deem-data/ArtiFact huggingface dataset:
An Actor as Sadakuro in the Forty–seven Ronins
Object type: print
Date: 1762 – 1819
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: katsukawa shun'ei 勝川春英
Artist role: artist
Artist nationality: japanese
Artist dates: 1762 – 1819
Subjects: swords,men,actors
Kathedraal van Sevilla met rechts de Giralda
Object type: photograph
Date: 1880 – 1898
Materials: paper, photographic support
Techniques: albumen print
Location: sevilla
Artist: Anonymous
Subjects: tower, clock tower ~ monumental adornment, church (exterior), sevilla

Onderdeel van Reisalbum met foto's van bezienswaardigheden in Frankrijk, Spanje, Italië, Duitsland, Zwitserland en Oostenrijk.
Processional Cross
Object type: cross
Date: 1301 – 1500
Materials: brass
Culture: northern highlands region
Location: ethiopia
Artist: northern highlands artist
Artist role: artist

Ethiopian crosses are unique among Christian art for their variety of form. The cross became the object of intense devotion soon after the conversion of the Aksumite empire to Christianity around 330 A.D. Despite the antiquity of Ethiopian Christian art, processional crosses antedating the seventeenth century are rare due to sixteenth-century Islamic incursions that devastated the region. A metal socket surrounded by two loops was used to affix this processional cross to a wooden staff, permitting it to be carried and held aloft during liturgical services and processions. The loops held colorful cloths symbolizing the veil of Mary. Emanating from a central square inscribed with a pattée cross, two short side arms and two longer vertical arms with rectangular openings terminate in stepped forms. Three of these terminal points are punctuated by cruciform openings, and support additional pattée crosses at their summits. Shallow lines engraved during the casting process enliven the broad planes while accenting the angular forms of the cross. The stepped cross is a motif that may date to the Aksumite empire (ca. 2nd–10th century), when stepped capitals and podia were common architectural features. The motif may reference the cross as the Tree of Life or the divine aureole of Christ borne on the wings of the Four Beasts. Similar stepped-cross motifs are found in the rock-hewn churches of Lalibela, indicating at least some transferal of cross design within the region. Kristen Windmuller-Luna, 2014
Portret van Günther Heiler
Object type: print
Date: 1675 – 1737
Materials: paper
Techniques: engraving
Location: stargard
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2228, number: ‘200’
Theebus, omgekeerd peervormig met schelpmotieven en bloemen
Object type: tea caddy
Date: 1766 – 1766
Materials: silver
Location: haarlem
Artist: paulus vermeulen
Artist role: silversmith
Inscriptions: town mark, maker's mark, inscription and date: ‘AAVW 1770’, date letter: ‘H’

Two tea caddies. Silver. Haarlem, 1766, by Florianius van der Hoeff.
Design for Four Vases
Object type: drawing ornament architecture
Date: 1770 – 1785
Materials: chalk, ink
Techniques: pen
Artist: anonymous, french, 18th century
Artist role: artist
Artist nationality: french
Artist dates: 1700 – 1800
Subjects: vases
Commemorative medal on the marriage of Wladislaus IV (Władysław IV Vasa), King of Poland and Ludovica (Marie Louise) Gonzaga, Princess of Mantua
Object type: medal
Date: 1646 – 1646
Materials: silver
Artist: sebastian dadler
Artist role: artist
Artist nationality: german
Artist dates: 1586 – 1657
Annie Lewis, from the Actresses series (N245) issued by Kinney Brothers to promote Sweet Caporal Cigarettes
Object type: photograph
Date: 1890 – 1890
Techniques: albumen silver print
Artist: kinney brothers tobacco company
Artist role: publisher
Artist nationality: american
Artist dates: 1869 – 2011
Subjects: portraits,women,actresses

Trade cards from the set "Actors and Actresses" (N245), issued in 1890 by Kinney Brothers Tobacco to promote Sweet Caporal Cigarettes.
Chalice cover
Object type: chalice cover
Date: 1467 – 1500
Materials: linen, metal thread, silk
Techniques: backing, embroidery, weave
Subjects: angels,christ,cross

This veil formed a boxlike cover for the chalice during portions of the liturgy. Its central image shows the young Christ blessing from within a chalice, flanked by Arabic script labeling him Jesus, the Messiah. The Greek inscription surrounding the medallion speaks of Christ’s sacrifice, while the Georgian inscriptions at the ends of the cross-arms plead for the donor, the nobleman Solomon Shavrashidze.
Brief aan Philip Zilcken
Object type: letter
Date: 1876 – 1930
Materials: ink
Techniques: pen, writing
Location: haarlem
Artist: jacobus gerardus veldheer
Artist role: draughtsman, print maker
Artist dates: 1866 – 1954
Subjects: rotterdam, amsterdam, herman robbers, the hague, painter, draughtsman, philip zilcken, drawing, ghent, bruges, belgium
Inscriptions: collector's mark: ‘RPK’
Portret van Lodewijk Ernst, hertog van Brunswijk-Wolfenbüttel
Object type: print
Date: 1782 – 1782
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: ludwig ernst von braunschweig-wolfenbüttel, ornament ~ medallion, historical persons, wig
Inscriptions: collector's mark: Lugt 2228

Prent waarschijnlijk uit: Wagenaar, Jan. Vaderlandsche historie, vervattende de geschiedenissen der nu Vereenigde Nederlanden, inzonderheid die van Holland (...). Amsterdam: P. Schouten et al., 1782, dl. 20. Prent is in een eerdere staat gebruikt in eerdere drukken van dit werk uit 1759 en 1770 en in een latere staat in de druk van 1796.
Chess Piece, Bishop
Object type: chess piece
Date: 801 – 1200
Materials: ivory
Techniques: carving, painting
Location: iran
Subjects: chess

This ivory chess piece 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.
Exterieur van de Geboortekerk van de Maagd Maria in Poutinki te Moskou
Object type: photograph
Date: 1890 – 1900
Materials: paint, photographic support
Techniques: albumen print, hand coloring
Location: moscow
Artist: b. avanzo
Artist role: fotograaf
Subjects: four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach, church (exterior)
Inscriptions: inscription: ‘Moscou. Eglise Poutinka. Church Poutinka.’, name: ‘Tableaux et Objets d'Art B. Avanzo Moscou.’

Onderdeel van Fotoalbum met opnames van bezienswaardigheden in Georgië, Sint-Petersburg en Moskou.
Koppermaandag met leprozenoptocht te Amsterdam, 1604
Object type: print
Date: 1769 – 1769
Materials: paper
Techniques: etching
Location: netherlands
Subjects: festivities ~ corporative organization, guild, story teller; listening to story teller, leper's procession, amsterdam
Inscriptions: date

Koppermaandag in 1604 op de Dam in Amsterdam. Op de voorgrond de processie van de gilden en melaatsen. Rechts een verhalenverteller bij een bord met afbeeldingen. De prent is links- en rechtsboven gemerkt, respectievelijk met de letters a en c.
'Het Huys te Westerbeeck' , in: Tooneel Der Voornaamste Nederlands Huizen, En Lust Hoven, Naar T Leven Afgebeeld
Object type: book print ornament architecture
Techniques: engraving, lithography
Location: amsterdam
Artist: carel allard
Artist role: publisher
Artist nationality: dutch
Artist dates: 1648 – 1709
Subjects: human figures,palaces

Depiction of the estate at Wetserbeeck. Part of a series of country estates and pleasure palaces of the Netherlands published by Carel Allard at the end of the seventeenth or very beginning of the eighteenth century.
Locomotive-tender a 3 essieux accouplés
Object type: photograph
Date: 1880 – 1885
Materials: photographic support
Techniques: albumen print
Subjects: locomotive
Inscriptions: inscription: ‘Société de St. Léonard (Outils) Liége (Belgique)’
Bottle and cover
Object type: bottle with cover
Date: 918 – 1392
Materials: clay
Culture: chinese
Saint Sebastian
Object type: print
Date: 1506 – 1507
Materials: paper
Techniques: engraving
Location: italy
Twee studies van een hand aangevat door andere handen
Object type: drawing
Date: 1683 – 1733
Materials: chalk, paper
Artist: bernard picart
Artist role: draughtsman, print maker, publisher
Artist dates: 1673 – 1733
Subjects: hand
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 334 – 301
Materials: terracotta
Culture: etruscan

Exterior, palmette and tendril; start of handle root; draped male to right
Brief aan Jan Veth
Object type: letter
Date: 1902 – 1902
Materials: ink, paper
Techniques: pen, writing
Location: freiburg
Artist: andré jolles
Artist role: journalist, kunsthistoricus, letterkundige
Artist dates: 1874 – 1946
Subjects: dordrecht, painter, print maker, draughtsman, designer, jan veth, karel petrus cornelis de bazel, artist, anna dorothea dirks, literature ~ arts
Inscriptions: watermark, collector's mark: ‘RPK’
Blazon
Object type: blazon
Date: 1251 – 1300
Materials: linen, silk
Techniques: embroidery
Location: egypt
Subjects: lions
Bronzen, vergulde kroonluchter met kristallen ornamenten in paleis Versailles
Object type: photograph
Date: 1860 – 1900
Materials: canvas, cardboard, paper
Techniques: matte daylight collodion silver print
Location: netherlands
Artist: Anonymous
Inscriptions: annotation: ‘491. Versailles - Le Musee - Salon de la paix (L.P. Phot). Lustre en cuivre cisele et doré.’

Onderdeel van een serie met betrekking tot het interieur van het paleis van Versailles met kroonluchters, deuren, portalen en meubelstukken.
Tackle Board, Sledge and Top for Rope Making
Object type: tool
Date: 1800 – 1860
Materials: brass, iron, wood
Location: netherlands
Artist: Anonymous

A ropeyard or ropery comprises a spinning wheel for pre-twisting strands of string, a sledge for twisting five strands together, and a top to prevent the strands from tangling during twisting. This miniature ropeyard was once the equipment used by a modelmaker.
Twee koeienhouders drijven hun vee, van achteren
Object type: drawing
Date: 1651 – 1651
Materials: chalk, ink, paper
Location: zwolle
Artist: harmen ter borch
Artist role: draughtsman
Artist dates: 1638 – 1677
Inscriptions: annotation: ‘A C’, annotation: ‘Harman ter Borch inventor. den.3.October Anno 1651’

Twee koeienhouders drijven hun vee, van achteren. Op verso een schetsje van een gezicht.
Portret van Jeanette Jacobsson
Object type: photograph
Date: 1855 – 1890
Materials: cardboard, photographic support
Techniques: albumen print
Artist: Anonymous
Subjects: adult woman, portrait of artiste (dancer, actor, etc.), historical persons
Inscriptions: annotation: ‘Fru Jacobsson/ Jeanette/ f. Davidsson/ 1841-1907’
Portret van Lady Trevor Warner als non
Object type: print
Date: 1610 – 1690
Materials: paper
Techniques: engraving, etching
Location: paris
Subjects: skull as symbol of 'vanitas'
Inscriptions: collector's mark: Lugt 2228

Portret van Lady Trevor Warner als non. In haar handen houdt zij een schedel. In de ovale omlijsting staan haar naam, de naam waaronder zij intrad in het klooster en haar sterfdatum. Op het piëdestal een gedicht in het Engels.
Straw-work sewing box in book form
Location: france
Saucer
Object type: saucer
Date: 1848 – 1856
Materials: porcelain
Culture: american
Location: united states
Artist: charles cartlidge and company
Artist role: maker
Artist nationality: american
Artist dates: 1848 – 1856
Dish (piatto)
Object type: dish
Date: 1532 – 1532
Techniques: maiolica, glazing
Artist: francesco xanto avelli da rovigo
Artist role: artist
Artist nationality: italian
Artist dates: 1482 – 1542
Subjects: women,female nudes
Geornamenteerde omlijsting met twee stadsgezichten te Amsterdam, twee zittende figuren en het jaartal '1856'
Object type: print
Date: 1856 – 1912
Materials: paper
Techniques: engraving
Location: netherlands
Subjects: adult man (+ sitting on the ground), square, place, circus, etc. (+ city(-scape) with figures, staffage), street (+ city(-scape) with figures, staffage)
Portret van een vrouw
Object type: album leaf
Date: 1890 – 1900
Materials: cardboard, photographic support
Techniques: gelatin silver print
Artist: Anonymous
Subjects: historical persons - bb - woman
Portret van een man met baard
Object type: photograph
Date: 1860 – 1900
Materials: cardboard, photographic support
Techniques: albumen print
Location: netherlands
Artist: e. lokje
Artist role: fotograaf
Subjects: historical persons, beard
Inscriptions: inscription: ‘E. LOKJE.PHOT:’
Teapot
Object type: teapot
Date: 1770 – 1770
Materials: hard paste porcelain
Artist: ansbach pottery and porcelain manufactory
Artist role: manufactory
Artist nationality: german
Artist dates: 1758 – 1860
Subjects: ruins,men,trees
Abdije te Rynsburg
Object type: print
Materials: paper
Techniques: etching
Location: netherlands
Artist: hermanus van brussel
Artist role: draughtsman, print maker
Artist dates: 1763 – 1815
Subjects: landscapes in the temperate zone, ruin of church, monastery, etc.
Inscriptions: collector's mark: Lugt 2228
Muziekgezelschap
Object type: drawing
Date: 1658 – 1733
Materials: paper, pencil
Artist: gerard hoet (i)
Artist role: draughtsman, painter, print maker
Artist dates: 1648 – 1733
Subjects: tambourine, clappers, castanets, flute, aulos, tibia, more than one musician with instrument
Plate
Object type: plate
Date: 1753 – 1795
Materials: faience
Techniques: glazing
Artist: fidelle duvivier
Artist role: decorator
Artist nationality: french
Artist dates: 1740 – 1796
Subjects: windmills,men,women,trees

Faience, or tin-glazed and enameled earthenware, first emerged in France during the sixteenth century, reaching widespread usage among elite patrons during the seventeenth and early eighteenth centuries, prior to the establishment of soft-paste porcelain factories. Although characterized as more provincial in style than porcelain, French faience was used at the court of Louis XIV as part of elaborate meals and displays, with large-scale vessels incorporated into the Baroque garden designs of Versailles. Earlier examples of French faience attest to the strong influence of maiolica artists from Italy. Later works demonstrate the ways in which cities such as Nevers, Rouen, Lyon, Moustiers, and Marseille developed innovative vessel shapes and decorative motifs prized among collectors throughout Europe. While faience can be created from a wide mixture of clays, it is foremost distinguished by the milky opaque white color achieved by the addition of tin oxide to the glaze. French faience is typically divided into two types. Grand feu (high fire) describes pieces that have been decorated with glaze and metallic oxides before being fired a single time at a high temperature of around 1650°F (900°C). Petit feu (low-fire) faience, developed in the second half of the eighteenth century, refers to a process whereby the clay body is fired before being glazed and decorated with metallic oxides and then fired again at a lower temperature; pieces can also go through a third firing. Grand feu pieces have a more limited color palette that consists of blue, yellow, brown-purple, and green. By contrast, the lower firing temperature of petit feu faience enabled both greater precision in painting techniques and variety in the range of colors.
Silver and gilt amphoriskos (scented oil flask)
Object type: amphoriskos
Date: 300 – 268
Materials: gold, silver
Culture: apulian

Several elegant vases of this type have been found in Southern Italy, and it is likely that this one was imported from there. Except for the solid handles and small collar-like mouth, it was raised from a single sheet of silver. A pair of gilded swags (or perhaps necklaces) emphasizes the widest part; gilded acanthus leaves ornament the base. The monogram D:M (R.M. in English) appears on the base, referring to the Etruscan owner.
Varkenshoeder met varkens langs een weg op Corsica
Object type: photograph
Date: 1905 – 1910
Materials: paper, photographic support
Techniques: gelatin silver print
Location: corsica
Artist: Anonymous
Subjects: pig, road, path

Onderdeel van Fotoalbum van een Franse amateurfotograaf met bezienswaardigheden in Frankrijk, Zwitserland en Italië.
Demilune horn "grand cor"
Object type: demilune horn grand cor
Date: 1601 – 1633
Materials: brass
Culture: french
Artist: cretien workshop, vernon (c.1620 – ca. 1690)
Artist role: maker
Artist nationality: french

The poetic name "demilune" describes the profile of this instrument, which is one of the earliest forms of the hunting horn. Its crescent shape echoes instruments made of natural materials such as animal horn and elephant tusk. The brass body of this horn appears to have been formed from a single sheet that was shaped and joined with a longitudinal seam that is tabbed in the area of the bell before becoming a butt join along the remaining length of the instrument. The maker’s hand is visible in burnishing and hammer marks on the instrument’s surface. The bell interior bears traces of black pigment. The body of the instrument bears three brass rings, two mounted on ferrules encircling the body tubing and one mounted on the bell garland, for attachment to a baldric or carrying strap. An intricately crenelated garland adorns and strengthens the bell. It is stamped with a repeating pattern of flowers and embossed with the maker’s mark comprising a stag looking over its shoulder standing atop the initials RC. The whole is contained in a circle in the manner of a cartouche. Stamped on the bell body immediately above the maker’s mark is the text VERNON, possibly referring to place of manufacture. Horns like this have been popular signalling instruments for centuries and their use is often depicted in tapestries and other contemporaneous art (see Met Museum tapestry 50.145.4). Like oliphants, these crescent-shaped horns were important badges of status and as such, often appear in heraldic devices and crests.
Fotoreproductie van een schilderij door Rafaël, voorstellend Lucas die Maria schildert
Object type: reproduction
Date: 1860 – 1900
Materials: photographic support
Techniques: albumen print
Artist: Anonymous
Subjects: st.luke painting or drawing the madonna (i.e. mary and the christ-child), sometimes joseph present
Inscriptions: number: ‘3702’

Onderdeel van Reisalbum met opnames van kunstwerken en bezienswaardigheden in Italië, Griekenland en Frankrijk.
Spotprent over de christelijke partijen, 1887
Object type: print
Date: 1887 – 1887
Materials: paper
Techniques: lithograph
Location: the hague
Subjects: priest, herman johannes aloysius maria schaepman

Spotprent over Schaepman en de christelijke partijen. Op de voorgrond een stekelvarken. Plaat verschenen bij het weekblad De Nederlandsche Spectator, nr. 20, 1887.
Op de trein
Object type: photograph
Date: 1911 – 1911
Materials: photographic support
Techniques: photography
Subjects: passenger train, suriname

Een gezelschap, waaronder Andries Boom en Maria Gonggrijp, staande op de achterbalkon van een trein. Bij de trein enkele verkopers van fruit: ananassen en bananen. Onderdeel van het fotoalbum van de familie Boom-Gonggrijp in Suriname en Curaçao.
Page 41, from Seconde Livre de Figures d'Academies Gravées en Partie par les Professeurs de l’Académie Royale
Object type: print
Materials: paper
Techniques: etching, printing
Location: switzerland
Artist: pierre soubeyran
Artist nationality: swiss
Artist dates: 1709 – 1775
Fragment
Object type: fragment
Date: 1567 – 1700
Materials: metal thread, silk
Subjects: flowers,leaves
Dorpsgezicht achter wallen van een fortificatie
Object type: print
Date: 1875 – 1875
Materials: paper
Techniques: etching, intaglio, retroussage
Location: brussels
Subjects: prospect of village, silhouette of village, fortifications, military engineering
Inscriptions: collector's mark: Lugt 2228
Vue aérienne de Beaune et des Caves-Exposition de la Rotisserie de la Reine Pédauque
Object type: ansichtkaart, prentbriefkaart
Date: 1950 – 1982
Materials: cardboard
Techniques: rotogravure
Location: mâcon
Artist: Anonymous
Subjects: urban housing, prospect of city, town panorama, silhouette of city
Plate 11, from Landscapes with Farmhouses
Object type: print
Date: 1614 – 1614
Materials: ink, paper
Techniques: etching
Location: belgium
Artist: boëtius adamsz. bolswert
Artist role: print maker
Artist nationality: flemish
Artist dates: 1580 – 1633
Inscriptions: Lettered lower left: "11"
Oprichting van de drie kruizen op Golgotha
Object type: print
Date: 1890 – 1899
Materials: paper
Techniques: lithograph
Artist: otto greiner
Artist role: print maker
Artist dates: 1869 – 1916
Subjects: the erection of the cross: raising of the cross (without christ), death as man, christ is led to golgotha, the cross is carried by others

De figuur rechts is Magere Hein met zeis; hij symboliseert de dood. Linksonder: (...) PAN II 2.
Vier mannen met elk een paard
Object type: print
Date: 1618 – 1618
Materials: paper
Techniques: etching
Subjects: performance in the open air (pleasure fair), horses (circus performance)

Genummerd: 81. Deze prent maakt deel uit van een album.
Kazuifel
Object type: design drawing
Date: 1830 – 1850
Materials: graphite, paper
Location: paris
Ontzet van Barcelona
Object type: history medal
Date: 1706 – 1706
Materials: silver
Techniques: striking
Location: nuremberg
Subjects: filips v (koning van spanje), vienna, charles vi (holy roman emperor)

Zilveren penning. Voorzijde: borststuk man met lauwerkrans binnen omschrift. Keerzijde: Karel III beschermt met zijn schild Barcelona, in gedaante van vrouw die smekend aan zijn voeten ligt, en verjaagt met zwaard Filips V, die zijn wapens weggooit en op vlucht slaat binnen omschrift; afsnede: opschrift.