deem-data/ArtiFact huggingface dataset:
Sleutel
Object type: key
Date: 1600 – 1699
Materials: iron

Sleutel met ruitvormig oog. Deze is door lijnen gegroefd; die elkaar op de hoeken snijden.
Calligraphy
Object type: folding fan mounted a an album leaf
Date: 1368 – 1644
Materials: gold, ink, paper
Culture: chinese
Artist: unidentified artist
Artist role: artist
Subjects: calligraphy
Scene from Revelations
Object type: drawing and watercolor
Materials: ink, paper, lead, pigment
Techniques: brush, pen, wash
Location: germany
Artist: ottmar elliger, the younger
Artist role: artist
Artist nationality: german
Artist dates: 1666 – 1735
Actress from the Old Judge series (N167) for Old Judge Cigarettes
Object type: print
Date: 1886 – 1886
Techniques: lithography
Artist: goodwin & company
Artist role: publisher
Artist dates: 1850 – 1950
Subjects: women

The "Old Judge" series of trading cards (N167) was issued by Goodwin & Company in 1886 to promote Old Judge Cigarettes. It was the first cigarette card series from Goodwin & Co. The series portrays actresses, baseball players, and boxers. The Metropolitan Museum of Art owns 22 cards in the series.
Schrijfvoorbeeld: Wie is zoo Dwaas (...)
Object type: album leaf
Date: 1660 – 1751
Materials: paper
Techniques: engraving
Subjects: calligraphy

Schrijfvoorbeeld met zes regels tekst in het Nederlands: Wie is zoo Dwaas ... De prent maakt deel uit van een album
Brief aan Willem Bogtman
Object type: letter
Date: 1922 – 1922
Materials: paper, pencil
Techniques: pen, writing
Artist: richard nicolaüs roland holst
Artist dates: 1868 – 1938
Subjects: willem bogtman, exhibition ~ art, money
Paperweight
Object type: glass
Date: 1848 – 1855
Materials: glass
Location: saint-louis-lès-bitche
Artist: saint-louis glassworks (cristalleries de saint-louis)

This paperweight uses a traditional glass-making technique called millefiori to great effect. Italian for “one thousand flowers,” millefiori was first developed in fifteenth-century Venice. In the nineteenth century, French glassmakers revived the technique with a cultural twist. Arranged to evoke traditional French gardens such as the Tuileries in Paris, paperweights like this example brought a little of this landscaping magic indoors.

From the late 1840s to early 1860s, French manufacturers of fine glass and crystal—such as Baccarat (Alsace), Clichy (Paris), and Saint-Louis (Lorraine)—catered to the vast public enthusiasm for beautiful yet functional desk accessories. Paperweights, which were designed to secure loose papers against drafts, were among their most popular products.
Gezicht op kasteel Walenburg, Nederlangbroek
Object type: print
Date: 1757 – 1757
Materials: paper
Techniques: etching, pen
Location: haarlem
Subjects: castle
Inscriptions: collector's mark: Lugt 2228, inscription: ‘'t Huijs Walenburg in de Provintie Utrecht’
Miniature collector's cabinet
Object type: cabinet
Date: 1600 – 1600
Materials: wood, glass, gold, ivory, leather, metal, mother of pearl
Techniques: dyeing, gilding, painting, stain, tooling
Artist: bernard salomon
Artist role: designer
Artist nationality: french
Artist dates: 1508 – 1561
Subjects: musical instruments,orpheus,pluto

Tailored to the taste of the European courts, these two small cabinets embody the diversity and complexity of the objects found in sixteenth- and seventeenth-century Kunstkammern. The miniature cabinet (48.59.2), encased in a finely gilded leather, was a gift from the Nuremberg town council to an important visitor, possibly a Habsburg, given the presence of the coat of arms of Albert VII, Archduke of Austria and ruler of the Habsburg Netherlands.[1] Trophies of arms and musical instruments decorate the drawer fronts, while the central door panel is based on a 1559 woodcut by Bernard Salomon.[2] The drop-down lid divulges a marquetry inlay of six skeletal (durchsichtigen) corpora, executed in perspective to resemble late sixteenth-century designs by Wenzel Jamnitzer and Lorenz Stoer.[3] Drawn from a vibrant print culture, decorative objects dis-playing variations on the Platonic solids were exported across the continent, presenting the fruits of artisanal experimentation with geometry to wealthy patrons intent on coveting, and displaying, the new and wondrous. Nanban lacquer, on the other hand, was a relatively new and no less popular import. Nanban, meaning “southern barbarian,” was used in Japan to designate the objects made for foreign markets, and referred to the southern route used by European trade ships to reach Japan.[4] While the techniques used in its manufacture are Japanese, the portable cabinet with drawers (2015.500.2.29a-k) was made in Japan in the same form as “those from Germany,” such as the miniature cabinet.[5] In addition, the edges of each side feature simple geometric patterns in mother-of-pearl inlay specifically designed to appeal to Western collectors.[6] Footnotes (For key to shortened references see bibliography in Koeppe, Making Marvels: Science & Splendor at the Courts of Europe: The Metropolitan Museum of Art, 2019) 1. The coat of arms appears to have been added after the cabinet was completed. 2. Lejeune 2015; Virassamynaïken 2015, p. 331, no. 283. 3. A companion cabinet in a private collection was likely completed at the same workshop and has an intact polyhedron on the drop-down lid; see Spenlé 2018, p. 18, fig. 10. 4. Impey and Jörg 2005, p. 77. 5. Dalgado 1919–21, vol. 1, p. 118, cited by Masako Watanabe in Murase 2003, p. 293. 6. Haino 1991, p. 170. See Riccardi-Cubitt 1992 for more on early modern cabinets.
Terracotta stirrup jar
Object type: false necked jar
Date: 1375 – 1300
Materials: terracotta
Culture: mycenaean

Broad and narrow bands and degenerate floral ornament.
½ gulden voor Nederlands Indië, 1802
Object type: coin
Date: 1802 – 1802
Materials: silver
Techniques: striking
Location: enkhuizen

Zilveren munt. Voorzijde: Driemaster met volle zeilen op open zee. Versierd jaartal onderaan in omschrift. Keerzijde: tussen waarde-aanduiding ½ G gekroond generaliteitswapenschild. Muntteken boven kroon in omschrift. Kabelrand.
A Soldier Brandishing a Shield in a Landscape
Object type: drawing
Date: 1586 – 1586
Materials: ink
Techniques: pen
Artist: monogrammist gk
Artist role: artist
Artist nationality: german
Artist dates: 16 – 16
Subjects: soldiers,shields,swords,men
Paris. La Rue des Pyramides. Statue de Jeanne d'Arc
Object type: photomechanical print
Date: 1904 – 1906
Materials: cardboard
Techniques: photograph, writing
Location: paris
Subjects: monument, statue, square, place, circus, etc. (+ city(-scape) with figures, staffage), paris
Bowl
Object type: bowl
Date: 801 – 1000
Materials: earthenware, glaze, pigment
Techniques: painting, polychrome, underglaze
Location: iran

This ceramic bowl 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.
Girl in a White Kimono
Object type: painting
Date: 1894 – 1894
Materials: canvas, oil
Location: amsterdam
Artist: george hendrik breitner
Artist role: draughtsman, painter, print maker
Artist dates: 1857 – 1923
Subjects: artist's model, sitter, historical persons - bb - woman, dress, gown (+ women's clothes), screen, folding screen, lying figure
Inscriptions: signature: ‘G.H. Breitner’

The model for this painting was called Geesje Kwak, then a sixteen-year-old housemaid from Amsterdam. She is dressed in a Japanese kimono, a popular subject for Breitner. He made thirteen paintings of girls in kimonos, inspired by Japanese prints, which he as well collected. However, for Europeans, wearing Asian clothing since long also had a sexual inference.
Cleopatra's Needle, London
Object type: ansichtkaart, prentbriefkaart
Date: 1902 – 1930
Materials: cardboard
Techniques: photograph
Location: great britain
Subjects: obelisk, needle, sphinx (lion/woman); 'sfinge' (ripa), canals, waters (in city), thames
Portret van Johann Baptist von Rettich
Object type: print
Date: 1810 – 1876
Materials: paper
Techniques: lithograph
Location: vienna
Subjects: historical persons, portrait of a writer
Inscriptions: collector's mark: Lugt 2228
Crossbow Brooch
Object type: brooch
Date: 301 – 400
Materials: bronze, gilt
Culture: roman
Portret van Johann Eberhard Zeh
Object type: print
Date: 1804 – 1804
Materials: paper
Techniques: engraving, etching
Location: nuremberg
Artist: christoph wilhelm bock
Artist role: print maker
Artist dates: 1755 – 1836
Subjects: auctioneer, historical persons
Inscriptions: collector's mark: Lugt 2228
Emma Juch, from the Actresses series (N668)
Object type: photograph
Date: 1888 – 1888
Techniques: albumen silver print
Subjects: portraits,women,actresses

Trade cards from the "Actresses" series (N668), issued ca. 1888. The publisher is unknown.
Le Pompe: Opera Nova, title page (verso)
Object type: book print ornament architecture
Date: 1557 – 1557
Techniques: woodcut
Artist: giovanni battista & marchio sessa
Artist role: publisher
Artist nationality: italian
Subjects: ornament

Published by Giovanni Battista & Marchio Sessa, Venice. From top to bottom, and left to right: Design is for bobbin lace and is composed of 2 vertical columns. Left column is decorated with various linear motifs and 2 figures standing under arches formed by rounded and zigzagging lines. Right column is decorated with 3 flowers attached to a curving vine that rests upon a series of ornamented squares.
Soldaat die zijn lont op de haan van zijn roer drukt
Object type: print
Date: 1597 – 1607
Materials: paper
Techniques: engraving
Location: netherlands
Subjects: manoeuvre ~ military training, firearms: rifle

Een soldaat, ten voeten uit, naar rechts, die een roer (een bepaald type vuurwapen) met zijn linkerhand vasthoudt. Met zijn rechterhand drukt hij een brandende lont op de haan (onderdeel van het ontstekingsmechanisme) van zijn roer. Deze prent is onderdeel van de reeks van 42 genummerde prenten van roerschutters uit de Wapenhandelinghe.
Koningin Juliana in uniform geeft een toespraak ten overstaan van een scouting bijeenkomst
Object type: photograph
Date: 1949 – 1949
Materials: paper, photographic support
Techniques: gelatin silver print
Location: netherlands
Subjects: juliana of the netherlands
Inscriptions: annotation: ‘Opening Nederlands Padvindersgilde-Centrum Buitenzorg te Baarn door H.M. Koningin Juliana. De openingsrede van H.M. Koningin Juliana. Foto - Anefo 25-6-49 34491’
The Actor Ichimura Uzaemon IX as the Hairdreser Komagata Ikkaku in the Play Fuji no Yuki Kaikei Soga, Performed at the Ichimura Theater in the First Month, 1770
Object type: print
Date: 1770 – 1770
Techniques: woodblock print
Location: japan
Artist: katsukawa shunsho 勝川 春章
Artist role: artist
Artist nationality: japanese
Artist dates: 1726 – 1792
Titelpagina voor: P.C. Hooft, Werken, Amsterdam, 1671
Object type: print
Date: 1671 – 1671
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: (story of) mercury (hermes), fame; 'fama', 'fama buona', 'fama chiara' (ripa) (+ personification), viola, violoncello; double bass, father time, man with wings and scythe
Inscriptions: collector's mark: Lugt 240

Een engel blaast op een bazuin met een doek waarop de titel van het boek staat. Een aantal figuren tonen geschriften aan de engel. Links staat Mercurius, rechts voor een vrouw met een viola da gamba, achter haar zit een vrouw op een troon.
Reverse Copy of Le Gueux Assis et Mangeant (The Beggar Sitting and Eating), from Les Gueux suite appelée aussi Les Mendiants, Les Baroni, ou Les Barons (The Beggars, also called the Barons)
Object type: print
Date: 1601 – 1700
Techniques: etching
Artist: Anonymous
Artist role: artist
Boerenhuizen onder bomen in de omgeving van Velp
Object type: drawing
Date: 1867 – 1903
Materials: chalk, paper
Artist: piet meiners
Artist role: draughtsman, painter
Artist dates: 1857 – 1903
Subjects: farm (building)
An apostle holding a staff facing left
Object type: print
Date: 1540 – 1560
Techniques: etching
Artist: andrea schiavone (andrea meldola)
Artist role: artist
Artist nationality: italian
Artist dates: 1510 – 1563
Subjects: apostles
Hunt of the Calydonian Boar
Object type: ceiling panel
Date: 1509 – 1509
Materials: canvas, panel, wood
Techniques: fresco
Artist: pinturicchio
Artist role: artist
Artist nationality: italian
Artist dates: 1454 – 1513
Subjects: men,hunting,boars,dogs

The ceiling, composed of detached frescoes of mythological subjects set into casts of the original stuccowork, was painted by Pinturicchio and his workshop as part of the decoration of a room in the Palazzo del Magnifico in Siena. The palace was constructed for the ruler of Siena, Pandolfo Petrucci, (1451–1512) called "Il Magnifico," whose coat-of-arms decorates the center of the ceiling. According to an eighteenth century description, the walls were frescoed with eight allegorical and mythological scenes by Signorelli, Girolamo Genga, and Pinturicchio. Six of these were detached in 1842/44 and are now in the National Gallery, London and the Pinacoteca Nazionale, Siena. There was also a wooden framework carved by Antonio Barili, parts of which are preserved in Siena, and a majolica tile floor, sections of which also survive. Some of the tiles are dated 1509, the year Pandolfo Petrucci's son, Borghese, married Vittoria Piccolomini, and the room must have been painted about this time. Pinturricchio was one of the first artists to explore Nero's Golden House in Rome, and the decoration of the present ceiling is based on a vault in the Golden House. The frescoes from the ceiling, badly damaged, were detached in 1912. One of twenty-two panels (14.114.1–.22) forming the ceiling from the Palace of Pandolfo Petrucci. The general distribution and partition of the ceiling appears to derive from that of a vaulted and painted ceiling in Nero's Golden House in Rome. Many of the individual figures also seem to derive from antique works of art– especially sarcophagi.
Taler uit het koninkrijk Hannover van Georg V, 1852
Object type: taler
Date: 1852 – 1852
Materials: silver
Techniques: striking
Location: hannover

Zilveren munt. Voorzijde: hoofd van de koning naar links. Daaronder letter B. Keerzijde: gekroond versierd samengesteld wapenschild. Waarde-aanduiding in omschrift met onderaan jaartal. Randschrift.
Johann Jacob Schüblers Sechzehende Ausgabe seines vorhabenden Wercks, Worinnen vorgezeigt werden Sechs Neu-inventirte Vases (...)
Object type: print
Materials: paper
Techniques: letterpress printing
Location: augsburg
Subjects: title-page
Inscriptions: collector's mark: Lugt 2228

Prent uit: Schübler, Johann Jacob. Erste [-Zwanzigste] Ausgabe seines vorhabenden Wercks (...). Augsburg: Wolf, erven Jeremias, [na 1724]
Achan begraaft de oorlogsbuit in zijn tent
Object type: album leaf
Date: 1579 – 1579
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: only three thousand men go up against ai; they are driven back and some of them are slain, achan's sin (aftermath of the fall of jericho) (joshua 7)

Achan begraaft de oorlogsbuit, die bestemd was voor God, in zijn tent. Zijn familie helpt hem daarbij. Op de achtergrond slaan de Israëlieten op de vlucht voor het leger van de stad Ai. Links staat Jozua met de bevelhebberstaf in zijn hand. Onder de voorstelling een verwijzing in het Latijn naar de Bijbeltekst in Joz. 7. Prent maakt deel uit van een album.
Pharmacy jar (albarello) (one of a pair)
Object type: pharmacy jar
Date: 1579 – 1579
Techniques: maiolica, glazing
Subjects: goddess

The goddess Fortuna is depicted standing astride a sea-monster on each of these five jars (see 53.225.83, .84 and 41.190.343a, b–.345a, b). She is likely a symbol identifying the pharmacy to which the objects belonged. It is clear from subtle differences in the decoration that a number of artists were involved in making this set. On the three lidded jars, the roundel creates an illusion of a window opening onto a deep pictorial space. The painters have achieved an ambitious perspectival view—more impressive still on the two vessels with convex surfaces. On one, there is an amusing modification to the representation of Fortuna, who puckers her lips to blow wind into her own sail. The three lids are original, a rare survival.
Portret van Willem IV, prins van Oranje-Nassau
Object type: print
Date: 1712 – 1744
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: the hague, willem iv (prins van oranje-nassau), crown (symbol of sovereignty)
Inscriptions: collector's mark: Lugt 2228

Busteportret van Willem IV. Het portret is gevat in een ovale omlijsting met bekroond wapenschild van de geportretteerde. In een kader op de piëdestal een zesregelig gedicht in het Nederlands.
Koning Willem III legt den eersten steen aan 't Monument voor 1813. (17 November 1863)
Object type: print
Date: 1863 – 1865
Materials: paper
Techniques: lithograph
Location: netherlands
Artist: Anonymous
Subjects: brussels, willem iii (koning der nederlanden), ceremonial laying of the foundations, laying the first stone, the hague
Inscriptions: collector's mark: Lugt 2228

Ceremonie op 17 november 1863 van het leggen van de eerste steen door koning Willem III voor het monument ter nagedachtenis aan de onafhankelijkheid en de stichting van het Koninkrijk der Nederlanden in 1813, in het Willemspark (nu Plein 1813) te Den Haag. Gezicht op de opbouw met de tribune voor de gasten.
Huis Mos
Object type: print
Date: 1630 – 1706
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: carrying something in basket, bag, rucksack, etc.

Bij een rivier staat een vrouw met op het hoofd een hoed en om de arm een mand. De prent maakt deel uit van een serie van 32 prenten met genretaferelen.
Study of a Scene of Martyrdom (recto); Study of Three Figures (verso)
Object type: drawing
Date: 1501 – 1600
Materials: ink, paper
Techniques: brush, pen, wash
Artist: anonymous, italian, 16th century
Artist role: artist
Artist nationality: italian
Artist dates: 1550 – 1600
Subjects: human figures
A Hare and Birds
Object type: painting, overdoor
Date: 1631 – 1661
Materials: canvas, oil
Artist: jan fyt
Artist role: artist
Artist nationality: flemish
Artist dates: 1611 – 1661
Subjects: birds,rabbits,still life
Bag
Object type: bag
Date: 1876 – 1900
Materials: glass, linen, silk
Culture: mexican

The body of this handbag was originally the bottom of a pouch bag. It has been reconfigured as a flat circle to accommodate a more modern shape with a frame. It could be carried by its chain or hung from the chain's chatelaine ring. Worked in the enduring paisley motif in traditional shawl colors, it features a center tassel that would have hung from the bottom of the bag when it was in pouch form. The bag is part of the Mexican beadwork collection of over 600 pieces assembled by Elizabeth Morrow (1873-1955), mother of writer Anne Morrow Lindbergh, the wife of renowned aviator Charles Lindbergh. Morrow collected the objects between 1927 and 1930, when her husband, Dwight Morrow, Sr., served as U.S. ambassador to Mexico. She lent the collection to the Brooklyn Museum in 1938 and upon her death, her children donated it. A collection of 155 pieces of Mexican ceramics and other decorative arts were given to Amherst College, her husband's alma mater. Mrs. Morrow collected Mexican beadwork, along with other examples of colonial and native arts, to decorate their country home in Cuernavaca in order to promote a more peaceful image of that country through its works. The Morrows sought to overturn the perception of post-revolutionary Mexico as a violent and unstable nation by highlighting the richness and diversity of its colonial, folk, and contemporary art. Glass beads were originally imported to New Spain (Mexico) from Italian and Asian sources via Spanish colonial trade routes. By the early part of the nineteenth century, Spain had suffered the loss of almost all of its colonies and with the succeeding establishment of free trade British ships undertook the importation of beads to Mexico. Many of the design influences on the bags and cases in the collection came from Europe; patterns for beadwork designs came from contemporary fashion publications such as "La Dama Elegante."
Gezicht op stadsmuren van Keulen
Object type: print
Date: 1635 – 1635
Materials: paper
Techniques: etching
Location: cologne
Subjects: city-view, and landscape with man-made constructions, city-walls, cologne
Advertentie van sigarenmagazijn Het Leienhuis
Object type: advertisement
Date: 1874 – 1932
Materials: paper
Techniques: woodcut
Artist: mathieu lauweriks
Artist role: designer, draughtsman, print maker
Artist dates: 1864 – 1932
Subjects: cigar
Inscriptions: collector's mark: Lugt 2228

Advertentie van sigarenmagazijn Het Leienhuis aan de Korenstraat in Apeldoorn. Linksonder het gezicht van een knipogende man met een sigaar in zijn mond.
Helmet
Object type: helmet
Date: 1701 – 1900
Materials: steel
Culture: indian
Location: india
Ontwerp met tekst in rand, voor een ex libris
Object type: design
Date: 1874 – 1945
Materials: ink, pencil
Techniques: pen
Artist: carel adolph lion cachet
Artist role: draughtsman, print maker
Artist dates: 1864 – 1945

Mogelijk een ontwerp voor een ex-libris.
The Coronation of the Virgin, from The Life of the Virgin
Object type: print
Date: 1435 – 1503
Techniques: engraving
Artist: israhel van meckenem
Artist role: artist
Artist nationality: german
Artist dates: 1435 – 1503
Subjects: angels,christ,virgin mary