deem-data/ArtiFact huggingface dataset:
Bataille der Keyserse tegen de Turken int ontsetten van Weenen
Object type: print
Date: 1684 – 1684
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: jan iii sobieski (koning van polen), vienna, leopold i (keizer van duitsland), raising the siege with outside assistance, relief, battle, fighting in general, violent death, being killed; being mishandled and maltreated; seeking death
Inscriptions: collector's mark: Lugt 2228

Illustratie voor Johann van Ghelen, Relation succinte et veritable de tout ce qui s'est passé pendant le siege de Vienne, residence de Sa Majesté Imperiale, assiegée par les Turcs depuis le 14. juillet jusqu'au 12. de septembre 1683., Bruxelles: Jean Leonard, 1684.
Opera Nova Universali intitulata Corona di racammi, page 34 (recto)
Object type: book print ornament architecture
Techniques: woodcut
Artist: giovanni andrea vavassore
Artist role: publisher
Artist nationality: italian
Artist dates: 1530 – 1573
Subjects: flowers

Published by Giovanni Andrea (called "Guadagnino") Vavassore, Italian, active 16th century, Venice. From top to bottom, and left to right: design composed of 2 vertical columns: left is illustrated with larger floral pattern that has identifiable central flower flanked by 2 other floral motifs, and right is illustrated by curving vines between which various flowers are interspersed.
Terracotta head of a man
Object type: head of a man
Date: 300 – 101
Materials: terracotta
Culture: greek, south italian, tarentine
Subjects: heads,men
Figure
Object type: figure
Date: 1662 – 1722
Materials: porcelain
Culture: chinese
Subjects: men
Covered Incense Box
Object type: covered incense box
Date: 1201 – 1400
Materials: clay
Culture: korean
Heilige Rochus
Object type: print
Date: 1501 – 1580
Materials: paper
Techniques: engraving, etching
Location: italy
Artist: giulio bonasone
Artist role: painter, print maker
Artist dates: 1510 – 1576
Subjects: the confessor and pilgrim roch(us) (rocco, rock) of montpellier; possible attributes: angel (with ointment box or spoon), dog (sometimes with loaf), (pointing at) plague-spot on thigh, pilgrim's shell, staff, hat and wallet
Inscriptions: collector's mark: Lugt 2228

De heilige Rochus staand in een landschap. Achter hem een hond.
Vrouw knielend voor een kapelletje
Object type: print
Date: 1844 – 1844
Materials: paper
Techniques: drypoint, etching
Location: amsterdam
Artist: cornelis springer
Artist role: draughtsman, painter, print maker
Artist dates: 1817 – 1891
Subjects: parts of church exterior and annexes: chapel, crucifix ~ personal devotion
Inscriptions: collector's mark: Lugt 2228

Een vrouw knielt voor een kappelletje, waarin een kruisbeeld hangt, aan de buitenzijde van een kerk. Een man staat met zijn hoed in de handen naast haar.
Newes Modelbuch in Kupffer  (Page 56r)
Object type: book print ornament architecture
Date: 1604 – 1604
Techniques: etching
Artist: johann sibmacher
Artist role: artist
Artist nationality: german
Artist dates: 1590 – 1611
Subjects: ornament

Designed by Johann Sibmacher, German, active 1590-1611. 2 illustrated title pages, 12 pages of text surrounded by decorative borders, and 56 pages of designs.
Bowed Mandolin
Object type: bowed mandolin
Date: 1900 – 1900
Materials: wood
Culture: north american
Location: united states
Artist: joseph collingwood
Artist role: maker
Artist nationality: american
Artist dates: 1853 – 1928

Herman J. Weckwerth of Germania, Wisconsin filed a patent on May 18, 1899 for an unusual mandolin body, which was granted to him on June 27 of the same year. The patent specifices that it is for the design of a mandolin body and shows a drawing of an instrument shaped like the example at The Met. The instrument has four double-courses of strings and a cross-section on the patent reveals a slightly arched top and back. As such, the Weckwerth patent would seem to related to other mandolin designs from the period such as Orville Gibson's archtop mandolin patent of 1898 (see Met number 2015.643a, b, c) and George Contal's Arnola (violaline) patented in France in 1900 (see Met number 2018.869a, b). However, the Weckwerth instrument at the museum is set up with a high arched bridge, an arched fingerboard, and a padding like a chinrest on the tailpiece. Further, inside the instrument there is a soundpost and a bass bar. These features indicate the museum's instrument was set up to bow like a violin, rather than pluck like a mandolin. The bowed-mandolin was built for Weckwerth by the highly regarded violin maker Joseph Collingwood of Ottumwa, Iowa. Description: Lozenge-shape body with lower end (tail) squared off; arched front (pine) and back; two D-shaped soundholes flaking a crude, high violin-type movable bridge with blocks added under the feet; ebony fingerboard (unfretted) extending above top from an angled violin-type neck terminating in a flat tuning head with geared machine pegs; four pairs of wire strings (lowest two pairs overwound) attached to a wide metal tailpiece that also holds a velvet-covered chinrest; violin-type bass bar and sound post within; dark brown varnish.
Landschap met drie boeren en een boerin
Object type: print
Date: 1626 – 1626
Materials: paper
Techniques: etching
Location: haarlem
Artist: pieter de molijn
Artist role: draughtsman, painter, print maker, publisher
Artist dates: 1595 – 1661
Subjects: landscapes in the temperate zone, farmers, farm or solitary house in landscape
Inscriptions: collector's mark: Lugt 2228a

In een landelijke omgeving staan drie boeren en een boerin in de buurt van een huis te praten. Bovenin de voorstelling een tablet met het adres van de prentmaker. Deze prent is onderdeel van een serie van vier prenten van landschappen met figuren.
Capel Carrig, Caernarvonshire
Object type: print
Date: 1838 – 1838
Techniques: etching
Artist: john sell cotman
Artist role: artist
Artist nationality: british
Artist dates: 1782 – 1842
Subjects: interiors,chapels

This etching of a Welsh chapel demonstrates Cotman’s lifelong fascination with the irregularity of old buildings. Gothic arches screen a small side chapel near neatly arranged rows of heavy benches. Broken stone slabs in the left foreground disrupt the orderly interior. In 1824 Cotman had begun a series of etchings titled Liber Studiorum, which paid tribute to J.M.W. Turner’s famous series of 1807–9. Where Turner employed mezzotint engravers to add tone to his etched outlines, Cotman’s choice of soft-ground etching enabled him to create his prints without assistance.
St. Cecilia, Playing the Organ
Object type: print
Date: 1593 – 1593
Techniques: etching
Artist: gerrit pietersz. sweelink
Artist role: artist
Artist nationality: netherlandish
Artist dates: 1566 – 1612

An Amsterdam painter and draftsman, Gerrit Pietersz., moved to Haarlem in about 1588-89, to train with Cornelis Cornelisz., a Mannerist artist whose work had a lasting influence on him. While in Haarlem, he made six prints that are arguably his most innovative and beautiful works. Although Pietrsz. was drawn to printmaking while in Haarlem, he, unlike his contemporaries, eschewed the sharp swelling and tapering lines characteristic of Mannerist engraving and turned to etching instead. In contrast to the hard brilliance of the engravings by Goltzius and his school, Pietersz.’s etchings are loose and exuberant. The lines seem almost to have a life of their own, as we can see in the looping curls of Joseph’s beard and hair in The Rest on the Flight into Egypt, or the bunched drapery of St. Cecilia’s sleeve in St. Cecilia Playing the Organ. Printmaking was something of an experiment for Pietersz. He only executed six etchings during his entire career, five of which are dated 1593. All of his etchings are extremely rare, known only in a handful of impressions. The Met has four of his prints (one in a duplicate impression), more than any institution apart from the Albertina in Vienna and the Rijksmuseum in Amsterdam. St. Cecilia, one of the most famous early martyrs and the patron saint of musicians. She was the daughter of a noble Roman family who vowed to God to remain a virgin, but her parents forced her to marry a pagan. At her wedding, she heard divine music, sustaining her in her vow and subsequently converted her husband to Christianity. She eventually converted hundreds of other pagans but was martyred for her efforts. St. Cecilia no doubt had personal meaning for Pietersz. because his brother, Jan PIetersz. Sweelinck, was a composer and organist, and his father was also an organist. Here Pietersz. sets Cecilia in the celestial rather than the worldly realm, accompanied by two young angels. She is seated at an organ, an instrument she was thought to have invented, though in fact it dates from a much earlier period.
Tafellaken met pellenpatroon
Object type: tablecloth
Date: 1737 – 1737
Materials: linen
Techniques: peeled fabric
Location: northern netherlands
Inscriptions: date

Wit linnen tafellaken met een pellenpatroon in keperbinden, genaamd "Oostindische caracters". Merk kroon WG 5 en 1737.
Karel I, koning van Spanje, tot Duits keizer gekozen, rekenpenning van de raad van Financiën
Object type: jeton
Date: 1520 – 1520
Materials: copper
Techniques: striking
Artist: Anonymous
Subjects: ghent, charles v (holy roman emperor and king of spain)
Arles
Object type: photograph
Date: 1851 – 1900
Materials: cardboard, paper
Techniques: albumen print
Location: arles
Artist: Anonymous
Subjects: parts of church exterior and annexes: portal
Inscriptions: inscription: ‘Arles’, stamp: ‘14’
Fumette
Object type: print
Date: 1858 – 1858
Materials: chine, paper
Techniques: printmaking, etching
Artist: james mcneill whistler
Artist role: artist
Artist nationality: american
Artist dates: 1834 – 1903
Subjects: women

Whistler's mistress Heloise was nicknamed Fumette for her quick temper. Thought to be a gypsy, she worked as a milliner in the Latin Quarter of Paris and lived with the artist for two years. Her bohemian character is suggested here by hair worn loose, in defiance of convention, and crouching pose. Sympathetic to realist and naturalist ideas current in France, the artist avoided idealization or suggestions of universal meaning. Seymour Haden later recorded that Whistler etched the image before leaving for a tour of the Rhineland in mid-August 1868. After his October return, impressions were pulled for publication a month later in "Douze eau-fortes d'apres Nature" ("Twelve Etchings from Nature," known as the "French Set"). Evidently pleased with the print, the artist sent an impression to the Paris Salon of 1859. This impression belonged to Thomas Winans, a Baltimore friend who financed the artist's move to Paris in 1855; Winans kept the print in an album that descendants gave to the Museum.
Plafondlicht met ajourmotieven
Object type: ceiling fixture
Date: 1916 – 1916
Materials: copper
Techniques: embroidery, sawing
Location: amsterdam
Artist: theo nieuwenhuis
Artist role: designer, draughtsman, print maker
Artist dates: 1866 – 1951

Het licht bestaat uit een vierkante aanzet bij het plafond, welke naar het midden naar beneden toe rond ombuigt tot een ronde met twee rijen geometrische ajourmotieven gedecoreerde rand, welke aan één zijde halfrond is uitgezaagd. Tegen deze rand is ca. 1980 aan de binnenzijde een crèmekleurige met bruine kralen versierde volant van shantung aangebracht.
Smederij
Object type: print
Date: 1514 – 1532
Materials: paper
Techniques: letterpress printing
Artist: Anonymous
Subjects: stone-cutter, stone-sawyer, smith, blacksmith

Deze prent is gebruikt in: Petrarca, Francesco. Von der Artzney bayder Glück, des guten und widerwertigen: unnd weß sich ain yeder inn Gelück und Unglück halten sol (...). Augsburg: Heinrich Steiner, 1532. Deze uitgave is ook bekend onder de titel 'Trostspiegel in Glück und Unglück'.
“Heave-ho!..Heave-ho! Heave-ho!,” plate 179
Object type: print
Date: 1832 – 1832
Materials: paper
Techniques: lithograph
Location: france
Artist: honoré daumier
Artist role: artist
Artist nationality: french
Artist dates: 1808 – 1879
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 490 – 470
Materials: terracotta
Culture: greek, attic

Exterior, buttocks, thighs, and left hand holding basket of male to right
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 490 – 470
Materials: terracotta
Culture: greek, attic

Exterior, part of torso and extended arm of a Scythian or an Amazon?
Seated Nude with Propped-up Arm
Object type: drawing
Date: 1916 – 1916
Materials: graphite, paper
Artist: amedeo modigliani
Artist role: artist
Artist nationality: italian
Artist dates: 1884 – 1920
Subjects: female nudes
The Moon
Object type: album leaf
Date: 1866 – 1880
Materials: cardboard, paper
Techniques: albumen print
Artist: warren de la rue
Artist role: astronoom, fotograaf, scheikundige
Artist dates: 1815 – 1889
Subjects: waxing moon, i.e. facing this way: ), moon
Inscriptions: inscription: ‘PHOTOGRAPHED BY SMITH, BECK & BECK,/ from an Original Negative by/WARREN DE LA RUE, ESQ, F.R.S.’
Fringe
Object type: fringe
Date: 1834 – 1866
Cape
Object type: cape
Date: 1860 – 1860
Culture: american or european
Initiaal T (Zahltafel) met uil en randversiering van druiven en bladmotieven
Object type: print
Materials: parchment
Techniques: hand coloring
Location: vienna
Subjects: initial, owls
Bowl
Object type: bowl
Date: 1780 – 1580
Materials: ceramic, paint
Culture: canaanite
Location: levant
Blad 14 uit Stamboek van de leerlingen der Koloniale School voor Meisjes en Vrouwen te 's-Gravenhage deel I (1921-1929)
Object type: photograph
Materials: paper, photographic support
Techniques: photography, printing, writing
Location: the hague
Artist: Anonymous
Subjects: further education (+ pupil), further education, the hague

Twee pagina's met gegevens van de deelnemers aan de 5e driemaandelijkse cursus van 3 januari tot en met 28 maart 1923, stamboeknummers 60 tot en met 64. Onderdeel van Stamboek van de leerlingen der Koloniale School voor Meisjes en Vrouwen te 's-Gravenhage deel I (1921-1929).
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 480 – 470
Materials: terracotta
Culture: greek, attic

Exterior, head and right shoulder of youth to right
Cabinet des Modes ou les Modes Nouvelles, 15 Octobre 1786, pl. II
Object type: fashion print
Date: 1786 – 1786
Materials: paper
Techniques: engraving
Location: paris
Subjects: ear-rings (+ women's clothes), head-gear (pouf) (+ women's clothes), head-gear (baigneuse) (+ women's clothes), styles of hairdress - aa - ~ women, head-gear: cap (+ women's clothes), fashion plates

Twee vrouwenbustes met hoeden: links een 'Baigneuse', rechts een 'Pouf à la Virginie'.
Cuneiform tablet: distribution of copper knives
Object type: cuneiform tablet
Date: 2600 – 2350
Materials: clay
Location: mesopotamia

The invention of writing in approximately 3300 B.C. was one of many developments in administrative technology--including the use of geometric tokens for counting and cylinder seals to guarantee transactions--that accompanied the growth of the first cities and states in southern Mesopotamia. Proto-cuneiform is the name given to the earliest form of writing--pictograms that were drawn on clay tablets. Gradually, the pictograms became abstracted into cuneiform (Latin, "wedge-shaped") signs that were impressed rather than drawn. At its greatest extent, cuneiform writing was used from the Mediterranean coast of Syria to western Iran and from Hittite Anatolia to southern Mesopotamia. It was adapted to write at least fifteen different languages. The last dated cuneiform text has a date corresponding to A.D. 75, although the script probably continued in use over the next two centuries. This tablet was excavated at the site of Nippur in Mesopotamia. The cuneiform text concerns the distribution of copper knives and records the various quantities issued to individuals. It was found in level VII B of the Inanna Temple along with objects such as statues, fragments of shell inlay, and vessels. The temple was excavated by a joint expedition of the Oriental Institute of the University of Chicago and the American Schools of Oriental Research. Inanna, whose name means "Queen of Heaven," was the goddess of fertility embodied in the planet Venus, which appears in the morning and again in the evening. Her temple at Nippur was named E-duranki, "the bond of heaven and earth." Excavations showed that this temple was in existence by the Early Dynastic I period and that sacred structures were rebuilt in the same sanctified location until the Parthian period nearly three thousand years later.
Houten roeiboot aan de oever van een rivier of meer
Object type: sketchbook leaf
Date: 1840 – 1841
Materials: paper, pencil
Artist: johannes tavenraat
Artist role: draughtsman, painter, print maker
Artist dates: 1809 – 1881
Subjects: landscapes with waters, waterscapes, seascapes (in the temperate zone), rowing-boat, canoe, etc.

Blad 1 verso uit een schetsboek met 41 bladen.
Afbeeldingh hoe seven wyven vechten om een mans broeck ende de vrou de broeck aentrecht [(...)]
Object type: popular print
Date: 1700 – 1725
Materials: paper
Techniques: woodcut
Location: low countries
Subjects: proverbs, sayings, etc.

Blad met 5 voorstellingen van spreekwoorden, waaronder 'Beter een vogel in de hant als thien in de loght' en 'Dese wayt met alle winden'. Onder elke afbeelding een onderschrift.
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 550 – 526
Materials: terracotta
Culture: greek, attic

Interior, gorgoneion with three black dots in the center of the forehead; Exterior, a red glazed ring at the juncture of the bowl and stem; the underside of the tondo is unglazed
Eccentric Anthropomorph
Object type: anthropomorph
Date: 1500 – 500
Materials: copper
Culture: nepali
The Pyramid of Gaius Cestius, from Views of Rome
Object type: print
Materials: paper
Techniques: etching
Location: italy
Artist: giovanni battista piranesi
Artist role: artist
Artist nationality: italian
Artist dates: 1720 – 1778

One of two Piranesi engravings of the Pyramid of Cestius, this etching was published posthumously by the artist’s sons. The pyramid was essential viewing for many who undertook the Grand Tour in the 18th and 19th centuries. Constructed c. 18 b.c./c. 12 b.c. as a tomb for the powerful Roman magistrate Gaius Cestius, the marble-clad structure is reminiscent of the Roman fad for all things Egyptian. In fact, the similarity of the tomb to the pyramids of Nubia suggests that Cestius served on a military campaign in Egypt. Today Cestius’s well-preserved tomb remains Rome’s only existing ancient Egyptian-style pyramid.
Herder met schaapskudde
Object type: print
Date: 1876 – 1876
Materials: paper
Techniques: drypoint, etching, intaglio
Location: paris
Subjects: sheep, herd, flock
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760, collector's mark: ‘AFE v S’, watermark
Kust bij Saint-Raphaël
Object type: print
Date: 1930 – 1930
Materials: paper
Techniques: woodcut
Artist: bernard essers
Artist role: print maker
Artist dates: 1893 – 1945
Subjects: rocky coast, fishing (sports)
Inscriptions: collector's mark: Lugt 2228

Twee vissers tussen begroeiing op rotsen aan zee nabij Saint-Raphaël, een plaats ten westen van Cannes in Frankrijk.
Statue of a recumbent lion
Object type: print
Date: 1825 – 1900
Techniques: lithograph, printing
Artist: Anonymous
Artist role: artist
Subjects: lions
Chalcedony scarab
Object type: scarab
Date: 400 – 301
Materials: stone
Culture: etruscan
Subjects: birds,horses,scarabs
St. Mark, seated with an unfurled scroll in his hands, a winged lion's head and forefeet emerge beneath his robes, from a series of the four evangelists after Agostino Veneziano, which are in turn after Giulio Romano
Object type: print
Date: 1518 – 1518
Techniques: engraving
Artist: anonymous, italian, 16th century
Artist role: artist
Artist nationality: italian
Artist dates: 1500 – 1600
Subjects: scrolls,saint mark
De Unie van Utrecht. 1579
Object type: print
Date: 1826 – 1863
Materials: paper
Techniques: tone lithography
Location: utrecht
Subjects: festivities (+ decorated float, wagon ~ festive activities), festivities on events of national importance, utrecht, union of utrecht

Praalwagen in de optocht bij de maskerade van Utrechtse studenten in 1853, allegorisch verbeeldende de Unie van Utrecht gesloten in januari 1579. De wagen wordt door een span van zes paarden door de straten van een stad Utrecht getrokken. Op de wagen de Hollandse Leeuw in de Hollandse Tuin met vaandels van de zeven provincies verbonden in de Unie, met personificaties van Waakzaamheid en Voorzichtigheid. Achterop een lege troon.
Schepen in het oude Entrepotdok van Amsterdam, gezien richting oost
Object type: photograph
Date: 1850 – 1875
Materials: cardboard, paper, photographic support
Techniques: albumen print
Location: amsterdam
Artist: Anonymous
Subjects: warehouse (~ harbour), sailing-ship, sailing-boat, prospect of city, town panorama, silhouette of city, amsterdam
Inscriptions: inscription: ‘Oud-Entrepot Dok. Amsterdam’

Onderdeel van Fotoalbum met opnames van straten, pleinen en grachten in Amsterdam.
Plaque
Object type: plaque
Date: 1550 – 1070
Materials: faience
Location: egypt
Subjects: scarabs
Portret van een man
Object type: photograph
Date: 1865 – 1880
Materials: cardboard, photographic support
Techniques: albumen print
Location: utrecht
Artist: christaan marcussen
Artist role: fotograaf
Artist dates: 1822 – 1878
Subjects: adult man
Inscriptions: inscription: ‘C. Marcussen/ Kunstschilder en Photograaf/ Utrecht/ Hamburgerstraat naast het Geregtshof.’
Three-leaf clover, from the Novelties series (N228, Type 4) issued by Kinney Bros.
Object type: print
Date: 1889 – 1889
Techniques: color lithograph
Artist: kinney brothers tobacco company
Artist role: publisher
Artist nationality: american
Artist dates: 1869 – 2011
Subjects: women,leaves

Trade cards from the "Novelties" series (N228), issued in 1889 to promote Kinney Tobacco Company. There are five types of card within the series. Type 1 cards are round. Type 2 cards are round with colored borders. Type 3 cards are die cut to the shape of a novelty item. Type 4 are also die cut with embossing. Type 5 depict novelties on a rectangular card. Finally, Type 6 are die cut in the shape of an egg.
Stele for the Duobao Pagoda of the Qianfusi, in Shensi
Object type: rubbing
Date: 1901 – 2000
Materials: ink, paper
Culture: chinese
Zuidzijde van de voormalige Hervormde Kerk te Oosterwierum
Object type: photograph
Date: 1902 – 1902
Materials: cardboard, photographic support
Techniques: albumen print
Location: oosterwierum
Subjects: church (exterior)
Inscriptions: annotation: ‘Oosterwierum/ Oosterwierum/ gem. Baarderadeel’, annotation: ‘Oosterwierum (Fr) / Zuiderzijde der / N.H. Kerk / Aug 1902 / Baarderadeel’
Steatite truncated conoid seal
Object type: seal
Date: 2400 – 2200
Materials: stone
Culture: minoan
Subjects: birds
Coin Depicting the God Apollo
Object type: coin
Date: 261 – 246
Materials: bronze, copper alloy, metal
Culture: greek
Location: greece
Subjects: gods (deities)
Portret van Marie Linden
Object type: page
Date: 1878 – 1883
Materials: paper
Techniques: woodburytype
Artist: Anonymous
Subjects: adult woman, historical persons
Inscriptions: inscription: ‘'I have bought golden opinions from/ all sorts of people.'/ -Macbeth.’
Prenten naar tekeningen van Claude Lorrain
Object type: print
Date: 1807 – 1807
Materials: paper
Techniques: aquatint, etching, roulette
Location: england
Subjects: sailing-ship, sailing-boat, storm at sea
Inscriptions: stamp: ‘foto’, collector's mark: Lugt 2228

De prent werd in 1819 nogmaals gebonden uitgegeven: Earlom, Richard. Liber Veritatis; or A Collection of Prints, after the Original Designs of Claude le Lorrain (...). Londen: Hurst, Robinson & Co., 1819.
Franse Karabinier
Object type: print
Date: 1791 – 1900
Materials: paper
Techniques: hand coloring, lithograph
Location: epinal
Artist: Anonymous
Subjects: the company, the unit, the troop ~ military service, private soldier
Inscriptions: stamp, collector's mark: Lugt 1641

Rechtsonder genummerd: 3. Onderwerpsrubrieken binnen de Atlas Zeden en Gewoonten: Zeden en Gewoonten in Engeren Zin, Des menschen beging, midden en einde, Kinderleven – Kinderspel en Kinderprenten.