deem-data/ArtiFact huggingface dataset:
Portretten van beroemde Europese wetenschappers, humanisten en geestelijken
Object type: print
Date: 1650 – 1669
Materials: paper
Techniques: engraving
Subjects: paris
Inscriptions: collector's mark: Lugt 2228

Prent gebruikt in een van de edities van Jean-Jacques Boissard. Boissard, Jean-Jacques. Bibliotheca sive Thesaurus Virtutis et Gloriae: In quo continentus Illvstrivm Ervditione & doctrina Virorum Effigies & Vitae (...). Frankfurt, [1628]. Zie Hollstein Dutch, deel LVIII, p. 86-87.
Ex libris van Thomas Brooke
Object type: bookplate
Date: 1800 – 1899
Materials: paper
Techniques: engraving
Artist: Anonymous
Subjects: armorial bearing, heraldry
Stamp seal
Object type: stamp seal
Date: 1700 – 1501
Materials: mineral
Culture: hittite
Location: anatolia
Subjects: deer,dogs

Stamp seals first appeared in northern Mesopotamia during the 6th millennium and were exclusively used throughout the ancient Near East until the innovation of the cylinder seal in the second half of the 4th millennium BC. Cylinder seals were the preferred administrative tool in Mesopotamia during the 3rd and 2nd millennia B.C. and in the 1st millennium B.C., stamp seals were once again adopted by the administrative classes. In Anatolia, stamp seals predominated and it was only during the Old Assyrian Period (ca. 2000-1700 B.C.) that Anatolians used cylinder seals in their administrative practices. Like cylinder seals, stamp seals could be made from a variety of local and exotic stones as well as metal and even clay. They were impressed directly upon tablets, vessels, and clay bullae used to seal storage containers and doors. Stamp seals exhibit either perforated backs or handles, sometimes with perforation, for ease in wearing and handling the objects. Stamps seals could be simple in shape, but there are numerous examples of more complex shapes and some stamp seals were rendered as animals or human figures. The images carved into the seal face itself ranged from simple geometric patterns to elaborate scenes of human and divine images. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery no longer extant in any other medium, they serve as a visual chronicle of style and iconography. The modern impression of the seal is shown so that the entire design can be seen. The stamp seal was the principal type of seal used in Anatolia. This circular seal was carved from a black hematite and has a hammer-shaped handle. The image carved into the face of the seal is of a rampant lion above two addorsed recumbent bulls. The scene is surrounded by a guilloche pattern similar to those common on earlier seals from the Old Assyrian period in Anatolia, demonstrating that Hittite glyptic art had its foundations in the early second millennium B.C.
Twee portretten van een meisje en een vrouw
Object type: album leaf
Date: 1855 – 1900
Materials: cardboard, iron
Techniques: ferrotyping, hand coloring
Artist: Anonymous
Subjects: historical persons not known by name - bb - woman, girl (child between toddler and youth)

Deze foto's maken deel uit van een album.
Terracotta fragment of a neck-amphora (jar)
Object type: neck amphora fragment
Date: 534 – 468
Materials: terracotta
Culture: greek, attic

Part of a lotus bud and tendril
Harness Ring with Quadruped
Object type: decorative art
Materials: bronze
Culture: greek
Location: thessaly
Subjects: animals

This precious bronze object is a votive, or devotional gift, made as an offering to the gods. They come in many forms, such as animals, beads and brooches. Many seem once to have been attached to something else. Votives were hung from sacred trees or placed in sanctuaries around Greece. Once a shrine was full, the votives were ceremonially buried to make room for more offerings.
Dagbed van notenhout met gladde regels en vierkante, tapstoelopende poten met profilering aan bovenzijde
Object type: bed
Date: 1690 – 1710
Materials: copper, jute, linen, wood
Location: amsterdam
Artist: Anonymous
Schildpad
Object type: drawing
Date: 1887 – 1924
Materials: ink, paper, pencil
Techniques: brush, pen
Artist: julie de graag
Artist role: draughtsman, print maker
Artist dates: 1877 – 1924
Subjects: tortoises, turtles
Inscriptions: number: ‘58’
Cour des Comptes
Object type: photograph
Date: 1871 – 1871
Materials: photographic support
Techniques: albumen print
Location: paris
Artist: p. loubère
Artist role: fotograaf
Subjects: ruin of a building ~ architecture, national government
Inscriptions: monogram: ‘P[.L.]’
Old man with a flowing beard
Object type: print
Date: 1630 – 1630
Materials: paper
Techniques: etching
Artist: rembrandt van rijn
Artist role: draughtsman, painter, print maker
Artist dates: 1606 – 1669
Inscriptions: collector's mark: Lugt 240, monogram and date: ‘RHL 1630’

In these prints, Rembrandt studies the characteristics of age, always portraying the same full-bearded man. While slight differences can certainly be discerned, Rembrandt’s penchant for depicting his models while they look down, their heads slightly bent, is striking. This pose lends the studies a melancholy air.
Groepsportret van de commissie en werknemers van het Russische deel van de Wereldtentoonstelling van 1885 in Antwerpen
Object type: photomechanical print
Date: 1880 – 1885
Materials: paper
Techniques: autotype
Location: antwerp
Artist: Anonymous
Subjects: world fair, world exhibition, anonymous historical persons portrayed in a group, in a group-portrait, antwerp
Ewer
Object type: ewer
Date: 1701 – 1900
Materials: glass
Techniques: glassblowing, painting, tooling
Location: iran
Subjects: flowers,leaves
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 534 – 468
Materials: terracotta
Culture: greek, attic

Interior, unidentified object; Exterior, at the bottom left, part of a draped figure?; legs of draped woman to right wearing a chiton and himation
Portret van Sophia Dorothea van Hannover
Object type: print
Date: 1713 – 1740
Materials: paper
Techniques: etching
Artist: Anonymous
Subjects: berlin, historical persons - bb - woman, queen, empress, etc. (wife of a ruler)

Met eenregelig onderschrift in het Frans.
Set of four counter trays for the card game of Quadrille (part of a set)
Object type: counter tray
Date: 1770 – 1775
Materials: copper, enamel
Ruiter en wandelaar bij een boerderij
Object type: print
Date: 1799 – 1874
Materials: paper
Techniques: drypoint, etching
Artist: hendrik jozef franciscus van der poorten
Artist role: draughtsman, print maker
Artist dates: 1789 – 1874
Subjects: farm or solitary house in landscape
Inscriptions: collector's mark: Lugt 2228
Fragment zijdeweefsel.
Object type: fragment
Date: 1750 – 1800
Materials: silk
Techniques: brocade, weave
Location: haarlem

Fragment zijdeweefsel. Een roze grond heeft rijen van lichtblauwe, dubbele bladeren op een witte steel, waartussen een kleine witte tak.
Armlet
Object type: armlet
Date: 1701 – 1900
Materials: silver
Location: northern india
Ioannes Grillus a Grillowa
Object type: print
Date: 1746 – 1799
Materials: paper
Techniques: engraving, etching
Artist: jan balzer
Artist role: print maker
Artist dates: 1736 – 1799
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2228
Child's head
Object type: head
Date: 1601 – 1800
Materials: gilt bronze
België, Albert I, 10 frank of 2 belga, 1930
Object type: coin
Date: 1930 – 1930
Materials: nickel
Techniques: striking
Location: brussels

Nikkelen munt. Voorzijde: drie borstbeelden naar links. Jaartallen 1830-1930 onderaan. Keerzijde:tussen twee takken waarde-aanduiding in twee regels en in omschrift. Randschrift.
Son of General Flo, Isle of Jersey (Le fils du général Flô)
Object type: photograph
Date: 1852 – 1853
Materials: paper
Techniques: salted paper print
Location: france
Artist: charles hugo, victor hugo
Artist nationality: french
Artist dates: 1827 – 1871
Subjects: portraits, portraits: male subject, photography, portraits: child subject
Portrait of Cardinal de Fleury
Object type: print
Date: 1730 – 1730
Materials: paper
Techniques: engraving
Location: france
Artist: pierre drevet and pierre-imbert drevet
Artist nationality: french
Artist dates: 1663 – 1739
Portret van een onbekend meisje met ketting en strikken in het haar
Object type: cabinet photograph
Date: 1876 – 1907
Materials: paper, cardboard, glass, metal, wood
Techniques: gelatin silver print
Artist: franz eiffert
Artist role: fotograaf
Artist dates: 1866 – 1929
Subjects: girl (child between toddler and youth), anonymous historical person portrayed, necklace
Vase with cover (vase à flacon) (one of a pair)
Object type: vase with cover
Date: 1772 – 1772
Materials: soft paste porcelain
Artist: sèvres manufactory
Artist role: manufactory
Artist nationality: french
Artist dates: 1740 – 9999
Subjects: women,trees

Works of art by the French artist François Boucher (1703–1770), who held the prestigious title of first painter to the king, served as a highly popular source of inspiration for artists working in a variety of media in the middle decades of the eighteenth century. Prints made after paintings by Boucher were widely circulated and provided artists with compositions that could be faithfully reproduced in smaller scale or adapted to three-dimensional porcelain sculpture. Works by Boucher served as the source not only for the painted scenes on vases and snuffboxes, but also for the porcelain figures which were listed as "Enfants Boucher" (Boucher Children) in the factory’s sales ledgers.
Gebouwen aan een haven in Rusland, mogelijk in Sint-Petersburg
Object type: photograph
Date: 1880 – 1910
Materials: paper, cardboard
Techniques: collodion silver print
Location: sint-petersburg
Artist: Anonymous
Subjects: harbour
Inscriptions: inscription: ‘Leningrad?’
Crucifixion
Object type: plaquette
Date: 1467 – 1533
Materials: gilt bronze
Subjects: christ,cross,crucifixion
Numidie, from "Game of Geography" (Jeu de la Géographie)
Object type: print
Date: 1644 – 1644
Techniques: etching
Artist: stefano della bella
Artist role: artist
Artist nationality: italian
Artist dates: 1610 – 1664
Subjects: portraits,women
Portret van Alexander Philip van der Capellen
Object type: print
Date: 1785 – 1787
Materials: paper
Techniques: aquatint, etching
Location: paris
Artist: edme quenedey
Artist role: print maker
Artist dates: 1756 – 1830
Subjects: warnsveld, silhouette-apparatus, 'physionotrace', historical persons
Inscriptions: collector's mark: Lugt 2228

Deze prent heeft het nummer L.55 in het fonds van Quenedey.
[Stone Mason in Top Hat and Apron with Mallet and Chisel]
Object type: tintype
Techniques: tintype
Artist: Anonymous
Artist role: artist
Subjects: men,portraits,tools
Dress
Object type: dress
Date: 1810 – 1810
Materials: cotton, silk
Culture: american

This historical dress served as an inspiration for a 1950's muslins designed for Mrs. William Randolph Hearst, Jr., by Charles James (2009.300.2777, 2009.300.2778). The donor, who was a life-long muse and friend of James, often brought him historical fashions to reinterpret. The results were imaginative and unique although it is unclear of the final results were ever worn. The Empire silhouette is readily identified with its origins in the chiton of ancient Greco-Romans, which was a tubular garment draped from the shoulders and sometimes belted beneath the bust. Several re-interpretations have occurred throughout costume history but none have been as notable as the period bridging the rectangular panierred skirts of the 18th century and the conical hoop skirts of the 19th century. The neoclassic style was adopted in all forms of decoration after the French Revolution and was upheld during the Napoleonic Wars partly due to Napoleon Bonaparte's (1769-1821) alliance with Greco-Roman principles. In fashion, the style began as children's wear made from fine white cotton, but was adopted by women in the form of a tubular dress with skirts that were gathered under the bust with some fullness over a pad at the back. As the style progressed the skirts began to flatten at the front and solely gather from the bodice at the center back. The style persisted until the 1820s when the waist slowly lowered and the skirts became more bell shaped. Austine Hearst was the third wife of William Randolph Hearst, Jr. (1908-1993), son of William Randolph Hearst (1863-1951), turn of the century newspaper mogul. She spent the war years hosting a radio show and writing a newspaper column about young society, which was picked up for national syndication after the war. She married Hearst in 1948, after a seven year marriage to Igor Cassini (1915-2002), brother of the fashion designer Oleg Cassini (1913-2006). She continued as a columnist until after her children were born in the early 1950s. The Hearsts were invited to parties at the White House, Truman Capote's infamous 1966 Black and White Ball and interviews with foreign dignitaries, to name a few. She was continuously on the International Best Dressed List throughout the 1950s and was inducted into the Best Dressed List International Hall of Fame in 1959. She first became a donor to the Brooklyn Museum in 1953 at the request of friend and designer, Charles James. Her first donation was comprised of James muslins and dresses. Thereafter, she regularly donated garments by famous designers such as Christian Dior, Madame Alix Grès and Arnold Scaasi, among others.
Powder Horn
Object type: powder horn
Date: 1775 – 1775
Materials: horn, iron, wood
Culture: colonial american
Location: united states
Map met 12 wissels en rekeningen afkomstig uit Nederlands-Indië
Object type: document
Date: 1860 – 1886
Materials: paper
Techniques: printing
Location: indonesia
Artist: Anonymous
Subjects: dutch east indies, the

Map met 12 documenten van verschillend formaat.
Militair hospitaal
Object type: photograph
Date: 1898 – 1902
Techniques: albumen print
Location: suriname
Subjects: hospital, suriname

Het Militair Hospitaal (nu 's Lands hospitaal), Paramaribo.
Groep soldaten met geweren, mogelijk huzaren
Object type: sketchbook leaf
Date: 1875 – 1934
Materials: chalk, paper
Location: the hague
Artist: isaac israels
Artist role: draughtsman, painter, print maker
Artist dates: 1865 – 1934
Subjects: firearms: rifle, the soldier; the soldier's life

Pagina 15 uit schetsboek XLVIII met 62 pagina's.
De vier evangelisten
Object type: album leaf
Date: 1562 – 1562
Materials: paper
Techniques: engraving, letterpress printing
Location: antwerp
Subjects: st. luke writing his gospel, usually a (winged) ox present, urinal (and basket)

De evangelist Lucas is gekleed als geneesheer en zit met een urinaal in de hand bij zijn evangelie. Links de os. Onder de voorstelling een verklarende tekst in het Latijn. Deze prent maakt deel uit van een album.
Fragment (from a Tunic)
Object type: textile
Materials: linen, wool
Techniques: slit, tapestry weave, tapestry, weave
Culture: coptic
Location: egypt
Satyrfamilie tussen wijnranken
Object type: print
Date: 1510 – 1550
Materials: paper
Techniques: woodcut
Subjects: attributes of bacchus: vine, satyr(s) (in general), tapestry
Inscriptions: collector's mark: Lugt 2228

Ontwerp voor wandtapijt bestaande uit twee gespiegelde, maar niet identieke, delen. Deze zijn hier aan elkaar geplakt.
Platte vierkant / ronde mand van gespleten wilgenteen (fijnscheenwerk), zeer fijn gevlochten met geometrisch ruitpatroon, deksel en bodem geborduurd met tulpmotief van zijde.
Object type: luiermand
Date: 1675 – 1710
Materials: plant material, silk
Location: halle
Artist: Anonymous
Brooch
Object type: brooch
Date: 1882 – 1892
Materials: diamond, garnet, gold, pearl
Culture: american
Location: united states
Artist: jaques & marcus
Artist role: maker
Artist nationality: american
Artist dates: 1882 – 1892
Subjects: insects

The body of this insect-form brooch is set with a large natural gray-green pearl and eight demantoid garnets; the head is pave-set with two demantoid garnets and diamond eyes. All of the gems are set in naturalistically chased gold, and six delicate gold legs extend from the body. The hook is marked 'J&M,' for Jaques & Marcus, a New York City jewelry firm active from about 1882 to 1892. The piece survives in its original case, a green velvet box lined in cream-colored satin and velvet, and marked inside the lid with 'JAQUES & MARCUS/BROADWAY/CORN 17TH. ST./NEW YORK.' During the nineteenth century an increased interest in natural history contributed to a vogue for novelty jewelry in the form of birds, animals and especially insects. Fashionable ladies became enamored with these creepy bugs made from precious materials, and happily pinned jeweled insects to their hairdos and gowns.
Armstoel
Object type: armchair
Date: 1500 – 1600
Materials: wood
Techniques: gilding
Location: italy
Artist: Anonymous

Armstoel van notenhout, gedeeltelijk verguld. De voorpoten eindigen als stutten, die bovenaan met bladconsoles versierd zijn, en die de armleggers, eindigend in voluten, steunen. De uitgezaagde voorsport, voorzitregel en rugsporten zijn versierd met ondermeer gestoken bladmotieven, rozetten en voluten. De rugstijlen, bekroond met bladmotieven, hellen achterwaarts. De bovensport van de rug draagt een wapenschild met bloemen, kogels en ster. De poten zijn vierkant. Zie tevens BK-16646-b/d.
Map of the Iberian Peninsula
Object type: table piece
Date: 1553 – 1553
Materials: brass, bronze, gold, lapis lazuli, silver, stone
Techniques: gilding, verre églomisé
Location: nuremberg
Subjects: maps of separate countries or regions

Cartography and art are united here: the map reflects the latest scientific knowledge and the object itself is fashioned from precious materials. Painted on the back of the polished round rock crystal plate is a map of Spain and Portugal. Over the course of time, the original bright blue colour of the expensive lapis lazuli has discoloured almost entirely to a dull grey.
Mary Inman
Object type: painting
Date: 1844 – 1844
Materials: canvas, oil
Culture: american
Artist: daniel huntington
Artist role: artist
Artist nationality: american
Artist dates: 1816 – 1906
Subjects: portraits,women
Gezicht op de Nieuwezijds Voorburgwal met de achterkant van de Nieuwe Kerk en het Stadhuis op de Dam
Object type: print
Date: 1788 – 1801
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: post-office, city-view in general; 'veduta', church (exterior), townhall, street
Inscriptions: collector's mark: ‘14’ Lugt 1641b

Deze prent is ook gebruikt in de zogenaamde Atlas van Fouquet.* Pierre Fouquet gaf vanaf 1760 stadsgezichten van Amsterdam - naar tekeningen van verschillende kunstenaars, gemaakt door verschillende prentmakers - uit. Deze prenten werden aanvankelijk los of in series verkocht. Zoals toen gebruikelijk kon de koper de prenten zelf laten inbinden. Hiertoe gaf Fouquet tussen 1778 en 1783 een titelblad, plattegrond en inhoudsopgave van de tot dusver 100 uitgegeven prenten uit (1). Gezien de inhoud afhankelijk was van wat de koper had verzameld verschilt de inhoud van de verschillende bewaarde Fouquetatlassen onder deze titel sterk. Ook zijn er exemplaren bekend waar tevens andere prenten aan zijn toegevoegd. Omdat er behoefte bleek aan uitleg bij de platen werd in 1783 een nieuwe versie van de atlas uitgegeven, aangevuld met tekst en twee prenten. De aangegeven volgorde veranderde maar de platen van de al eerder uitgegeven prenten bleven ongewijzigd. Deze uitgave werd in opdracht van Fouquet gedrukt bij Daniël Jean Changuion en Petrus den Hengst (2). Een tiental platen werd bijgewerkt en verscheen, met nieuw impressum, in het vervolg van Wagenaars geschiedenis van Amsterdam, uitgeven door Petrus Conradi en Folkert van der Plaats (3). Een aantal jaar na het overlijden van Fouquet kwam Evert Maaskamp met een nieuwe uitgave van de atlas, met verbeterde tekst en toevoeging van twee prenten. Op alle platen verwijderde hij het oude en liet hij zijn eigen impressum zetten (4).

De huidige staat van de prent komt voor in exemplaren van de onder (3) genoemde werken.

* Onder de Atlas van Fouquet of Fouquetatlas verstaan we de hieronder vermelde publicaties (1), (2) en (4).
(1). Afbeeldingen van de wyd-vermaarde koopstad Amsterdam benevens des zelvs voornaamste gebouwen en gezigten alle naar het leeven getekend / Receuil des edifices les plus considerables et des plus belles vues, de la fameuse ville d'Amsterdam, dessinées d'après nature. Amsterdam: Pierre Fouquet, 1778-1783.
(2). Nieuwe atlas, van de voornaamste gebouwen en gezigten der stad Amsterdam, met derzelver beknopte beschryvingen. 2 delen. Amsterdam: Daniël Jean Changuion en Petrus den Hengst [in opdracht van Pierre Fouquet], 1783.
(3). Stijl, Simon. Amsterdam, in zyne geschiedenissen, voorregten, koophandel, gebouwen, kerkenstaat, schoolen, schutterye, gilden en regeeringe, beschreeven. Om te dienen ten vervolge op het werk van Jan Wagenaar (…). 10 delen. Amsterdam en Harlingen: Petrus Conradi en Folkert van der Plaats, 1788-1801.
(4). Nieuwe atlas, van de voornaamste gebouwen en gezigten der stad Amsterdam. Met derzelver beknopte beschryvingen. Amsterdam: Evert Maaskamp, 1805.

* Het aantal vermelde staten is gebaseerd op het aantal gevonden staten. Mogelijk zijn er meer staten van deze prent.
Narcissen
Object type: drawing
Date: 1683 – 1733
Materials: chalk, paper
Artist: bernard picart
Artist role: draughtsman, print maker, publisher
Artist dates: 1673 – 1733
Subjects: flowers: daffodil
Standing sheep
Object type: crèche figure
Date: 1751 – 1800
Materials: metal, terracotta
Techniques: polychrome
Subjects: sheep

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.
Nicolaasbrug, St. Petersburg
Object type: photograph
Date: 1860 – 1890
Materials: cardboard, paper
Techniques: albumen print
Location: sint-petersburg
Artist: Anonymous
Subjects: bridge in city across river, canal, etc., annunciation bridge

Tegenwoordig heet de Nikolaevsky brug de Blagovesjtsjenskiy brug.
Plate with Saint Matthew
Object type: plate
Date: 1550 – 1560
Techniques: maiolica, glazing
Artist: workshop of ludovico and angelo picchi
Artist role: artist
Artist nationality: italian
Artist dates: 1500 – 1599
Subjects: male nudes,saint matthew