs for a folding screen. The other designs in the series include Hommage Champêtre (Pastorale); Léda; Triomphe de Pomone (Triumph of Pomona); and Triomphe de Priape (Triumph of Priapus) all etched by Claude Duflos the Younger. Vertical panel design. View of architectural element with columns, large garden urn at right. Panel is dominated by an arrangement of shell, coral, large leaf, branch, and a palm leaf motif. A fantastical animal appears at bottom left.
Arabesque Design
Aubert Henri Joseph A. Parent, French, 1753–1835, 1788
Etching and engraving on paper
Print

Arabesque design with a vase on top full of flowers; satyrs grip either side of the vase. The arabesque also features ivy, lizards, snakes attacking bird nests, a mascaron with pierced ears at the bottom, and a medallion at the center, strung on beads, with the image of a man playing the lyre (Apollo). The plate is signed and numbered.
Fragment
, 3rd–5th century
Warp; S-spun linen. Weft; S -spun linen, S-spun wool Technique: slit tapestry with supplementary weft wrapping

Ovate blue-green form continued at each end in plain stem terminated in a lozenge.
Design for a Badge of the Tuscan Order of St. Stephen
, ca. 1710–80
Pen and sepia ink, brush and gray, red watercolor on paper
Drawing

Jewelry design for a badge of the order of St. Stephen. An eight-pointed cross is enamelled in red, with bordering white stripes, in the angles four lilies. The uppermost points support a royal crown, hanging from a support, consisting of three parts. Above, a knot with two stems, each with a blossom, a bead and leaves, and a central blossom. Below the interlaced ends of the ribbon a smaller knot with a similar blossom in the center, one end of which is suspended; below is a kind of a ring from which two entwined ribbons are springing, ending at the globe of the crown. Bevelled corners.