biglam/cooper-hewitt-alt-text huggingface dataset:
Palepai (ship cloth)
, mid-19th century
cotton embroidery on cotton foundation Technique: embroidered on plain weave Label: cotton embroidered with cotton

Horizontal rectangular panel known as a ship cloth or 'palepai'. Embroidered in dark and light blue, dark red, and white cotton. Two instances of traditional "ship of the dead" motif, with pattern repeats separated by "tree of life" designs, although the two ships are not identical. Features a few animals, many human figures (on main deck as well as on outer extensions), and umbrella-like designs, which could be ancestor shrines. Used in naming, circumcision, marriage, and death ceremonies--ceremonies that mark new stages of existence.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of man with a bowler hat; buildings in background.
Escutcheon
A.W.N. Pugin, English, 1812–1852, ca. 1845
Brass

Thin pierced, irregular shaped lock plate; top and bottom extending into stalks with three trefoils; keyhole flanked by vertical applied ropes.
Scenic Panel from 'L'Hindoustan'
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1807
block printed paper, canvas mount
scenic panel

A caparisoned elephant on the back of which ride a personnage and servants,one of whom grasps a large banner with streamers. Lengths 2 and 1 adhered together as one panel, from a set of 20.
Fragment
, early 19th century
cotton Technique: printed by engraved roller on plain weave

Roller-printed textile with repeating floral pattern in yellow, red and white on an olive ground. Olive possibly printed by relief roller.
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace edge, asymmetrical floral scrolls, mid-18th century Maline joined
Fragment
, 700–900
wool Technique: single interlock 1:1, with subtle use of non-horizontal weft double faced

Part of a very stylized human figure with bird's mask. Blue, pink and brown on tan background.
Beach Scene with Rocks and Distant Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

View from beach of waves coming up on shore. Four rocks in lower left. On horizon, at right, a long, dark landmass in the distance with (possible) structures. Above, dark clouds appear to sweep in from left. Miscellaneous pen strokes in marging to left and right of image.
Frieze
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Floral swag with alternating large, round medallions. A smaller floral swag with a smaller medallion connects each large medallion. The top and bottom of the frieze are bordered with a scalloped line composed of "C" scrolls. Printed in white, gold, green, burgundy, and shades of blue.
Demitasse Spoon with a Squirrel
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form twisted leaf. Large squirrel with nut in hand applied sitting upright at edge of leaf terminal.
Map sampler
Eliza Thompson, English, 1796
silk embroidery on cotton foundation Technique: embroidered in stem, running, and couching stitches on plain weave foundation

Two hemispheres containing maps of the world with a medallion at top reading "A new map of the world with the late discoveries in the southern seas worked by Eliza Thompson 1796."  At bottom is a compass.  Continents are outlined with chenille thread.
Personification of Africa
Rosalba Carriera, Italian, 1673–1757, before 1720
Pastel on paper mounted on canvas
Drawing

Bust length figure of a black woman, her right breast exposed and holding a scorpion in her right hand. She wears a turban decorated with feathers and jewels, pearl pendant earrings and a close-fitting pearl necklace. Her body is tilted forward and her gaze is directed to the left.
Skirt
, late 19th century
raffia Technique: plain weave, pieced and sewn, with twisted warp fringes Label: woven raffia, pieced and sewn, with twisted warp fringes

Rectangular panel composed of four strips of woven raffia with twisted warp fringes. Each strip is composed of smaller pieces, stitched together with dark raffia strands.
Band fragment
, early 17th century
linen Technique: punto in aria needle lace

Band fragment with broad scrolls, leaves and flowers.
Border
Becker, Smith & Page, Inc., founded 1899, 1890–1900
Machine-printed

Small-scale pyramid bosses set between two architectural bands. Printed in shades of brown.
Fork with Blue and Pink Foral Enamel Handle
, ca. 1600–1700
steel, enamel, brass
fork

Fork has three pointed, slightly curving tines. Sloping shoulders and long plain neck. Enameled handle, floral pattern in white, pink and black on a light blue ground. Brass mounts along the sides of handle.
Winter-Quarters in Camp – The Inside of a Hut
Winslow Homer, American, 1836–1910, January 24, 1863
Wood engraving in black ink on paper
Print

Interior with a large fire burning in the fireplace, illuminating the scene. A group of men are playing cards at right. To the left, others are sleeping or reclining.
St. Nicholas of Bari from colonnade of St. Peter's
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Drawing after statue by Fabio Canusi of St. Nicholas of Bari (S. Nicola da Bari) He extends his right hand and index finger. To the right, a floating hand and wrist points with the index finger.
Sample book
Henry Bosch Company, 1912
Machine-printed paper, embossed

A selection of designs, each with multiple colorways, including landscape friezes, embossed die-cut borders, some printed on ingrain and oatmeal papers.
Act 5, Scene 1, for Il Pomo d'Oro
Ludovico Ottavio Burnacini, Italian, 1636–1707, 1667
Engraving in black ink on paper
Print

Horizontal rectangle. A single figure is seen in the center front of the stage. Houses and gardens at either side, and a broad vista in the center. Jupiter and Juno on a cloud. Below, artists' names.
Unfinished Study of Sky (recto); Rough Study of Beach, Ocean and Sky (verso)
William Trost Richards, American, 1833–1905, 1890–1900
Graphite on off-white wove paper
Sketchbook folio

Recto: rough, unfinished sketch of clouds; verso: rough study of ocean and sky.
Ceiling paper
, 1905–1915
Machine-printed paper

On light gray ground, treillage of wreaths in tan with burgundy fleurs de lis and floral motifs.
Fragment
, 17th century
Medium; silk Technique: damask

Green-on-green damask fragment with a pattern of large floral sprigs.
Ocean with Large Rock and Cliffs at Right
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Ocean in foreground with large black rocks at center. Cliffs at right.
Purse
, late 17th–early 18th century
silk, metal Technique: woven

Small envelope-shaped case. Very faded and soiled rose color with a woven design in silver. Symmetrical stylized design of flowers and foliage. Lined with cream white taffeta. Has been edged with very narrow silver braid which remains under one flap.
Border
, 1825–50
Block-printed on handmade paper

The edgings consist of two bands of imitation woven flowers. Between them is an assortment of flowers and foliage positioned along an undulating stem. Block-printed with shiny, oily pigments on joined sheets of paper.

H# 290
Border
, late 16th–early 17th century
linen Technique: grid of laid cords with needle lace (reticella style); edge of punto in aria

Deeply scalloped border with a horizontal band of circular ornaments within squares.
Fragment
, 18th century
cotton Technique: plain weave foundation. block-printed: a resist medium. Dyed blue.

Alternation of a slightly curving with a fine flowering vine superposed on it with units containing two peony-like flowers.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

All-over pattern of foliate scrolls and yellow roses. Printed in green, yellow, brown, white and white liquid mica on light yellow ground.
Sidewall
, 18th–early 19th century

Fragment of wallpaper, mustard background, black and greeen vine (?)
Textile
, late 19th century
cotton Technique: printed by engraved roller

Gray ground showing a design of large scale, natural size groups of fruit and flowers, in staggered repeats, in shades of lavender, grey and white.
Cruet
, ca. 1810
glass
cruet

One of set of seven bottles. Bottle has bulbous body with tapered, narrow neck ending in flat, circular pouring lip. Flat circular foot. Body encircled with band of cut drapery swags filled in with vertical lines. Flat flutes on neck and below band. Stopper is stemmed button variety, flat with radial cutting.
Tall Cliffs and Storm-Churned Sea
William Trost Richards, American, 1833–1905, late 19th century
Graphite on textured cream-colored paper, mounted
Album page

Tall cliffs rise at left, waves crash against them below.
Cap streamers
, 1700–1750
linen Technique: bobbin lace, Brussels style

Cap streamers with a design of plumed leaves and pomegranate motifs.
Spoon with Carved Figural Coral Handle
, ca. 1600–1630
coral, silver plated, gold
spoon

1985-103-81,82: Two-tined fork with sloping shoulder; gilded neck ...;     1985-103-81: Two-tined pointed fork with sloping shoulders. Gil...;     1985-103-82: Oval spoon bowl, gilded neck elaborately decorated...
Border
, 1900–1920
Block-printed

On blue ground, between darker blue edge lines, continuous banding of green and pinkish apples, leaves and branches.
Adoration of the Magi
, 1790–1820
Pen and brown ink, brush and brown wash and white gouache on paper
Drawing

The Virgin is shown seated with the Child in her lap at the extreme right, before whom the three Kings pay homage. Angels and the Star appear above. Other figures, including four kneeling, and two camels appear on the left. Framing lines are drawn in ink around the picture.
The Sluice-Gate, Cottage Near Mud Flats, in the Evening
Antoni Waterloo, 1618–1677, ca. 1650
Etching on white laid paper
Print

A dilapidated cottage at left, an old lock at right. Mud flats in middle distance. At horizon, a silhouette of a village. Some birds in the evening sky.
Sketchbook Page: Landscape
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Landscape with rain cloud over meadow.
Machines de Théatres (Theatrical Machinery), pl. XV, vol. 10 from Encyclopédie, ou, arts et des métiers (Encyclopedia, or a Systematic Dictionary of the Sciences, Arts, and Crafts)
Denis Diderot, French, 1713–1784, 1772
Engraving on paper
Print

Design for theatrical machinery to create moving clouds as part of a theatrical stage design. At upper left, a set design detail featuring an architectural square with clouded sky. At upper right, another stage detail showing the figure of Medea advancing her chariot through the sky. Primary apparatus has a rectangular base with a triangular top, similar in shape to a basic house. Six clouds hanging across the width of the space at different heights are attached by wires to a large cog wheel at upper center whose movements control the heights of the clouds. A conical shaped device at lower center made up of multiple cylinders points toward the leftmost cloud, possibly suggesting controlled air that could make the clouds sway from left to right. Figure numbers and letters noted throughout, a scale and inscriptions below.
Trimming
, 18th century
silk, linen Technique: velvet

Trimming fragment of heavy white silk with a cut velvet vine pattern in blue and light red.
Maiden Chased by a Satyr
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1915
Graphite on tracing paper
Drawing

Two figures depicted in outline. At left, a man with some traits of a satyr (long curling beard) or devil (curled tail and pointed genitalia) chases a nude woman at right, grabbing her rear end. The woman runs from the man but turns back to face him, reaching her hand towards his face. Her hair twirls in ornamental spirals and zigzags.
Chocolat Menier
Whitehead & Hoag Company, ca. 1905
Plated metal, printed celluloid
Matchsafe

1980-14-1416: A rectangle matchsafe with rounded corners. The fr...
Textile
, 1840s
cotton Technique: printed by engraved roller on plain weave

Group of natural scale flowers filling and falling over full width of fabric including rose, tulip, fichsia, morning glory. Muted colors on a tan background.
Box for a miser's purse
, early 19th century
cardboard, paper

1953-106-91-a: Pale violet silk purse ornamented with gold beads ...;     1953-106-91-b: Carrying case of cardboard covered with small patt...
goblet
, ca. 1820–30
glass

3-part blown molded; straignt flaring sides, tall stem with central knop, wipde flat circular foot, molded pattern of diamonds with blazes above and vertical fluting below; ground pontil mark below.
Sketchbook Page: Caricature
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Caricature of a man with a mustache and large ears, facing frontally.
Hem Marker
William B. Kerr & Company, Newark, New Jersey, 1855 - 1927, ca. 1894
silver
hem marker

Flat ruler surmounted by head of woman in 3/4 frontal view, her loose, flowing tresses entwined with large flowers; face of ruler marked with lines and dots at 1/8-inch intervals and the numbers 1, 2 and 3 at each full inch; square slide with central flower framed by scrolls on each side.
Entrance to the Place Dauphine by the Pont Neuf, Plate 74 from "Vues Pittoresques des Principaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

Two similar buildings seen from the narrow end and arched gate beyond. Title, artists' and publisher's names below.
A Winged Victory in the Left Spandrel of an Arch
Felice Giani, Italian, 1758–1823, ca. 1805
Pen and black ink, graphite, brush and wash on paper
Drawing

Left half; a triangle with a Nike holding in her outer hand a bar with a trophy, and in her inner hand a wreath. The outlines of the arch and of the case, and the keystone are sketched. Inscribed in black chalk: "fama del arco".
Elevation d'un pavillon de 12 toises de face du côté de la cour
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a pavilion with three arched doorways draped with carved garland. The pavilion is stated to be 12 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed.
Design for a Pendant with Woman on Throne
, 16th century
Pen and ink, brush and sepia on paper
Drawing

A woman seated under a volute. Below, an oblong diamond with architectural frame. Three gems drop below.
Console avec son profil
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bracket with views of its front and side. The bracket is decorated with  fluting, acanthus leaves, garlands, and scrolls. Below is another small bracket with egg and dart border and a ribbon on top. The plate is signed.
Textile
, ca. 1750
silk Technique: embroidered in satin, french knot, and couching stitches on taffeta

White taffeta is embroidered in colored silks and narrow white silk braid in a design of scrolls, flowers and birds.
Sceaux à rafraîchir
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for an ice bucket with handles decorated with ornament motifs including scrolls, mascaron, garland, and scalloping. The plate is signed and numbered.
The Palace of Donn' Anna at Naples
Unknown, 1725–50
Brush and brown and gray wash, pen and brown ink on paper
Drawing

Large palace with unfinished upper storey, seen from one corner, situated near a bay.  Boats and fishermen.  Beside it, at right, is a mediaeval palace.  At left are rocks.  Framing line.
Group in a Landscape
Louis Joubert, French, active 1758 - 1786, 1758–1786
Engraving on paper
Print

Group in a landscape.
A Painted Wall Decoration
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and dark brown wash on white wove paper
Sketchbook folio

Part of painted frieze with part of enframed landscape at left, and panel with three putti, swag, and part of enframed circular figurative paintings. Moldings above and dentils above.
Basket
, ca. 1820
Enameled tôle

Oval, shaped sides and shaped edge, twisted wire handles. Sides pierced. Black field, decorated in inside of bottom with roses, in pink and green.
Cartouche with Skull
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank symmetrical upright rocaille cartouche topped with a cow's skull and surrounded by armorial trophies with a feathered ornamental border at bottom.
Fan case
Alouïse van de Voord, ca. 1880
Printed paper on cardboard box, satin lining, metal catch

Fan case. Cardboard covered with paper printed with floral pattern. Lining of brown satin. Metal catch.
Ornament Panel Design
Alexis Loir, French, 1640 - 1713, ca.1660–1713
Etching on paper
Print

Ornament panel design adorned with foliate scrolls, a flaming vase, ribbons, rosettes, angles blowing horns, mask (mascaron), acorns, s-scrolls, festoons of leaves, and shell motifs. The plate is signed and numbered.
Le Gout
Jean-Baptiste Pillement, French, 1728–1808, 1758–89
Etching on laid paper
Print

Print titled ‘Taste' from a series of six prints, (including title page) depicting personifications of the five senses, represented by chinoiserie figures within rococo-style cartouches. A man stands in the middle of a cartouche, surrounded by grass, plants and a fence, holding a large melon in both hands, another melon in the ground in front of him. The cartouche is decorated with rococo-style ornament with flowers and sprigs. The title is lettered below and the print is signed.
Ornament Designs
Abraham Badollet, French, active eightenth century, 1734
Engraving on laid paper
Print

Page of ornament designs, including an ornament frame around a central figural scene in a garden, helmeted heads, and freestanding motifs. The plate is signed.
Brisé fan
, 1800–1830
Bone sticks, gilded, painted and carved à jour, silk ribbon

Brisé fan. Bonesticks carved à jour, gilded on reverse. Obverse painted. Designs of roses in red and green, with blue borders. Cardboard box covered with paper showing blue fleur-de-lys.
Fragment
, 16th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Fragment of golden tan cut and uncut velvet on self-colored ground. Geometric design of diamond-shaped motifs within larger lozenges.
Orpheus, Ceres, Design for Vaulted Ceiling, Sala dei Legislatori, Palazzo Conti-Sinibaldi, Faenza
Felice Giani, Italian, 1758–1823, 1787–1802
Pen and ink, brush and greyish-brown wash over black chalk on laid paper
Drawing

Orpheus seated beneath trees, plays lyre while quadrupeds and birds listen. Inscribed in ink: orfeo inv della musica.   At right, Ceres show in profile, kneeling and turned toward right, cutting grain with sickle. Temple and trees in rear. Inscribed below: cerere inv delle biade. Lower parts of letters and figures at upper edge.
Study for "Science Instructing Industry"
Kenyon Cox, American, 1856–1919, ca. 1898
Graphite on paper
Drawing

Sketch of a seated female figure in conversation with a younger male figure.
Collar
, late 19th century
linen Technique: lace of machine made tape with needlework fillings

Woman's collar has a design of leaves and scrolling lines formed by lengths of different machine made tapes. Spaces between tapes are filled with decorative needlework stitches.
Design for a Waistcoat
, 1780-1790
Pencil and various gouaches on paper
Drawing

Design for the embroidery of the left bottom part of a man's waistcoat. Brown edges. The decoration of the flap of the pocket is slightly sketched. It was to consist, as that beneath the pocket does of naturalistic flower designs combined with lozenges and leaf scrolls. Leaves and flower boughs accompany scalloped lace panel along the edge of the waistcoat.
Design for a Woven Fabric Motif
, 1820–40
Brush and gouache on brown oiled translucent paper
Drawing

Textile design featuring a large paisley motif, also referred to as a Persian cone. Purple roses, with green leaves and stems with small thorns, appear inside the teardrop shape. The teardrop contains a border with a green zig-zag pattern. Red, blue, are dark purple flowers, along with black stems and green leaves, surround the teardrop. Lilacs appear at the bottom of the composition; at top, a rectangular band of purple and red flowers is shown.
Scaffolding for Exhibition of a Revered Painting
Giuseppe Barberi, Italian, 1746–1809, 1815-1838
Pen and brown ink, brush and brown wash, graphite, red ink on lined off-white laid paper
Drawing

Four entire elevations are shown, three of which include pairs of angels. All provide for a mensa-like dado and for a crown topped by candles on top. Three designs are concerned with a framing of the painting by candle brackets; one of them in hardly begun.
Stage Design, Street and Palaces
, late 18th century
Pen and brown ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. View from street through arcades to richly decorated palace with obelisk and sculptures in niches uphill. At right, figures of a man and woman in fine dress look toward the palace. At left, figures of adult and child seated on stairs.
Border
, 16th century
linen Technique: withdrawn element, needle and bobbin lace

Pattern shows angular band of reticella and triangular-shaped pieces of linen ornamented with embroidery and reticella. Two borders have needle lace, and one has a narrow band of bobbin lace.
Elevation of an altar retable for a project
, ca. 1570-1600
Incised lines; black chalk, pen, ink, brush, yellow, grayish brown water colors on paper
Drawing

Intended to be executed in stone, probably in gilt bronze parts. The mensa is outlined. The retable has a dado below with projecting lateral parts. The three main sections show framings of panels. Four fluted Doric pilasters at left support the the entablature. In the central interval is a niche with a standing shell in the concha. In the lateral intervals are what are probably smaller niches, with decorated dados below; with cherubim in panels above them. Laterally are butress volutes, with bunches of fruit hanging above. The triglyph frieze shows rosettes. On top is a low attic and vases containing fire standing upon the corners. In the center is a pediment consisting of a panel with a dove, between volutes and on top a circular pediment with a shell.
Fragment
, late 16th century
silk, metallic thread Technique: uncut supplementary warp pile (velvet)

Fragment of tan silk uncut velvet on a ground tan silk shot through with metallic threads. Design of formalized tiny branches with blossoms, alternating horizontal rows turning left and right.
Border
, 19th century
linen Technique: bobbin lace (late Valencienne ground)

Festoons, detached sprays and border of vine; nearly straight edge; square edge
Passing Shower and Rainbow
Frederic Edwin Church, American, 1826–1900, probably 1853
Graphite on brown wove paper
Drawing

Landscape and atmosphere sketch showing a view of a passing showing and a luminous rainbow in the mountains of what is likely South America (Colombia or Ecuador). Two outlined mountain ridges overlap at center, where a rainbow glows in the crux. A lofty and shaded mountain range is visible behind, with multiple sharp peaks. Dark clouds above pour rain over the scene. 

Verso: Pencil scratches, at right.
Cartouche with Mercury's Staff
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Asymmetrical blank upright rocaille cartouche topped with a mercury's staff. Additional weapons, ornament, and vegetation decorate the frame.
Bandbox
, ca. 1830
Block-printed paper on pasteboard support

Small box. Blue field, with hunters, horses and dogs in white, black, gray and brown. Name inside cover: Susan Osborne; on bottom, C.D. Cobb Bridgeport, C. Two express labels on top.
Metal Fittings for Staircase Railing
Giuseppe Barberi, Italian, 1746–1809, 1750–1800
Pen and brown ink, brush and brown wash, red ink on off-white laid paper, lined
Drawing

Two views of stone railing terminating in masks with acanthus leaves. The one at left shows a hang ring.