biglam/cooper-hewitt-alt-text huggingface dataset:
Folding spoon
Gavet Coutelier, France, 1809–19
Silver, wood, steel

1985-103-281-a/j: Red leather holder with tooled gold borders and ve...;     1985-103-281-a: Barrel-shaped red leather case with stamped gold d...;     1985-103-281-b: Plain silver cup with flaring rim, decorated with ...;     1985-103-281-c: Red leather holder with stamped gold decorations f...;     1985-103-281-d: Blade has straight sides, upper edge tapering towa...;     1985-103-281-e: Oval spoon-bowl with pointed tip, flat slightly ta...;     1985-103-281-f: Fork has four slightly curved tines, rounded shoul...;     1985-103-281-g: Small cork screw with knob on top with hole throug...;     1985-103-281-h: Cylindrical horn and ivory container consisting th...;     1985-103-281-i: Cylindrical horn and ivory container consisting th...;     1985-103-281-j: Cylindrical horn and ivory container consisting th...
Sketchbook Page: Classical Statue
Kenyon Cox, American, 1856–1919, 1883
Pen and brown ink, graphite on paper
Sketchbook folio

Sketch of classical statue of nude female figure, missing legs below knees, arms, and head.
Border
, late 18th century
Technique: bobbin lace

Edge of bobbin lace with free-standing floral scallop border, late 18th century Buckinghamshire.
Chintz
, 18th century
cotton Technique: mordants (2 reds, purple and black) applied by brush and pen; madder dyed; blue apparently brushed over a crackled resist; chintz on plain weave

Fantastic scrolling shapes with elaborate floral bouquets.
Frieze
, 1905–1915
Machine-printed paper

Bouquet of purple flowers sitting on top of white cafe curtains. Two borders printed across the width.
Two Small Studies of Choppy Sea and Cliffs
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Above: choppy sea with two layers of cliffs on right; below: choppy sea with two layers of cliffs on right.
Cap crown
, 1740–55
linen Technique: bobbin lace, Brussels style

Cap crown with a flower basket in center suspended from a ribbon that is attached to an elaborate framework, with pitchers in the two lower corners.
Design for a Heart-shaped Box
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gouache, graphite on cream paper
Drawing

Top view of a heart-shaped box decorated with wild green and brown flower with green and brown leaves; edges of box are scalloped; stick at right has "jeweled" decoration in blue and green.
Traveling Knife with Ivory Handle
, ca. 1798–1809
ivory, steel, silver
knife

Straight-sided blade, upper edge tapering towards the point, drop bolster and plain silver ferrule. Pistol-shaped handle of carved ivory with beaded cresting on top of handle and halfway on one side. End of handle carved on front and back with snail-shell and drop-shaped ornaments.
Study of Reclining Nude Figure
Louis Schaettle, American, 1867–1917, ca. 1900
Graphite on light brown paper
Drawing

Reclining female nude shown from the front. The head is dropped back; both legs bent toward left side, left arm bent so that hand rests behind head; right arm is resting and extended toward left.
Sampler
, mid-19th century
wool and metallic braid embroidery on cotton foundation Technique: embroidered in satin and cross stitches with appliqué on plain weave foundation

Forty-one patterns arranged in squares.  One section is raised with flowers and foliage standing in relief. Foliage made of yarn which has been knitted and unravelled.
Textile
, 1850–99
cotton Technique: printed by engraved roller

White cotton, roller printed in shades of brown on greyish ground. Flower clusters around an urn of water on which perch two birds; snake coiled at side. Below urn minute naked figures appear. White cotton scallop fringe attached at bottom.
Sampler
, 19th century
cotton Technique: knitting (interlooping)

Very long narrow sampler of forty-seven knitted patterns in white cotton.
Jug
Hanley Potteries (T&C Ford), English, 1854 – 1871, mid- 19th century
biscuit (parian)
jug

Bulbous body with relief decoration showing putti hanging from ribbons and swags with fruit pendants. Egg and dart molding about neck. Strap and cabochon under a flaring lip. Handle composed of scrolled straps under a segmented spine.
Commemorative ribbon
, ca. 1880
silk Technique: jacquard-woven

Souvenir of the World's Columbian Exposition, woven in silk
Fragments
, 18th century
silk Technique: compound weave

Fragments have red and purple flowers and green leaves set in a diamond-shaped lattice of red and purple petals and leaves on a yellow-beige ground.
The Post Office, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Men in red coats, on stools at rows of desks. Others at a large table, left foreground. Title, artists', and publisher's names below.
Study of foliage
William Trost Richards, American, 1833–1905, August 4,1865
Graphite on paper
Drawing

Sketch of a tree with foliage.
"The Blessing of Sleep," Study for a Poster for Paine's Celery Compound
Kenyon Cox, American, 1856–1919, 1899
Graphite, brush and black and gray wash on tan laid paper
Drawing

Draped woman at left with attributes of Hypnos (winged head and poppy) hovers at left in front of a window that opens out on to blackness. Her arm is outstreched over a reclining man, recumbent on a low divan at right. He is half nude, propped on one elbow with his other arm behind his head. At right, an oil lamp burns atop a columnar pillar.
Portrait of Jan de Wael, from the Icones Principum Virorum
Adrien Lommelin, 1660-1670
Etching on paper in black ink
Print

Knee-length portrait of a standing old man in three-quarter view turned to left. He wears a skull-cap and a short-sleeved coat over a suit with a white pleated collar. He points to something with his right hand; in his left hand a pair of long gloves.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Squarish medallions with a projection on each side, connected by lacy framework of floral and foliate swags in green and white. Printed in mauve, green, and white on light green ground.
Border
, 1750–99
linen Technique: bobbin lace, Brussels style

Border with a wide serpentine ribbon running the width of the border and crossed at intervals by floral garland.
Waistcoat front
, 1780–95
silk, metal-wrapped silk, metal wire, paillettes, paste jewels Technique: embroidery using satin, stem and knot stitches on plain weave

Waistcoat right front panel with standing collar, straight hem edge, and pocket welts in ivory silk. Embroidered in twelve colors of silk floss, with metal-wrapped silk threads, coils of metal wire, sequins, and paste jewels. Overall tiny floral sprig, small-scale floral border at center front, and a design of a blindfolded Cupid being driven by a bird. Trimmed with four color woven silk fringe.
Border
, 1820–1850
Block-printed on handmade paper

Imitation textile, drapery or passementerie border. Wide zig-zag or herringbone pattern with suspended anthemia and tassels. Narrow band of floral motifs across top edge.  Printed in ocher and rust-color.

H# 461
Double Tulip Raphaël, Plate 64 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Double Tulip Raphaël" from A. C. Van Eeden's "Flora of Haarlem."
Sidewall - fragment
, 1840–70
Block or machine printed

Green acanthus boss set within a diamond diaper design.
Fashion Plate
J. Bonnard, French, active 19th c., 1886
Engraving, brush and watercolor on paper
Print

Five children in a garden playing ball. Artists' and publisher's names and date below. Description on verso.
Frieze
Becker, Smith & Page, Inc., founded 1899, 1905–1915
Machine-printed paper, liquid mica

A wavy band of vining poppies (?) runs through the middle. Blue floral swags above and below. A small band of daisies runs along the bottom edge.
Band
, late 16th–early 17th century
silk embroidery on linen foundation Technique: embroidered using back and long-armed cross stitches on plain weave Label: linen embroidered in silk with back and long-armed cross stitches

Border of natural-colored linen embroidered in red silk;  the embroidery fills the background, and the figures are reserved in the foundation linen. Within a framework of entwined branches, two episodes from the story of Abraham and Isaac: Isaac gathering the firewood, and the Angel staying Abraham's sword. With upper and lower borders of birds, animals and flowers. Red needle lace edging top and bottom.
Network of Grasses
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

A network of tall grasses overlap one another to create an abstract motif. In Japan tail flower (obana) or (susuki), bush clover and rabbits together are a common theme symbolizing the essence of autumn.
Edge
, late 17th century
linen Technique: bobbin lace (Valenciennes ground)

Narrow band with scalloped edge and abstract blossoms.
Pair of Chrysanthemum Pattern Ladles
Charles T. Grosjean, American, d. 1888, ca. 1880
silver
spoons

Pair of ladles, ladle(a) and ladle(b) of same design. Deep oval bowl with gadrooned edge. Tapered neck, widening to handle of curving, ungulating shape, covered in a relief pattern of overlapping foliate scrolls and chrysanthemum buds, with engraved "B" in the central reserve in terminal. Rounded terminal, topped with chrysanthemum flower. Reverse side densley decorated with overlapping foliate scrolls and chrysanthemum buds.
L'Art d'Aimer (second copy)
Petitpierre Freres, early 19th century
cotton Technique: printed by engraved copper plate on plain weave
Fragments

Incomplete parts of the same patterns as 1995-50-146, and 147. Fragments contain text :L'AGREABLE LECON and L'ART DE AIMER.
Table cover
Unknown, ca. 1905
linen, cotton Technique: stenciled and embroidered on plain weave

Sqaure table cover with a symmetrical border arrangement of pairs of leafy blossoms in shades of green and orange.
Design for Writing Desk Built into Alcove
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Writing desk in built-in niche; front has four small horizontal drawers on either side of open center; single vertical drawer set into both canted front corners; writing utensils, vase of flowers, and book on top; above, four vertical cupboard drawers supported by spandrels and with inlaid ornament.
Buttons
, 18th century
Steel

Two flat buttons with shanks; b/: circular, plain edge with central boss surrounded by two rings of facetted bosses c/: similar design to -b, scalloped edge and large central boss.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Design with arched top, framed with light green-blue circles; containing rows of rounded rectangles, vines with green.
Textile
, early 19th century
cotton Technique: printed by engraved roller on cotton plain weave.

An historical event happening in the hall of a castle. In ocher (unusual color).
The Blue Room, Schloss Fischbach
Friedrich Wilhelm Klose, German, 1804 – after 1863, 1846
Brush and watercolor, graphite on white paper
Drawing

The Blue Room, most likely a dining room, is decorated in the Gothic Revival Style. 
A view of the beautiful countryside of Silesia is visible through the center window, with its stained glass upper transom, located in the seating alcove. The entrance to the alcove is hung with a blue-tasseled pelmet and white curtains. A religious painting, at left, is juxtaposed with flowers, plants, a desk, an etagere and a dining table, elements of a comfortable room in a country house. Both the green rug, bordered in a rose-flower pattern, and the central chandelier are influenced by Victorian decoration. An adjacent room, in pink tones, is seen at right.
Album of Trophies Representing the Four Elements
Maurice Jacques, French, ca. 1712–1784, 1758–64
Album

Album of hand colored hanging trophy designs representing the four elements (earth, water, air, and fire). The publisher's address has been partly rubbed out on some plates and inscribed with the name ‘Mondhare'.
Manufacturer's sample book
Herman A. Elsberg, American, 1869–1938, 1912–1916
paper, silk, wool

Sample book with paper leaves bound in grey cloth cover. Book has ninety-seven pages on each of which are samples of silk and woolen materials, and silk and velvet ribbons. Pages are headed with dates between November 22, 1912 and October 18, 1916. Includes sample sheets from J. Claude Frères that are pasted on several pages of the book.
Dress
Bromley Hall, Middlesex, England, 1712–1763, ca. 1770
cotton Technique: printed by engraved copper plate on plain weave

Woman's printed cotton dress, with a low neckline gathered on to a drawstring in front; across the back fullness is gathered into sewn-down pleats across the shouler blades. The dress hangs waistless to the floor, and has a small train in the back. Close-fitting set-in sleeves. Ruffle around the neck and hem edges. Pocket slits in side seams. A plain linen lining in the top forms a fitted inner bodice, with holes for lacing in front. The fabric is copper plate printed in red on a white ground, with thin meandering branches, a few clusters of small flowers, intersected by a meandering arrangement of flower buds.
Border
William A. Clark, American, 1839–1925, early 17th century
linen Technique: needle lace

Straight border of Point Plat (flat point) lace has stylized floral and leafy forms connected by bars decorated with picoted rings.
Two Burghers in the Attire of the Early 16th Century
, late 16th century
Black and red chalk on paper
Drawing

Conversing, the left figure is shown from the side turned toward the right; the right figure stands behind him, shown from the frontal.
Fragment
, 18th century
linen Technique: bobbin lace, Binche style with no ground

Scrolling ribbon like design of snowballs.
Fragment
, ca. 1835
Medium silk Technique: plain compound satin weave with discontinuous supplementary weft (brocaded)

Fragment has a design of polychrome groups of foliage with branches on a white background.
Sampler
, 1827
silk embroidery on linen foundation Technique: embroidered on plain weave

Ornamental border enclosing alphabet, vases of flowers, birds, and Adam and Eve.
Scrapbook of textile swatches
, 1860–90
silk, cotton

Seventy-six fragments of silk and cotton, mostly dress goods, mounted on the pages of an early nineteenth century blank book covered in red-violet marbleized paper.
Textile
Claflin's Inc., USA, founded 1843, 1900–1910
cotton Technique: printed on sateen

Fragment of black sateen printed in blotchy tones of blue, pink, green, and tan has dot clusters that form vertical floral bands.
Tassel
, late 16th–early 17th century
linen Technique: knotted

Long narrow tassel with many tiny cross arms, formed by knots, and widening gradually toward the bottom.
Drawing
Felice Giani, Italian, 1758–1823, 1800 - 1810
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Octagon Juno is seated at left before a circular table eating. Behind the table are Apollo and the Muses. A winged servant brings a plate in the right rear. A dresser forms the central background. Mercury whispers in the ear of Somnus, standing in the left middle plane.  after having erased the caption, top center: ''Convito dapollo dato /a gionone 1''. Right margin: pen sketch of the head, neck, shoulder pointing right, hand of a Muse. Reverse: outlined octagon with the bust and the right arm of Juno, holding the lettuce with her left hand; pencil.
Valance
, 19th century
linen Technique: withdrawn element with embroidery

Symmetrical design of horse drawn coach in profile on either side of tripartite domed building. Many incidental human and plant forms. White on white with squared mesh ground. Symmetrical vermicular design in big shallow lobes of bobbin lace border.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Charcoal on heavy cream paper
Drawing

Drapery of figure kneeling, facing right.
Sewing instruction book samples
, 1829
Linen

A) Dress of white linen plain cloth (threads of two sizes); opening at back; gathered in blouse at front; ruffle at neck; long sleeves; fril at top; belt.b) Dress of white linen trimmed with narrow lace; off-shoulder neck line; short sleeves.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1650-1675
Black chalk, pen, brush, brown. Paper

Horizontal rectangle. Upon an oblong base. Shown from the front, walking and lifting a trumpet to his mouth. The left arm is somewhat raised, the fingers of his left hand spread.
Fragment
, mid- 17th century
linen Technique: needle lace

Fragment has a design scrolling stems with flowers and leaves decorated with ornamental filling stitches, raised areas, and picoted bars.
Fragments
, 18th century
silk Technique: woven

Polychrome flowers  on a white background. very worn.
Fragment
, 18th century
linen Technique: bobbin lace, Mechlin style

Louis XV design; ground, ''fond armure''.
Design for brooch
, 16th century
Pencil, pen, b rush, sepia. Paper
Drawing

Horizontal rectangle. An octagonal diamond is framed by an escutcheon in the shape of a lozenge, having instead of the angels round diamonds with a volutes above and a festoon below. They ware hanging from the lower ends of scrolls which support with the joined upper ends a bead. Around the central diamond scrolls are composing a kind of escutcheon containing two beads along the diagonal sides.
Collar
, ca. 1845
linen Technique: needlework on net

Deep round collar of net with an alloever embroidered floral design. Sawtooth scallops and tiny dots powdered over the ground. Initial "C" embroidered in center back.
Study of "Altarpiece of Saint-Germer-de-fly," Paris, France
Francis Augustus Lathrop, American, 1849–1909, ca. 1870
Brush and watercolor, graphite on paper
Drawing

Sketch of the altarpiece of Saint-Germer-de-fly. The Annunciation is depicted with Saint Quen healing the arm of an archbishop.
Les Oiselleurs
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque design with a central cartouche depicting a scene of two young children in a landscape; one is blowing into a bird whistle, the other holds a string attached to the leg of a flying bird. At the bottom of the tendrils of reeds and vines is an open, empty bird cage. The plate is signed.
Décoration de la salle de spectacle, construit dans le manège couvert de la grande écurie à Versailles, pour la représentation de la Princesse de Navarre Comédie Ballet, donnée à l’occasion du Mariage de Louis Dauphin de France avec Marie Thérèse Infante d’Espagne, le XXIII février M.DCCLV.
Charles-Nicolas Cochin the younger, French, 1715–1790, 1756
Etching and engraving on laid paper
Bound print

Interior view inside the Equestrian Academy of Versailles theater, decorated for the presentation of the ballet "La Princesse de Navarre" performed to celebrate the marriage of Louis Dauphin of France to Marie Thérèse of Spain. Highly decorated interior space with high painted ceilings, from which hang many ornate chandeliers. The stage in the center background, filled with actors and flanked by rows of columns. Audience members crowd the main level and occupy two levels of opera boxes at right and left sides, with decorated friezes and sculptures. At the center foreground, royal subjects seated upon thrones, viewed from behind, facing the stage. Composition is elaborately framed with a Greek key motif, a winged escutcheon at upper center with figural groups and putti surrounding. At lower center, coat of arms of France and Spain; putti hold draped banners at either side which contain the plate text.
Trimming fragment
, ca. 1830
silk Technique: woven

Trimming fragment has a design of curving scrolls and flowers in shades of yellow on a red ground.
Towel end
, 19th century
cotton with copper stripes and colored silks Technique: embroidery

Towel end with band of embroidery in conventionalized floral design with fringe formed by warp threads.
Fragment
, early 18th century
silk Technique: damask weave with supplementary weft patterning (brocaded)

Gray silk damask fragment brocaded with polychrome silk bound in twill showing design of florals in the ‘Bizarre' style. Both selvages present.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornament design of a trophy of measuring devices, rulers, globe, protractor, caliper, and thermometer hanging from a ribbon tied to a frame of flowering branches and leaves, with a hanging festoon of leaves.
Exterior with Classical Architecture and Figures with Musical Instruments
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Exterior with Classical Architecture and Figures with Musical Instruments.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design filled with symmetrical, grotesque ornaments of mythological theme. At center is an old, seated, male figure with a large scythe surrounded on either side by dancing jesters. There are three figures set within rondels: the figure at top is seated with her face in her hand, the figure at lower left is wrapped tightly in robes, and the third looks outward. The motifs perhaps indicate elements, and the months, of Winter. The plate is not signed, but has a printed "E" at the bottom.
Study of Two Pines, Catskill Mountains
Daniel Huntington, American, 1816–1906, ca. 1840
Graphite on cream wove paper
Drawing

Study of two pine trees, at left. Other tree trunks, left, and man on a rise, right, lightly sketched.
Panel, escutcheon surrounded by cherubs and other motifs
Frederick Marschall, ca. 1885
Brush and watercolor, gold on heavy paper
Drawing

Three gold fleur-de-lis on oval blue ground, enclosed in frame, and surmounted by globe and putto bearing crown. Lower, two winged putti carrying horns of plenty.
Fragment
, late 16th–early 17th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Fragment of green silk velvet. Cut pile design on uncut ground. Tiny allover pattern of highly formalized flower sprigs in outline.
Three Designs for Draperies and One Design for a Frieze
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Upper row, at left: in front of a drapery is a stem with feathers on top; curved branches are fastened to it and in the center is an oval wreath. At right: two differently shaped points of tents are in front of a drapery, both with feathers on top. The right point has a circle of feathers below and single curved feathers along the edges of the tent. The left point has along the edges small flower stems. Below, at left, the left side of the decoration of a frieze: the central motif is an oval weather with a bust portrait in profile. It is supported by the half-figure of a child with butterfly wings ending in rinceaux. From a second spiral springs the half-figure of a bust. Usual background.
Family Eating Melon
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

In a room with the window opened into a landscape, gathered around a dining table, are two seated women, a grown-up girl, and eight children eating slices of melons.
Le Gout (Taste) from the series Les Cinq Senses (The Five Senses)
François Boucher, French, 1703–1770, 1720–1770
Etching and engraving on laid paper
Print

Allegorical scene depicting the sense of taste. Two figures are seated beneath a tree with a large fruit, out of which some segments have been cut. The lefthand figure eats a slice of the fruit, and the right figure points at him.
Design for the Embroidery of a Man's Waistcoat, Unfinished
, 1780–1790
Tracing, graphite, brush and gouache on paper
Drawing

For the left bottom corner of a man's waistcoat. Flower bunches alternate with fantastical plant motifs, both upside down, are under the pocket. Floral motifs and a garland along the outer edges.