deem-data/ArtiFact huggingface dataset:
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 500 – 480
Materials: terracotta
Culture: greek, attic

Interior, thigh and greaved calf of warrior with chlamys and spear?
Shawl
Object type: shawl
Date: 1857 – 1857
Materials: cotton
Culture: american
Water Pipe Base
Object type: water pipe base
Date: 1601 – 1700
Materials: copper, glaze, stonepaste
Techniques: incising, painting
Location: iran
Subjects: insects,flowers

The technique of frit-carving was popular in the 12th century and experienced a revival in the 17th century. This involved covering the entire vessel in a thick layer of frit (in this case, blue), carving through to the white composite body, and finally covering the ware in a transparent glaze. The blue frit on this water pipe base (qalian), is reminiscent of the color on a type made in the kilns of Iznik, Ottoman Turkey. The serrated saz-shaped leaf forms also bear reference to Ottoman forms, while the lotus-flower leaves are traditionally Chinese. The metal attachments to this kalian are later additions, added in order to protect the vulnerable projecting segments.
Two-light wall bracket
Object type: wall bracket
Date: 1804 – 1814
Materials: gilt bronze
Artist: antoine-andré ravrio
Artist role: maker
Artist dates: 1759 – 1814
Subjects: faces,men

This crowned and bearded mask of an old man bears the inventory number of the Palais des Tuileries. One of a pair, this wall sconce was, according to the 1833 inventory, in the pavillon de la Conciergerie in the apartment of Emmanuel-Louis-Nicolas Viollet-Le-Duc, keeper of the palace and father of the famous architect Eugène Emmanuel. An elongated ornament pendent from the palmette motif between the two branches is missing. This ornament is still present on a similar wall light, one of a pair that was supplied in 1808 to the château de Fontainebleau by bronze caster and chaser Ravrio who was most likely also responsible for the Museum’s wall sconce. Ravrio worked for the French court before the Revolution and later for Napoleon.
Crowned and Jeweled Buddha
Object type: shrine
Date: 1001 – 1033
Materials: bronze, copper, silver
Techniques: inlay
Culture: indian
Subjects: buddhism,buddha
Illustratie voor 'Alle de werken' van Lucianus
Object type: print
Date: 1679 – 1679
Materials: paper
Techniques: etching
Location: amsterdam
Artist: romeyn de hooghe
Artist role: draughtsman, goldsmith, painter, print maker
Artist dates: 1645 – 1708
Subjects: 'cornucopia', horn of plenty, (story of) mercury (hermes), (story of) jupiter (zeus)
Inscriptions: collector's mark: Lugt 2760

Een man met een staf jaagt een groep boze mensen weg van een plaats waar allerlei schatten (o.a. muntstukken uit een hoorn des overvloeds) liggen uitgestald. Links op de achtergrond Jupiter met zijn adelaar en Mercurius, die toekijken vanuit de wolken.
Scarab Inscribed with the Name Maatkare (Hatshepsut)
Object type: scarab
Date: 1479 – 1458
Materials: stone
Techniques: glazing
Location: egypt
Subjects: human figures,scarabs

During the 1926-1927 excavation season, the Museum's Egyptian Expedition uncovered three foundation deposits along the eastern enclosure wall of Hatshepsut's funerary temple at Deir el-Bahri in Western Thebes. Among the contents were 299 scarabs and stamp-seals. Sixty-five of these are now in the Egyptian Museum, Cairo, and the rest were acquired by the Museum in the division of finds. Among the inscriptions on the bases of these scarabs and seals are examples of every title Hatshepsut held, from the time she was "king's daughter" during the reign of her father, Thutmose I; through the time she was queen of her half-brother, Thutmose II; and during her regency and co-reign with her nephew/step-son, Thutmose III. After the death of her husband, Hatshepsut became regent for her nephew who was a small child. The length of this regency period is uncertain, with estimates ranging from two to seven years. At some time, probably toward the end of the regency, Hatshepsut adopted the name Maatkare which was usually enclosed in a cartouche and became her throne name as king. The name may be roughly translated as Maat (the goddess of truth) is the life force of Re (the sun god). In the inscription on the base of this scarab, the crouching figure of the goddess is identified by the ostrich plume, the word ka is written with the upstretched arms, and Re is represented by the sun disk.
Le triomphe de la coquetterie
Object type: print
Date: 1701 – 1800
Techniques: engraving, etching
Artist: anonymous, french, 18th century
Artist role: artist
Artist nationality: french
Artist dates: 1700 – 1800
Subjects: buildings,women,boats
Aankondiging van een lening aan de Amsterdamse Schouwburg
Object type: text sheet
Date: 1805 – 1890
Materials: paper
Techniques: letterpress printing
Artist: Anonymous
Subjects: on fire, ablaze, theatre, theatrical performance
Inscriptions: stamp, collector's mark: Lugt 1641

Aankondiging van een lening aan de Amsterdamse Schouwburg ter waarde van 900.000 gulden. De lening wordt verstrekt naar aanleiding van de schade die de brand op 19 en 20 februari 1890 heeft veroorzaakt. De ontvanger van de aankondiging kan door middel van obligaties deelnemen aan de lening en ontvangt dan een rente van 2%. Bijgevoegd een antwoordkaart waarmee de ontvanger zich kan inkopen in de lening. Onderwerpsrubrieken binnen de Atlas Zeden en Gewoonten: Tooneel, Varia (Beheer en financiën).
Hervormde Diakonie te Amsterdam, loodje dat behoeftige kerklidmaten bij uitdeling recht gaf op brood
Object type: armenloodje
Date: 1861 – 1861
Materials: silver
Techniques: striking
Location: amsterdam
Artist: david van der kellen (1804-1879)
Artist role: die cutter, draughtsman, print maker
Artist dates: 1804 – 1879
Subjects: amsterdam
Seated Figure Bottle
Object type: bottle
Date: 1101 – 1500
Materials: ceramic
Culture: chimú
Location: peru
Uitbeeldingen van karakters, eigenschappen, deugden en ondeugden
Object type: drawing
Date: 1675 – 1737
Materials: paint, ink, paper
Techniques: brush, pen
Artist: pieter van den berge
Artist role: draughtsman, print maker, printer, publisher
Artist dates: 1659 – 1737
Subjects: fear, dread; 'paura', 'timidità o timore', ímore (ripa) (+ personification)

Een staand persoon, links in profiel, de handen opgeheven, het gelaat driekwart naar links.
Gezicht op een palazzo
Object type: photograph
Date: 1865 – 1900
Materials: cardboard, photographic support
Techniques: albumen print
Artist: Anonymous
Inscriptions: number: ‘36’
Lamp
Object type: lamp
Date: 551 – 600
Materials: earthenware, glaze
Techniques: relief
Culture: chinese
Subjects: lions

While lions are not native to China, there is evidence that some specimens had reached China from the West by the Western Han (206 B.C.–A.D. 9) period. With the firm establishment of Buddhism in China in the Six Dynasties (220–589) period, lions-regarded as defenders of the faith and of the Buddhist law-began to be used in a specifically Buddhist context. The two types of relief lotus petals that circle the bowl and the bottom of this footed lamp were also a popular ornamental motif in sixth-century Buddhist art.
Nieuwe Grondtekening van de Stad Woerden
Object type: print
Date: 1749 – 1749
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: maps of cities
Inscriptions: date

Prent ook verschenen in: Beknopte Atlas van omtrent Honderd Platte Gronden (...) van Europa. Amsterdam: Compagnie van boekverkopers, [na 1780].
Bade
Object type: stereograph
Date: 1860 – 1860
Materials: cardboard, paper
Techniques: albumen print
Location: paris
Subjects: city-view in general; 'veduta'
Inscriptions: number: ‘899.’
Purple-breasted Chatterer, from the Song Birds of the World series (N23) for Allen & Ginter Cigarettes
Object type: print
Date: 1890 – 1890
Techniques: color lithograph
Artist: allen & ginter
Artist role: publisher
Artist nationality: american
Subjects: birds

Trade cards from the "Song Birds of the World" series (N23), issued in 1890 in a set of 50 cards to promote Allen & Ginter brand cigarettes.
Sketches of Figures, Hands, and Feet (related to the painting Aha oe feii? [What! Are You Jealous?])
Object type: drawing and watercolor
Date: 1891 – 1893
Materials: chalk, ink, paper
Techniques: pen
Location: france
Artist: paul gauguin
Artist role: artist
Artist nationality: french
Artist dates: 1848 – 1903
Vrouw op een bank
Object type: drawing
Date: 1866 – 1939
Materials: cardboard, chalk, ink, paper, pencil
Techniques: brush, pen
Artist: bernard willem wierink
Artist role: draughtsman, print maker
Artist dates: 1856 – 1939
Subjects: fable of reynard the fox

Ontwerp voor illustratie (fol. 2): Van den Vos Reinaerde; Vrouw op een bank.
Leren schootsvel behorend tot de uitrusting van een sappeur van de 1e Afdeling Noord-Hollandse Schutterij
Object type: voorschoot, schoot
Date: 1800 – 1830
Materials: leather
Location: netherlands
Artist: Anonymous
Subjects: noord-hollandse schutterij

Wit kalfsleren schootsvel. Afkomstig van de uitrusting van een sappeur van de 1e Afdeling Noord-Hollandse Schutterij.
Netsuke of Woman and Monkey
Object type: netsuke
Date: 1801 – 1900
Materials: ivory
Culture: japanese
Subjects: monkeys
Design for 4 seat Phaeton, no top, no. 3287
Object type: drawing
Date: 1876 – 1876
Materials: gouache, ink, watercolor
Techniques: pen
Artist: brewster & co.
Artist role: manufacturer
Artist nationality: american
Subjects: carriages

Brewster & Company History Established in 1810 by James Brewster (1788–1866) in New Haven, Connecticut, Brewster & Company, specialized in the manufacture of fine carriages. The founder opened a New York showroom in 1827 at 53-54 Broad Street, and the company flourished under generations of family leadership. Expansion necessitated moves around lower Manhattan, with name changes reflecting shifts of management–James Brewster & Sons operated at 25 Canal Street, James Brewster Sons at 396 Broadway, and Brewster of Broome Street was based at 372 & 374 Broome Street with a repository (showroom) on 14th Street & Fifth Avenue. By 1874, Brewster & Company had 400 employees and combined warehouse and factory facilities at 47th & 48th Streets and Broadway. Brewster successfully branched out to produce their own automobiles, as well as supplying bodies for Rolls Royce at their Long Island City location. Notable clientele included Alfred Gwynne Vanderbilt, August Belmont, J.P. Morgan, John Jacob Astor, Andrew J. Cassatt (brother of artist Mary Cassatt), William Rockefeller, Henry Clay Frick and Pierre Lorillard. Talented draftsmen employed by the firm included Paul Steinbeck, Herman Stahmer and John Gribbon, the latter teaching at the Carriage Builders and Designers Technical School, which opened in 1880 and was housed initially at the Metropolitan Museum of Art. When the company finally dissolved in 1923, its last owner William Brewster (1866–1949) donated its archive of design and presentation drawings to the Museum where he served as benefactor and trustee. Of all American carriage manufacturers, none was as highly regarded for design, finish and quality as Brewster & Company. They won many awards for outstanding workmanship, including the Legion d’Honneur (Legion of Honor) at the 1878 Paris Exposition (3rd World’s Fair). In appreciation for this achievement the Carriage Builders’ National Association presented them with a gold enameled Tiffany & Company plaque and autograph book signed by leading American carriage builders, both now at the Metropolitan Museum of Art. Merri Ferrell, 2016
Funerary Cone of the Royal Cup-Bearer Senemnetjer (?)
Object type: cone, suemniut, royal cup bearer, circular impression,
Date: 1550 – 1295
Materials: pottery
Location: egypt
Subjects: hieroglyphs
Design for Landaulet, no. 3358
Object type: drawing
Date: 1877 – 1877
Materials: gouache, gum arabic, ink, watercolor
Techniques: pen
Artist: brewster & co.
Artist role: manufacturer
Artist nationality: american
Subjects: carriages

Brewster & Company History Established in 1810 by James Brewster (1788–1866) in New Haven, Connecticut, Brewster & Company, specialized in the manufacture of fine carriages. The founder opened a New York showroom in 1827 at 53-54 Broad Street, and the company flourished under generations of family leadership. Expansion necessitated moves around lower Manhattan, with name changes reflecting shifts of management–James Brewster & Sons operated at 25 Canal Street, James Brewster Sons at 396 Broadway, and Brewster of Broome Street was based at 372 & 374 Broome Street with a repository (showroom) on 14th Street & Fifth Avenue. By 1874, Brewster & Company had 400 employees and combined warehouse and factory facilities at 47th & 48th Streets and Broadway. Brewster successfully branched out to produce their own automobiles, as well as supplying bodies for Rolls Royce at their Long Island City location. Notable clientele included Alfred Gwynne Vanderbilt, August Belmont, J.P. Morgan, John Jacob Astor, Andrew J. Cassatt (brother of artist Mary Cassatt), William Rockefeller, Henry Clay Frick and Pierre Lorillard. Talented draftsmen employed by the firm included Paul Steinbeck, Herman Stahmer and John Gribbon, the latter teaching at the Carriage Builders and Designers Technical School, which opened in 1880 and was housed initially at the Metropolitan Museum of Art. When the company finally dissolved in 1923, its last owner William Brewster (1866–1949) donated its archive of design and presentation drawings to the Museum where he served as benefactor and trustee. Of all American carriage manufacturers, none was as highly regarded for design, finish and quality as Brewster & Company. They won many awards for outstanding workmanship, including the Legion d’Honneur (Legion of Honor) at the 1878 Paris Exposition (3rd World’s Fair). In appreciation for this achievement the Carriage Builders’ National Association presented them with a gold enameled Tiffany & Company plaque and autograph book signed by leading American carriage builders, both now at the Metropolitan Museum of Art. Merri Ferrell, 2016
Saint Roch, kneeling on a stone, seen from the side with his dog behind him and a townscape in the background at left
Object type: print
Date: 1620 – 1630
Techniques: etching
Artist: giuseppe caletti, called cremonese
Artist role: artist
Artist nationality: italian
Artist dates: 1600 – 1660
Subjects: men,saints
Portret van Henriette Marguerite Madeleine Jarre
Object type: print
Date: 1877 – 1879
Materials: paper
Techniques: lithograph
Location: paris
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2228a, collector's mark: Lugt 2760
Letter M
Object type: print
Date: 1630 – 1630
Materials: paper
Techniques: engraving
Location: germany
Artist: peter aubry
Artist role: print maker, publisher
Artist nationality: german
Artist dates: 1596 – 1668
Antiquarum statuarum urbis Romae quae in publicis locis visuntur icones
Object type: print
Date: 1584 – 1584
Materials: paper
Techniques: engraving
Location: italy
Subjects: (story of) jupiter (zeus), piece of sculpture, reproduction of a piece of sculpture
Inscriptions: number: ‘41’

Deze prent maakt deel uit van een set van 79 prenten (+ titelprent) met voorstellingen van antieke sculpturen in Rome.
A Brush-maker at Work
Object type: print
Date: 1803 – 1803
Materials: paper
Techniques: blind stamped, woodcut
Location: japan
Artist: hishikawa sôri
Artist role: print maker
Subjects: handicrafts ~ other plant material, writing tools, brushes ~ implements of painter

Een surimono is een luxe uitgevoerde prent waarop beeld met één of meerdere gedichten gecombineerd is. Bij het drukken van een surimono werd vaak gebruik gemaakt van dikker papier, blinddruk en metaal pigmenten, zoals koper- en zilverpoeder. De prenten werden vaak in opdracht van dichters gemaakt en als exclusief geschenk aan vrienden en relaties gegeven.
Gesicht van Duynrel achter vande duyn naer 't huys / Conspectus Duynreliae ex posteriori parte ex arenis domum versus
Object type: print
Date: 1675 – 1711
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: triumphal arch, french or architectonic garden; formal garden, church (exterior), windmill, country-house
Inscriptions: collector's mark: Lugt 2228

Gezicht op de buitenplaats Duinrell, gezien vanaf de duinen. In het midden de erepoort met daarachter de tuin en het huis. Links op de achtergrond een kerk en een molen. Rechtsonder genummerd: 14. Prent uit een serie van zestien prenten van Duinrell.
Self-portrait
Object type: drawing
Date: 1806 – 1806
Materials: chalk, graphite, paper
Techniques: brush, drawing
Location: amsterdam
Artist: christiaan andriessen
Artist role: draughtsman, print maker
Artist dates: 1775 – 1846
Subjects: amsterdam, print maker, draughtsman, christiaan andriessen, walking-stick, staff, historical persons, portrait, self-portrait of artist, bridge

A full-length frontal portrait of a man in a frock coat and top hat, holding a walking stock. Seen behind him is a railing, likely of a canal bridge.
Portrait of a Man
Object type: drawing
Date: 1796 – 1796
Materials: graphite
Artist: george dance
Artist role: artist
Artist nationality: british
Artist dates: 1741 – 1825
Subjects: men,portraits
Opdracht met wapenschild van Hendrik Zwaerdekroon
Object type: book illustration
Date: 1727 – 1727
Materials: paper
Techniques: engraving
Location: dordrecht
Subjects: rotterdam, batavia, henricus zwaardecroon, fortitude, 'fortitudo' ~ one of the four cardinal virtues, (story of) minerva (pallas, athena), justitia (justice) as roman personification, prudentia (prudence) as roman personification
Inscriptions: collector's mark: Lugt 2228

Wapenschild van Hendrik Zwaerdekroon, gouverneur van Nederlands-Indië, gevat in een ornamentele omlijsting met Rechtvaardigheid (Justitia) en Voorzichtigheid (Prudentia). Zij houden een doek vast waarop een opdracht aan de gouverneur in het Nederlands. De omlijsting wordt bekroond door de personificatie van Kracht (Fortitudo) en Minerva.
Trapeze Artist
Object type: drawing
Date: 1867 – 1900
Materials: gouache, ink
Techniques: brush, pen, wash
Artist: anonymous, british, 19th century
Artist role: artist
Artist nationality: british
Artist dates: 1800 – 1900
Subjects: theatre,men,spectators,acrobats

A man in costume perfoms on a trapeze in a theater auditoriumm as a woman hangs over the stage with men standing below.
Hip-joint armchair (sillón de cadera or jamuga)
Object type: armchair
Date: 1480 – 1489
Materials: wood, ivory, leather, mother of pearl, parchment, pewter
Techniques: tooling
Culture: spanish
Snuffbox
Object type: snuffbox
Date: 1810 – 1810
Materials: enamel, gold
Artist: i.g.r. (possibly jean-georges reymond)
Artist role: maker
Artist dates: 1753 – 1813
Subjects: human figures
Collar
Object type: collar
Date: 1870 – 1870
Materials: cotton
Culture: american
Bird-shaped vessel
Object type: vessel
Date: 201 – 300
Materials: earthenware
Culture: korean
Subjects: birds

Footed bird-shaped vessels have been found primarily at burial sites on the southern Korean peninsula, near the Nakdong River. Occurring in pairs, they probably served as funeral ritual vessels and burial objects. Liquid was poured into this example through an opening at the back and flowed out through the bird’s tail.
Deer in Windsor Forest
Object type: drawing
Date: 1793 – 1794
Materials: graphite, watercolor
Artist: thomas girtin
Artist role: artist
Artist nationality: british
Artist dates: 1775 – 1802
Subjects: deer,trees

Girtin’s gemlike watercolor centers on a sturdy tree sheltering deer at Windsor, with a pond and fields in the middle distance and low hills beyond. The work conveys the impression of a sunny summer day but must have been finished indoors under controlled conditions since adjacent patches of color had time to dry; they would have blended slightly if painted quickly out of doors. Though Girtin was only eighteen when he made this watercolor, he ably conveys subtle variations of light, shade, and texture. Together with J. M. W. Turner, the artist is regarded as one of Britain’s most important watercolorists, who took the medium in unexpected directions. Tragically, his career was cut short by illness at the age of twenty-seven.
Portret van een jonge man bij een bureau met schildersattributen
Object type: carte de visite
Date: 1861 – 1865
Materials: cardboard, photographic support
Techniques: albumen print
Subjects: historical persons, youth, adolescent, tools, implements of painter
Inscriptions: inscription: ‘PRONK & CONEN./ Plantage Middenlaan 132./ Vis à vis du Jardin Zoologique/ à / AMSTERDAM.’
Ex pietate leuat caua vulnera Samaritanus
Object type: print
Date: 1646 – 1646
Materials: paper
Techniques: engraving
Location: alkmaar
Subjects: forest, wood, a samaritan tending the wounds of the traveller
Inscriptions: number: ‘78’

In een bosrijk rivierlandschap wordt de gewonde reiziger door de barmhartige Samaritaan verzorgd. Achter hem staat zijn paard. In de verte ligt een stad. Naar het Bijbelverhaal in Luc. 10: 25-37. Deze prent maakt deel uit van een album.
Indonesische bediende, Europese mannen en een vrouw rondom een tafel
Object type: photograph
Date: 1920 – 1930
Materials: photographic support
Techniques: gelatin silver print
Artist: Anonymous
Subjects: interior of the house, house personnel, servants, dutch east indies, the

Vier Europese mannen in witte kledij en een vrouw zitten aan een gedekte tafel met een wit tafelkleed. De raamluiken zijn gesloten. De stoffen kap van een hanglamp is nog juist zichtbaar. Staand voor het raam een Indonesische bediende met een hoofddeksel. Hij houdt zijn hand aan een schaal met serviesgoed. Onderdeel van familiealbum Nederlands-Indië.
Scent bottle
Object type: scent bottle
Date: 1765 – 1770
Materials: copper
Techniques: enamel
Subjects: flowers
De Blauwe Huyck (blad 2)
Object type: print
Date: 1577 – 1577
Materials: paper
Techniques: engraving
Location: low countries
Artist: joannes van doetechum (i)
Artist role: print maker
Artist dates: 1528 – 1605
Subjects: proverbs, sayings, etc.

zie: Gentsche Bijdragen VI, 1939-40, p. 186. Dit blad en het volgende (2 en 3) beschreven door Muller onder nummer FMH 3620. Beide prenten overgezet en gevoegd bij de twee bijbehorende platen (1 en 4) beschreven onder nummer 763A
Chiyoda Castle (Album of Men)
Object type: print
Date: 1897 – 1897
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: yōshū (hashimoto) chikanobu
Artist role: artist
Artist nationality: japanese
Artist dates: 1838 – 1912
Subjects: men,elephants,trees,flags
Doornenkroning van Christus
Object type: print
Date: 1626 – 1680
Materials: paper
Techniques: etching
Location: milan
Subjects: the crowning with thorns: soldiers with sticks place a thorny crown on christ's head and give him a reed (matthew 27:27-31; mark 15:16-20; john 19:2-3)
Inscriptions: collector's mark: Lugt 2228

Prent naar een schilderij gemaakt door Titiaan voor de Santa Maria delle Grazie te Milaan dat zich nu bevindt in het Musée du Louvre te Parijs.
Outer Robe (Uchikake) with Peonies, Plum Blossoms, and Butterflies
Object type: robe
Date: 1767 – 1833
Materials: metal thread, silk
Techniques: damask, embroidery
Culture: japanese
Subjects: butterflies,peonies

The uchikake is a lined silk robe with a wadded or padded hem, worn over another garment without a sash, usually for formal occasions or stage performances. The origins of the use of this garment among women of the samurai elite can be traced back to the Kamakura period (1185–1333). In the early Muromachi period (1392–1573) it was worn from early May to early September; from the end of the Muromachi period it was part of formal winter attire and made of thick materials. Starting in the mid-Edo period, it was constructed with white, black, and red figured satin and often fully embroidered with multicolored threads and gold. The uchikake is still worn over a kimono in the traditional wedding ceremony. This example is embellished with auspicious symbols, such as peonies—king of flowers, the first blossom of the spring—plum blossoms, and butterflies, which represent joy and longevity as well as marital happiness.