deem-data/ArtiFact huggingface dataset:
Landscape with bridge traversing a river occupied with three small boats, one of which is encroaching the near river bank, in the foreground are a rocky outcrop and a figure lifting a circular dish above a seated figure
Object type: print
Date: 1626 – 1680
Techniques: etching
Artist: giovanni francesco grimaldi
Artist role: artist
Artist nationality: italian
Artist dates: 1606 – 1680
Subjects: bridges,rivers,landscapes,trees,boats
Solidus
Object type: solidus
Date: 349 – 359
Materials: gold
Culture: byzantine
Subjects: men
Recueil de divers griffonnements & preuves d'eau forte
Object type: print
Date: 1620 – 1657
Materials: paper
Techniques: etching
Subjects: riding a horse, ass, or mule; rider, horseman, adult man, horse, head-gear: hat (+ feathers used for clothes)
Inscriptions: collector's mark: Lugt 240
Epitaphios
Object type: epitaphios
Date: 1772 – 1772
Materials: linen, metal thread, silk
Subjects: angels,cross,jesus
Portret van mevrouw Pruys van der Hoeven-Trompet
Object type: drawing
Date: 1865 – 1913
Materials: chalk, paper
Artist: a.a.l. de grammont-hubrecht
Artist role: draughtsman, painter, print maker
Artist dates: 1855 – 1913
Subjects: historical persons
Vase
Object type: vase
Date: 1520 – 1520
Techniques: maiolica, glazing
Subjects: cross
Evening ensemble
Object type: evening ensemble
Date: 1888 – 1888
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.
Fontarabie Port de Mer (...)
Object type: map
Date: 1726 – 1726
Materials: paper
Techniques: etching
Location: leiden
Subjects: fortress, maps of separate countries or regions

Plattegrond van de versterkingen om de Franse stad Fuenterrabía. Plaat nr. 420 in deel XVII van het prentwerk: Les Forces de l'Europe, Asie, Afrique et Amerique ... Comme aussi les Cartes des Côtes de France et d'Espagne uit 1726, dit tweede deel met 271 met de hand genummerde platen van vermaarde sterke steden en vestingen in het kader van de Spaanse Successieoorlog 1701-1713. Voor het merendeel zijn deze platen gekopieerd naar de anonieme Franse platen van vermaarde sterke steden en vestingen: in Les forces de l'Europe en in: Le theatre de la guerre, dans les Pays-Bas, beide oorspronkelijk uitgegeven door Nicolas de Fer te Parijs (1693-1697) in het kader van de Negenjarige Oorlog. Titel en opschriften in het Frans.
On the Waves of Love
Object type: print
Date: 1896 – 1896
Materials: paper
Techniques: aquatint, burnishing, drypoint
Location: norway
Artist: edvard munch
Artist role: print maker
Artist nationality: norwegian
Artist dates: 1863 – 1944
Set of five tiles
Object type: tile
Date: 1901 – 2000
Materials: pottery
Techniques: glazing
Fons Vitæ
Object type: print
Date: 1574 – 1637
Materials: paper
Techniques: engraving
Location: unknown
Subjects: the four symbols of the evangelists, 'the apocalyptic beasts', 'fons vitae', 'fons pietatis'
Inscriptions: collector's mark: Lugt 240

Christus staat in een waterbekken. Hij draagt de doornenkroon, omarmt het kruis en houdt een kelk vast. De voorstelling is gevat in een ovale omlijsting met een randschrift met een Bijbelcitaat in het Latijn. In de hoeken de symbolen van de vier evangelisten. In de marge een tweeregelig Bijbelcitaat in het Latijn.
Franz Joseph
Object type: portrait
Date: 1846 – 1846
Materials: glass
Artist: franchini co.
Artist role: manufacturer
Subjects: men,portraits
Briefkaart aan Jeannette Bouman-Stuyling de Lange
Object type: postcard
Date: 1899 – 1899
Materials: cardboard, ink
Techniques: pen, writing
Location: amsterdam
Artist: maurits van der valk
Artist role: draughtsman, print maker
Artist dates: 1857 – 1935

Briefkaart gericht aan Mevrouw Bouman de Lange, van Scholkweg, Villa Vineta, Scheveningen.
Christ Child with Pelicans
Object type: statuette
Date: 1701 – 1800
Materials: ivory
Subjects: skulls,pelicans,christ

The Christ Child contemplates His sacrifice, symbolized by the pelican that feeds its young with its own blood. The pelican in her piety became an emblem of Christ's Passion and of the Eucharist.
T. A. Nash's Fruit Shop (T. A. Nash's Greengrocer's Shop)
Object type: print
Date: 1887 – 1887
Materials: ink, paper
Techniques: drypoint, etching, printing
Artist: james mcneill whistler
Artist role: artist
Artist nationality: american
Artist dates: 1834 – 1903
Subjects: human figures
Gezicht op Sociëteit Klambir, Langkat Sumatra
Object type: photograph
Date: 1890 – 1900
Materials: cardboard, paper, photographic support
Techniques: albumen print
Location: bindjai
Subjects: sumatra
Furuichi Dance (No. 3 of a Set of Four)
Object type: print
Date: 1801 – 1900
Materials: ink, paper
Techniques: surimono, woodblock print
Culture: japanese
Artist: yashima gakutei
Artist role: artist
Artist nationality: japanese
Artist dates: 1786 – 1868
Subjects: women,dancing
Plaque with Animal Head
Object type: covering and hanging
Materials: jade
Location: china
Worship of the Golden Calf
Object type: drawing and watercolor
Materials: ink, paper, lead, pigment
Techniques: brush, heightening, pen, wash
Location: italy
Artist: possibly after antonio zannoni
Gezicht op het Rokin te Amsterdam
Object type: sketchbook leaf
Date: 1900 – 1923
Materials: chalk, paper
Location: amsterdam
Artist: george hendrik breitner
Artist role: draughtsman, painter, print maker
Artist dates: 1857 – 1923
Subjects: urban housing, canals, waters (in city) (+ city(-scape) with figures, staffage)

Mogelijk gezien vanuit Rokin 93, de voormalige kapel van het Sint-Mariaklooster. Pagina 61 en pagina 62 uit een schetsboek met 39 bladen.
Panel
Object type: panel
Date: 1715 – 1730
Materials: iron
Portret van François de Sécus
Object type: print
Date: 1829 – 1829
Materials: paper
Techniques: lithograph
Location: brussels
Subjects: historical persons, politician, e.g. party leader
Inscriptions: collector's mark: Lugt 2233

Met vierregelig onderschrift in het Frans.
Deugden en ondeugden
Object type: print
Date: 1836 – 1836
Materials: paper
Techniques: hand coloring, lithograph
Location: paris
Subjects: labourers returning home, family life at home, the poor
Inscriptions: check stamp: Lugt 1397c, collector's mark: Lugt 2228a

Een arme arbeider komt zonder het tweewekelijkse salaris thuis bij zijn gezin. Hij gebruikt de smoes dat hij het geld verloren heeft.
See 18.2.31
Object type: bead, granulation
Date: 1070 – 332
Materials: gold
Location: egypt
Two Designs for Pediments, one with a Putto and Hybrid creatures, another dedicated to Labor (Travail)
Object type: drawing
Date: 1834 – 1866
Materials: graphite, ink, watercolor
Techniques: pen
Artist: jean-baptiste louis plantar
Artist role: artist
Artist nationality: french
Princess Pauline Metternich (1836–1921) on the Beach
Object type: painting
Date: 1865 – 1867
Materials: cardboard, oil, wood
Artist: eugène boudin
Artist role: artist
Artist nationality: french
Artist dates: 1824 – 1898
Subjects: princesses,women,beaches

Pauline Metternich, wife of the Austrian ambassador at the court of Napoleon III, was a famously homely yet chic style icon known for her sense of wit; she was said to have referred to herself as "the fashion monkey." Boudin achieved success with his scenes of stylishly dressed families taking the sea air at Trouville and other beach resorts, and apart from Empress Eugénie, no woman would have aroused more interest on the beach than her friend Princess Metternich.
Het Isola San Bartolommeo met de Ponte Quattro Capi, voorheen de Pons Fabricius, Rome
Object type: drawing
Date: 1761 – 1817
Materials: graphite, ink, paper
Techniques: brush, pen
Subjects: city-view in general; 'veduta', bridge in city across river, canal, etc.

Tekening uit een groep tekeningen van landschappen en stadsgezichten in Italië (Rome, Tivoli, Civita Castellana en Pozzuoli).
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 500 – 480
Materials: terracotta
Culture: greek, attic

Exterior, head, neck, and left shoulder, with drapery of a bearded, wreathed male to right; right forearm with hand holding a flower
Fotoreproductie van een prent naar een schilderij, voorstellende een portret van Correggio
Object type: page
Date: 1870 – 1876
Materials: paper
Techniques: woodburytype
Artist: Anonymous
Subjects: painter, print maker, draughtsman, correggio, portrait, self-portrait of painter
Inscriptions: inscription: ‘Stoke Newington Public Libraries’
Landschap met houtzagers en een herder
Object type: print
Date: 1822 – 1822
Materials: paper
Techniques: etching
Location: dresden
Artist: philipp veith
Artist role: draughtsman, print maker
Artist dates: 1768 – 1837
Subjects: landscapes, herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc., sawyer
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 3976, collector's mark: Lugt 2228
Christian IX, King of Denmark, from the Rulers, Flags, and Coats of Arms series (N126-1) issued by W. Duke, Sons & Co.
Object type: print
Date: 1888 – 1888
Techniques: color lithograph
Artist: w. duke, sons & co.
Artist role: publisher
Artist nationality: american
Artist dates: 1870 – 1920
Subjects: kings,portraits,coat of arms,flags

Trade cards from the "Rulers, Flags, and Coats of Arms" series (N126-1), issued in 1888 by W. Duke, Sons & Co. There are two types of cards from the series. The first type, pictured here, is made of thick stock and does not fold. This variation promotes Honest Long Cut tobacco. The second type is printed on thinner stock and is meant to be folded in three parts. This variation promotes Duke's Cigarettes, Cameo, and Turkish Cross-Cut brands.
Gezicht op Bad Godesberg en de ruïne van de Godesburg
Object type: stereograph
Date: 1857 – 1863
Materials: cardboard, paper
Techniques: albumen print
Location: cologne
Artist: theodor creifelds
Artist role: publisher
Artist dates: 1815 – 1875
Subjects: landscape with ruins, landscape with tower or castle
Inscriptions: number: ‘Nro. 74.’, inscription: ‘No’
Inkstand
Object type: inkstand
Date: 1701 – 1800
Materials: earthenware
Techniques: glazing
Artist: johannes zeschinger
Artist role: decorator
Artist dates: 1723 – 1823
Subjects: men,women
De kleine Passie
Object type: print
Date: 1521 – 1521
Materials: paper
Techniques: engraving
Location: low countries
Artist: lucas van leyden
Artist role: draughtsman, painter, print maker
Artist dates: 1494 – 1533
Subjects: flagellation by soldiers, christ usually tied to a column (matthew 27:26; mark 15:15; john 19:1)
Inscriptions: date

Christus vastgebonden aan een zuil, wordt gegeseld met een zweep en roe door twee mannen.
“Harishchandra and his Minister Killing a Tiger,” folio from a Harishchandra Series
Object type: folio
Date: 1800 – 1850
Materials: ink, paper, watercolor
Culture: western indian
Subjects: swords,men,dogs,horses,tigers
De Lemmer naar de Groote Lantaarn te zien / Vue du Lemmer prisse vers le Coté del grande lanterne
Object type: print
Date: 1824 – 1825
Materials: paper
Techniques: engraving, etching, hand coloring
Location: amsterdam
Subjects: harbour, beacon
Inscriptions: stamp, collector's mark: Lugt 1641

Huidige staat van prent uitgegeven als onderdeel van een plaatwerk uit ca. 1824-1825 met 74 (ongenummerde) platen van de belangrijkste topografische gezichten en verschillende zeden en gewoonten in het Verenigd Koninkrijk der Nederlanden, getiteld 'Tableau des principales vues des palais et édifices : représentations et des coutumes et usages, dans les provinces septentrionales du Royaume des Pays-Bas'. Eerdere staat gebruikt in: Vaderlandsche gezichten, of afbeeldingen van den tegenwoordigen staat der Vereenigde Nederlanden (…). Amsterdam: Hendrik Gartman, Willem Vermandel en Jan Willem Smit, 1786-1792. Uitgegeven in afleveringen met ieder een eigen bifolium en inhoudsopgave. Alle prenten in deze publicatie zijn gegraveerd door Carel Frederik Bendorp (I) en, in de meeste gevallen, gebaseerd op tekeningen van Jan Bulthuis.
Pair of Belt Plaques with Winged Horses
Object type: belt plaque
Date: 1 – 100
Materials: bronze
Techniques: gilding
Culture: chinese
Artist: unidentified artist
Artist role: artist
Subjects: horses

Unlike the ornaments favored by the Xiongnu, few plaques or other adornments used by the Xianbei are known. Gilt plaques embellished with images of flying horses similar to these have been excavated at sites on the Manchurian plain in northeast China; however, it is rare for a pair with facing horses to survive. The name Xianbei refers to a confederation of tribes that spoke different languages and came from varying regions. Originally part of the Xiongnu empire, the Xianbei broke away and resumed control of their lands in the mid-first century B.C. From that time until the sixth century A.D., they played a complicated role in Central Asian and Chinese history. The Xianbei ruled many of the small states that vied for control of North China from the third to the mid-fifth century. The Tuoba, a subsidiary branch of the eastern Xianbei, established the powerful Northern Wei dynasty that ruled North China from the mid-fourth to the mid-sixth century. The first chapter of the Wei Shu (History of the Wei), written in the mid-sixth century by the Chinese historian Wei Shou, preserves most of what little is known about the Tuoba prior to the establishment of the Northern Wei dynasty (386–534). According to this source, a mysterious animal spirit that was shaped like a horse and bellowed like an ox led the Tuoba south on the perilous journey from their homeland in Heilongjiang Province (in the far northeast of China) over the Daxing'an Range and into the Inner Mongolian plain. It is possible that the winged horses on this pair of plaques illustrate the legendary event.
Lamp
Object type: lamp
Date: 801 – 900
Materials: glass
Techniques: glassblowing
Location: iran

This glass lamp was excavated at the site of Tepe Madrasa 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 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. The recovered artifacts were divided in half between the two countries, resulting in over four thousand objects in the Met’s collection today. As part of the larger "Persian Expedition" project at Nishapur, American archaeologists and hundreds of Iranian workers excavated a mound named Tepe Madrasa. There, they uncovered an architectural complex which they tentatively associated with a palace or governmental center because of the solidity of the built structures and the extent and variety of wall decorations (including carved and painted brickwork, glazed tiles, wall paintings, and carved and painted stuccoes). This, together with the ceramic and metal finds, aided in attributing the site to the ninth or tenth century onwards. A mosque, refurbished multiple times up to the late eleventh century, was also unearthed, yielding the remains of a monumental entrance with a large terracotta inscription bearing the titles of a sultan (39.40.58, .60–64). Several twelfth century tombstones were also unearthed, showing the shift in purpose of what was earlier a residential area.
Eaux-Fortes sur Paris
Object type: print
Date: 1853 – 1853
Materials: paper
Techniques: drypoint, etching
Location: paris
Subjects: bridge
Inscriptions: collector's mark: Lugt 2228, collector's mark:

Afkomstig uit album met titel Eaux-Fortes par Meryon. Het album bevatte een titelblad en twaalf prenten op opzetvellen welke bij elkaar waren gebracht door het Ministère de l'intérieur te Parijs op voorspraak van Jules Niels. Vanwege de kwetsbaarheid van de prenten zijn deze uit het album gehaald en wordt de oude band met lege opzetvellen in de collectie van het RMA bewaard. Deze ets bevond zich op opzetvel p. 1. Meryon was van plan om een serie stadsgezichten van Parijs in een album uit te geven. De serie losse prenten staat bekend onder de titel Eaux-Fortes sur Paris. Waarschijnlijk heeft Meryon in enkele gevallen op verzoek series gedrukt zoals voor het Parijse ministerie (De Groot 1991, p. 23, 24).
Tablino Atrio
Object type: reproduction
Date: 1859 – 1869
Materials: photographic support
Techniques: albumen print
Artist: Anonymous
Subjects: vestibule, hall, ruin of a dwelling, house, castle, etc., rome
Inscriptions: number: ‘Tav. II.’, inscription: ‘Ala Sinistra Ala Destra’
Plate 6, Outlines of Figures, Landscapes and Cattle...for the Use of Learners
Object type: print
Techniques: etching
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: soldiers,men,women,horses
Portret van een onbekende man
Object type: print
Date: 1836 – 1869
Materials: paper
Techniques: lithograph
Artist: alexandre collette
Artist role: print maker
Artist dates: 1814 – 1876
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2228a
Man en twee jongens op het gemaal van een molen bij Les Andalys, Frankrijk
Object type: page
Date: 1890 – 1895
Materials: paper
Techniques: autotype
Subjects: watermill
Inscriptions: name: ‘Mor[j]an & Kidd’
Glass perfume bottle
Object type: bottle
Date: 67 – 200
Materials: glass
Culture: roman

Translucent deep emerald green. Everted rim, folded over and in, with beveled outer lip; tall cylindrical neck, with tooled horizontal indent around base; conical body with rounded bottom edge; bottom slightly pushed-in. Intact; many pinprick bubbles; deep pitting, weathering, and brilliant iridescence. Thick-walled, heavy vessel.
Gezicht op de Westerkerk te Amsterdam, 1726
Object type: print
Date: 1726 – 1726
Materials: paper
Techniques: engraving, etching
Location: leiden
Subjects: westerkerk, spaanse successieoorlog

Gezicht op de Westerkerk te Amsterdam. Plaat nr. 294 in deel XIII van het prentwerk: Les Forces de l'Europe, Asie, Afrique et Amerique ... Comme aussi les Cartes des Côtes de France et d'Espagne uit 1726, dit tweede deel met 271 met de hand genummerde platen van vermaarde sterke steden en vestingen in het kader van de Spaanse Successieoorlog 1701-1713. Voor het merendeel zijn deze platen gekopieerd naar de anonieme Franse platen van vermaarde sterke steden en vestingen: in Les forces de l'Europe en in: Le theatre de la guerre, dans les Pays-Bas, beide oorspronkelijk uitgegeven door Nicolas de Fer te Parijs (1693-1697) in het kader van de Negenjarige Oorlog. Titel in het Nederlands en Latijn.
The Entombment of Christ
Object type: drawing and watercolor
Materials: ink, paper
Techniques: pen
Location: italy
Artist: andrea mantegna, after
Portret van Gundacker Von Polheim (1575-1644)
Object type: drawing
Date: 1580 – 1629
Materials: chalk, paper
Artist: aegidius sadeler (ii)
Artist role: draughtsman, print maker
Artist dates: 1568 – 1629
Subjects: historical persons
Treasured Admonitions to Young Women (Jijo hokun onna Imagawa)
Object type: print
Date: 1784 – 1784
Techniques: woodblock print
Location: japan
Artist: torii kiyonaga
Artist role: artist
Artist nationality: japanese
Artist dates: 1752 – 1815