deem-data/ArtiFact huggingface dataset:
Spotprent op de crisis tusen de ministers van Koloniën en Buitenlandse Zaken, 1861
Object type: print
Date: 1861 – 1861
Materials: paper
Techniques: lithograph
Location: netherlands
Subjects: james loudon, minister van buitenlandse zaken, kamerlid, jacob pieter pompejus van zuylen van nijevelt
Inscriptions: collector's mark: Lugt 2228

Spotprent op de crisis tusen de Minister van Koloniën jhr. J. Loudon en de Minister van Buitenlandse Zaken baron van Zuylen. Voorgesteld als een gesprek tussen een Zeeuwse boer en boerin naar het bekende schilderij van Adolphe Dillens van 1859. Plaat verschenen bij het weekblad De Nederlandsche Spectator, nr. 46, 16 november 1861.
Blad met zestien microscopische opnamen van de celstructuur van piment, Spaanse peper, foelie en de muskaatnoot
Object type: page
Date: 1874 – 1884
Materials: paper
Techniques: photograph
Location: halle an der saale
Artist: franz friedrich bernard elsner
Artist role: medicus, psychiater
Subjects: pepper, microscope
Inscriptions: number: ‘Taf. VI.’
Plato
Object type: sculpture
Materials: marble
Location: rome
Artist: orfeo boselli
Artist role: sculptor
Artist dates: 1597 – 1667

Orfeo Boselli (c. 1600 - 1667). Two filosophers (Plato and Aristotle?). Marble. Rome, c. 1635 - 1640. On loan from the Koninklijke Bibliotheek, The Hague.
Mühler
Object type: print
Date: 1832 – 1854
Materials: paper
Techniques: lithograph
Location: berlin
Subjects: berlin, politician, historical persons, politician, e.g. party leader
Inscriptions: check stamp: ‘Kunsthändler Fr Krebs in Berlin’
Derby
Object type: derby
Date: 1865 – 1865
Materials: silk, wool
Culture: british
Portret van Flavius Josephus
Object type: print
Date: 1778 – 1780
Materials: paper
Techniques: engraving
Location: amsterdam
Artist: jacob houbraken
Artist role: draughtsman, print maker
Artist dates: 1698 – 1780
Subjects: rome
Inscriptions: collector's mark: Lugt 2228

Proefdruk van de prent volgens Ver Huell gebruikt in: Johannes Nomsz, Mengelwerken. Amsterdam: erven D. Klippink, 1782.
Nunspeet
Object type: photograph
Materials: paper, photographic support
Techniques: gelatin silver print
Location: netherlands
Artist: Anonymous
Subjects: the family travelling, on holiday, outing, pleasure trip, automobile
Inscriptions: inscription

Albumblad met vier foto's van een vakantie met het gezin in Nunspeet, zomer 1950. Onder de foto's uitgeknipte papiertjes met getypte opschriften. Onderdeel van het tweede fotoalbum met foto's van familievakanties in Nederland, België, Luxemburg en Frankrijk in 1950-1951.
Portret van Valentin Haüy
Object type: print
Date: 1789 – 1789
Materials: paper
Techniques: aquatint
Location: paris
Subjects: paris, scholar, philosopher, historical persons, blind, blindness
Inscriptions: collector's mark: Lugt 2228
Portrait of a Man in Costume
Object type: painting
Date: 1767 – 1768
Materials: canvas, oil, paint
Techniques: painting
Location: france
Artist: jean-honoré fragonard
Artist nationality: french
Artist dates: 1732 – 1806
Subjects: portraits, france, french, hat, man, beards, costumes, men

Jean-Honoré Fragonard is perhaps best known for his light-hearted, amorous subjects, which seem to embody the spirit of eighteenth-century France. This work, painted in lively brushstrokes, represents another important aspect of Fragonard’s genius—in a series of fantasy portraits, he used references to earlier artists to enliven his own characterizations of his patrons and artistic friends. Here the identity of the sitter is unknown; however, the half-length format, the rapid, virtuoso handling of the paint, and the use of seventeenth-century costume link this work to the fantasy portraits. In this instance, Fragonard took as his starting point a painting of an actor by the Italian Baroque artist Domenico Fetti, then in a leading Parisian collection; in other related portraits, the French painter was inspired by the bravura style of the Flemish artists Peter Paul Rubens and Anthony van Dyck. Two paintings from this series bear inscriptions stating that they were painted in one hour. Whether or not this is literally true, the direct, personal quality that results from Fragonard’s command of the medium makes this series particularly appealing to a modern sensibility.
Fragment van een schotel
Object type: fragment
Date: 1500 – 1600
Materials: earthenware, glaze
Techniques: maiolica

Fragment van een schotel op een lage voetring. Crème scherf bedekt met tinglazuur aan de voorzijde en loodglazuur aan de achterzijde. Beschilderd in blauw en oranje met een schaakbordpatroon binnen blauwe cirkels.
Thomas Cole
Object type: bust
Materials: marble
Culture: american
Artist: henry kirke brown
Artist role: artist
Artist nationality: american
Artist dates: 1814 – 1886
Subjects: men,portraits

Thomas Cole (1801–1848) enjoyed the patronage of influential New Yorkers, including the merchant Jonathan Sturges, who owned this bust by 1850. After the painter’s untimely death, the city’s cultural elite moved quickly to eulogize him. This portrait, blending a highly realistic likeness with a conventional classicizing drape, was probably completed at that time. The striking resemblance to a daguerreotype of Cole by Mathew B. Brady, then on view at the photographer’s Broadway gallery, may be more than a coincidence. Brown would have looked to lifetime likenesses of Cole as an aid in modeling his own.
Landscape; Showing Water Festival with Lanterns
Object type: print
Date: 1739 – 1820
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: kitao shigemasa
Artist role: artist
Artist nationality: japanese
Artist dates: 1739 – 1820
Subjects: human figures,bridges,crowd,boats
Rolschilderingen
Object type: hanging scroll
Date: 1850 – 1900
Materials: ink, paper
Location: huai'an
Artist: xiang wenyan
Artist role: painter

Landscapes. Xiang Wenyan. China. Second half of 19th century. Ink on paper. Two album pages have been joined to form a vertical scroll. Although using only one colour, the artist manages to give the painting tremendous variety. According to the inscriptions the paintings are in the styles of famous artists of the 10th and 13th centuries. Imitating the style of another artist was a painter's way of paying tribute to a famous master.
Vrouw op een ezel en twee mannen op een bergpad in de Alpen
Object type: photograph
Date: 1905 – 1910
Materials: paper, photographic support
Techniques: gelatin silver print
Location: alps
Artist: Anonymous
Subjects: walking, hiking (recreation), ass, donkey, road, path, colonial government

Onderdeel van Fotoalbum van een Franse amateurfotograaf met bezienswaardigheden in Frankrijk, Zwitserland en Italië.
Cream jug
Object type: cream jug
Date: 1701 – 1800
Materials: metal, soft paste porcelain
Subjects: women
Two Vases
Object type: drawing
Date: 1701 – 1800
Materials: ink
Techniques: wash
Artist: anonymous, italian, 18th century
Artist role: artist
Artist nationality: italian
Artist dates: 1700 – 1800
Subjects: vases
Design for a Vestibule
Object type: drawing
Date: 1801 – 1900
Materials: graphite, ink, watercolor
Techniques: pen
Artist: anonymous, french, 19th century
Artist role: artist
Artist nationality: french
Artist dates: 1800 – 1900
Subjects: birds,male nudes,women,pegasus,horses
Portrait of Niccolò Paganini
Object type: print
Date: 1830 – 1830
Techniques: printmaking, engraving, roulette, stippling
Artist: luigi calamatta
Artist role: artist
Artist nationality: italian
Artist dates: 1801 – 1869
Subjects: men,portraits,violins,musicians
Staande en liggende kamelen
Object type: sketchbook leaf
Date: 1897 – 1898
Materials: pencil
Location: india
Artist: marius bauer
Artist role: draughtsman, print maker
Artist dates: 1867 – 1932
Subjects: hoofed animals: camel

Pagina 128 uit een schetsboek met 84 bladen.
Sur un festin
Object type: reproduction
Date: 1859 – 1864
Materials: paper
Techniques: albumen print
Subjects: gods ~ classical mythology
Gekostumeerd bal, 1834
Object type: print
Date: 1834 – 1834
Materials: paper
Techniques: hand coloring, lithograph
Location: turin
Subjects: ball, formal dance(+ costume party ~ festive activities)
Inscriptions: collector's mark: Lugt 2228
Terracotta antefix with lion's head
Object type: antefix, lion mask
Date: 534 – 501
Materials: terracotta
Culture: east greek
Subjects: lions

A lion's head mask flanked by the animal's front paws with a guilloche border running along the lower border. Traces of polychromy.
Dieppe
Object type: print
Date: 1885 – 1885
Materials: ink, paper
Techniques: drypoint, etching
Location: united states
Artist: james mcneill whistler
Artist role: artist
Artist nationality: american
Artist dates: 1834 – 1903
The Rhinoceros, Clara, in the foreground, her keeper holding her horn and a whip behind her at center with various other spectators in Carnival masks
Object type: print
Techniques: etching
Artist: alessandro longhi
Artist role: artist
Artist nationality: italian
Artist dates: 1733 – 1813
Subjects: animals,women,spectators
Portret van Jacobus II, koning van Engeland en Schotland
Object type: print
Date: 1685 – 1750
Materials: paper
Techniques: engraving
Artist: Anonymous
Subjects: jacobus ii (koning van engeland en schotland), historical persons, king
Design for a Frieze Ornamented with Musical Instruments
Object type: drawing
Date: 1767 – 1833
Materials: ink
Techniques: brush, pen, wash
Artist: thomas hardwick
Artist role: artist
Artist nationality: british
Artist dates: 1752 – 1829
Subjects: ornament,flutes
Portret van Johann Karl Bertram Stüve
Object type: print
Date: 1820 – 1860
Materials: paper
Techniques: lithograph
Subjects: mayor, adult man, historical persons
Inscriptions: watermark, collector's mark: Lugt 2228
Broche van goud
Object type: brooch
Date: 1860 – 1860
Materials: gold
Techniques: filigree
Location: netherlands

Broche van goud. De omgekeerd druppelvormige broche heeft een verhoogd middengedeelte met een ornament van filigrein op een gladde ondergrond. De brede rand bestaat geheel uit opengewerkt filigrein. Aan de onderkant een franje van 7 kettinkjes. Gemerkt: eikeblaadje.
Kopenhagen. Stadsgezichten. Beeldh.w. uit Museum
Object type: wrapper
Date: 1900 – 1950
Materials: cardboard, ink
Techniques: pen
Artist: Anonymous
A Sea Beach
Object type: print
Date: 1830 – 1830
Techniques: mezzotint
Artist: david lucas
Artist role: artist
Artist nationality: british
Artist dates: 1802 – 1881
Subjects: boats

In 1827, Constable began work on the project that would occupy his attention until his death seven years later: the publication of a series of prints based on his paintings that would stand as a summary of his achievements. The painter collaborated closely with the engraver David Lucas to create prints that would illustrate Constable's didactic intention—to illustrate the "chiaroscuro of nature." The medium of mezzotint, in which the design is developed from dark to light using a wide range of velvety tones, was eminently suited to the project.
Cuneiform tablet: receipt of two lambs
Object type: cuneiform tablet
Date: 2038 – 2038
Materials: clay
Culture: neo-sumerian
Location: mesopotamia
Mulier Generosa Italica  / Italian Gentle Woman
Object type: costume print
Date: 1644 – 1644
Materials: paper
Techniques: etching
Location: london
Artist: wenceslaus hollar
Artist role: draughtsman, print maker
Artist dates: 1607 – 1677
Subjects: italy
Inscriptions: collector's mark: Lugt 240

Vrouw van aanzien uit Italië, in profiel naar rechts, een waaier in de hand. Schuin op het voorhoofd een kleine zwarte hoed met veer. Grote platte kraag, afgezet met kant boven een overkleed (vlieger ?) van brokaat, met losse siermouwen. Een dichtgevouwen waaier in de linkerhand. No. 6 uit serie met twaalf kostuums uit verschillende landen.
Düsseldorf. Partie an der Hofgartenstraβe
Object type: ansichtkaart, prentbriefkaart
Date: 1905 – 1930
Materials: cardboard
Techniques: photograph
Location: dusseldorf
Subjects: park, pond
Writing Box
Object type: decorative art
Date: 1825 – 1860
Materials: wood
Culture: shaker
Location: watervliet
Subjects: furniture
Inscriptions: Inscribed in pencil on bottom: "Eliza"
Bust of a man wearing a high cap, three-quarters right: the artist's father (?)
Object type: print
Date: 1630 – 1630
Materials: paper
Techniques: etching, intaglio
Artist: rembrandt van rijn
Artist role: draughtsman, painter, print maker
Artist dates: 1606 – 1669
Subjects: leiden, can hook, head-gear: cap (+ men's clothes)
Inscriptions: monogram and date: ‘RHL 1630’, collector's mark: Lugt 240
Teabowl (part of a service)
Object type: teabowl
Date: 1780 – 1790
Materials: soft paste porcelain
Artist: caughley factory
Artist role: factory
Artist nationality: british
Artist dates: 1772 – 1799
Seated Buddha
Object type: votive plaque
Date: 701 – 800
Materials: terracotta
Culture: thai
Subjects: buddhism,buddha
Tour des 40 martyrs à Ramleh.-Tower of the forty martyrs at Ramleh
Object type: photograph
Date: 1867 – 1877
Materials: cardboard, paper
Techniques: albumen print
Location: ramla
Artist: félix bonfils
Artist role: fotograaf
Artist dates: 1831 – 1885
Subjects: tower, clock tower ~ monumental adornment, temple, shrine ~ islam, mohammedanism
Inscriptions: number: ‘242’, stamp: ‘Gemeentelijke bibliotheek/ Rotterdam’, title: ‘S 3. Toren van de 40 martelaren, bij Ramleh. Palestina.’

Onderdeel van een groep door fotograaf Richard Polak op reis verzamelde foto’s. Deze foto is samen met andere op zijn reizen verzamelde foto's tentoongesteld bij de Rotterdamsche Kunstkring (1895), Arti en Amicitiae te Amsterdam (1897-1898?) en Societeit 't Collegie te Kampen (datum vooralsnog onbekend).
Christus voor Annas
Object type: print
Date: 1500 – 1550
Materials: paper
Techniques: engraving
Artist: Anonymous
Subjects: christ before annas (hanna); maybe a soldier about to strike christ (john 18:13, 18:19-24)

Christus staat, gebonden aan hals en handen en omringd door gewapende mannen, voor een man op een troon (Annas). Op versozijde een deel van een handgeschreven Nederlandse tekst in gotisch schrift.
Raadhuis, Wiesbaden, Duitsland
Object type: photograph
Date: 1896 – 1896
Materials: cardboard, paper
Techniques: collodion silver print
Location: wiesbaden
Inscriptions: inscription: ‘Mondel & Jacob, Inh. G. Jacob, Wiesbaden, 1896.’, inscription: ‘119. Rathaus.’

Bijna frontaal aanzicht van het raadhuis in Wiesbaden, met een plein met fontein op de voorgrond, en enkele mensen.
Platter
Object type: platter
Date: 1800 – 1830
Materials: earthenware
Culture: british
Location: england
Johanna Geertruy van Dietren op haar ziekbed
Object type: drawing
Date: 1805 – 1805
Materials: ink, paper, pencil
Techniques: brush, pen
Artist: christiaan andriessen
Artist role: draughtsman, print maker
Artist dates: 1775 – 1846
Subjects: sick-bed, maid ~ house personnel
Inscriptions: inscription: ‘30 julij jans ik raad je ten besten t is in 't gasthuis kostelijk daar kan je he bete op je ..... hebben’, signature: ‘J Andriessen’, collector's mark: Lugt 1641, collector's mark: Lugt 1641a

Moeder Andriessen raadt de zieke dienstbode Jans aan naar het Gasthuis te gaan. Johanna Geertruy van Dietren, zoals Jans voluit heette, overleed op 2 augustus.
Studies by Byrne
Object type: photomechanical print
Date: 1889 – 1894
Materials: paper
Techniques: autotype
Subjects: boy (child between toddler and youth), historical persons
Bow Street Office
Object type: print
Techniques: aquatint, etching
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: men,women,crowd

Londoners crowd a courtroom in Bow Street, waiting to appear before a Westminster magistrate who sits on a podium in the left background. This court had been established in the 1740s to address minor crimes such as drunkenness, fighting and prostitution, and relieve pressure on higher courts such as the Old Bailey. By focussing on the waiting crowd, instead of those who adminstration of justice, the print conveys the capital's popular energy.
Blackwork Print with a Roundel with Tendrils and Birds Above Two Ovals, from a Series of Blackwork Prints for Goldsmiths' Work
Object type: print ornament architecture
Date: 1615 – 1615
Techniques: embroidery, engraving
Artist: etienne carteron
Artist role: artist
Artist nationality: french
Artist dates: 1580 – 1680
Subjects: birds,men,flowers

Blackwork design with a roundel at center with birds perched on tendrils, stylized flowers, and pea-pod elements. On top, a winged female figure holds two horns and is presented with wreaths. At bottom left, an oval with foliate scrolls. At bottom right, an oval with the Judgment of Solomon. Plate 2 from a series of eight plates published in Châtillon-sur-Chalaronne (Ain) with blackwork designs for goldsmiths' work.
Kalligrafisch schrift gewijd aan de kaarten van de aarde en de hemel in de vloer van het Amsterdamse Stadhuis
Object type: calligraphy
Date: 1657 – 1657
Materials: ink, paper
Techniques: pen
Artist: lieven willemsz. coppenol
Artist role: draughtsman
Artist dates: 1598 – 1668
Subjects: townhall, calligraphy, amsterdam

Pendant van 'Blad met kalligrafisch schrift', inventarisnummer RP-T-00-412.
Openwork furniture plaque with a striding bull
Object type: relief
Date: 900 – 701
Materials: ivory
Culture: assyrian
Location: syria
Subjects: bulls

During the early first millennium B.C., ivory carving was one of the major luxury arts that flourished throughout the ancient Near East. Elephant tusks were carved into small decorative objects such as cosmetic boxes and plaques used to adorn wooden furniture. Gold foil, paint, and semiprecious stone and glass inlay embellishments enlivened these magnificent works of art. Based on certain stylistic, formal, and technical characteristics also visible in other media, scholars have distinguished several coherent style groups of ivory carving that belong to different regional traditions including Assyrian, Phoenician, North Syrian and South Syrian (the latter also known as Intermediate). Several ivories in the Metropolitan Museum’s collection are from the Aramaean town of Arslan Tash, ancient Hadatu, in northern Syria just east of the Euphrates River, close to the modern Turkish border. French archaeological excavations at the site in 1928 revealed city walls and gates in addition to a palace and temple that were built when the Neo-Assyrian king Tiglath-Pileser III (744-721 B.C.) turned the town into a provincial capital and military outpost. During the excavations, over one hundred ivory furniture inlays that can be attributed to the South Syrian and Phoenician styles were found in a building near the palace. One piece bears a dedicatory inscription in Aramaic to King Hazael, mentioned in the Bible, who ruled Damascus during the second half of the 9th century (ca. 843-806 B.C.), suggesting that this collection of ivory furniture inlays could have been taken by the Assyrian state as tribute or booty from Damascus. The Arslan Tash ivories share an amalgamation of Egyptianizing motifs typical of the Phoenician style and forms characteristic of North Syrian art that may indicate a South Syrian or Damascene origin of this group. Today, these ivories are housed in museums in Paris, Aleppo, Jerusalem, Karlsruhe, and Hamburg, as well as The Metropolitan Museum of Art. This fragmentary plaque depicts a striding bull with its head slightly lowered and looking forward. It can be attributed to the South Syrian style, combining elements of North Syrian and Phoenician workmanship. The openwork technique is characteristic of the Phoenician style while the bull’s large, heavy body is a feature of the North Syrian style. The head is articulated by a wrinkled, incised snout and a once inlaid eye accentuated by raised, incised eyebrows. The neck is carved in creased rolls of skin and the dewlaps are carved in relief. The bull’s horn, legs and tail do not survive. Other openwork ivory plaques in the Metropolitan Museum’s collection with the same motif were found at the Neo-Assyrian capital of Nimrud (MMA 64.37.4; MMA 54.117.10).
Portret van Gottfried Daniel Krummacher
Object type: print
Date: 1794 – 1899
Materials: paper
Techniques: lithograph
Artist: Anonymous
Subjects: historical persons
Cup with cover
Object type: cup with cover
Date: 1664 – 1664
Materials: silver

The inscription underfoot records that this cup was given by King Charles II to his Chancellor of the Exchequer, Anthony Ashley, in 1664. The royal emblems engraved on the lobed walls and cover, and the absence of hallmarks—the king was exempt from taxation on silver—reconfirm that this cup bears witness to royal taste and royal bounty.
Bureau Central des Charbonnages a Mariemont
Object type: page
Date: 1895 – 1900
Materials: paper
Techniques: photograph
Artist: Anonymous
Subjects: façade (of house or building)
Inscriptions: inscription: ‘Société des Charbonnages de Mariemont’
Diverse kerkelijke voorwerpen
Object type: print
Date: 1714 – 1714
Materials: paper
Techniques: etching
Location: rome
Subjects: nereids, daughters of nereus; sea-nymphs, chandelier, candelabrum, ornament ~ candelabrum, personification of the night, 'nox'; 'notte', 'carro della notte', 'serenità della notte' (ripa), candle
Inscriptions: collector's mark: Lugt 2228

Prent maakt deel uit van een reeks van 100 ornamentprenten naar ontwerp van Giovanni Giardini.
Dress
Object type: dress
Date: 1810 – 1810
Materials: silk
Culture: british
The Flagellation, from The Passion of Christ, plate 13
Object type: print
Date: 1664 – 1664
Techniques: engraving
Artist: grégoire huret
Artist role: artist
Artist nationality: french
Artist dates: 1606 – 1670
Subjects: men,christ
Two-Handled Cup
Object type: cup
Date: 1690 – 1690
Materials: silver
Culture: american
Location: united states
Artist: jeremiah dummer
Artist role: artist
Artist nationality: american
Artist dates: 1645 – 1718

This small two-handled cup was made for the First Church of Christ Congregational in Farmington, Connecticut by Jeremiah Dummer, the first native-born New England silversmith. One of seven silver drinking vessels originally owned by the Church, it is a particularly fine example, with lively S-scroll handles on a generous pear-shaped body, simply engraved with the initials F.C. With barely a roof over their heads, Colonists endowed their churches with communion silver that befit the simpler form of worship they embraced. This cup retains a beautiful patina, accentuating the hammer marks struck in concentric circles around its body.
Adoration of the Magi
Object type: print
Date: 1540 – 1550
Techniques: woodcut
Artist: niccolò vicentino
Artist role: artist
Artist nationality: italian
Artist dates: 1510 – 1550

This print is from a scrapbook (album) containing woodcuts and chiaroscuro prints. It was presumably taken apart when it was acquired by The Met in 1922. On the front page of the volume there appeared a statement that this collection was made by the poet Samuel Rogers (1763-1855) and then bought by Angela Coutts (1816-1906) in memory of him at the sale of the collection at his house (28 April – 20 May, 1856). #1615a Rogers Sale. #146 Burdett Coutts Sale (Sotheby’s, May 1922). The prints from the original album have the range 22.73.3-1–22.73.3-161.
Riemgesp uit het wrak van de Oost-Indiëvaarder Hollandia
Object type: belt buckle
Date: 1700 – 1743
Materials: copper
Location: netherlands
Artist: Anonymous
Subjects: verenigde oostindische compagnie, hollandia (schip), annet

D-shaped, ring, id. NG 1979-177H537, belt buckle.