biglam/cooper-hewitt-alt-text huggingface dataset:
Ironwork Designs
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork balustrade and ornament designs decorated with festoons of leaves, monkeys, rosettes, ribbons, fleurons, masks (mascarons), cartouche, birds, terminal figures, foliate scrolls, and scrolling leaves (rinceaux). The plate is signed and numbered.
Decorative Motifs
Romolo Achille Liverani, Italian, 1809 - 1872, 1810
Pen and ink, brush and gray watercolor, graphite on paper
Drawing

Horizontal rectangle. Left row: above, the right side of the statue of a displayed eagle supporting a bust with the point of his wing. Center: two satyrs supporting a bowl or a table. Below: graphite sketch of a siren and a sphinx. Second row: above, a lion, recumbent, upon a base. Below, a monument: a bust with a garland, standing upon a high pedestal upon the steps; below are the tools of a painter, and a lyre. Central row, above: below a light glory stands an urn with the inscription: "D. M M / T TASSO / 1595," in front of a lowered torch crossed by a scythe with a laurel wreath. Attributes of fame and poetry are on the ground. Below is a cloth with the inscription, first written in graphite, then written over it in ink: "QUAM RAPUIT INVIDA MORS / RESTITUTA." Center: a sarcophagus. Below: at left a pitcher in the shape of a sitting bearded man with a tail as a handle; at right: a pedestal supported by four crouching animals, decorated with a bird above a festoon. Fourth row: a threatrical mask. Fifth and sixth row: above, two Venus statues; below, another one kneeling, and the representation of a fight between one man with a sword and men partly covered by stones.
Adelaide Shepherdess of the Alps
Unknown, ca. 1795
silk, linen, paint Technique: embroidered satin and knot stitches with painted details
Embroidered picture

Embroidered picture has a shepherdess seated near a tree with her sheep by her side. Rolling hills form the background. Oval opening on back-painted glass with gold flowers in the corners.
Plate
Olérys-Laugier Factory, France, founded 1738, ca. 1750
Tin-glazed earthenware

Circular form with scalloped edge; decorated with flowers and foliage, mythological Callot-esque figures. Green and ochre on white ground.
Mug
, 18th–mid-19th century

Cow
Dish (One of Six)
Cozzi Porcelain Factory, Italian, 1763 – 1812, ca. 1765
hard paste porcelain, vitreous enamel, gold
dish

A white oval scalloped dish with a blue ribbon border and a floral pattern within.
Sidewall
, ca. 1880
Machine-printed paper

Aesthetic dense all-over pattern of meadow flowers with leaves and feathery grasses; single-motif rectilinear repeat in off-set columns; block-printed shading; color scheme of browns, tans, off-whites, and creams on brown ground.
The Antikamnia Calendar, May and June, 1897: The First Tooth
Louis Crusius, American, 1862 - 1898, 1896
Chromolithograph on paper with string binding
Calendar

May and June, 1897.
Mug
, 18th–mid-19th century

"John" pink luster
CINQUIEME LIVRE D'ORNAMENS Inventés Par J.A. Meissonnier et Gravé par Huquier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1740
Engraving on white laid paper
Print

1921-6-212-27-a: Candelabra with five arms decorated with acanthus ...;     1921-6-212-27-b: Large cartouche in which "CINQUIEME/LIVRE D'ORNAME...
Textile
Pacific Mills, 1876
silk, cotton, wool Technique: jacquard woven

Woven textile serves as a commemorative of the US centennial while promoting the textile manufacturer Pacific Mills of Lawrence, Massachusetts. Woven in black and cream, the composition has a bold graphic quality and depicts a broadly soaring eagle over a large modern factory enclosed in curvilinear frame. In between each factory is a plaque identifying the Treasurer, Agent and Selling Agent of the business.
The Late Earl of Beaconsfield
, late 19th century
silk Technique: jacquard woven
Woven portrait

Woven portrait of Prime Minister Benjamin Disraeli, the Earl of Beaconsfield.
Frieze
M.H. Birge & Sons Co., 1834, 1900–15
Machine-printed on paper

A bamboo trellis is covered with climbing rose vines with numerous large red roses and buds. Above the trellis is a clouded sky. Printed in red, green and brown on beige ground.
Plate 1 from "Stuben-Ofen"
Johann Jakob Schübler, German, 1689–1741, ca. 1728
engraving and etching on off-white laid paper
print

Schematic diagram of a stove displaying heating trays and base. A chicken on a rotisserie is visible within the stove.
Tassel
, late 16th–early 17th century
linen, wood Technique: braided and knotted Label: Braided and knotted linen, wood

Pear-shaped linen tassel, braided and knotted. Short double loops attached to pear-shaped center from which hang five units made of small circular center with extensive knotting surrounding center part.
Sampler
Martha Carter, ca. 1820
linen, silk Technique: embroidery in cross stitch and other stitches

Worked in black, blue, green and yellow silk on linen ground.  Alphabets, borders and verse "Virtue alone has thy regard and she shall be thy great reward" in cross stitch and eyelet stitch.  Running vine border with blue and yellow daisies.
Seaux à bouteille
Clérissy Factory, established ca. 1686, ca. 1730
Tin-glazed earthenware

2017-20-7: One of a pair. Berainesque blue decoration with mo...;     2017-20-8: One of a pair. Berainesque blue decoration with mo...
Fragment
Jacques Bellange, French, 1575–1616, 18th century
cotton Technique: printed by engraved plate or roller on plain weave

A fragment shows two musicians, a man and a boy, on the left. The man plays a hurdy-gurdy. Two dancing figures, a man and woman, are on the right. Lower part of the fragment is pieced with a scrap of toile showing dogs and human feet.
Border
, late 18th century
linen Technique: bobbin lace, Brussels style

Lace border with a lozenge shape mesh has a design of swags and garlands and a scattering of small flowers. Lower edge is scalloped with a variety of open stitches. The joins between the pieces are visible.
Large Trees on a Road; Sheep Crossing a Stream
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A clump of large trees borders a road, right. In the left distance a herdsman drives sheep across a shallow stream.
Vase
, 1736–95
porcelain

High shouldered, inverted pear shape, with short neck. Principal decoration: three lions playing with balls. Ornamental border above, band of sacred palm leaves below. Ch'ien Lung seal character in blue on base.???
Trimmimg
, 19th century
linen Technique: bobbin lace, Eastern European peasant style

Border, linen, bobbin lace, in white in geometric pattern, outlined in blue linen thread embroidery. Looped fringe.
Frontispiece of the Via crucis (Stations of the Cross)
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

Unrecorded state
Fragment
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, late 18th century
cotton Technique: block printed on plain weave

Small piece of off-white cotton has a printed design of small detached flowers, carnations and roses, some reversed, some sideways. Colors red, blue, yellow, green, and brown for outlines. Right selvage present.
Wood engraving. Vignette.
, 1800–1830
Engraving and Etching

A violin crossed by the bow.
Textile
, 18th century
cotton Technique: block printed on plain weave

Length (ripped from a skirt) of cream colored cotton, block-printed in desgin of thin flower sprays, with pointed leaves, small wild flowers, and sprays bearing print (strawberries (?)). colors red, blue, yellow, plum color, and darkbrow for stems. Both selvages present.
Via crucis - Station III, He Falls Beneath the Cross the First Time
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

First state
Scrapbook
, late 19th century
silk Technique: variety of woven techniques

Sample book of fabrics used by Maison Worth and compiled in New York by museum staff. There are 295 swatches in the book. 23 swatches labeled 1896-27-3; 36 labeled 1896-27-4; 15 labeled 1896-27-5; 6 labeled 1896-27-6; 20 labeled 1896-27-7; 34 labeled 1896-27-8; 7 labeled 1896-27-9 (same number as the record for the book itself); 21 labeled 1896-27-10; 8 labeled 1896-27-14; 10 labeled 1896-27-15; 65 labeled 1896-27-16; 10 labeled 1896-27-17; 1 labeled 1896-27-19; 34 labeled 1896-27-20; 3 labeled 1896-27-21; 2 with no label.
Project for the decoration of a chapel
, 1700–1730
Black chalk, pen, ink, brush, and grey, brown and rose water colors on paper.
Drawing

Vertical rectangle. A section is shown. The wall with a door and a window at right. A wall with an arch is at left. An altar stands in the middle of the room. A bench is at the backwall. A frame decorated the wall over it. The ceiling is vaulted and has a lantern in the middle. | The chapel is situated in a structure of a greater height.
Fragment
, 17th century
silk, metallics Technique: compound twill weave with supplementary weft

Pale blue-gray silk with closely spaced allover pattern of small conventionalized floral motifs in silver and gold. Extra weft of flat strips of silver appears on surface. Minute blossoms in gold, powdered over ground.
Drawing
Felice Giani, Italian, 1758–1823, 1800-1810
Pencil. Brush, grey, black, brown. Rough paper.

Horizontal Rectangle. At left is the woman and her accuser, in front of a crowd. At right is Christ writing in front of the disciples. Steps lead up to vast structures in the background.
Fragment
, 18th century
linen Technique: bobbin lace

Fragment of Valenciennes lace has dots and conventionalized leaves in groups of four. Round mesh.
Tower in a Village
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on white paper
Drawing

Sketchbook drawing of a tower in a small village. The tower at right, built upon a rocky landscape with a stream bank visible in the foreground at right; a house at lower left; an arched bridge beyond in the center with small figures crossing. In the background, views of thatched roofs.
Print
, About 1720
Black ink on white paper

Vertical rectangle. A tall window, with a smaller one above and elaborately sculpted frame is shown, in alternate suggestion, with and without added grille-work. Below, right, the number ''3''. Plate 3 of ''Neu Faconirte Fenster Verkleidung ...''
Costume Studies: Three Standing Figures
, ca. 1800
Engraving on paper
Print

Three standing figures: left, a lady in a broad skirt (above, inscribed: 1750); in the center, a man in hat and walking stick; at right, a lady in Empire dress (above, inscribed: 1800). Below: IV … II … I.
Patola
, 19th century
silk Technique: tied resist patterning in warp and weft (double ikat)

Popat-Kunjar pattern. The center is divided in lozenges filled with geometric patterns. One side (length) has a border consisting of small panels filled with an elephant and a parrot alternately. Another border (width) has two stripes with floral motifs and trees. Colors are red, yellow, brown, and peacock blue.
Fragment
, 17th century
silk Technique: 4&1 satin damask

Rows of birds facing in alternate directions separated by curled brackets.
Coat
, 19th century
silk, linen, metallic thread Technique: slit tapestry woven

Hand-sewn coat made of two lengths of cloth horizontally stitched together around the middle with unshaped rectangular pieces attached to the slits for sleeves, which hang from the middle of the arm. A small collar band is attached to the back of the neck. Colors are dark red, gold and dark yellow in a pattern of stripes with chevrons running between. The upper part of the garment has a shaped design of geometrical and floral units. Coat is lined and narrow braid covers all outside seams.
Saint Eustace
Albrecht Dürer, German, 1471–1528, ca. 1501
Engraving on laid paper
Print

The saint is shown in profile, kneeling, facing right. With hands raised, he looks towards a staf, moving to the left, a crucifix between his antlers. The saint's horse stands right, facing left, and five hunting dogs, in different attitudes, are in the foreground. A castle on the summit of a mountain, in the distance. Monogram of  Dürer, lower center.
Textile
, late 17th–early 18th century
silk, metallic yarns Technique: damask weave fragment with 5-harness satin, discontinuous supplementary weft patterning (brocaded) bound on front in ¼ twill

Apricot damask weave silk brocaded with metallic yarns and pink, blue and yellow silk showing design of florals in the ‘bizarre' style. Bold curving pattern has side-by-side repeating floral vines. Both selvages present.
Textile
, 17th century
cotton, linen, silk Technique: cross-stich, double running stitch embroidery on plain weave

Plain natural linen with a border at each end embroidered in shades of blue-green and golden yellow, now faded. Each border is a panel containing an elaborage geometric floral vine with isolated geometric blossoms forming a continuous band of four sides. At each end is a narrow band with geometric patterned squares.
Book with embroidered cover
, 1635
paper, silk, metallic thread Technique: embroidered on satin weave

"The Psalmes" covered in cream satin embroidered with a tulip design embossed in an oval frame using multicolored silks and metallic thread. Title page is missing.
Cap crown
, 18th century
linen Technique: bobbin lace, Brussels style

Cap crown with over-all pattern of leaves and flowers.
Designs for Ornament, Roundels, and Bands
Pierre Bourdon, French, ca. 1656 – 1708 after, 1703
Etching and engraving on paper
Print

An ornament print featuring roundels (possibly watch cases) and bands decorated with grotesque motifs (intertwining scrolling leaves, foliage, human, and animal forms), with mascarons (masks), birds, strapwork, cartouches, festoons, and a diaper pattern. The plate is signed and numbered.
Plate Illustrating Cross-section through Rear Façade of a Standard House (“Coupe Transversale sur Façade Postre de la Maison Type ‘Standard’”)
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard. This design shows a transveral cross section of the house.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

Gourd-shaped vase in yellow glass with maroon swirl.
Saint Paul Preaching at Athens
Marc Antonio Raimondi, Italian, 1483 – 1527, ca. 1517
Engraving on paper
Print

St. Paul, with his hands raised, stands on steps at the left. In back, three men listening, stand also on steps. Columns beyond. To the rear of the men, a statue of Mars and a round, domed temple.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. pink ground with flowers and ribbons
b. light blue ground with flowers and ribbons
c. green ground with flowers and ribbons
d. green ground with flowers and ribbons
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation

Detached blue velvet plant forms and leaf shapes on tan.
Ticket for the Benefit of Spiller, the Player
Samuel Ireland, English, ca. 1744–1800, 1794
Etching on paper
Print

A street scene most likely from a play. In immediate foreground many figures. In the middle a man with immense scales behind him. He is weighing cards with names of politicians.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

A repeating design of scrolling acanthus leaves of ivory and white bordered in gold upon a grey ground, the design bordered at the top and the bottom by bands of grey, white and gold.
Seven of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Seven of Hearts playing card from a pack of transformation playing cards. Vertically, a figural scene with various people depicted in outline, a red heart incorporated into their physique, each in different ways. At lower left, a man and woman dancing. At upper left, a man with a beverage tank on his back pours a drink for a seated man. At upper right, a man plays the violin. At lower right, a dancing couple, the man smoking, the woman with an angry expression.
Title Page, Nouveaux Livre de Paysages (New Book of Landscapes)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

On the right, stairs, with checkered floor and sphinxes, lead to building. On the left, view of the sea, a ship and port, a pier. People visible throughout.
Fragment
, 19th century
linen Technique: embroidered

Fragment of shirt with a band showing geometric birds and flowers.
Bartholomew Fair, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Night scene of the fairground, extremely crowded. In foreground, small concessions with rides left and right. Center left, tents for amusements and oddities. Title, artists', and publisher's names below.
commemorative
, 1876
wood, pressed
Plaque

"Centennial Exposition / Memorial Hall"
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Waving lag-and-feather medium grid with small pink rose and small flower motifs. Background has white mica moire pattern. White ground. Water damage and fading. Printed in pinks, red, greens, and white mica.
Sidewall
, 1905–1915
Machine-printed paper

On gray ground, lyre-shaped motifs containing pink blossom with green leaves and hanging rinceaux.
Jar and lid
, possibly 19th century
Bronze, inlaid metal

Jar (a) with lid (b).  Footed round jar, the body cast in two parts.  The joint covered by an encircling banding. Short, wide, straight neck.  Two small horseshoe-shaped handles hinged at shoulder.  Lid overhanging the neck, stepped up to onion-shaped finial.  Topmost element of finial missing--decorated with concentric bands of triangles and rectangles.
Justice Welsh
Samuel Ireland, English, ca. 1744–1800, 1788
Etching on paper
Print

Engraving after a pen and ink drawing. A half-length portrait slightly turned toward right. The sitter wears a wig. Inscribed, lower center: Justice Welch. Illustration for Ireland, "Graphic Illustrations…" I, 155.
Creamer
Carl Thieme Potschappel Porcelain Manufactory, German, established 1872, late 19th–early 20th century
hard paste porcelain, vitreous enamel, gold
creamer

Cylindrical body and domed lid with gilded flower finial. Flower wreath encircling monogram. Short, wide spout.
Textile
, 18th century
linen warp, cotton weft Technique: plain weave foundation. Block-printed: black, red and yellow. Blue applied by brush over yellow for a dull greenish-blue.

Fragment of a bold floral pattern on a "picotage" background.
Fragments
, 16th–17th century
Technique: counted stitch embroidery

Three fragments of embroidered carpet in an allover diagonal lattice field with knotted cord borders.
A Pierced Screen, Urn, a Fountain and Two Basins
Gilles-Marie Oppenord, French, 1672–1742, 1692–99
Pencil, pen and brown ink and brown wash; verso: pen and brown ink with grey wash
Album page

Vertical rectangle.

Recto: A pierced screen with seraphs between the interstices; an urn with volute handles used as a perfume burner, a section of a fountain composed of a half figure and putto, and two half sections of sculptured basins. 

Verso: Four tree tubs with sculptured mascarons as decoration.

One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso.
Sidewall - fragment
, 1780–90
Block printed on handmade paper

Whole width of paper, but incomplete repeat. On blue, faded ground a vase, a shield, a drapery-hung spear and a flower-decorated column fragment grouped under a palm tree. To the right, conical flower holder with bouquet and tasseled ropes.
Frieze
W.H. Mairs & Co., 1855, 1905–1915
Machine-printed paper

Lacy swags, ends caught in bowknots with pendent ends. Garlands of roses and leaves festooned below swags, clusters of roses secured in bowknots. Lower portion of frieze ground scattered with tiny floral and foliate motifs. Top edge of frieze has numerous narrow stripes flanking a band of "S" pattern. Lower edge has two fine stripes; printed in white, pink, coral, rose, mauve, greens, aqua, gilt and mica. Ground is pale aqua at top of frieze, shaded to very pale tint at bottom.
Pair of garters
, 1700–1750
cotton, silk Technique: counted stitches

Padded garters embroidered in petit-point on canvas mesh. Simple polychrome design of floral vine. Lined with white taffeta.
Brisé fan
, early 19th century
Pierced bone sticks, silk ribbon

Brisé fan. Bone sticks pierced with small spider-like figure repeated with variations in all-over design forming three circular medallions in center portion of field, with a band above and below.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On gradient cream and beige ground, alternating tall and short arabesque scroll motifs in sea green, white, and brown. Two borders printed across the width.
Jar and lid
, 19th century
Glass

Barrel shaped body with flat, cushion cover and round, faceted finial; loop handle. Flat base, star cut on underside. Alternating vertical panels of small diamonds and herringbone below double band of printies. Cover has printies and spoon notch.
Wine Glass with Shipping Scene
, 1740–50
Cut, engraved, and gilded glass
Wine glass

Campaniform with gilt rim and palmettes and engraved, floriated scrolls and fantastic architecture enframing a shipping scene, two seated females, and heraldic arms; panelled with cutting below. On faceted stem, ring-collared below, terminating in a round foot engraved edge with dots and serrations.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Foliate scrolls and floral bouquets, printed on striped background. Very petite floral swag across top edge. Printed on background that shades from tan at top to red at bottom.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Figure and drapery details: above, left, sleeve and hand; right, head and shoulders of woman seen from the back; below, left, head of a young man; right, drapery, clenched fist.
Waterfall
James Henry Moser, Canadian, 1854–1913, ca. 1890
Brush and watercolor, graphite on paper
Drawing

Young green forest with birch trees, moss, and rocks. Waterfall at right, with figures below it.
Collar
, mid-19th century
Technique: applique, bobbin lace

Applique on net collar, floral scalloped edges; mid-19th century Brussels style.
Fragments
DuBois Pere et Freres, late 18th century, ca. 1785
cotton Technique: printed by woodblock on plain weave foundation

Design of flower and stripe in red and black on white.
Textile
, mid-19th century
cotton Technique: roller and block printed, glazed

Long, narrow fragment printed in a pillar design. Brilliant natural size flowers clustered on pillar, which is striped in deep red, brown, yellow, and light red. At side, small clusters of flowers. Ground in tea-color brown.
Ignudo from Sistine Chapel ceiling
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Ignudo (nude figure) from the ceiling of the Sistine Chapel, painted by Michelangelo. Part of the Sacrifice of Noah group, located between the Sacfirice scene and The Great Flood.
Chest protector
, ca. 1900
velvet, glass beads, Technique: beadwork embroidery

Chest protector of blue velvet embroidered with multicolored beads. Primary motifs are a stag and a canoe with two occupants. An American flag flies at right side of the canoe. Triangles in yellow and pink beads outlined with white beads form a border on the bottom and sides. Smaller triangles in yellow and green beads outlined in white beads form the border around the yoke. Star shapes of red, orange, blue, and yellow beads outlined with white beads fill the lower corners. Small rosettes flank the stag's head. Cloth ties at top and bottom.
Frieze
, 1905–1915
Machine-printed paper

Alternating large and small foliate medallions connected by acanthus scrolls with lacey scrolls above medallions; bellflowers across top; printed in green and metallic gold; background shades from light green to deep green at bottom.