biglam/cooper-hewitt-alt-text huggingface dataset:
Plate Depicting the Philae Temple (Templi di File), from a "Topographical" Dinner or Dessert Service ("A Vedute")
Doccia Porcelain Factory, Italian, established 1735, ca. 1810–1820
hard paste porcelain, vitreous enamel, gold
plate

Circular plate of grayish porcelain with blue band between two gilt lines around rim; gilt-bordered circular medallion in center with polychrome ruins of Tempio dell'Isola di File.
Album of Designs for Gun Parts and Ornament
C. Jacquinet, French, active 1650 – 1660, 1657–60
Album

Album containing two series of designs for gun parts and ornament by printmaker C. Jacquinet, along with two interior views relating to the work of gunmakers with the names of Parisian gunmakers surrounding the scenes. The ornament features grotesques, mascarons (masks), figures, scenes, military trophies, flowers, and scrolling foliate. The plates are numbered and signed.
Textile
Gorgerat Frères et Cie., Nantes, France, 1783–1815, 1780–85
cotton Technique: printed by engraved copper plate on plain weave

Offset cartouches showing Neptune with trident riding horses and causing a storm; and a youth riding a dolphin away from a shipwreck. Spaces between the cartouches filled with arabesques, putti and garlands.
Pleated fan
, ca. 1820
Linen bobbin lace leaf, pierced ivory sticks piquéd, incised and silvered

Pleated fan. Bobbin lace leaf in natural linen color. Pierced ivory sticks piquéd, incised and silvered.
Fragment
, 17th century
silk, metallic thread Technique: plain weave patterned by supplementary weft floats

Green stems with red floral terminals on a white ground.
Sketch of Angel with Flowers
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown laid paper
Drawing

Angel sitting facing front, looking to the left in profile. Right hand holding flowers on lap.
Candelabrum Representing the Chase
François Marie Isidore Queverdo, 1748 - 1797, 1788
Etching on paper
Print

La Chasse. Candelabrum representing the hunt rising over a seated hunter.
Fragment
, 18th century
silk, linen, metallic thread Technique: cut supplementary warp pile (velvet)

Large-scale floral symmetrical design with undulating flowering branches and leaves clasped by stylized urn. In dark blue-green ridged pile on bright yellow ground now largely discolored to tan.
Fragment
, 17th–18th century
cotton Technique: painted on plain weave with dye, gold powder on gum or wax base

Strip of very sheer, loosely woven undyed plain weave cotton with small-scale design of hatched stripe in gold leaf alternating with stripe with central black line with pairs of small leaves drawn in black and painted pale lavender springing on either side of gold dots close-set on the central line.
Keyhole escutcheon
, ca. 1800
Brass

Rectangular, with concave circular corners; shaped keyhole in oval reserve.
Curtain tieback
, ca. 1820–30
gilt bronze

Arm for holding the draped curtains of a window. Decorated on one face with acanthus motifs; in the Empire style.
Textile
, 19th century
silk Technique: compound satin weave, moire

Upholstery fabrics of pale orchid. Ground of moire with vertical satin stripes. Over the moire areas small floral groups and wreaths in satin. Triangular in shape.
Drawing
Felice Giani, Italian, 1758–1823, About 1816
Pen, brown ink, gray-brown wash, on laid paper.

All of them are seated upon stone seats. Top row: three Muses designs shown in profile turned toward left. The left woman leans her head upon her left hand; her right hand lies in her lap. The central woman holds a tablet with her right hand and points at it with her left hand. The right woman holds an opened book. Bottom row: a woman turned toward right holds a tablet upon her left thigh leg: the lowered right hand holds a paper roll. The central woman is turned toward right and leans her head in thoughtful fashion in her left hand. The right hand holds a paper roll. The right woman is turned toward left and holds with both hands an opened paper roll. Reverse: pen scratching.
Tablecloth
, ca. 1800
linen Technique: damask

Tablecloth with a central design of a classical vase with figures surrounded by a wreath and medallions with figures.
Fragments
, 14th century
silk, metallic thread Technique: 5&1 irregular satin patterned by plain weave

Horizontal bands of pattern, phoenixes and large flowers. Fabric woven at right angles to the pattern.
Sketches for the Representation of an Eagle Over a Thunderbolt
, ca. 1810
Graphite, black crayon, pen and ink on paper
Drawing

Obverse: The representation. Bottom right: pencil sketch for the left foot. Reverse: Bottom: two views of the head, the eye. In opposite direction: a crayon, two ink sketches of the head. Bottom right: crayon sketch: the head.
Fragments of a chasuble
, 16th–17th century
wool, linen Technique: supplementary warp forming cut pile (velvet0 then stamped (embossed)

Busy pattern of shaped cartouches containing urns, flowers or coats of arms in greenish/blue.
Fan leaf
, late 18th century
Painted paper

Unmounted painted paper fan leaf. Obverse: a family group plays badminton in front of a house.  Reverse: a woman in country dress beside a rustic awning.
peg, candlestand
, 18th century
wood

18th century maple ratched candlestand with crossed arch base, horizontal bar with candle sconce at each end
Studies of Nude Figure
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on cream paper
Drawing

A boy is shown lying on his left side and leaning on his left elbow. The right arm crosses the breast. The legs are spread. The upper part of the body in a slightly different pose is shown at the bottom. Verso: traced outlines of the full figure design.
Drawing
, 1780-1790
Like 1920-36-61.

Horizontal rectangle. Top: irregular flower rinceaux with a flower vase in the waves. Bottom: a variation of the bottom design of 1920-36-61, showing a fruit basket.
Fragments
, 17th century
silk Technique: 4&1 satin damask

Silhouetted lions forming a grid in green and gold
Fragment
, late 18th century
linen Technique: bobbin lace

Fragment of Lille-type lace with a border design of small floral sprays. Small oval leaves scattered over the ground.
Textile
, 1839
silk Technique: compound twill weave

Cream silk with delicate vertical frets intertwined with flowers.
The Two Houses of Parliament, from Harrison's History of London
John Cooke, English, acitve 18th c., ca. 1750
Engraving on paper
Print

View of the hold House of Lords right, and of the old House of Commons (left). Inscribed below, lower right: "View of the Office of Ordnance with the Entrance of the HOUSE OF LORDS"; lower left: "View of the HOUSE OF COMMONS from the River Thames"; above: "Engraved for HARRISONS'S History of London".
Fragment
A .G. Jennings & Sons, American, ca. 1884
silk Technique: machine made lace

Lace fragment made in imitation of Spanish-style lace with a net ground and a border of leaves and flowers.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Pen and brown ink over traces of black chalk on laid paper.

Vertical rectangle. A woman with a helmet is shown in profile, left, leaning with the right arm upon a column. The head of a crouching lion is shown at right.  Reverse: part of a rough sketch of the decoration of a section of a ceiling: pen,pencil.
Portrait of Mauro Tesi in a medallion, surrounded by architectural elements
Count Cesare Massimiliano Gini, Italian, 1739 - 1821, 1787
etching on laid paper
Print

(Berlin 2644). Classical sculptures and ruins. The medallion portrait is fastened to a part of a column. The name is printed underneath.
Cover
, 1875–1900
lacquered wood

Rectangular box with rounded corners.  A: Bottom section, and  B: middle section have snow-crystal-like shapes on gold-powdered ground, with rope bow and tassels.  C: Cover decorated with chrysanthemums and other flowers. Inside gold-powder lacquer (''nashiji'' - pear ground).
Cupid and Psyche
Gorgerat Frères et Cie., Nantes, France, 1783–1815, ca. 1790
cotton Technique: printed by engraved copper plate on plain weave; Mordant for purple-black printed by engraved plate with mordants for reds, purple and browns plus blue and yellow dyes applied by brush.
Textile

Straight repeat of isolated scenes illustrating Cupid and Psyche the apotheosis of Psyche, Psyche discovering the identity of Cupid. Psyche carried by two Zephyrus to a valley, the marriage of Cupid and Psyche blessed by Venus.
Snuff bottle
, 19th century
glass, stone, ivory

Vase-shaped body of white opaque glass; overlay of transparent blue glass carved in pattern of prunus blossoms, branches and rock. Tapered stopper knob of carnelian, ivory spoon.
Les Précautions (The Precautions), from Le Monument du Costume
Pietro Antonio Martini, Italian, 1738–1797, 1777
Etching on white paper
Print

A richly attired lady descends a stairway in profile and prepares to enter a sedan chair directly in front of her. A man in the center foreground faces her and reaches out for her hand. A few other elegantly dressed men are gathered around her. In the background the dome of the Church of the Assumption in the Rue Saint-Honoré, Paris can be seen.
Les quatre parties du monde
Jean-Baptiste Huët, French, 1745–1811, ca. 1785
cotton Technique: copperplate printed on plain weave
Textile

Fragment shows a seated figure representing Europe surrounded by cherubs, roosters, dogs, and a horse.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

Gold and silver-gold luster on clear glass; bulbous body; gently ribbed neck and stepped shoulder.
Detail of Facade of a Builidng by Hector Guimard
Hector Guimard, French, 1867–1942, early 20th century
Photographic print on paper
Photograph

A photograph of the front entrance and facade of Hector Guimard's house. The glass doors are protected by decorative grillework. The protruding frame of stone has decorative designs carved in. The principal facade is composed of brick.
Castore e Poluce, from Vessels of the Argonauts for the Wedding Celebration of Cosimo de' Medici in 1608, plate 2
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
etching on laid paper
Print

The ship of Castor and Pollux, emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Edge
, 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Lace edging ornamented with a curving band and floral sprays.
Floral Tailpiece
Jean-Jacques Bachelier, French, 1724 - 1806, 1762
Etching and engraving on laid paper
Print

Third plate from the second series of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine. A large fleurons or tailpiece made up of intertwined flowers, leaves and vines around a circular palm leaf, with a garland in the middle hanging from a tied ribbon. The plate is numbered and signed.
Bracket
, late 18th century
wood, painted

Modillion, perhaps from a frieze. At bottom four guttae square in plan. On face, acanthus leaf. At top, rectangular block with oblong rosace on face, squared volute on either side, and leaf on top.
Handkerchief
, ca. 1880
linen Technique: bobbin lace, Brussels style with needle lace inserts

Handkerchief of white linen edged with Brussels bobbin lace and needle lace inserts.
Christmas – Gathering Evergreens
Winslow Homer, American, 1836–1910, December 25, 1858
Wood engraving in black ink on paper
Print

Scene in a forest where two men cut down evergreen trees near large rocks. At right, another man and woman make wreaths. Upper half of the page.
Child
Amedeo Modigliani, Italian, 1884–1920, 
Graphite on cream wove paper mounted on cardboard
Drawing

Very faint drawing of a child's face. The infant's eyes are open and the face is turned slightly to the left.  A blanket or wrap is indicated by  short strokes of graphite.
Fragment
, 17th–18th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a satin foundation

Fragment of dark red cut and uncut velvet in a pattern of scrolling leaves surrounding the coat of arms of the Chigi family.
Sidewall
M.H. Birge & Sons Co., 1834, 1890–1920
Machine-printed on paper

On cream ground, small-scale ogival pattern with stylized floral in-fills printed in blue.
Fragment
, late 17th–early 18th century
silk, cotton Technique:

Green and white textile in a symmetrical Louis XV floral pattern. Selvage continuous with ground and edged with double warp of cotton.
Fragment
Shoolbreds & Co., 1850–1900
cotton Technique: roller printed on plain weave foundation

Small, tight design of 'C' scrolls turned in various directions, dots and circles in green on white.
Bedcover
, early 19th century
cotton Technique: embroidered on plain weave

"Candlewick" bedcover of cotton muslin embroidered in knotted stitches in cotton. Bordered on three sides with off-white cotton fringe.
Textile
, 6th–7th century
linen, wool Technique: embroidered

Section of coarse undyed linen cloth with small-scale allover pattern of triangles set side-by-side in diagonal rows, some filled with crosses, some filled with counted darning stitch. In dark brown, blue-green, and rust-red wools. One plain selvage.
Fragments
, ca. 1805
cotton Technique: printed by engraved copper plate on plain weave

Four fragments of a pattern that appear to be an allegory based on events relating to Napoleon; several officers receiving homage from a woman dressed in Grecian robes and people kneeling and presenting their arms to Napoleonic soldiers. Pattern incomplete. In sepia on white.
Decor Pastoral
Jules Desfossé, French, active 1851 - 1863, 1851–1864
Block-printed paper
Decorative panel

Similar in arrangement to 1955-12-1 but not so large. Landscape vignette enclosed within a floral medallion. The medallion is suspended by a blue ribbon. The sepia-colored landscape contains a sheep, multiple chickens and a rooster standing on a coop.
Ceiling paper
, 1905–1915
Machine-printed paper

Ground is cream. Tan vermiculation all over. Square dot grid in beige, covered with faint yellow spirals.
Palampore
, 18th century
cotton Technique: mordant painted and resist-dyed (chintz) on plain weave

Half of a chintz palampore with scenic and floral elements in blue, green, drab, yellow and rose on a strong red ground. The piece has a deep border sewn by hand along the left and bottom edges. The designs of the field and border are related in color but are otherwise very different. 
The field shows a repeating pattern of three sceninc elements: Under a gnarled tree with flattened leaves appear two cranes, one perched on a pointed rock, one standing in a dark shallow pool. A second scene shows a bird (heron?) crouched on a nest, in or near a pool or swamp of triangular shape, in which delicate plants and smaller herons are visible. From the air a bird swoops toward this pool. A third scene is not easily decipherable, a barred triangle shape, from which rise dotted oblongs, a long stem, ending in a lotus fruit, but looking more like a lantern on a pole. These different scenes are divided by blocks of little birds and flower clusters.  Although the design is crowded, the several elements have considerable delicacy. Japanese influence is apparent, particularly in the drawing of the trees and birds.
The border consists of a series of large flower heads, one a lotus, and big notched green leaves; reserved decoration in the flowers enriches the design. The bottom edge has a narrow outer border of carnations, artichokes and serrated leaves on a white ground.
Fragment
, late 18th century
Technique: needle lace

Needle lace edge sample, joined, floral pattern; late 18th century
Christ Taking Leave of His Mother, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

The three women are at left, the Virgin kneeling with clasped hands before the erect figure of Christ, lifting his right hand in blessing. Monogram of Dürer, lower right.
Jenny Lind Paper Doll Costume, Norma from the opera "Norma"
Jenny Lind, Swedish, 1820–1887, ca. 1850
Lithograph on white wove paper
Print

Paper doll costume for the figure of Jenny Lind representing the character Norma from the opera Norma.  
Designed to be placed over the doll.
Plate XI, from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

A kiln made of bricks, left, and a double bellows, right. A man, far left at the oven, and two working the bellows by means of ropes. Description in Latin on verso of 1949-152-208.
Tile
Grueby Faience Company, Revere, Massachusetts, 1895–1908, 1902–09
Formed, applied and glazed earthenware

Light buff earthenware body with press-molded design of lion on haunches backed by stylized trees and landscape.  Tan, cream, light blue, and green mat glazes defined by raised partitions.
Mug
, ca. 1820–30
Glass

Very heavy, straight-sided body, looped and notched handle with turned up end cut with tall swirling loops of diamonds above a row of field diamonds, hatching at side near handle, on the bottom star pattern.
Design for a Chimneypiece, Wall with Chinoiserie Landscape, possibly for Library, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1802
Brush and watercolor, graphite on paper
Drawing

Elevation of a wall, with a fireplace at center, and walls to left and right containing large painted panels of Chinese scenes.
Figures Attacked by Serpents
Raymond Lafage, French, 1656–1684, 1800–25
Pen and brown ink, black chalk on paper
Drawing

A group of mostly male nude figures is shown being attacked by serpents. Their bodies are contorted, suggesting that they are writhing in pain. A robed  woman stands on the left and holds an infant, while a young child clings to her body. The upper left section of the drawing has been left unfinished.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Tile-like pattern with alternating rows of open diamond shapes and circles decorated with scrollwork and fleur de lis motifs. Fine grid of metallic dots is printed over entire paper, giving piece a textured appearance. Design printed in light grays and green on dotted background, on ungrounded paper.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Square, molded tile with inscription impressed on reverse set in a double line frame: "J. & J.G. Low, Patent, Art Tile Works, Chelsea, Mass. U.S.A. Copyright 1881 by J & JG Low". Face of tile decorated with pair of stylized daisies which grow from a bamboo stem. Leaves are heart shaped. Tile is glazed teal-blue.
Border
, late 19th century
raffia Technique: plain weave embroidered with stem stitches

Long band composed of three shorter pieces stitched together.  All-over embroidery in irregularly interlaced pattern of bands striped in three shades of brown.  One selvage present, other long edge cut and overcast.
Inkwell
, ca. 1735
Cast and gilt bronze

Inkwell in the shape of a turbaned man in robes and holding a scepter, riding on an elephant led by a boy seated on the elephant's neck.
Frieze
Janeway & Carpender, New Brunswick, New Jersey, est. ca. 1872, 1875–1900
Machine-printed on paper

Art nouveau style with poppy flowers in various states of bloom. Bands of stylized floral motifs along top and bottom edges. Printed in green and yellow on a mica ground.
Creamer
Royal Worcester, English, established 1751, late 18th century
porcelain, vitreous enamel
creamer

Jug with short spout, on circular foot. Scattered flowers on body and below rim.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A stylized floral motif, with four buds, enclosed within metallic gold circle. The circles are enclosed within a square framework, which becomes part of an overall grid pattern.
Fragment
, 17th century
wool Technique: damask

Wool damask in an orange and green floral pattern.
Cap fragment
, 14th century
silk on linen Technique: embroidered

Fragment of a quilted cap with a narrow band of Kufic inscription in red silk on linen.
Christ on the Cross with Mary and John
Martin Schongauer, German, 1450–1491, ca. 1485
Engraving on laid paper
Print

Vertical rectangle showing Christ on the cross, his body turned toward the left. The Virgin stands to his left; St. John at right.
Jar and lid
, 19th century
Glass

Ogee-shaped body on short stem with faceted knop and 12-sided flaring foot; sides cut to reveal clear glass behind flashed amber layer in pattern of rosettes in oval frames and underneath alternate colored vertical stripes; domed, stepped cover, faceted, with amber ball finial.
Matchsafe Hand Holding Cigar Amid Smoke and Man Blowing Smoke
, late 19th century
silver
matchsafe

Rectangular, rounded corners and sides, featuring raised decoration of hand holding a cigar amid smoke swirls that decorate entire surface. Reverse features male in profile, blowing smoke, his curly hair blending in amid smoke swirls that decorate entire surface. Lid hinged on side. Striker on bottom.
Pillow cover
, ca. 1910
linen Technique: cutwork, embroidery

Cutwork pillow cover with squares containing an alternate arrangment of birds and geometric flowers.
Border
, 17th century
linen, silk Technique: plain weave embroidered with cutwork

Linen border fragment with silk embroidery and withdrawn elements showing two wide serpentine lines that form diamonds. Both lines have needlemade filling stitches and embroidered decoration. Each diamond is filled with two small rectangles that are embellished with needle made filling stitches. Remaining surface area is decorated with geometric embroidery in blue, pink, yellow and white.
Plate Design with Pair of Exotic Birds on a Blossoming Branch
Amédée de Caranza, active Longwy and Bordeaux, ca. 1867 – 1885, 1875–85
Brush and gouache, watercolor, graphite on heavy cream wove paper
Drawing

Asymetrical motif of two birds sitting on a branch with blossoming flowers against blue background with swirling pattern.  The bird on the left is a cock; the bird on the right is unidentified.
Fight between Elephants and Snakes, plate 2 from the Venationes Ferarum, Avium, Piscium series
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or after
Engraving on paper
Print

Horizontal rectangle. An elephant is attacked by a serpent, right foreground. Another serpent, in a tree, left, watches an approaching elephant. In the background, Troglodytes cut up and carry off the carcass of an elephant. Left of center, below: "Ioan Stradanus invent."; right of center, below: "Carol de Mallery Sculp."; lower right: "Phls Galle excud." Below: "EXCELSA IN BARRUM DRACO SESE EX ARBORE IACTAT..."
The Rape of Europa
J. Berger, 1866
Steel engraving on paper
Print

"Rape of Europa" by J. Burger, 1866
Mourning sampler
Sarah Ann Wimpory, late 18th–early 19th century
silk embroidery on wool foundation Technique: uncounted stitches; cross and satin stitch on plain weave foundation

Rural landscape with flock of sheep and shepherds, cottage with duck pond, house with figures under a tree, dominated by a large building labeled A Priory. At the bottom, a gravestone-like shape contains "Sarah Ann Wimpory, 9 years"
Stained glass window: three part design
John C. Wolf, 1890–1900
Brush and watercolor, graphite on illustration board
Drawing

Design for pointed stained glass window with central section composed of yellow ovals, large four-petalled blossom in pink framed in red; pink dove at center; whole design framed by pink flowers with green leaves on blue ground.
Mother-of-pearl and Steel Knife Handle with Threaded Hole
, early 17th century
steel, mother-of-pearl
knife handle

1985-103-253-a: Small case for six implements, stamped leather wit...;     1985-103-253-b: Oval rat-tail spoon bowl with round neck and screw...;     1985-103-253-c: Plain straight handle with finial on top, can be s...;     1985-103-253-d: Waisted steel handle inlaid with mother-of-pearl, ...;     1985-103-253-e: Slightly curved upper edge, lower edge curving tow...;     1985-103-253-f: Waisted handle inlaid with mother-of-pearl, four r...;     1985-103-253-g: Three straight tines, rounded shoulders and plain ...
Band
, 16th century
linen, silk Technique: silk long armed cross and back stitches on linen plain weave

Pattern of curving plant forms in reserve against a red background. Warp-faced woven band with weft elements forming the fringe attached on two sides.