deem-data/ArtiFact huggingface dataset:
Titelpagina voor: J. van Lennep en G. van Ernst Koning, Tooneel decoratief, 1845.
Object type: print
Date: 1845 – 1845
Materials: paper
Techniques: letterpress printing
Location: amsterdam
Subjects: group of actors, troupe; actors on the stage, title-page
Inscriptions: date

Gedrukte tekst deels met potlood doorgestreept en aangepast.
Prent uit: Prent uit: Lennep, J. van; Ernst Koning, G. van. Tooneel decoratief. Amsterdam: Weddepohl, C., 1845.
Frauenbecher van verguld zilver
Object type: cup
Date: 1600 – 1600
Materials: silver
Techniques: gilding
Location: nuremberg
Artist: Anonymous

Frauenbecher van verguld zilver in de vorm van een vrouwenfiguur. De uitstaande rok dient als drinkkelk.
Portret van Constantijn Huygens
Object type: print
Date: 1690 – 1690
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: constantijn huygens (i)
Inscriptions: collector's mark: Lugt 2228

Portret van Constantijn Huygens, dichter, secretaris van prins Frederik Hendrik en prins Willem II en eerste raad en rekenmeester van prins Willem III. Onder het portret zijn familiewapen.
The Lovers
Object type: covering and hanging
Date: 1490 – 1500
Materials: hemp, silk, wool
Techniques: interlocking, slit, tapestry, weave
Location: basel
Subjects: women, men
Inscriptions: Inscribed: ich·spil·mit·üch·in·trüwe / des·sol·üch·niemer·rüwen (I dally with you faithfully; I hope you will never regret it)

In the late Middle Ages, domestic spaces contained relatively little furniture, mostly utilitarian chests, cupboards, and benches. Textiles in the form of cushions, bed hangings, and tapestries provided softening elements of warmth and color. Although Flemish and northern French workshops produced monumental tapestry series for princes and cathedrals throughout Europe, in the cities of Basel and Strasbourg, on the upper reaches of the Rhine, weavers specialized in more modest tapestries. They included many woman artisans. Their tapestries featured witty, secular subjects—lovers pledging their faith (as here), fabulous animals, and wild men—and often had a gently moralizing tone, indebted to early engravings produced in the same region.
Winters landschap met twee boten
Object type: page
Date: 1894 – 1899
Materials: paper
Techniques: autotype
Location: berlin
Artist: h. winckelmann
Artist role: fotograaf
Subjects: landscapes, rowing-boat, canoe, etc., snow
Vijftigjarig bestaan van het Verzekeringsfonds van Beambten van de Nederlandsche Bank 1936
Object type: history medal
Date: 1936 – 1936
Materials: bronze
Techniques: striking

Bronzen penning, op de voorzijde het aanzicht van het bankgebouw met omschrift, op de keerzijde een rechthoekig veld met vijf regels tekst, versierd met de wapenschilden van Amsterdam en Rotterdam, alles binnen een krans van zeventien gemeentelijke wapenschilden.
Campidoglio
Object type: photograph
Date: 1859 – 1890
Materials: cardboard, paper
Techniques: albumen print
Location: rome
Artist: edmondo behles
Artist role: fotograaf
Artist dates: 1841 – 1921
Subjects: square, place, circus, etc., equestrian statue, exterior ~ representation of a building
Inscriptions: number: ‘No. 1078’, address: ‘EDMONDO BEHLES/ STUDIO MARIO DE'FIORI 23./ MAGAZZINO CORSO 196./ ROMA’, number: ‘26’
Zondvloed
Object type: print
Date: 1780 – 1780
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: the flood and destruction of mankind ~ story of noah (genesis 7:10 - 8:17)
Inscriptions: collector's mark: Lugt 240

Prent gebruikt als boekillustratie in: Martinet, Joannes Florentius. Historie der waereld. Amsterdam: Johannes Allart, 1780-1788. 25 delen. deel I, pl. I.
Counter
Object type: counter
Date: 30 – 364
Materials: bone
Techniques: carving, incising
Location: egypt
Subjects: games
Half Model of a 50-Gun Frigate
Object type: half model
Date: 1780 – 1820
Materials: wood
Techniques: polychromy
Location: netherlands
Artist: Anonymous
Subjects: minerva (schip)
Inscriptions: inscription, top centre, on a rectangular black label: ‘FREGAT a 50 STUKKn 36 lb’

Gepolychromeerd mallenmodel (stuurboord) van een driemaster. Vijftien geschutpoorten op het geschutdek en negen geschutposities op het bovendek. Gewrongen spiegel, hol wulf, geen details van hek of zijgalerij. Recht roer met vierkante roerkoning. Zeeg aan beide uiteinden iets oplopend, twee berghouten en één reehout. Gepiekt rondspant.
Bowl Fragment
Object type: decorative art
Date: 100 – 100
Materials: glass
Techniques: mosaic glass
Culture: roman
Location: italy
Subjects: decoration

In ancient Rome, there was a high demand for colorful glass that could dazzle banquet guests alongside the expensive silver and gold serving wares meant to impress. Fragments like this one would have once been a part of larger mosaic dishes. The mosaic pattern was made by sagging molten glass into bowl-shaped molds, a technique used on many of these fragments is similar to millefiori, “thousand flowers” in Italian, a modern glass-making method in which tiny rods of colored glass are bundled together, wrapped in a sheet of glass, fused, and then thinly sliced to reveal swirls of a flower-like patterns. They were arranged side by side, sometimes together with bits of colored glass, and fused together with heat.
Sampler
Object type: sampler
Date: 1889 – 1889
Materials: canvas, silk, wool
Subjects: animals,women
Rocaille met dieren en doedelzak
Object type: print
Date: 1736 – 1736
Materials: paper
Techniques: etching
Location: france
Subjects: rocaille ornament, bagpipe, musette, herd, flock

Deze serie is linksboven genummerd met een letter B. Prent maakt deel uit van een album.
Panel (Furnishing Fabric)
Object type: textile
Date: 1840 – 1840
Materials: cotton
Techniques: weave, printing
Location: england
Cup (part of a set)
Object type: cup
Date: 1765 – 1765
Materials: hard paste porcelain
Artist: royal porcelain manufactory, berlin
Artist role: manufactory
Artist nationality: german
Artist dates: 1763 – 9999
Subjects: flowers
Hopman Ulrich of de bedrogen gierigheid: de omkoping
Object type: print
Date: 1760 – 1780
Materials: paper
Techniques: engraving
Location: amsterdam
Artist: jacob houbraken
Artist role: draughtsman, print maker
Artist dates: 1698 – 1780
Subjects: comedy, candlestick, guard duty, keeping sentry, night, bribery
Inscriptions: collector's mark: Lugt 240

Een wachter met een zwaard vraagt een jongeman (Godefroy), die heimelijk in de nacht bij zijn geliefde (Sybille) op bezoek komt, om geld. De jongeman steekt zijn hand in zijn broekzak. De vrouw heeft een kaars vast. Op de stoep staan een glas en een fles. Rechts op de achtergrond een tweede wachter. Scène uit het blijspel 'Hopman Ulrich of de bedrogen gierigheid' van Johan van Paffenrode uit 1661, waarin het gierige personage Ulrich wordt bedrogen door zijn vrouw Sybille, ondanks dat hij haar laat bewaken. Haar minnaar Godefroy koopt de wachter om.
Fragment of a Bowl
Object type: fragment of a bowl
Date: 901 – 1000
Materials: earthenware, glaze
Location: iran
Twee gezichten op Indonesische eilanden
Object type: print
Date: 1830 – 1880
Materials: paper
Techniques: lithograph
Artist: Anonymous
Subjects: fortress, island (in tropical and sub-tropical regions), indonesia
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228

Twee gezichten, vanaf zee gezien, op eilanden in Indonesië. Op de onderste afbeelding een fort met daaromheen bouwwerken van de plaatselijke bevolking. Een aantal roeiboten en kleine zeilboten op het water.
Johannesbroodboom
Object type: page
Date: 1866 – 1871
Materials: paper
Techniques: albumen print
Location: monaco
Artist: jean walburg de bray
Artist role: fotograaf
Artist dates: 1839 – 1901
Subjects: shrubs
Inscriptions: number: ‘No 4.’, inscription: ‘Silinqua quam Jones Cerauniam vocant.... Non enim in AEgyto nascitur sed in Syria, Jonique et/ circa Gnidum atque in Rhodo.... Pomo siliqua.... Pomo antecedentis anni circa canis ortus detracto/ statim alterum parit.../ PLINE, XIII, 8.’, inscription: ‘Page 14.’
Cap
Object type: cap
Date: 1870 – 1870
Materials: cotton, linen
Culture: irish

A cap and lappets all in one is a somewhat unusual form, indicating a transitional period during the decline of lappets as fashionable headwear. The Carrickmackross lace used for this fine example has a rich textured appearance exhibiting fine workmanship.
Huis met een puntdak en een schoorsteen
Object type: sketchbook leaf
Date: 1895 – 1895
Materials: paper, pencil
Artist: carel adolph lion cachet
Artist role: draughtsman, print maker
Artist dates: 1864 – 1945
Subjects: interior of the house

Blad 18 verso uit een schetsboek met 23 bladen.
Bronze handle of an oinochoe (jug)
Object type: handle with head of herakles
Date: 425 – 400
Materials: bronze
Culture: greek
Subjects: heads

The attachment plate at the base of this handle is cast in the form of the head of Herakles. The hero, wearing his characteristic lion-skin cap, is represented with a long curly beard. This older, bearded Herakles was a popular subject on vase handles of this period.
Ship Figurehead, Male Figure
Object type: decorative art
Date: 1830 – 1840
Materials: wood
Location: northeast
Artist: Anonymous
Artist nationality: american
Artist dates: 1800 – 1899
Portret van Georg Heinrich Behr
Object type: print
Date: 1731 – 1772
Materials: paper
Techniques: engraving
Location: straatsburg
Subjects: bookshelves, historical persons
Inscriptions: collector's mark: Lugt 2228
Terracotta fragment of a krater (bowl for mixing wine and water)?
Object type: krater fragment
Date: 475 – 451
Materials: terracotta
Culture: greek, attic

Saltire square from the ornament of a krater
Be Mine Love (Valentine)
Object type: drawing and watercolor
Date: 1840 – 1840
Materials: ink, paper, watercolor
Techniques: collage, cutting, embossing, pen
Location: england
Artist: Anonymous
Artist nationality: english
Artist dates: 1800 – 1899
Toneelstuk door krijgsgevangenen
Object type: photograph
Date: 1943 – 1945
Materials: photographic support
Techniques: gelatin silver print
Location: muhlberg
Artist: dick w.b. van maarseveen
Artist role: fotograaf
Artist dates: 1905 – 1990
Subjects: the hague, dick w.b. van maarseveen

Toneelstuk opgevoerd door krijgsgevangenen in Kamp Mühlberg. Onderdeel van een groep foto's gemaakt door Dick van Maarseveen in het Duitse krijgsgevangenenkamp Stalag IV B in Mühlberg in de periode 1943-1945.
Gezicht op het Forum van Trajanus met links de Santa Maria di Loreto en rechts de Santissimo Nome di Maria al Foro Traiano te Rome
Object type: glasnegatief, glasplaatnegatief
Date: 1907 – 1935
Materials: glass
Techniques: gelatin glass negative
Location: italy
Artist: Anonymous
Subjects: square, place, circus, etc., column, pillar ~ architecture, parts of church exterior and annexes: dome
Wine cup with ring handle (He)
Object type: wine cup
Date: 206 – 220
Materials: bronze
Culture: chinese
Dish
Object type: dish
Date: 1701 – 1800
Materials: soft paste porcelain
Subjects: birds,men,women,landscapes
Andiron with figure of Venus (one of a pair)
Object type: andiron
Date: 1601 – 1633
Materials: bronze
Artist: girolamo campagna
Artist role: artist
Artist nationality: italian
Artist dates: 1549 – 1625
Subjects: putti,venus,dolphins,lions
Vrouw met een korenschoof
Object type: print
Date: 1809 – 1837
Materials: paper
Techniques: lithograph, lithography
Location: haarlem
Artist: pieter bartholomeusz. barbiers
Artist role: draughtsman, print maker
Artist dates: 1772 – 1837
Subjects: plants and herbs: wheat, binding ~ harvest
Inscriptions: collector's mark: Lugt 2228

De vrouw staat licht voorover gebogen en bindt een bundel koren tot een korenschoof. Achter haar op de grond ligt een voltooide schoof.
Plate
Object type: plate
Date: 1750 – 1760
Materials: faience
Techniques: glazing
Subjects: birds,insects,flowers

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.
Apollo op de berg Parnassus
Object type: print
Date: 1669 – 1669
Materials: paper
Techniques: etching
Subjects: pegasus, the winged horse, (story of) apollo (phoebus), parnassus, sacred to apollo musagetes, inspiration of the poet; 'furore poetico' (ripa)
Inscriptions: collector's mark: Lugt 2228

Apollo zit, omgeven door muzen, op de berg Parnassus. In zijn linkerhand houdt hij een scepter vast, met zijn rechterhand wijst hij hemelwaarts. Rechts van hem is Pegasus in de lucht verschenen. Lager op de berg staat een dichter te schrijven en kijkt daarbij ter inspiratie naar Apollo.
Gesluierde vrouwen zitten op een kar die wordt voortgetrokken door een ezel
Object type: album leaf
Date: 1887 – 1900
Materials: paper
Techniques: albumen print
Subjects: four-wheeled vehicle drawn by one animal, ass, donkey, historical persons - bb - woman, veil

De ezel wordt begeleid door een man met een tulband en baard
La photographie appliquée à la production du type d'une familie ou d'une rac (...)
Object type: photomechanical print
Date: 1883 – 1893
Materials: paper
Techniques: autotype
Artist: Anonymous
Subjects: adult woman, adult man, historical persons
Inscriptions: number: ‘Fig. 55.’
Portret van Norbert van den Berg
Object type: carte de visite
Date: 1855 – 1910
Materials: cardboard, photographic support
Techniques: albumen print
Location: java
Subjects: norbertus petrus van den berg (1831-1917)
Inscriptions: name: ‘W.&P. Phot. Java’
Stable
Object type: print
Date: 1848 – 1848
Techniques: drypoint
Artist: charles émile jacque
Artist role: artist
Artist nationality: french
Artist dates: 1813 – 1894
Subjects: horses
Ensemble
Object type: ensemble
Date: 1863 – 1863
Materials: cotton
Culture: french
Aäron in het hoogepriesterlyk gewaad
Object type: book illustration
Date: 1725 – 1731
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: vestments of high priest ~ jewish religion, head-gear, aaron (not in biblical context); possible attributes: attributes of aaron: censer, dressed as high priest or bishop, ointment jar, rod or flowering wand
Inscriptions: collector's mark: Lugt 2228

Prent gebruikt voor: Calmet, Augustin. Het algemeen groot historisch, oordeelkundig, chronologisch, geografisch en letterlyk naam- en woord-boek van den gantschen H. Bybel. Amsterdam: R. en J. Wetstein en W. Smith, Leiden: S. Luchtmans, 1725-1731.
Sixteenth or seventeenth-century-style ornamental hinge
Object type: hinge
Date: 1501 – 1700
Materials: niello, silver gilt
Subjects: human figures
Maria aan de voet van het kruis
Object type: drawing
Date: 1425 – 1440
Materials: ink, paint, paper
Techniques: brush, pen
Location: southern netherlands
Artist: Anonymous
Subjects: the virgin mary, the crucifixion of christ: christ's death on the cross; golgotha (matthew 27:45-58; mark 15:33-45; luke 23:44-52; john 19:25-38)
Seated Shepherd
Object type: drawing
Date: 1648 – 1698
Materials: chalk, paper
Location: haarlem
Artist: gerrit berckheyde
Artist role: draughtsman, painter
Artist dates: 1638 – 1698
Subjects: sitting figure, herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.
Cavalerist met paarden
Object type: sketchbook leaf
Date: 1893 – 1899
Materials: chalk, paper
Location: amsterdam
Artist: george hendrik breitner
Artist role: draughtsman, painter, print maker
Artist dates: 1857 – 1923
Subjects: landscapes, horse, the soldier; the soldier's life (+ cavalry, horsemen)

Pagina 37 en pagina 38 uit een schetsboek met 28 bladen.
Untitled
Object type: photograph
Date: 1850 – 1850
Techniques: daguerreotype
Location: united states
Artist: Anonymous
Artist nationality: american
Artist dates: 1800 – 1899
Subjects: collected by hugh edwards
Skyphos fragment
Object type: skyphos fragment
Date: 900 – 30
Materials: terracotta
Culture: greek or lydian
Zigeuners bij een herberg
Object type: print
Date: 1621 – 1631
Materials: paper
Techniques: engraving, etching
Location: nancy
Artist: jacques callot
Artist role: draughtsman, print maker
Artist dates: 1592 – 1635
Subjects: wandering communities: romani or roma, theft, hotel, hostelry, inn
Inscriptions: collector's mark: Lugt 240

Bij een herberg leest een aantal zigeunervrouwen een voorname heer en dame de hand, terwijl hun reisgenoten voedsel en goederen stelen. Bovenin de voorstelling twee regels Franse tekst. Deze prent is onderdeel van een serie van vier prenten met voorstellingen van het leven van zigeuners.
L'Enlevement Nocturne
Object type: print
Materials: paper
Techniques: engraving
Location: france
Artist: nicolas ponce
Artist nationality: french
Artist dates: 1746 – 1831
Sports of a Country Fair, Part the First
Object type: print
Techniques: etching
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: satire,men,women,horses,carts

A horse has broken loose from a two-wheeled cart, which is packed with visitors to the fair, who have been thrown onto the ground. The fair booths are in the background at right.
Jongens / ey siet dees vryasie aan / van Crelis en Maertje van Ossaan
Object type: popular print
Date: 1765 – 1767
Materials: paper
Techniques: colour, letterpress printing
Location: amsterdam
Subjects: courting
Inscriptions: collector's mark: Lugt 2760

Blad met 16 voorstellingen van de vrijage van de arme Krelis en Maartje van Oostzaan. Onder elke afbeelding een tweeregelig vers. Genummerd midden boven: 17.
The Sun and the Moon Stand Still, from "Dalziels' Bible Gallery"
Object type: print
Date: 1881 – 1881
Materials: paper
Techniques: engraving
Artist: henry hugh armstead
Artist role: artist
Artist nationality: british
Artist dates: 1828 – 1905
Subjects: battles,soldiers,horses,chariots
Bottle with Lion
Object type: bottle
Date: 1701 – 1733
Materials: enamel, glaze, porcelain
Techniques: painting
Culture: chinese
Subjects: lions
Inscribed corner, Akhenaten prenomen on one surface, Aten cartouche on other
Object type: inscribed corner element, aten cartouche
Date: 1353 – 1336
Materials: limestone
Location: egypt
Bomen aan de Amstelveense Weg
Object type: drawing
Date: 1776 – 1822
Materials: chalk, paper
Techniques: brush
Artist: hermanus fock
Artist role: conservator, draughtsman, painter, print maker
Artist dates: 1766 – 1822
Subjects: forest, wood, amsterdam
Moonrise on Edo Bay
Object type: print
Date: 1770 – 1770
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: isoda koryūsai
Artist role: artist
Artist nationality: japanese
Artist dates: 1735 – 1790
Subjects: women,boats
Buddha of Medicine Bhaishajyaguru (Yaoshi fo)
Object type: wall painting
Date: 1319 – 1319
Materials: clay, pigment, fiber
Culture: chinese
Subjects: buddhism,bodhisattvas,buddha,medicine

Iconography: Bhaishajyaguru (A), the Buddha of Medicine, sits on a lotus throne surrounded by an assembly of deities. Standing to either side of the central figure are the Buddha’s attendant bodhisattvas: Candraprabha (B), or Yueguang Pusa 月光菩薩, and Suryaprabha (C), or Riguang Pusa 日光菩薩. They can be identified by the adjacent white moon and the red sun, respectively. Two larger bodhisattvas are seated to the right and left of the smaller standing figures. Two secondary bodhisattvas at lower left and lower right carry a monk’s staff and medicine bowl (D and E), Bhaishajyaguru’s traditional attributes. The Twelve Guardian Generals (F) are depicted at the two sides of the mural. They personify Bhaishajyaguru’s vow to help all in need by curing illness, ensuring the birth of healthy children, and providing clothing and other necessities. This painting was originally paired with an equally large image of Tejaprabha, the Buddha of Blazing Light, who controls the planets and constellations and, therefore, one’s fate. He is believed to bring good fortune and long life. The pairing of Bhaishajyaguru and Tejaprabha is unusual and may illustrate concerns fostered by the devastating earthquake and fire that destroyed the Guangsheng monastery complex in 1303. Technique and Style: This mural was painted on a ground of dry plaster mixed with straw and covered with clay. Thick black outlines define the images, which are filled in using vegetable and mineral pigments. Only the latter—predominantly red, green, and white—have survived. This is one of several murals from the Fen River area, in southern Shanxi province that are associated with the workshop of the early fourteenth-century master craftsman Zhu Haogu. A robust figure type with a full face and shallow spatial constrictions typify the style, found in both Buddhist and Daoist temple art. History: This representation of the Buddha of Medicine once adorned the east wall of the main hall in the Lower Guangsheng (“Vast Triumph”) Temple, in the northern Chinese province of Shanxi. Rebuilt after an earthquake in 1303, the temple’s eastern compound is constructed along a north-south axis. The large entry gate leads into the front and main halls, which are connected by covered walkways. Used for assemblies and lectures, the main hall once contained paintings on its east, north, and west walls, as well as numerous freestanding wooden sculptures of Buddhist deities. Records indicate that the hall was rebuilt and refurbished between 1303 and 1319. A stele at the temple indicates that in the 1930s the monks sold four of the murals decorating the main hall in order to prevent its collapse after being damaged by an earthquake.
De Groote Markt na de Onthulling
Object type: print
Date: 1856 – 1856
Materials: paper
Techniques: lithograph
Location: netherlands
Artist: carel christiaan antony last
Artist role: print maker
Artist dates: 1808 – 1876
Subjects: haarlem, monument, statue, rejoicing on special occasions

Gezicht op de Grote Markt te Haarlem na de onthulling van het standbeeld van Laurens Coster, 15-17 juli 1856. Onderdeel van een serie van zes platen van feestelijkheden rondom de onthulling van het standbeeld.