deem-data/ArtiFact huggingface dataset:
Mr. Garrick in the Character of King Lear (Shakespeare, King Lear, Act 3, Scene 1)
Object type: print
Date: 1761 – 1761
Techniques: mezzotint
Artist: james mcardell
Artist role: engraver
Artist nationality: irish
Artist dates: 1728 – 1765
Subjects: shakespeare,men,women,king lear

Garrick, who spearheaded the eighteenth-century Shakespeare revival, appears here as King Lear. In the play, the king is cast out by his power-hungry daughters, and wanders on a stormy heath attended by the faithful duke of Kent, and by Edgar, disguised as Poor Tom. The image reflects Nahum Tate's revised version of the play, staged in London between 1681 and the early nineteenth century, where the role of the Fool is removed, Lear and Cordelia do not die, and the princess marries Edgar.
Curtain of the Tabernacle, one of six illustrated leaves from the Postilla Litteralis (Literal Commentary) of Nicholas of Lyra
Object type: manuscript leaf
Date: 1360 – 1380
Materials: gold, ink, iron, parchment, watercolor
Culture: french
Subjects: curtains

One of the most influential university texts of the Middle Ages, the Postilla litteralis provided an extended commentary on the entire Christian Bible. Its author, Nicholas of Lyra, who taught at the University of Paris, was particularly interested in architecture and included numerous diagrams of biblical structures to clarify his explanations. This leaf accompanies a discussion of the Tabernacle from the book of Exodus. It shows the ten panels of the curtain ordered by God to be made “of violet and purple, and scarlet twice-dyed, and fine, twisted linen.”
Jar
Object type: jar
Date: 1101 – 1200
Materials: earthenware, glaze
Location: iran

This object was found and purchased in Nishapur. Nishapur was a vital city in the early and middle Islamic periods, located along one of the main trajectories that connected Iran and West Asia Islamic lands with Central Asia and China. These itineraries are often referred to by the term ‘Silk routes’ but were in fact crucial to the movement of constellations of materials and objects, as well as people and ideas. The diverse population of Nishapur and its surroundings, from the better-researched elite groups of merchants, land-owning aristocracy, and literates, to the less-known artisans, farmers, miners, and servants, were instrumental in adapting global cultural trends to create their own distinctive visual languages. This is seen in the material remains of everyday life in medieval Nishapur – from pots and pans to lighting devices, inkwells, textiles and trimmings, jewelry, games and toys, talismanic devices, weapons, coins, and architectural fragments. Nishapur lost its political prominence due to a series of earthquakes and invasions that peaked in the thirteenth century. Today, the medieval city is a vast archaeological area, while the relatively small modern city is situated to its north. Instead Mashhad, a major pilgrimage site, emerged as a major prosperous metropolis in the region. Between 1935 and 1948, the "Persian Expedition" of the Metropolitan Museum of Art excavated at several sites at Nishapur under an agreement with the Iranian authorities. American archaeologists and hundreds of Iranian workers excavated archaeological areas named Tepe Madrasa, Village Tepe, Sabz Pushan, Qanat Tepe, Tepe Alp Arslan, Vineyard Tepe, among others. They uncovered vast neighborhoods with mostly residential buildings, but also mosques, bathhouses, and possibly a governmental palace. Two main chronological phases were recognized in the sites: the first covers the ninth-tenth centuries and the second covers the eleventh-twelfth centuries. Thousands of artifacts were also recovered, mostly ceramic, glass, metal, and stone vessels, as well as carved and painted stuccoes and wall paintings, which were divided in half between the two countries, resulting in over four thousand objects in the Met’s collection today.
Johan Arnold Zoutman (1724-93), Vice Admiral
Object type: painting
Date: 1770 – 1770
Materials: canvas, oil
Artist: august christian hauck
Artist role: draughtsman, painter
Artist dates: 1742 – 1801
Subjects: johan arnold zoutman, historical persons, commander-in-chief, admiral

Portret van Johan Arnold Zoutman, vice-admiraal. Ten halven lijve met in de rechterhand een rol papier met een tekening van schepen voor een kust. Pendant van SK-A-633.
Whitebait, from the Fish from American Waters series (N8) for Allen & Ginter Cigarettes Brands
Object type: print
Date: 1889 – 1889
Techniques: color lithograph
Artist: allen & ginter
Artist role: publisher
Artist nationality: american
Subjects: fish

Trade cards from the "Fish from American Waters" series (N8), issued in 1889 in a series of 50 cards to promote Allen & Ginter Brand Cigarettes.
Putto van ongedecoreerde faïence met in linkerarm een mand met druiven
Object type: decoratief object
Date: 1750 – 1750
Materials: earthenware, glaze
Location: brussels
Artist: Anonymous

Beeld van ongedecoreerde faïence, voorstellende een putto met in zijn linkerarm een mand met druiven. Bij het beeld hoort een tweede beeld.
Die Meininger
Object type: page
Date: 1890 – 1890
Materials: cardboard, linen, paper
Techniques: photograph, printing
Afternoon dress
Object type: afternoon dress
Date: 1872 – 1872
Materials: silk
Culture: french
Artist: house of worth
Artist role: design house
Artist nationality: french
Artist dates: 1858 – 1956

The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette. Charles Frederick Worth was born in England and spent his young adulthood working for textile merchants in London while researching art history at museums. In 1845 he moved to Paris and worked as a salesman and a dressmaker before partnering with Otto Bobergh to open the dressmaking shop, Worth and Bobergh, in 1858. They were soon recognized by royalty and major success followed. In 1870 Worth became the sole proprietor of the business. At his shop, Worth fashioned completed creations which he then showed to clients on live models. Clients could then order their favorites according to their own specifications. This method is the origin of haute couture. Worth designed gowns which were works of art that implemented a perfect play of colors and textures created by meticulously chosen textiles and trims. The sheer volume of the textiles he employed on each dress is testimony to his respect and support of the textile industry. Worth's creative output maintained its standard and popularity throughout his life. The business continued under the direction of his sons, grandsons and great-grandsons through the first half of the twentieth century.
Vrouwen bij een kraam met sinaasappels op de Dam te Amsterdam
Object type: sketchbook leaf
Date: 1893 – 1893
Materials: chalk
Location: amsterdam
Artist: george hendrik breitner
Artist role: draughtsman, painter, print maker
Artist dates: 1857 – 1923
Subjects: stall, booth (~ market), adult woman (+ two persons), fruits: orange
Inscriptions: annotation: ‘Op de Dam,/[...] sinaasappels/ figuur matig verlicht, achtergrond/ donker/ [...]’

Pagina 7 en pagina 8 uit een schetsboek met 38 bladen.
Tegel met man en vrouw
Object type: tile
Date: 1620 – 1660
Materials: earthenware, glaze
Techniques: maiolica
Location: netherlands
Artist: Anonymous

Tegel met een blauw geschilderde man en vrouw staande naast elkaar in 17de eeuws kostuum. In de hoeken, een lelie.
Portret van Karel Willem Ferdinand hertog van Brunswijk-Wolfenbüttel
Object type: print
Date: 1811 – 1811
Materials: paper
Techniques: engraving
Artist: Anonymous
Subjects: karel willem ferdinand hertog van brunswijk-wolfenbüttel, historical persons

Prent mogelijk uit: Pragmatische Geschichte der Europäischen Staaten (...). Gotha: Carl Steudel, 1811.
Model of a Temple with Guardians
Object type: architectural fragment
Date: 1301 – 1500
Materials: stone
Location: java
Mexico
Object type: print
Date: 1835 – 1863
Materials: paper
Techniques: engraving
Location: hildburghausen
Artist: Anonymous
Subjects: city-view, and landscape with man-made constructions, village square, place
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228

Prent verschenen in: Meyer, Joseph. Meyer's Universum. Hildburghausen: Bibliographisches Institut, 1835-1863.
Young Man Writing and Reading from Large Volume at His Left
Object type: print
Techniques: etching
Artist: baron dominique vivant denon
Artist role: artist
Artist nationality: french
Artist dates: 1747 – 1825
Subjects: men,reading,writing
Scheveningen, Onder het Wandelhoofd
Object type: photograph
Date: 1902 – 1902
Materials: cardboard
Techniques: photograph, writing
Location: scheveningen
Subjects: pier, quay, wharf
De veldslag van Wagram, in Maravië / Bataille de Wagram, en Marovie
Object type: popular print
Date: 1800 – 1833
Materials: paper
Techniques: letterpress printing
Location: turnhout
Subjects: warfare; military affairs (+ cavalry, horsemen), the soldier; the soldier's life
Inscriptions: collector's mark: Lugt 2760

Blad met 12 voorstellingen van vechtende soldaten tijdens de Slag van Wagram. Onder elke afbeelding een tweeregelig vers in het Nederlands of in het Frans, een zesregelig bovenschrift in het Nederlands en in het Frans in twee kolommen. Genummerd rechtsboven: n. 35.
Reproductie van een gravure van een portret van Hendrick Hondius (I) door Frederik Bouttats (de Oude)
Object type: photomechanical print
Date: 1872 – 1877
Materials: cardboard, paper
Techniques: photograph
Location: antwerp
Artist: joseph maes
Artist role: fotograaf
Artist dates: 1838 – 1908
Subjects: print maker, draughtsman, hendrick hondius (i), historical persons
Inscriptions: inscription: ‘1573. - 1610.’

Deze prent maakt deel uit van een omslag met 150 prenten en een katern met een lijst van afbeeldingen.
Brief aan Frans Buffa en Zonen
Object type: letter
Date: 1897 – 1897
Materials: ink, paper
Techniques: pen, writing
Location: the hague
Artist: jozef israëls
Artist role: draughtsman, painter, print maker
Artist dates: 1824 – 1911
Subjects: money, amsterdam
Inscriptions: collector's mark: Lugt 2233
Female adult goat
Object type: crèche figure
Date: 1751 – 1800
Materials: metal, terracotta
Techniques: polychrome
Subjects: goats

In 1964, Loretta Hines Howard generously presented to the Museum over 140 Neapolitan crèche figures, dating from the second half of the eighteenth century. The varied assortment includes figures from the three traditional scenes of a complete Neapolitan presepio: the Nativity, with angels, shepherds, and sheep; the procession of the three Magi, with their colorful retinue of attendants; and the varied and gay crowd of country and town people thronging the tavern, or inn, of Bethlehem — the diversorium mentioned by St. Luke, where on the Holy Night there was no place for Mary and Joseph. Averaging between twelve and fifteen inches in height, according to the position they were to take in perspective in the stage set, the figures are pliable and can be given poses at will, according to their facial expressions. Their bodies are made of tow and wire, their arms and legs are finely carved of wood, and their heads and shoulders are modeled of terracotta and accurately finished. Their attire, often enriched by accessories, jewels, and embroideries, is a sheer joy for the lover of folklore and eighteenth-century costumes. According to a tradition that seems to be supported by stylistic comparisons with figures in the collections of Naples and in the vast holdings of the Bavarian National Museum in Munich, some of the winsome heads of the Howard angels are to be credited to the best eighteenth-century masters: Giuseppe Sammartino (1720–1793), well known for his monumental sculptures in marble and in stucco, his pupils Salvatore di Franco, Giuseppe Gori, and Angelo Viva, and one Lorenza Mosca (d. 1789), who was employed at the Royal Porcelain Factory at Capodimonte and stage director of the Royal Christmas Crib. Since Mrs. Howard's gift, the Museum has recreated the Neapolitan Christmas crib scene, much to the delight of visitors during the holiday season.
Bowl decorated with foliate rim and peony
Object type: bowl
Date: 1101 – 1133
Materials: ceramic glaze, glaze, stoneware
Techniques: incising
Culture: korean
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 475 – 451
Materials: terracotta
Culture: greek, attic

Exterior, foot and lower leg of draped figure to left
View of the Issuance of the Constitution
Object type: print
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: baiju kunitoshi
Artist role: artist
Artist nationality: japanese
Artist dates: 1847 – 1899
Subjects: men,women,ceremony
Basket and toilet articles
Object type: basket, hemisphere, conical lid
Date: 1479 – 1458
Materials: wood, cord, linen, stone
Location: egypt

The objects shown here were discovered with the burial of an unnamed woman who lived at about the same time as Hatnefer. The basket contains a mass of fine braids of dark brown human hair and three bundles of loose, wavy locks. These tresses would have been used to augment the owner's own hair in order to create the fashionable hairstyle of the period. The lid of the small alabaster jar has been covered with a scrap of cloth bound with linen cord to keep the contents—the powdery eye makeup known as kohl—from spilling out. When found inside the basket, the sticklike kohl applicator of polished ebony was stuck through a fold in the linen. The small wooden box was two compartments, each with a sliding lid, and was probably used for jewelry.
Conglomerate Peaks of Echo
Object type: photograph
Date: 1868 – 1869
Techniques: albumen print
Location: united states
Artist: andrew j. russell
Artist nationality: american
Artist dates: 1830 – 1902
Subjects: collected by hugh edwards
Pet Squirrel, from the Household Pets series (N194) issued by Wm. S. Kimball & Co.
Object type: print
Date: 1891 – 1891
Techniques: color lithograph
Artist: william s. kimball & company
Artist role: publisher
Subjects: women,squirrels

Trade cards from the "Household Pets" series (N194), issued in an unnumbered set of 25 in 1891 by Wm. S. Kimball & Co. to promote Sweet Lavender, Old Gold, Black and Tan, and Hard Tack Tobacco.
Coffee Pot
Object type: ceramic
Date: 1755 – 1755
Materials: enamel, porcelain, soft paste porcelain
Techniques: polychrome
Location: bow
Artist: bow porcelain factory
Artist nationality: london, england
Artist dates: 1744 – 1775
Interieur van de Notre-Dame, Parijs
Object type: sketchbook leaf
Date: 1877 – 1932
Materials: pencil
Location: paris
Artist: marius bauer
Artist role: draughtsman, print maker
Artist dates: 1867 – 1932
Subjects: interior of church, paris
Inscriptions: annotation: ‘[...] Konings Raam/ [...] lelies’

Pagina 69 en 70 uit een schetsboek met 68 bladen.
Returning Sails at Tsukudajima (Tsukudajima kihan), from the series "Eight Views of the Eastern Capital (Toto hakkei)"
Object type: print
Date: 1836 – 1837
Techniques: woodblock print
Location: japan
Artist: utagawa hiroshige 歌川 広重
Artist role: artist
Artist nationality: japanese
Artist dates: 1797 – 1858
Partial View of an Architectural Interior (recto); Undecipherable Sketches (verso)
Object type: drawing
Date: 1700 – 1780
Materials: chalk, graphite, ink
Techniques: brush, heightening, pen, wash
Artist: anonymous, italian, piedmontese, 18th century
Artist role: artist
Artist nationality: italian
Artist dates: 1700 – 1800
Subjects: architecture,columns
Duleek Abbey
Object type: print
Date: 1791 – 1791
Materials: paper
Techniques: etching
Location: london
Subjects: abbey, monastery, convent ~ roman catholic church, landscape with ruins
Inscriptions: date

Prent verschenen in: Grose, Francis. The antiquities of Ireland. Londen: S. Hooper, 1795, dl. 2.
Mannine Palmer, from the Actresses series (N245) issued by Kinney Brothers to promote Sweet Caporal Cigarettes
Object type: photograph
Date: 1890 – 1890
Techniques: albumen silver print
Artist: kinney brothers tobacco company
Artist role: publisher
Artist nationality: american
Artist dates: 1869 – 2011
Subjects: portraits,women,actresses

Trade cards from the set "Actors and Actresses" (N245), issued in 1890 by Kinney Brothers Tobacco to promote Sweet Caporal Cigarettes.
The Dance of the Beach Maidens
Object type: print
Date: 1801 – 1833
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: kitagawa utamaro
Artist role: artist
Artist nationality: japanese
Artist dates: 1754 – 1806
Subjects: dance,women,beaches

Although Narihira's story became a literary work in the ninth century, no textual record of his elder brother, Yukihira, is known before the late fourteenth century, when the famous playwright Kanze Zeami used the legend of the exiled courtier as the basis for a Noh drama. The tale of Yukihira was subsequently reworked in many different forms. In the early eighteenth century, the playwright Chikamatsu Monzaemon created it as Matsukaze and Murasame, to be performed in the puppet theater. Later, his version of the play was performed as a Kabuki drama. Finally, the motif of the unfortunate sisters was extracted from the plot and choreographed as a dance to be performed between acts of unrelated plays. This performance, The Dance of the Beach Maidens, is represented here; the topic has undergone a considerable change from the historical source in the legend of Yukihira, indeed, the existence of the exiled courtier is not even implied here. Instead, the focus is on the two sisters who have become Edo-period goddesses, far removed from the impoverished girls of the original legend. Kitagawa Utamaro's triptych represents this subject with only the faintest echo of its textual source in the romantic legend of Yukihira. Here, the two sisters have multiplied into nine beautiful women in grass skirts enacting a meaningless charade with buckets of seawater. In the milieu of the sophisticated urban culture of Edo, this frivolous evocation of rusticity appealed to a sentimental nostalgia for "the simple life of the sea."
Gezicht op een boulevard met rechts een boom
Object type: print
Date: 1889 – 1889
Materials: paper
Techniques: etching, intaglio
Artist: françois maréchal
Artist role: print maker
Artist dates: 1861 – 1945
Subjects: trees, avenue, boulevard, promenade, esplanade
Inscriptions: collector's mark: Lugt 2228
Paperweight
Object type: glass
Date: 1801 – 1900
Materials: glass
Location: clichy

The colorful geometric clusters embedded in this paperweight reflect the nineteenth-century European fascination with optical effects. Sir David Brewster invented the kaleidoscope in 1815, and its colorful and changing patterns brought great visual entertainment. Paperweights such as this example reformed this childlike pastime for a sophisticated adult audience. Depicted in glass were tiny glittering flowers, small black and blue cameos of figures, and even miniature bottlecaps. These were delicately arranged within the orb for the observant eye to discover.

From the late 1840s to early 1860s, French manufacturers of fine glass and crystal—such as Baccarat (Alsace), Clichy (Paris), and Saint-Louis (Lorraine)—catered to the vast public enthusiasm for beautiful yet functional desk accessories. Paperweights, which were designed to secure loose papers against drafts, were among their most popular products.
Kous van effen zwarte katoenen tricot
Object type: clothing
Date: 1925 – 1950
Materials: cotton
Techniques: knitting, printing
Location: netherlands

Kous van zwart tricot, fils d'écosse, fijn katoen, iets glanzend. Met naad en vierkante hiel. Breed dubbel boord.
Portret van Gottfried Hahn
Object type: print
Date: 1739 – 1759
Materials: paper
Techniques: engraving
Location: breslau
Subjects: historical persons
Inscriptions: number: ‘39’, collector's mark: Lugt 2228
Varkens bij een boerenschuur
Object type: drawing
Date: 1862 – 1862
Materials: ink, paper, pencil
Techniques: brush, pen
Artist: johannes tavenraat
Artist role: draughtsman, painter, print maker
Artist dates: 1809 – 1881
Subjects: pig, farm (building)
Inscriptions: annotation, date: ‘62’

Schetsboekblad met varkens bij een boerenschuur en meerdere aantekeningen.
Leprozenoptocht op Koppermaandag te Amsterdam, 1604
Object type: book illustration
Date: 1792 – 1792
Materials: paper
Techniques: engraving, etching
Artist: Anonymous
Subjects: 'blue monday', public welfare, leper's procession
Inscriptions: collector's mark:, collector's mark: Lugt 1641, collector's mark: Lugt 1641a

De jaarlijkse optocht van de gilden op Koppermaandag (de eerste maandag na Driekoningen) te Amsterdam, 1604. Optocht en feestelijkheden van de gilden op de Dam waarbij de leprozen de stad in mogen en waarbij geld voor hen werd ingezameld. In 1604 werd Koppermaandag voor het laatst in Amsterdam gevierd. Onderwerpsrubrieken binnen de Atlas Zeden en Gewoonten: Armwezen en Liefdadigheid.
Achttiende beproeving, 1828
Object type: print
Date: 1828 – 1828
Materials: paper
Techniques: lithograph
Location: southern netherlands
Artist: Anonymous
Subjects: the soldier; the soldier's life, tailor, dressmaker, belgium
Inscriptions: collector's mark: Lugt 2228

Een dikke man krijgt bij de kleermaker een te kleine uniformjas. Onderdeel van een serie van ca. 24 spotprenten uit 1828 op de wanverhoudingen binnen de Belgische schutterijen door de maatschappelijke ongelijkheid binnen het korps, na de reorganisatie ingevoerd op 11 april 1827.
Barque Bretonne echouée chargeant du Lest
Object type: print
Date: 1747 – 1813
Materials: paper
Techniques: etching
Location: paris
Subjects: sailing-ship, sailing-boat
Inscriptions: collector's mark: Lugt 2233
Koopvrouw
Object type: photograph
Date: 1851 – 1900
Materials: cardboard, paper
Techniques: albumen print
Artist: Anonymous
Subjects: historical persons - bb - woman, merchant, salesman - bb - women engaged in trade and commerce
Inscriptions: inscription: ‘FOTO’

Deze foto zat oorspronkelijk in prentenkabinet RP-F-AA3192.
Panidochème ou toutes sortes de voitures (2)
Object type: print
Date: 1828 – 1828
Materials: paper
Techniques: lithograph
Location: paris
Subjects: two-wheeled vehicle drawn by more than three animals, (farm) wagon, freight wagon, cart
Inscriptions: collector's mark: Lugt 2228, stamp: Lugt 1828b

De prentserie waar deze prent deel van uitmaakt werd in drie delen van twaalf prenten vanaf 1827 tot en met 1830 gepubliceerd. Elk van de drie delen werd voorzien van een aparte omslag.
Ruitvormige ornamenten
Object type: sketchbook leaf
Date: 1876 – 1924
Materials: chalk, paper
Artist: gerrit willem dijsselhof
Artist role: designer, draughtsman, print maker
Artist dates: 1866 – 1924
Subjects: foliage, tendrils, branches ~ ornament

Onder andere een ornament met een bladmotief. Blad 34 verso uit een schetsboek met 40 bladen.