deem-data/ArtiFact huggingface dataset:
Inkstand
Object type: inkstand
Date: 1760 – 1760
Materials: faience
Techniques: glazing
Artist: paul-louis cyfflé
Artist role: modeler
Artist nationality: french
Artist dates: 1724 – 1806
Subjects: men

Faience, or tin-glazed and enameled earthenware, first emerged in France during the sixteenth century, reaching widespread usage among elite patrons during the seventeenth and early eighteenth centuries, prior to the establishment of soft-paste porcelain factories. Although characterized as more provincial in style than porcelain, French faience was used at the court of Louis XIV as part of elaborate meals and displays, with large-scale vessels incorporated into the Baroque garden designs of Versailles. Earlier examples of French faience attest to the strong influence of maiolica artists from Italy. Later works demonstrate the ways in which cities such as Nevers, Rouen, Lyon, Moustiers, and Marseille developed innovative vessel shapes and decorative motifs prized among collectors throughout Europe. While faience can be created from a wide mixture of clays, it is foremost distinguished by the milky opaque white color achieved by the addition of tin oxide to the glaze. French faience is typically divided into two types. Grand feu (high fire) describes pieces that have been decorated with glaze and metallic oxides before being fired a single time at a high temperature of around 1650°F (900°C). Petit feu (low-fire) faience, developed in the second half of the eighteenth century, refers to a process whereby the clay body is fired before being glazed and decorated with metallic oxides and then fired again at a lower temperature; pieces can also go through a third firing. Grand feu pieces have a more limited color palette that consists of blue, yellow, brown-purple, and green. By contrast, the lower firing temperature of petit feu faience enabled both greater precision in painting techniques and variety in the range of colors.
Figure of a man with an oryx, a monkey, and a leopard skin
Object type: sculpture
Date: 800 – 701
Materials: ivory
Culture: assyrian
Location: mesopotamia
Subjects: animals,men,monkeys

This statuette group, carved in the round, was found with five other statuettes with similar imagery. The six statuettes were excavated in and just below two arched niches built into the wall of a room at Fort Shalmaneser, a royal building at Nimrud that was probably used to store booty and tribute collected by the Assyrians while on military campaign. Those found just below the niches could have fallen when the palaces were destroyed during the the final defeat of Assyria at the end of the seventh century B.C. Originally, these objects were attached to long ivory plinths and exhibited in the arched niches, perhaps arranged in a procession of foreigners bringing different animals and animal skins as tribute to the Assyrian king. A frontally facing male, striding to the right with his lower body in profile, grasps the horns of an oryx (a species of desert-dwelling antelope) that strides behind him. The male figure’s eyes, necklace, and armlet were carved to receive colored glass or semiprecious stone inlays. He wears a short kilt belted with a long sash, embroidered with decoration including two uraei (mythical, fire-spitting serpents), zig-zags, wavy lines, small squares, rosettes, diamonds, and circles. A monkey, whose fur is rendered with short incisions, sits erect on his left shoulder and grasps his short curly hair. Although his right arm does not survive, it was probably extended to support the elaborately patterned leopard skin draped over his right shoulder. Built by the Assyrian king Ashurnasirpal II, the palaces and storerooms of Nimrud housed thousands of pieces of carved ivory. Most of the ivories served as furniture inlays or small precious objects such as boxes. While some of them were carved in the same style as the large Assyrian reliefs lining the walls of the Northwest Palace, the majority of the ivories display images and styles related to the arts of North Syria and the Phoenician city-states. Phoenician style ivories are distinguished by their use of imagery related to Egyptian art, such as sphinxes and figures wearing pharaonic crowns, and the use of elaborate carving techniques such as openwork and colored glass inlay. North Syrian style ivories tend to depict stockier figures in more dynamic compositions, carved as solid plaques with fewer added decorative elements. However, some pieces do not fit easily into any of these three styles. Most of the ivories were probably collected by the Assyrian kings as tribute from vassal states, and as booty from conquered enemies, while some may have been manufactured in workshops at Nimrud. The ivory tusks that provided the raw material for these objects were almost certainly from African elephants, imported from lands south of Egypt, although elephants did inhabit several river valleys in Syria until they were hunted to extinction by the end of the eighth century B.C.
Portret van Marie, prinses van Pruisen
Object type: print
Date: 1830 – 1860
Materials: paper
Techniques: lithograph
Location: berlin
Subjects: berlin, adult woman, historical persons
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760, check stamp: ‘Julius Kuhr in Berlin’
Staande figuur
Object type: sketchbook leaf
Date: 1877 – 1932
Materials: chalk, paper
Artist: marius bauer
Artist role: draughtsman, print maker
Artist dates: 1867 – 1932
Subjects: standing figure

Pagina 24 uit een schetsboek met 32 bladen.
Frederik III kroont zichzelf
Object type: print
Date: 1791 – 1791
Materials: paper
Techniques: etching
Location: berlin
Subjects: berlin, frederik i koning van pruisen, crown (symbol of sovereignty), history, during the coronation
Inscriptions: collector's mark: Lugt 2228

Prent gebruikt voor: Gothaischer Hof Kalender, zum Nutzen und Vergnügen auf das Jahr 1792. Gotha: C. W. Ettinger, [1791].
Piece
Object type: piece
Date: 1780 – 1790
Materials: silk
Subjects: men,flowers
Vue de la façade du Spéos de Phré, à Abousembil
Object type: photograph
Techniques: paper negative, salted paper print
Artist: maxime du camp
Artist role: artist
Artist nationality: french
Artist dates: 1822 – 1894
Subjects: architecture

Maxime Du Camp's mission to Egypt and the Near East in 1849-51 to make a photographic survey of monuments and sites is well documented in his writings and in those of his fellow traveler, Gustave Flaubert. After an initial stay in Cairo, the two friends hired a boat to take them up the Nile as far as the second cataract, after which they descended the river at leisure, exploring the archaeological sites along its banks. In July 1850 they left Egypt for Palestine, Turkey, and Greece before they parted in Italy the following April. Du Camp's album "Egypte, Nubie, Palestine et Syrie," published in 1852 and containing 125 photographs printed by Blanquart-Evrard, brought its author instant fame. In addition to the published edition, Du Camp arranged for a private printing of a few portfolios, such as the one in the Gilman collection, which numbers 174 images particularly noteworthy for their warm color and luminescence. Possibly printed in Gustave Le Gray's studio, the present portfolio is thought to have been in the collection of the architect Eugène Viollet-le-Duc. A journalist with no experience in photography, Du Camp learned the craft from Le Gray shortly before his departure for Egypt.
Platter
Object type: platter
Date: 1785 – 1790
Materials: porcelain
Culture: chinese
Location: china
Subjects: birds,coat of arms

This object belongs to a large dinner service (10.149.1–.248) bearing the Townley family coat-of-arms. The service, probably ordered by Justice Samuel Chase (1741–1811) of Annapolis, Maryland, displays the enamel-painted arms of Margaret Townley, Chase's aunt.
Papyrus Fragments with Seth on Mount Sinai
Object type: papyrus fragment with seth on mount sinai
Date: 401 – 600
Materials: ink, papyrus
Culture: coptic
Location: egypt
Plaque
Object type: relief
Date: 800 – 601
Materials: ivory
Culture: iranian
Location: iran
Paperweight
Object type: glass
Date: 1845 – 1860
Materials: glass
Location: clichy

This paperweight uses a traditional glass-making technique called millefiori to great effect. Italian for “one thousand flowers,” millefiori was first developed in fifteenth-century Venice. In the nineteenth century, French glassmakers revived the technique with a cultural twist. Arranged to evoke traditional French gardens such as the Tuileries in Paris, paperweights like this example brought a little of this landscaping magic indoors.

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.
Arbeider in staalfabriek
Object type: drawing
Date: 1871 – 1906
Materials: chalk, paper
Artist: pieter de josselin de jong
Artist role: draughtsman, painter, print maker
Artist dates: 1861 – 1906
Subjects: iron and steel industry (+ men (labourers))
Jasper Amygdaloid
Object type: seal, amygdaloid
Date: 1650 – 1500
Materials: jasper
Culture: minoan
Portret van Willy Burmester met viool
Object type: cabinet photograph
Date: 1900 – 1910
Materials: cardboard, photographic support
Techniques: albumen print
Artist: julius cornelius schaarwächter
Artist role: fotograaf
Artist dates: 1847 – 1904
Subjects: musician, historical persons, violin, fiddle, portrait of composer
Inscriptions: annotation: ‘W. Burmester’
Linnenweversgilde van Deventer
Object type: medal
Date: 1654 – 1654
Materials: brass
Techniques: engraving
Location: deventer
Artist: Anonymous
Subjects: deventer

Messing penning. Voorzijde: staande weversspoel onder kroon. Keerzijde: opschrift boven adelaar
Ruit met een tulp
Object type: light window
Date: 1650 – 1675
Materials: glass, lead, pigment
Techniques: enamel painting
Artist: Anonymous

Een ruitje met emailschildering van een bloem (tulp) in geel, rood en groen. Opmerking: Onderdeel van de groep LXXXVI-A t/m D.
Vork met het helmteken Clifford
Object type: fork
Date: 1806 – 1806
Materials: silver
Location: amsterdam
Artist: roelof helweg
Artist role: silversmith
Artist dates: 1758 – 1843
Inscriptions: maker's mark: ‘RH in ovaal’, date letter: ‘X (=1806)’, alloy mark: ‘Hollandse leeuw’, town mark: ‘Amsterdam’

De viertandige vork is aan zowel boven- als onderzijde door middel van enkel lof verbonden met de platte, gebogen steel, die zich verbreedt naar het spatelvormige uiteinde. Boven- en onderzijde van de steel worden omgeven door een dubbele filetrand, die bij het uiteinde ingezwenkt is. Op de onderzijde van de spatel is het helmteken Clifford gegraveerd.
Alabaster alabastron (perfume vase)
Object type: alabastron
Date: 500 – 301
Culture: cypriot

The elongated alabastron has two vertical lugs above a short trapezoidal tab in low relief. The neck flares out. The lip is convex.
Forgetting Filial Piety
Object type: print
Date: 1781 – 1781
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: torii kiyonaga
Artist role: artist
Artist nationality: japanese
Artist dates: 1752 – 1815
Subjects: men,women,servants

A rainy morning outside the licensed pleasure quarters further delays a disheveled young man who nonchalantly brushes his teeth while his companion and her maids look on with barely concealed impatience. The inscription, "Forget not your parents' love; respect the virtue of filial piety," is in satiric contrast to the scene, which in other circumstances might indeed reflect a family at its morning routine. Torii Kiyonaga, the last influential artist of the Torii school, painted graceful, stylish figures in the late eighteenth century.
Mosaic Floor Panel Depicting a Sack
Object type: architectural fragment
Date: 101 – 200
Materials: mortar, stone
Culture: roman

Eight Fragments from a Mosaic Pavement
While on the Grand Tour, Lord Charles Kinnaird and Lord George William Russell inspected in 1823 the remains of a large mosaic that had recently been discovered in a vineyard on Monte Rosario, outside Rome’s Porta Portuensis gate. Once the floor of a luxurious home, the mosaic comprised concentric bands of multihued figural decoration as well as boldly contrasting ornamental patterns that framed a central scene, which over time had been irreparably damaged by the roots of a tree.

The two men purchased and divided the finds. Among the pieces of the mosaic acquired by Lord Kinnaird were eight small panels, six of which depicted still lifes of foodstuffs and objects used in the preparation of meals, while the remaining two contained the busts of figures assumed to be personifications of seasons. All eight pieces were designed to fit into a meander-pattern border that encircled the now-missing central figural scene. Based on a drawing made at the time of the mosaic’s discovery, the original pavement is thought to have been approximately 30 × 27 1/2 feet.

Representations of food and items associated with the preparation and serving of meals were often found in the floor mosaics and wall paintings of Roman houses. While images of foodstuffs could convey messages about the abundance and assortment of fare to be served to one’s guests at a private banquet, representations of nonedible items used in cooking and serving food, such as this brazier, a metal bowl used for heating and cooking, or this oval object that might be a platter or a loaf of bread, reinforced the themes of dining and hospitality. The sack might have contained money or flour.
Jug
Object type: vessel
Date: 201 – 400
Materials: glass
Techniques: glassblowing
Culture: roman
Location: syria
Subjects: vessels, containers
Kalender 1909 12 lithografien door Th. v. Hoytema
Object type: calendar leaf
Date: 1908 – 1908
Materials: paper
Techniques: lithograph
Location: the hague
Artist: theo van hoytema
Artist role: draughtsman, painter, print maker
Artist dates: 1863 – 1917
Subjects: water-birds: duck, april ~ other concepts
Inscriptions: collector's mark: Lugt 2228

De zwarte eend rijst op uit het water. Bovenaan het blad een scheurlijn.
Long Bridge of Seta
Object type: print
Date: 1797 – 1858
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: utagawa hiroshige
Artist role: artist
Artist nationality: japanese
Artist dates: 1797 – 1858
Subjects: houses,bridges,mountains,trees,boats
Cap
Object type: textile
Date: 1850 – 1900
Materials: cotton, linen, textile
Techniques: embroidery, stitching
Location: france
"Summer, from a Series of the Four Seasons", Folio from the Davis Album
Object type: illustrated album leaf
Date: 1660 – 1670
Materials: gold, ink, paper, watercolor
Location: iran
Artist: 'ali quli jabbadar
Artist role: artist
Artist nationality: iranian
Artist dates: 1620 – 1699
Subjects: houses,women,trees

In the foreground a standing woman turns her head slightly to her right. She holds a basket of cucumbers in her right hand while lifting her dress with her left. The woman's dress and pose and the thatched buildings in the background, which include a barnyard with chickens, a water wheel and two figures, suggest that this painting is based on a European, possibly Flemish, allegory of one of the four seasons, summer. Although the painting is not signed, the palette, composition and details such as the flowers behind the figure all are found in the work of 'Ali Quli Jabbadar, an important Safavid court artist of the second half of the seventeenth century.
Portret van een man gezeten in een stoel
Object type: photograph
Date: 1900 – 1920
Materials: cardboard, photographic support
Techniques: gelatin silver print
Artist: Anonymous
Subjects: adult man, historical persons
Zuidoostzijde van de Sint-Catharinakapel te Lemiers
Object type: photograph
Date: 1896 – 1896
Materials: cardboard, photographic support
Techniques: collodion silver print
Location: lemiers
Artist: anoniem (monumentenzorg)
Artist role: fotograaf
Subjects: church (exterior)
Inscriptions: annotation: ‘Lemiers (L)/ R.K. kerk’, annotation: ‘gem. Vaals Lemiers (L)/ R.K. kerk te Lemiers Z.O. zijde/ Mei 1896’
Cup and saucer
Object type: cup and saucer
Date: 1701 – 1800
Materials: soft paste porcelain
Artist: worcester factory
Artist role: maker
Artist nationality: british
Artist dates: 1751 – 2008
Portrettengalerij van Blaisot
Object type: print
Date: 1823 – 1823
Materials: paper
Techniques: lithograph
Location: paris
Subjects: paris, historical persons
Inscriptions: collector's mark: Lugt 2228a
Low hemispheroid seal with later inscription
Object type: stamp seal
Materials: stone
Location: western iran (?)
Woman Sitting Half-Dressed beside a Stove
Object type: print
Date: 1658 – 1658
Techniques: drypoint, etching
Artist: rembrandt van rijn
Artist role: artist
Artist nationality: dutch
Artist dates: 1606 – 1669
Subjects: female nudes
Geschiedenis van Jona
Object type: print
Date: 1566 – 1566
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: when jonah arrives in the city of nineveh he foretells its destruction in forty days

Jona staat op een plein in Nineve en voorspelt de inwoners de ondergang van hun stad. De mensen knielen van verschrikking en berouw. Onder de voorstelling een verklarende tekst in het Latijn. Prent maakt deel uit van een album.
Gezicht op een straat in Caïro
Object type: album leaf
Date: 1905 – 1906
Materials: paper
Techniques: photograph
Location: cairo
Artist: Anonymous
Subjects: street, prospect of city, town panorama, silhouette of city
Inscriptions: inscription: ‘No. 1./ Straat te Caïro.’

Deze prent maakt deel uit van een album.
Private, 22nd Regiment, National Guard of the State of New York, from the Military Series (N224) issued by Kinney Tobacco Company to promote Sweet Caporal Cigarettes
Object type: print
Date: 1888 – 1888
Techniques: color lithograph
Artist: kinney brothers tobacco company
Artist role: publisher
Artist nationality: american
Artist dates: 1869 – 2011
Subjects: soldiers,men

Trade cards from the "MIlitary Series" (N224), issued in 1888 by Kinney Tobacco Company to promote Sweet Caporal Cigarettes.
The Hidden Treasure (The Parables of Our Lord and Saviour Jesus Christ)
Object type: print
Date: 1864 – 1864
Techniques: engraving
Artist: sir john everett millais
Artist role: artist
Artist nationality: british
Artist dates: 1829 – 1896
Subjects: animals,men,agriculture,farmers

It took Millais seven years to design twenty images inspired by New Testament Parables for the Dalziel Brothers, and the resulting prints are considered pinnacles of wood engraved illustration. The artist wrote to his publishers, "I can do ordinary drawings as quickly as most men, but these designs can scarcely be regarded in the same light—each Parable I illustrate perhaps a dozen times before I fix [the image]." After completing a design, Millais transferred it to a woodblock coated with "Chinese" white for skilled engravers to carve. Finally, he reviewed proofs, and final adjustments were made before the final printing. The Parable of the Hidden Treasure (Matthew 13: 44-46) compares "The kingdom of heaven [to]...treasure hidden in a field. When a man found it, he hid it again, and then in his joy went and sold all he had and bought that field." Pre-Raphaelite ideals shaped Millais's combination of detailed naturalism and down-to-earth imagery to produce a work distinctly different than most religious art of the period.
Medaillon met een portret van een lid van de familie Bourbon door Minerva voorgehouden aan de Schilderkunst en de Beeldhouwkunst
Object type: print
Date: 1728 – 1728
Materials: paper
Techniques: engraving, etching
Subjects: 'pictura', symbolic representations, allegories and emblems ~ painting; 'pittura' (ripa), 'sculptura', symbolic representations, allegories and emblems ~ sculpture; 'scoltura' (ripa), (story of) minerva (pallas, athena), historical persons
Inscriptions: collector's mark: Lugt 240
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 460 – 450
Materials: terracotta
Culture: greek, attic

Exterior, part of an inscription, NANO HLLNOI?
Liefdespaar betrapt in een slaapvertrek
Object type: print
Date: 1702 – 1767
Materials: paper
Techniques: etching
Artist: jacob folkema
Artist role: draughtsman, print maker
Artist dates: 1692 – 1767
Subjects: interrupted meeting, lovers caught by surprise, bedroom
Inscriptions: collector's mark: Lugt 2228

Drie rijk geklede figuren zijn een slaapvertrek binnengegaan en treffen daar in bed een man en vrouw. De man is in bed blijven liggen terwijl de vrouw in nachthemd uit bed is gestapt. Op de voorgrond ligt uitgetrokken kleding over een stoel en een krukje.
Papyrus fragment
Object type: fragment
Date: 501 – 600
Materials: ink, papyrus
Culture: coptic
Location: egypt
Subjects: documents,greek
Seated Figure Receiving an Object Presented by a Smaller Figure
Object type: drawing
Materials: ink
Techniques: pen
Artist: micco spadaro (domenico gargiulo)
Artist role: artist
Artist nationality: italian
Artist dates: 1609 – 1675
Subjects: human figures
Fotoreproductie van een geschilderd portret van Trijntje Keever
Object type: reproduction
Date: 1890 – 1930
Materials: paper
Techniques: gelatin silver print
Artist: Anonymous
Subjects: historical persons - bb - woman
Inscriptions: inscription: ‘Naar de schilderij op het stad/ huis te Edam./ Trijntje Cornelis te Keever/ bijgenaamd "de Grote Meydt"/ Aan den voet staat:/ T.C./ Aetatis Suae 17/ To 1633.’
Gezicht op de Grevekade in Padang met schepen, huizen en loodsen
Object type: photograph
Date: 1900 – 1920
Materials: paper, photographic support
Techniques: gelatin silver print
Location: padang
Artist: christiaan benjamin nieuwenhuis
Artist role: publisher
Artist dates: 1863 – 1922
Subjects: harbour (+ view ~ vehicle, ship, etc.), river bank

Onderdeel van reisalbum met foto's van bedrijvigheid en bezienswaardigheden op Sumatra en Java en van de reis naar en van Nederlands-Indië.
Etchings by John Sell Cotman
Object type: print
Date: 1810 – 1811
Materials: paper
Techniques: etching
Location: london
Subjects: ruin of church, monastery, etc.
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228
Portret van een onbekend meisje
Object type: carte de visite
Date: 1862 – 1896
Materials: cardboard, paper
Techniques: albumen print
Location: stockholm
Artist: august roesler
Artist role: fotograaf
Artist dates: 1837 – 1896
Subjects: historical persons, girl (child between toddler and youth)
Inscriptions: inscription: ‘AUGUST ROESLER/ Drottninggatan No. 23/ STOCKHOLM/ samma hus som/ Apotheket Morian.’
Saint Martial Founding the Cathedral of Saint-Pierre
Object type: panel
Date: 1190 – 1190
Materials: glass, lead, metal, paint
Culture: french
Location: france
Subjects: men,saints

The window depicting scenes from the story of Noah was originally located in the choir of the cathedral, but the original location of the Saint Martial panel is uncertain. Both panels were removed during restorations of the cathedral in the nineteenth century.
Kamer van Koophandel te Antwerpen, ter ere van Willem I Frederik, koning der Nederlanden
Object type: history medal
Date: 1815 – 1815
Materials: silver
Techniques: striking
Location: brussels
Subjects: the hague, berlin, william i of the netherlands, antwerp

Zilveren penning. Voorzijde: borststuk man binnen omschrift. Keerzijde: riviergod met roer en gevulde hoorn van overvloed, leunend op dolfijn binnen omschrift; afsnede: jaartal op wimpel, signatuur en geopende, omhoog gestoken hand
Portretten van filosofen en medici
Object type: print
Date: 1574 – 1612
Materials: paper
Techniques: etching, letterpress printing
Subjects: scrollwork, strapwork ~ ornament, scholar, philosopher, historical persons
Inscriptions: collector's mark: Lugt 2228

Portretbuste in ronde ornamentale omlijsting.
Denarius (Coin) Portraying Empress Faustina the Younger
Object type: coin
Date: 176 – 180
Materials: bronze, copper alloy, metal, silver
Culture: roman
Location: roman empire
Inscriptions: Obverse: DIVA FAVSTINA PIA
Reverse: CONSECRATIO

The front (obverse) of this coin portrays the head of Empress Faustina the Younger, facing to the right. On the back (reverse), a peacock stands with wings folded.