deem-data/ArtiFact huggingface dataset:
Meisje straft haar poppen
Object type: drawing
Date: 1892 – 1947
Materials: ink, paper, pencil
Techniques: pen
Artist: gijsbertus johannes van overbeek
Artist role: draughtsman
Artist dates: 1882 – 1947
Subjects: (playing with) dolls
Inscriptions: collector's mark: Lugt 2228, number: ‘V’, signature: ‘G.J. v. Overbeek’

Een meisje heft haar rechter wijsvinger op naar haar vier poppen, die zij op een rij tegen de muur heeft opgesteld met de handen en het hoofd naar beneden.
Landschap met herders en vee
Object type: drawing
Date: 1799 – 1869
Materials: chalk, paper
Techniques: brush
Artist: jan van ravenswaay
Artist role: draughtsman, painter, print maker
Artist dates: 1789 – 1869
Subjects: herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc., sheep, bovine cattle, farm or solitary house in landscape
[Actress lounging while holding bouquet of flowers], from the Actors and Actresses series (N145-8) issued by Duke Sons & Co. to promote Duke Cigarettes
Object type: photograph
Date: 1891 – 1891
Techniques: albumen silver print
Artist: w. duke, sons & co.
Artist role: publisher
Artist nationality: american
Artist dates: 1870 – 1920
Subjects: portraits,women,actresses

Trade cards from the set "Actors and Actresses" (N145-8), issued in the 1880s by W. Duke Sons & Co. to promote Duke Cigarettes. There are eight subsets of the N145 series. Various subsets sport different card designs and also promote different tobacco brands represented by W. Duke Sons & Company. This card is from the eighth subset, N145-8. Note that actors' names are spelled differently on cards throughout set and are not dependable for accuracy.
Vier festoenen
Object type: print
Date: 1665 – 1665
Materials: paper
Techniques: etching
Location: amsterdam

Festoenen met in het midden twee duiven, het wapenschild van Amsterdam, kop van een ram en een helm met pluimen. Blad P [4]. Blad uit tweede editie.
Piece
Object type: piece
Date: 1850 – 1850
Materials: cotton
A.ne G.ve de Bourbon, duchesse de Longueville
Object type: print
Date: 1818 – 1842
Materials: paper
Techniques: lithograph
Location: paris
Subjects: paris, anna genoveva van bourbon-condé, historical persons
Inscriptions: collector's mark: Lugt 2228a
Vrouwelijk naakt in een slaapkamer
Object type: sketchbook leaf
Date: 1887 – 1892
Materials: chalk, paper
Location: amsterdam
Artist: willem witsen
Artist role: draughtsman, painter, print maker
Artist dates: 1860 – 1923
Subjects: undressing oneself, getting undressed - aa - female human figure, the (nude) human figure; 'corpo humano' (ripa) - aa - female human figure, bedroom

Ze leunt op een wastafel terwijl ze zich uitkleedt. Achter haar mogelijk een bad of tobbe. Pagina 33 uit een schetsboek met 17 bladen.
Round box with powder blue and a dragon
Object type: box
Date: 1700 – 1724
Materials: cobalt, glaze, paint, porcelain
Techniques: firing, turning, vitrification
Location: china
Artist: Anonymous
Inscriptions: mark

Deksel van ronde doos van porselein, beschilderd met onderglazuur blauw. De doos is bedekt met bleu poudré (poederblauw) met hierin uitgespaard op de deksel een vierklauwige draak die een parel achterna zit. Gemerkt op de onderzijde met een artimisiablad. Bleu poudré.
Pendant with agate bead
Object type: pendant with agate bead
Date: 3900 – 100
Materials: stone, gold
Culture: cypriot
Beleg van Gorkum door de Pruisische Troepen den 17 September 1787
Object type: print
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: putting the enemy to flight - hh - being put to flight, fleeing (+ citizen soldiery, civil guard, citizen militia), siege

Prent uit: Vorstelyke Koninglyke en Princelyke Atlas en Dagboek van Nederlandsche gebeurtenisse (...) en oprecht Vaderlandsch, Staats-en stadhouderlyk A.B. Boek (...). Amsterdam, Willem Coertse, [ca. 1790], tussen p. 2 en 3.
Strap-Crossing in the Shape of a Coiled Wolf
Object type: strap crossing
Date: 500 – 401
Materials: bronze
Culture: eastern eurasian
Subjects: animals
Ruitvormige reversspeld van goud
Object type: lapel pin
Date: 1930 – 1940
Materials: gold
Location: netherlands
Artist: Anonymous
Inscriptions: alloy mark

Ruitvormige reversspeld van goud met spinnetjes. In een ruit is een Zeeuwse knop geplaatst. De buitenkant van de ruit is gedecoreerd met twaalf gouden bolletjes.
Palais des Tuileries - vue interieure
Object type: page
Date: 1871 – 1871
Materials: photographic support
Techniques: albumen print
Location: tuileries palace
Artist: Anonymous
Subjects: palace, ruin of a dwelling, house, castle, etc., tuileries palace
L'Étalagiste
Object type: print
Date: 1841 – 1841
Materials: paper
Techniques: hand coloring, letterpress printing, engraving
Location: paris
Subjects: book-stall, kiosk
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 4780

Prent ook gebruikt in: Les français peints par eux-mêmes: encyclopédie morale du dix-neuvième siècle. Dl. 4. Parijs: L. Curmer, 1841, tussen p. 324-325.
Seven Hearts, from the Playing Cards series (N84) to promote Turkish Cross-Cut Cigarettes for W. Duke, Sons and 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: playing cards

Trade cards from the "Playing Cards" series (N84), issued in a set of 53 cards in 1888 to promote Turkish Cross-Cut Cigarettes produced by W. Duke Sons & Co. The versos across the set display a matching abstract floral pattern. The Joker advertises Duke brand cigarettes and the Ace of Spades displays an ad for Turkish Cross-Cut Cigarettes. Besides Turkish Cross-Cut, a version of the same set of playing cards was also released to promote the overall W. Duke Sons & Co. brand.
The Virgin of the Nativity
Object type: painting fragment
Date: 1500 – 1500
Materials: gold, paint, wood
Artist: filippino lippi
Artist role: artist
Artist nationality: italian
Artist dates: 1457 – 1504
Subjects: virgin mary

The picture is a fragment of a Nativity, the original composition of which is known from an early-sixteenth-century copy in the Musée du Petit Palais in Avignon. The Virgin was shown kneeling on the pavement adoring the Christ Child, who was embraced by the infant Saint John the Baptist. Saint Joseph was behind the infants, and two shepherds appeared to the right behind a broken stone wall. There are minor differences between the present picture and that at Avignon, but they conform in essential features, and there can be no doubt that the present picture was conceived as a small tondo. The picture probably dates from about 1500. The frame is a twentieth century reproduction.
Revolving Chair
Object type: revolving chair
Date: 1840 – 1870
Materials: wood
Culture: american, shaker
Artist: united society of believers in christ’s second appearing (“shakers”)
Artist role: maker
Artist nationality: american
Artist dates: 1750 – 9999

Revolving chairs, also known as stools or swivel chairs, were produced by Shakers in many styles and sizes. The earliest examples stood on long legs and often were used in the brethren's shops. Low revolving chairs, such as this example, with Windsor-like comb backs were rarely made before 1840.
The Assumption of the Virgin
Object type: drawing
Date: 1751 – 1751
Materials: chalk, ink
Techniques: brush, pen, wash
Artist: francesco de mura
Artist role: artist
Artist nationality: italian
Artist dates: 1696 – 1782
Subjects: men,angels,virgin mary,assumption of the virgin

The Neapolitan late-Baroque master Francesco de Mura executed three major ceiling paintings representing the Assumption of the Virgin, all of them strongly influenced by the example of his great master Francesco Solimena (1656-1747). The first of these was an Assumption painted about 1727 on the vault of the sacristy of the Annunziata in Airola, near Benevento for which an oil sketch is in the Pio Monte della Misericordia, Naples. In 1737 De Mura signed and dated a ceiling painting on canvas destined for a church in Gallipoli and now in the episcopal palace of that city. Domenica Pasculli Ferrara cites three oil sketches for the Gallipoli Assumption. In 1986 Lawrence Turčic identified a pen and wash drawing by De Mura in the Louvre as a study for the Gallipoli picture; the Louvre drawing had been classified as a work of the studio of Francesco Solimena (Inv. 9787-1, see Monbeig Goguel and Vitzthum 1967, no. 83). The most ambitious Assumption of the Virgin by De Mura is that painted in 1751 on the ceiling of the Nunziatella in Naples (see Enggass 1964, fig. 7). An oil sketch for this fresco is preserved in the Museo di Capodimonte, Naples, and a presumably autograph replica of the Capodimonte sketch is in the Art Gallery of Ontario, Toronto (see Enggass 1964, fig. 8). The Museum’s drawing may be an early preparation for the monumental Nunziatella fresco. There are, however, notable differences between the drawing and the fresco. The apparition of the Holy Trinity at the summit of the painting is lacking in the drawing, where there are fewer figures in the foreground. In the drawing the setting is architectural, while in the fresco the background is a landscape. There are also differences in the shape of the field.
Très Parisien, 1924, No. 10 : Création BERNARD / 3.-Pour Mad (...)
Object type: fashion print
Date: 1924 – 1924
Materials: paper
Techniques: hand coloring, letterpress printing, lithography
Location: paris
Subjects: embroidery (ornamentation) (+ women's clothes), coat (+ women's clothes), fashion plates, head-gear: hat (+ women's clothes), dress, gown (+ women's clothes), neck-gear: collar (+ fur used for clothes)
Inscriptions: caption: ‘Création BERNARD / 3. - POUR MADO. - Manteau de satin mordoré orné de fourrure et de broderies d'un ton harmonieux. Une robe nette et jolie, en petit drap fin et satin noir.’, title: ‘" Très Parisien" / No 10. - 1924’

Ontwerp van Bernard. Mantel van bronskleurig satijn versierd met bont en borduurwerk. Jurk van 'petit drap fin' en zwart satijn. Prent uit het modetijdschrift Très Parisien (1920-1936).
Columbus Breaking the Egg
Object type: print
Techniques: engraving, etching
Artist: william hogarth
Artist role: artist
Artist nationality: british
Artist dates: 1697 – 1764
Subjects: christopher columbus,men,tables,eggs
Ex libris van A.P. Walwein
Object type: bookplate
Date: 1700 – 1799
Materials: paper
Techniques: engraving
Artist: Anonymous
Subjects: insignia of cardinal, e.g. hat, mantle, armorial bearing, heraldry
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2233
Mrs. Papendiek and Her Son
Object type: drawing
Date: 1789 – 1789
Materials: chalk
Artist: sir thomas lawrence
Artist role: artist
Artist nationality: british
Artist dates: 1769 – 1830
Subjects: boys,portraits,women

This delightful early Lawrence portrait drawing came to the Museum from trustee George Dupont Pratt. In 1789, the twenty-year-old artist was working at Windsor Castle on a full-length oil of Queen Charlotte when the opportunity arose to make this more informal image of the queen’s dresser, Charlotte Papiendiek. Deputized by the queen to model apparel represented in the oil, Mrs. Papiendiek wears a pearl bracelet centered on a miniature that George III gave to his wife at their wedding. It was Mrs. Papiendiek’s own fashionable hat, however, that caught Lawrence’s attention on this occasion—a beribboned confection adorned with lace that falls around her face. The inclusion of the sitter’s two-year-old son Frederick leaning against her knee increases the sense of intimacy.
Dedication to Giovanni Bottari (Dédicace à Bottari), from "Antichità Romane de' Tempi della Repubblica, e de' primi Imperatori"
Object type: print
Date: 1748 – 1748
Techniques: etching
Artist: giovanni battista piranesi
Artist role: artist
Artist nationality: italian
Artist dates: 1720 – 1778
Subjects: ornament
Sophonisba ontvangt het huwelijksgeschenk van Masinissa
Object type: print
Date: 1764 – 1764
Materials: paper
Techniques: engraving, etching
Location: london
Subjects: death of sophonisbe: she receives from a servant a cup of poison sent to her by masinissa
Inscriptions: collector's mark: Lugt 2228
Lidded Vessel
Object type: vessel with lid
Date: 1601 – 1800
Materials: plant material, ivory, wood
Techniques: inlay
Culture: yoruba peoples, owo group
Location: nigeria
Artist: yoruba artist
Artist role: artist
Subjects: human figures,crocodiles,fish

This spectacular ivory vessel was once the treasured possession of an "olowo," the ruler of the Yoruba kingdom of Owo in present-day southern Nigeria. Owo rose to regional prominence in the eighteenth century through trade and conquest, and became one of the largest states in West Africa at that time. It had close political ties to the Benin kingdom some seventy miles to the southeast. Much of Owo's courtly culture, including titles, costumes, and prestige sculpture, reflect a close association between the two important political and cultural centers. The vast and terrible powers of the "olowo" are expressed in the imagery of this work by four figural groups united by a python, an important symbol of royalty. Prominent and pervasive mudfish and crocodile motifs evoke the king's praise names, or "oriki," that liken him to a vast ocean into which all rivers flow and whose unfathomable depths hold potent secrets and supernatural abilities. It also emphasizes the king's intimate relationship with Olokun, god of the sea, who brings wealth and fertility to his adherents. The imagery inscribed throughout the surface of this vessel suggests the "olowo's" ability to span multiple realms—terrestrial and aquatic, human and divine.
Fan
Object type: fan
Date: 1834 – 1866
Materials: glass, gold, ivory, paint, paper, silver
Subjects: men,women,boats
Animals and Plants
Object type: painting
Date: 1668 – 1668
Materials: canvas, oil
Artist: melchior d hondecoeter
Artist role: draughtsman, painter, print maker
Artist dates: 1636 – 1695
Subjects: birds, lizards: lizard, insects: butterfly, mushrooms
Inscriptions: signature: ‘M d hondec’

D’Hondecoeter specialized in painting birds, which he portrayed as lifelike as possible, such as the chaffinch at the upper right in this still life. On this forest floor, in addition to birds, he painted butterflies and a common wall lizard. However, there is more to it than that. He used real butterfly wings for the butterflies and worked the wet paint with a sponge or cloth to suggest the moss, thereby creating an optimally realistic effect.
Aurelianus (Coin) Portraying Emperor Tacitus
Object type: coin
Culture: roman
Location: roman empire
Inscriptions: Obverse: IMP C M CL TACITVS AVG
Reverse: PROVIDE AVG; Q (below)

The front (obverse) of this coin portrays the empperor Tacitus, facing right and wearing a radiate crown, cuirass and paludamentum.

On the back (reverse), the figure of Providence stands, facing left while holding a globe and a scepter.
Kleine ovalen
Object type: ornament print
Date: 1615 – 1630
Materials: paper
Techniques: etching
Location: amsterdam

In de ranken zijn twee sfinxen en een cherubijn verwerkt.
Schilderijen en tekeningen bij Hume's History of England
Object type: print
Date: 1798 – 1798
Materials: paper
Techniques: engraving, etching
Location: london
Subjects: historical persons, king
Inscriptions: collector's mark: Lugt 2228

De prenten uit deze serie zijn naar schilderijen uit Bowyer's Historic Gallery. Deze schilderijen en tekeningen illustreerden de gebeurtenissen uit David Hume's History of England. De prenten zijn daarom mogelijk gebruikt als illustratie in deze boeken.
Portaal van de Notre-Dame in Le Havre
Object type: page
Date: 1850 – 1860
Materials: photographic support
Techniques: salted paper print
Location: le havre
Artist: kaiser
Artist role: fotograaf
Subjects: parts of church exterior and annexes: porch, le havre
Eye of Horus (Wedjat) Finger Ring
Object type: costume and accessory
Materials: faience
Culture: egyptian
Location: egypt
Subjects: eye of horus
Distribution of Rewards, plate eighteen from The Miseries of War
Object type: print
Date: 1633 – 1633
Materials: paper
Techniques: etching
Location: france
Artist: jacques callot
Artist role: artist
Artist nationality: french
Artist dates: 1592 – 1635

Inscribed: This example of a grateful leader who punishes evil and rewards the good, should prick soldiers with the goad of honor, since all their happiness depends on virtue and they ordinarily receive from vice shame, scorn and the extreme penalty.
Hughes Bernard Maret, Duc de Bassano (1763–1839)
Object type: medallion
Date: 1835 – 1835
Materials: bronze
Techniques: casting
Artist: pierre jean david d'angers
Artist role: artist
Artist nationality: french
Artist dates: 1788 – 1856
Subjects: men,profiles

Pierre-Jean David d’Angers was the most prolific and one of the most important French sculptors of the first half of the nineteenth century. Throughout his almost fifty-year career (1819–1856) David remained true to his conviction that sculptural monuments dedicated to the achievements of great men and women most permanently and vividly express the greatness of a people. He continuously sought commissions for monuments portraying historical and contemporary figures whom he admired in order to commit their contributions to posterity. His most famous public commission, the figurative pediment of the Pantheon in Paris (1830–1837), which commemorates great men and was dedicated by a grateful nation, exemplifies these life-long principles. David d’Angers extended his definition of public monuments to include portrait medallions. In the 1820s he dedicated himself to a personal campaign of creating contemporary and retrospective medallic portraits of illustrious sitters. By the end of his life David had executed almost five-hundred portrait medallions, frequently travelling great distances to model his sitters from life. The medallions most often were not commissioned. David himself chose whom he deemed worthy of inclusion into his medallic pantheon. David also did not profit from the portraits. He generally delivered his wax models to professional founders for casting and dissemination through sale.
Hengelaar op een bruggetje bij een boerderij
Object type: print
Date: 1875 – 1875
Materials: paper
Techniques: drypoint, etching
Location: the hague
Artist: jan gerard smits
Artist role: draughtsman, print maker
Artist dates: 1823 – 1910
Subjects: fisherman
Inscriptions: collector's mark: Lugt 2228
Zuilen op de kruising van het San Marco Plein met de Riva degli Schiavone in Venetië
Object type: sketchbook leaf
Date: 1895 – 1895
Materials: chalk
Location: venice
Artist: marius bauer
Artist role: draughtsman, print maker
Artist dates: 1867 – 1932
Subjects: square, place, circus, etc., column, pillar ~ architecture, palace, street (+ city(-scape) with figures, staffage)

Links een hoek van het Dogenpaleis. Op de achtergrond het water met zicht op de San Giorgio Maggiore. Pagina 23 uit een schetsboek met 28 bladen.
Huis met halsgevel tussen bomen
Object type: print
Date: 1778 – 1838
Materials: paper
Techniques: printmaking
Location: netherlands
Artist: anthonie van den bos
Artist role: draughtsman, print maker
Artist dates: 1763 – 1838
Subjects: landscapes
Inscriptions: collector's mark: Lugt 2228
Mary, Queen of Scots
Object type: print
Date: 1825 – 1825
Techniques: etching
Location: germany
Artist: friedrich fleischmann
Artist role: print maker
Artist nationality: german
Artist dates: 1791 – 1834
Subjects: queens,portraits,women,mary queen of scots
Fotoreproductie van een foto door Alvin Langdon Coburn, voorstellend de haven van Londen
Object type: reproduction
Date: 1880 – 1907
Materials: paper
Techniques: autotype
Subjects: harbour, london
Inscriptions: inscription: ‘n.e. Gummidruck.’
Festival Scene, Tomb of Amenmose
Object type: facsimile, amenmose tt 19
Date: 1295 – 1213
Materials: paper, paint
Location: egypt
Artist: charles k. wilkinson
Artist role: artist
Artist dates: 1897 – 1986
Gezicht op een tandradtrein tussen Rigi Kulm en Vitznau, Zwitserland
Object type: photograph
Date: 1871 – 1914
Materials: cardboard, paper
Techniques: albumen print
Location: switzerland
Artist: giorgio sommer
Artist role: fotograaf
Artist dates: 1834 – 1914
Subjects: rack railway
Inscriptions: number: ‘12869’, inscription: ‘150. =’, number: ‘157’, number: ‘139’
Drachm (Coin) Depicting the Goddess Athena
Object type: coin
Date: 490 – 490
Materials: metal, silver
Culture: greek
Location: athens
Subjects: owl, goddesses
Inscriptions: Reverse: Α Θ Ε

The front (obverse) of this coin depicts the goddess Athena, facing right. On the back (reverse) is an owl, a symbol of Athena, perching on an olive branch.
Snuffbox
Object type: snuffbox
Date: 1767 – 1768
Materials: gold
Location: paris
Artist: vincent bréant
Artist role: goldsmith
Subjects: couple of lovers
Inscriptions: silver mark, duty mark, countermark, date letter, maker's mark, inscription: ‘779’

Snuifdoos van goud, ovaal, met op het deksel een liefdespaar in email. Rondom de wand in blauw email, opgelegde gouden reliëfs met trofeeën en vogels.
Suit
Object type: suit
Date: 1900 – 1900
Materials: cotton, wool
Culture: french
Artist: belle jardinière, paris
Artist role: department store
Artist nationality: french

The Parisian emporium Belle Jardinière was known for providing ready-to-wear suits for customers on a budget. This practice became popular at the turn of the 20th century, blurring class lines. The well-made suit, once an easily identifiable distinction between wealthy upper-class men and those in the middle class became accessible at all levels.
Hamburg. Hauptbahnhof
Object type: photomechanical print
Date: 1905 – 1930
Materials: cardboard
Techniques: lithograph
Location: hamburg
Subjects: station; shelter (railway, tramway)
Pair of vases (vase hollandais nouvelle forme)
Object type: vase
Date: 1763 – 1763
Materials: porcelain
Techniques: gilding
Location: sèvres
Subjects: chinese (+ other cultural aspects)
Inscriptions: mark: ‘5’, factory mark, painter's mark: ‘k’

These vases were used as planters for bulbs or other plants, which were nourished with water that filled the stands. The delicately painted motifs of Chinese figures and flowers derive directly from 18th-century Chinese art: porcelain, enamels or paintings on paper. The highly talented Dodin was the only painter of this kind of decoration on Sèvres porcelain.
Personificaties van Frankrijk, de architectuur en de kunsten
Object type: titelblad, titelpagina
Date: 1673 – 1673
Materials: paper
Techniques: engraving, etching
Location: paris
Subjects: the liberal arts, 'artes liberales', personifications of countries, nations, states, districts, etc., temple, shrine ~ roman religion, 'architectura', symbolic representations, allegories and emblems ~ architecture; 'architettura' (ripa)

Titelpagina voor: Perrault, Claude. Les dix livres d'architecture de Vitruve. Parijs: Jean-Baptiste Coignard, 1673.
Portret van Juan Manuel Balmaseda
Object type: print
Date: 1840 – 1840
Materials: paper
Techniques: lithograph
Location: leipzig
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228
Hagenpreken buiten Antwerpen, 1566
Object type: print
Date: 1566 – 1570
Materials: paper
Techniques: etching
Location: cologne
Artist: frans hogenberg
Artist role: print maker, publisher
Artist dates: 1538 – 1590
Subjects: sermon ~ protestant service, antwerp

Hagenpreken buiten Antwerpen, 14 juni 1566. Calvinistische bijeenkomsten in de bossen, in de verte de stad Antwerpen. Op de voorgrond gewapende calvinistische ordebewakers. Met onderschrift van 8 regels in het Duits. Genummerd: 2. De prent maakt deel uit van een album. De prent maakt deel uit van een album.
Kist van hout, overtrokken met zwart leer en voorzien van versierd ijzeren beslag
Object type: chest
Date: 1500 – 1500
Materials: iron, leather, wood
Techniques: cutting, forging, striking
Artist: Anonymous

Kist van hout, overtrokken met zwart leer en voorzien van versierd ijzeren beslag. De ornamenten in het leer zijin gesneden en geslagen. Banden, slot en hengsel zijn van gesmeed ijzer en rijk versierd. De binnenkant is met rood leer bekleed.