biglam/cooper-hewitt-alt-text huggingface dataset:
Stemmed sherbet dish
Louis Comfort Tiffany, American, 1848–1933, early 20th century
Favrile glass

Spreading foot and short plain stem support bowl flaring to lip - iridescent - engraved band of symmetrical vintage motifs about inside upper margin.
Sketches for Scenes Four and Five of Cartoon for Cotton Printing: L'Histoire de Henri IV
Hartmann et Fils, Munster, France, ca. 1820
Graphite on cream-colored paper, mounted
Drawing

Island scene from Voltaire's epic, La Henriade. Henri IV taking leave of his mistress, Gavrielle d'Estrées, before the Temple of Love, returns with his friend Duplessis-Mornay, to the army.
Cordelia
Phillippeaux, 1787
Aquatint and stipple engraving on paper
Print

Within an oval medallion, Cordelia is shown on her knees, her arms rasied in supplication. Landscape setting.
Fragment
, 9th–12th century
wool Technique: tapestry weave (plain weave) with eccentric weft

Coptic fragment has a center band with animal figures, flanked on each side by bands of interlacing pattern. Two human figures at selvedge edge.
Fragment
, 19th century
Technique: Jacquard woven. 4&1 satin damask. Weft float face interruption, 1. Warp float face interruption, 2.

Length of damask used to protect carpeting on stairs during summer. Pattern of offset leaves with berries framed by flowers forming a lattice. This pattern fills the central section. Border on both sides, mirror images of each other, with simple fret and dotted guards. Brown warp and ivory weft.
Textile
, 19th century
silk Technique: plain compound twill weave

Design of alternating stylized chrysanthemums and other flowers. The predominant color is tan with areas of dark blue, light blue, yellow, green and off-white.
Woman's cap
, early 18th century
linen Technique: bobbin lace

Woman's cap with a Valencienne lace border worked in a pattern of two birds in a symmetrical tree. Embroidered initials "M" on right side, "W" on left side. Partially lined in pink silk.
Tapa cloth
, 19th century
bark Technique: painted

Rectangle of two thicknesses, printed in dark brown in design of striated diagonals within tall rectangles. Dark triangles of solid shiny pigment may be painted. Lozenge pattern border at one end.
Door knocker
, 17th century
Bronze

Door knocker. Large bead at lower center. Handle decorated with leaves in relief. Two rosettes at top of handle.
Band
, 17th–18th century
silk and metal-wrapped threads Technique: couched-stitch embroidery

Narrow yellow band with a red border on top and bottom embroidered with scrolling leaf forms using metal threads.
Heart-Shaped Sweetmeat Dish
De Paauw (Peacock) Factory, Dutch, active 1651 - 1774, ca. 1705–40
Tin-glazed earthenware
dish

Heart-shaped dish on short foot rim with slightly flared sides; painted in underglaze blue on white with birds and flowers in center, on sides with alternating panels of flowers and pseudo-Chinese characters.
English Jockey, Jack of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

English Jockey, Jack of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Abstract Sunburst Reserve with Tear Drop Border
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, ca. 1886
Silver gilt, enamel
Matchsafe

Rectangular, rounded corners, reverse slightly concave, with polychrome enamel and etched decoration, the square central reserve features open circle with monogram, the border of which is punctuated by alternating light blue and red square sections with perforations in center of each, on dark blue enamel ground an etched zig-zag design resembling sunrays radiates outwards from circle, square central reserve bordered on top and bottom by pink-beige strips with etched curly lines at each end, the center of each featuring light blue and yellow semi-circles with sawtoothed etched borders, outermost border comprised of alternating light and dark blue bands punctuated by tear drop motifs in yellow and red enamel, each of which has single perforation at their center; sides and reverse have gold wash on surface. Lid hinged on upper left side. Striker in recessed groove on bottom.
Wall Decoration with Oriental Landscape, probably for Conservatory/Music Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and black ink, graphite on white wove paper
Drawing

Design for a wall panel, the central area occupied by a large painting of a Chinese landscape with processional figures in the foreground. The painting is enclosed in a border of trellis-work, flanked by narrow vertical panels and columns, entwined by serpents.

Original album associated with this collection still exists: see 1948-40-1 accessory.
On the Grass
James Joseph Tissot, French, 1836 – 1902, 1880
Etching on paper
Print

Scene in a park. In the foreground a young woman is seated on the grass with two children. A pool in the background.
Fragment
, 18th century
crewel wool on cotton Technique: embroidered in chain stitch (needle-made), knots and satin stitch on 2/2 twill weave

Piece of crewel embroidery in colored wool yarns with scattered motifs in a grid arrangement. The motifs do not repeat in a regular manner but alternate a floral motif (eight different ones, sometimes facing in different directions) with an animal or bird motif (eight different ones). Different colors are used when a motif is repeated.
Vase
Cynthia Pugh Littlejohn, d. 1959, 1906–15
Glazed earthenware

Buff clay body, thrown. Ovoid body with swelling at shoulder, truncated neck - no foot. Carved in relief, recessed ground, design of Spanish moss-covered oak trees encircling body, against background of underbrush and sky; lower quarter of design below tress is undecorated. Waxy matte glazes of blue, green and blue-green; sky is cream matte glaze. Interior is cream matte glaze. Bottom not glazed. Crazing to glaze.
Sampler
, 1703
silk and metallic embroidery on linen foundation Technique: embroidered in cross and double running stitches on plain weave foundation with hem stitch

Bamds of pattern and alphabets with angel crowning a monogram in the center.
Sarong
, 19th century
Meidum: silk, cotton, metallic threads Technique: plain weave with continuous supplementary weft patterning

Two breadths of cotton joined in center. Black center area showing a fine red stripe running through. On either side is a wide border woven in yellow, black, and gold in a geometric (patola-inspired) design.
Tree Covered Hillside Looking toward Harbor Town and Ocean
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View from hilltop. In lower left, outline of a bridge with (possible) train, a series of two tree-topped hills. Behind hills, in center of composition, outlines of town on shoreline. Across the river (possible) outlines of more structures.
Geisha
Utagawa Kunisada, Japanese, 1786 – 1864, 1855
Woodblock print in colored ink on paper
Print

Utagawa Kunisada is one of the lesser-known ukiyo-e printmakers, but he is no less talented than his contemporaries Hokusai and Hiroshige. Herem the architectural designs, wood mark in the night sky, and the magnitude of colors and prints in the geisha's kimono are numerous examples as to how Kunisada is just as talented. Kunisada's mostly known for depicting women, kabuki actors, and couples in the thrawls of lovemaking.
Pentecost
Giovanni Antonio Pellegrini, Italian, 1675–1741, ca. 1700
Pen and ink, black chalk, and grey wash on paper
Drawing

The Virgin is seated surrounded by Apostles. Above, the Holy Dove descends. 
Verso: a femal figure offers her breast to an aged man.
Cap crown
, early 18th century
linen Technique: bobbin lace, Brussels style

Cap crown of Brussels bobbin lace with a design of a fountain surmounted by chinoiserie pavilion and flanked by floral and foliated sprays and rocaille decoration.
Saint Philip and Saint James Major
Hans Sebald Beham, German, 1500–1550, 1520
Engraving on laid paper
Print

The figures of Apostles Philip and James are shown, walking toward the right. Saint Philip carrying a crozier or staff, surmounted by a cross; Saint James Major carrying a pilgrim's staff.
Textile
, late 17th century–early 18th century
silk on silk; linen Technique: chenille embroidery and couched chenille on satin weave; backed with linen

White satin valence embroidered in Chenille; shades of gold color, brown, green, blue and rose. Pattern: horizontal arrangement of heavy curves and shell shape, alternating with life size flowers in clusters; above, narrow border in baroque curves. Piece is backed with unbleached linen and worked through it. Much of gold color chenille couched.
Jug
, early 19th century
Glass

Ovoid body, long angled spout, large loop handle, cut pattern of small diamonds bottom of sides, above a row of tick pillar flutes, neck with 3 faceted prismatic rings; spout notched at edges, triangular thumbs piece cut at top of handle; that bottom cut with narrow radiating flutes.
Sketchbook Page: Portrait of a Man
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on paper
Sketchbook folio

Recto: Portrait of a man in right profile. Crossed out. 
Verso: Draft of a letter in French, continuing on following page. The letter asks somone (addressed only as Monsieur) for "le benefic[?] / de votre critique sur quel / ques études"
Embroidered picture
, 1800–1825
silk embroidery with painted paper and wool appliqué on wool foundation Technique: embroidered in running, satin and speckling stitches and appliqué on a fulled plain weave foundation

Oval picture of a girl playing a pipe seated at the foot of a tree with a goat at her feet, in several colors. Glazed and mounted in a rectangular frame with a wooden mat.
Side elevation of a dining room
Izabel M. Coles, American, 1890 - 1964, ca. 1909
Pencil and watercolor on paper
Drawing

Design for the wall of a panelled room, with a wide border of wall-paper between the cornice and the wall-panelling. In the center a china cupboard, flanked by two side chairs, left; table, right.
Two Designs for Metal Gates and Panels, in Nouveau Livre de Serrurie (New Book of Ironsmithing)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Engraving and black ink on cream laid paper
print

Two designs for ornate gates pictured on top and bottom of design. Both gate designs have ornate iron tracery work.
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Dark purple fragment with cut and uncut pile in a design of stylized flower sprigs alternating facing left and right.
Wall Elevation, probably for the Banqueting Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1815–22
Pen and red ink, brush and watercolor, graphite on white wove paper, trimmed along left margin
Drawing

Elevation of a wall, with a mantelpiece in the center. Over the mantelpiece, and flanking it, are three painted panels with Chinese figures, set in ornamental frames against a marbleized background. Doorways at both sides with decorative devices above them. Narrow columns at corners.

Original album associated with this collection still exists: see 1948-40-1 accessory.
Design for a Fabric, Probably for a Floor Covering
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, graphite on paper
Drawing

A segment of a circle. Design for the Royal Pavilion, Brighton. A design for a section of a rug, divided into three fields radiating from an oval center. An allover scroll design of Chinese leaves and flowers fills the large and one of the small radiating panels, the panel at left in solid color. The oval center filled with a single flower. There is a mannered juxtaposition of a Venetian red line with blue infill of a star shape. This is also seen in the surrounding pointed windows.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Wall tile
, late 16th–early 17th century
Lead-glazed earthenware

Border tile decorated in white, cobalt, turquoise, apple-green, and purple with black lines. Lower part forms part of a continuous arabesque frieze featuring interwoven cloud bands. Upper half composed of two quadrants of a four quadrant repeating design, make up of a system of conventionalized blossoms, leaves, stems, and arabesques in shaped cartouches.
Proof: Lady in Black
Henry Wolf, American, 1852–1916, ca. 1890–1915
Wood engraving in black ink on rice paper
Print

Full length portrait of a woman in black standing by a table, seen frontally. He right hand rests on the table, and her left is on her hip.
Border
, 1875–1906
Block-printed

Wallpaper roll.
Printed four across, stylized tulips on zig-zag stems, wrapped around thorny rod.
Plate (One of a Pair)
Chantilly Porcelain Manufactory, French, active ca. 1725 - ca. 1789, ca. 1775
hard paste porcelain, vitreous enamel
plate

Pair of blue and white porcelain plates.
Border
, mid-18th century
linen Technique: bobbin lace, Mechlin style

Mechlin-style border with asymmetrically placed floral garlands.
Minakuchi, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Lower left, two women are preparing sliced gourd (kampyo). A third has baby on her back. Center, tree and beyond is village amid bamboos with fences on which sliced gourd is hanging. Upper half, mountains.
Sidewall
, 1875–99
Block-printed paper, embossed

Imitation leather. On studded-texture background, embossed symmetrical design of tulips, chrysanthemums, lilies, sunflowers and many other floral depictions, with feathery fronds of leaves; printed in metallic emerald green and metallic gold.
Fuchu, Abe River, 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

Lower right, women are carried across ford. Left, coolies lead pack-horse and others carry loads. Upper half, large hills stretch away to the distance beyond the farther bank.
Pleated fan
, 19th century
Linen bobbin lace leaf, mother-of-pearl sticks, silk ribbon

Folding fan with a leaf of white bobbin lace with swirling floral patterns. Sticks of plain mother-of-pearl, with a wide white silk ribbon.
Sampler
, 1826
silk embroidery on linen foundation Technique: embroidered in counted cross and herringbone stitches on plain weave foundation

At top, two wreaths and a monument in a grove, at bottom, six alphabets, three sets of numbers, rows of crowns and bands of curving floral pattern.
Ceiling paper
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper, liquid mica

Rows of circular shapes each containing a four-pointed star in center, alternates with rows of similar four-pointed star with a projection on each side, forming a grid or trellis pattern. Printed in green and metallic gold on tan ground.
Jug
, early 19th century
Glass

Circular body, flat base, tapered neck, small pouring spout, loop handle, sides faceted at bottom edge, above that a row of this vertical fluting, a row of diamonds filled alternately with 6-pointed stars or small diamonds, a row of wide facets, around the neck hollow faceting, the top rim fluted.
World's Fair Chicago 1893
, 1893
Technique: roller printed on plain weave foundation
Handkerchief

Five buildings at the 1893 World's Fair in Chicago, Illinois. Red, green and grey.
Sidewall
, 1860–80
Machine-printed

Stripe design with 2 light-colored broad bands and 2 darker narrow bands.  The wide bands contain 2 alternating motifs: a group of flowers, with foliage and wheat, and a vase with a bouquet of flowers.  Printed in white and light gray  with metallic gold sprigs.  The narrow bands contain intertwined vines forming a guilloche pattern with a bird in the center. Printed with white and gold highlights.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on ivory verre fixé (affixed to) glass, ivory (backing), gilt metal

Button depicting scene with four figures in a landscape with palm trees. At left, a light-skinned man at entrance of a hut, as black-skinned man and woman, dressed in Western style working clothes, converse with another woman who wears only a skirt, carrying a child on her back and a package on her head.
Walking Dress
Rudolph Ackermann, English, b. Germany, 1764–1834, 1819
Engraving, brush and watercolor on paper
Print

Fashion plate of a woman standing in a garden wearing a brown and white dress and hat, and carrying a gray parasol. Title and publisher's name below.
Calm Ocean with Four Boats
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

View of calm ocean out to horizon, with four boats out at sea (three on left, one at right).
Folding Cleaver
, 16th century
steel, ivory
cleaver

Cleaver with large blade with straight lower edge. Decorative upper edge rounded towards the lower edge. Steel ferrule has worn relief floral foliate pattern and an extension to which the blade is attached. Ribbed ivory handle, round in section. At end of handle, relief floral foliate pattern steel mount and finial. Blade folds towards the handle.
"Palace of Electricity, St. Louis World's Fair"
James E. Blake Co., 1904
Metal
Matchsafe

Oblong, with ornate curved sides, cinched where lid meets box body, featuring raised horizontal decoration depicting large pavillion-like building, inscribed  "St. Louis 1904" above architectural rendering, and "Palace of Electricity" below. Inscribed on lid, and legible when box is turned long side up is "World's Fair", all decoration framed by winding, sinuous, fabric-like band that wraps around perimeter of box. Reverse features raised decoration of woman, seated in garden setting, dressed in long, Classical-style garment, drying her hair, probably based on figure of Venus, behind her is statue of a similar theme, all framed by c-curves and counter-curves. Lid hinged on upper, long side. Striker on bottom.
Textile
, 1675–1700
silk Technique: brocaded damasse

Beige silk brocaded with gold and silver metallic thread and blue and orange/tan silk in a pattern of vines with flowers and animals.
Pitcher
Ernest Chaplet, French, 1935 – 1909, ca. 1885
Stoneware, slip decoration

Globular body on foot. Tall neck with thin bands. Round mouth with small spout. Handle decorated with wheat. Impressed floral decoration throughout. Applied butterfly.
White Men Massacring Indians
, 1850–1875
Silhouette of white paper, cut out, on black paper mount
Silhouette

White men massacring Indians.
Sidewall
, 1840s
Block-printed paper

Against an ungrounded off-white paper marbled with pale gray veins, are printed regularly spaced large, scrolled medallions in light blue with linear details printed in red. Small red medallions are centered within and printed between the larger medallions.
Sidewall
, 1905–1915
Machine-printed paper, textured

All black embossed with stylized floral stripes and horizontal lines (design imitates fabric).
Egg cups and stand
, early 19th century
Mahogany, probable pear beech (?)

Circular stand with turned molded edge. Stand supported on three bun feet. Center of stand fitted with turned post, tapered toward globular finial.  Finial pierced with hole to accomodate double grip in the form of two extended arms. Stand fitted with three wooden posts, which fit into drilled holes in bottoms of individual egg cups. Curved, vase-shaped cups with molded circular bases, knop stem and molded lip.
Border
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

On pink-taupe ground, alternating rectangular and oval frames containing clusters of pink and white roses with foliage. Frames are bordered by beaded border and decorated with scroll motifs.
Sidewall
, ca. 1800
Block-printed on handmade paper

Two repeating panels of hunting scenes, in one frame, a man with drawn bow and arrow stands with a maiden beneath a lambrequin, both figures appear in classical costume. In the next frame, a dog attacks a running deer, there is a tree nearby. Each of the two scenes contains a pair of columns incorporating caryatids, which support a trellis wrapped with vines. Panels are separated by pilaster on pedestal, supporting a decorative border with a cameo, centered between two deer, and anthemians.
Title Page of a Lady's Souvenir Album
, 1830–1840
Lithograph, brush and watercolor on paper
Print

The Three Fates are seated on a cloud in an architectural enframement. Below, symbols of the arts. At top: "ALBUM" in gold letters.
"Balustrades des Orchestres du Grand Carre aux champs-Elysees (1833)"
Félix Duban, French, 1797 - 1870, 1833
Brush, pen, watercolor, graphite Support: off-white paper mounted on off-white paper
Drawing

Design for two different red-bordered square panels.  Right: Dark green square with a diamond-shaped white insert, decorated with a blue arabesque design.  Left: Dark purple square with an octagonal white insert, decorated with a blue arabesque design.
Sampler
, 19th century
cotton embroidery on cotton foundation Technique: withdrawn element work, cutwork with needle-made fillings on plain weave foundation

Bands and squares of withdrawn element work and button holes.
Skewer with Ball Finial
, ca. 1750
silver
skewer

1985-103-118-a: Sharkskin case without lid, of triangular form, wi...;     1985-103-118-b: Sabre-shaped blade with plain bolster. Octagonal s...;     1985-103-118-c: Four-tined fork with curved shoulders. Baluster-sh...;     1985-103-118-d: Pointed skewer with ball-shaped finial. Part of tr...
Sidewall
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, textured, liquid mica

Very dense pattern of foliate medallions. The medallions form a fish-scale or diaper design. Printed in blue, white and metallic gold on blue ground.
overdoor
, 1860
Block-printed

Group of three putti with dolphin, in pale browns, at top. Below this a scrollwork cartouche or medallion in darker browns at the center of which is a satyr-like mask in pale browns. Printed on pale blue glazed ground.
Mt. Katahdin from the West, near Ripogenus Lake, Maine
Frederic Edwin Church, American, 1826–1900, July 1856
Graphite, white gouache, and oxidized white gouache on tan wove paper
Drawing

Landscape sketch showing a distant view of Mt. Katahdin in Maine from a hillside along the southern bank of Ripogenus Lake. In the foreground, a clear-cut hillside strewn with tree stumps descends across the composition from right to left, until it meets the lake in the lower left corner. Heavily wooded foothills and ridges overlap one another thoughout the middle distance, while the rugged southern face of Mt. Katahdin is visible in the background, striated with rocky crests. Mountainous ridges extend faintly to the left.
Strapwork Design
, early 17th century
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Strapwork with harpies and floral vases frame a square panel at center.
Stage Design, A Porticoed Bridge
Angelo Toselli, ca. 1765? – 1826, 1815–1830
Pen and bistre ink, brush and gray watercolor on paper
Drawing

Horizontal rectangle. Stairs lead up to a bridge surmounted by a portico; arcade at right. In the foreground, at left, a monument; at right stands a figure near a stream.
Woman
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Two sketches of a female figure.
Adoration of the Shepherds; Arcangle St. Michael after Raphael; St. Margarite after Raphael; Aloof de Wignancourt by Caravaggio; Putti; Study of the Flood; Verso: Disposition after Volterra; St. Ceclia after Raphael; Portion of Marriage of Henry IV to...
Felice Giani, Italian, 1758–1823, 1803–09
Pen and dark brown ink over traces of graphite on cream laid paper
Drawing

Adoration of the Shepherds; Arcangle St. Michael after Raphael; St. Margarite after Raphael; Aloof de Wignancourt by Caravaggio; Putti; Study of the Flood; Verso: Disposition after Volterra; St. Ceclia after Raphael; Portion of Marriage of Henry IV to Marie de' Medici after Rubens.