deem-data/ArtiFact huggingface dataset:
Boots
Object type: boot
Date: 1865 – 1875
Materials: cotton, silk
Culture: american

Utilitarian shoes were often worn out and discarded, so it is fortunate to find a good quality specimen in fine condition. This pair of walking boots is serviceable but not particularly fashionable. The side lacing had been predominant for thirty years, but was going out of style in the 1860s to front lacing. Cloth uppers were also standard on earlier ladies' boots; all-leather uppers did not become common until the 1860s.
Fragmenten clip van schede uit het wrak van de Oost-Indiëvaarder Hollandia
Object type: knife with sheath
Date: 1700 – 1743
Materials: copper
Location: netherlands
Artist: Anonymous
Subjects: verenigde oostindische compagnie, hollandia (schip), annet

Fragm id. NG 1980-27H568, eroded, scabbard.
Illustration to William Cowper's Poem "The Diverting History of John Gilpin": John Gilpin and His Wife Pledge to Renew Their Wedding Vows
Object type: drawing
Date: 1857 – 1857
Materials: board, graphite, ink
Culture: american
Artist: john whetten ehninger
Artist role: artist
Artist nationality: american
Artist dates: 1827 – 1889
Subjects: men,women,dogs
Historie der Kerken en ketteren (...) tot aan het jaar onses Heeren 1688
Object type: print
Date: 1701 – 1701
Materials: paper
Techniques: engraving, etching
Location: netherlands
Artist: romeyn de hooghe
Artist role: draughtsman, goldsmith, painter, print maker
Artist dates: 1645 – 1708
Subjects: paulus thebanus

Portret van Sint Paul van Thebe uit een serie portretten in Historie der Kerken en ketteren van den beginne des Nieuwen Testaments tot aan het jaar onses Heeren 1688 van Godfried Arnold (1701).
Der Schwätzer
Object type: print
Date: 1775 – 1775
Materials: paper
Techniques: etching
Location: berlin
Artist: daniel nikolaus chodowiecki
Artist role: draughtsman, print maker
Artist dates: 1726 – 1801
Subjects: literature, wine ~ alcoholic drinks
Inscriptions: collector's mark: Lugt 2228

Elfde scène uit een serie van twaalf scènes die de 'Fabeln und Erzählungen' door Christian Fürchtegott Gellert illustreren. De scènes werden op een plaat geëtst. Deze serie is ook gebruikt in: 'Genealogischer Calender für West-Preußen auf das Jahr 1776, zu Berlin herausgegeben. Auf Kosten der Königl. Academie der Wissenschaften'.
Veertig jaar CPN (Communistische Partij van Nederland), 1959
Object type: commemorative plaque
Date: 1959 – 1959
Materials: stoneware
Location: meissen
Subjects: netherlands
Inscriptions: factory mark, inscription: ‘1919-1959 / Communistische Partij van Nederland’

Staande, rechthoekige roodbruine steengoed plaquette met gebogen zijden. Voorzijde midden: hamer en sikkel (symbool Communistische Partij van Nederland); boven: jaartallen en fabrieksmerk, onder tekst. Keerzijde ophanggaatje en merkteken.
Meisjes en jongen bij offerbus
Object type: print
Date: 1857 – 1857
Materials: paper
Techniques: lithograph
Location: the hague
Subjects: offertory-box, offertory-bag, child, interior of church
Inscriptions: collector's mark: Lugt 2228

Twee meisjes en een jongen staan in een kerk voor een offerbus. De jongen gooit een munt in de bus. Links zitten twee mannen in een kerkbank.
Portrait of Luzhu
Object type: hanging scroll
Date: 1823 – 1823
Materials: ink, paper
Culture: chinese
Artist: gai qi
Artist role: artist
Artist nationality: chinese
Artist dates: 1773 – 1828
Upper End, Lake George (from Sketchbook)
Object type: drawing
Materials: graphite, paper
Culture: american
Artist: john william casilear
Artist role: artist
Artist nationality: american
Artist dates: 1811 – 1893
Subjects: lakes,mountains,trees
Sword
Object type: sword
Date: 1550 – 1458
Materials: copper alloy
Location: egypt
The Great Hall within the Farnese Palace, from "Speculum Romanae Magnificentiae"
Object type: print
Date: 1567 – 1600
Techniques: engraving, etching
Artist: Anonymous
Artist role: artist
Subjects: architecture,palaces,stairs,rome

This print comes from the museum’s copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae’ first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum’s copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place). Originally volume 3, plate 51 in the scrapbook.
Drie ontwerpen voor penningen met wapens op schilden
Object type: design
Date: 1510 – 1599
Materials: paper
Techniques: engraving
Subjects: memorial medal, armorial bearing, heraldry
Inscriptions: collector's mark: Lugt 240

Kopie in spiegelbeeld naar prent van Hans Sebald Beham
The Orchard
Object type: print
Date: 1868 – 1868
Materials: chine, paper
Techniques: drypoint, etching
Location: france
Artist: charles françois daubigny
Artist nationality: french
Artist dates: 1817 – 1878
Terracotta oil lamp
Object type: lamp
Date: 501 – 600
Materials: terracotta
Culture: roman
Subjects: goats

Unpierced handle. Mold-made. Discus: in high relief, forepart of a horned goat facing left, issuing from a frond. Two large filling holes. On shoulder, large ovules. Base ring within two impressed lines; small, slightly concave base, with impressed human right foot. Intact.
Wintry mountains
Object type: hanging scroll
Date: 1679 – 1689
Materials: ink, paper
Culture: chinese
Artist: gong xian
Artist role: artist
Artist nationality: chinese
Artist dates: 1619 – 1689
Subjects: mountains,landscapes,winter

Gong Xian, considered the greatest of the seventeenth-century Nanjing painters, built up his high-contrast images through a repetitive layering of ink. Here, he evokes a wintry scene in a mountain village. The accompanying poem celebrates the joys of country life: Farmers, cowherds, fishermen, and woodcutters—where do they make their homes? In huts thatched with yellow reeds among mountains and streams. Work completed, they return together and get drunk, Jugs and cups filled with wine; there is no need for credit. —Translation after Aschwin Lippe
Nations of Africa ballets
Object type: print, fete, ornament architecture
Date: 1601 – 1700
Techniques: etching
Artist: anonymous, italian, 17th century
Artist role: artist
Artist nationality: italian
Artist dates: 1600 – 1700
Subjects: dance,men

Three plates on one sheet illustrating ballets introduced by three African nations. The first with the representation of Athena at center, the second with Prometheus, and the third with Apollo.
Stamboom van de Seleuciden en de Ptolemeeën
Object type: print
Date: 1538 – 1538
Materials: paper
Techniques: woodcut
Subjects: family lineage, pedigree, genealogical tree or table

Stamboom van de opvolgers van Alexander de Grote, de Seleuciden en de Ptolemeeën, welke heersten over de gebieden van het huidige Syrië en Egypte. In de marge boven de afbeelding staat de tekst Danielis XI.
Portret van een man
Object type: album leaf
Date: 1860 – 1900
Materials: cardboard, photographic support
Techniques: albumen print
Location: groningen
Artist: roelof hinderikus christiaan karsses
Artist role: fotograaf
Artist dates: 1845 – 1941
Subjects: historical persons
Inscriptions: inscription: ‘R.H.C. KARSSES/ Kunstschilder en Photograaf/ Heereweg/ over de Rabenhauptstraat Y.895./ Groningen./ Van deze Photographie kann nabesteld worden./ Onveranderlijke groote Photographiën, naar klein/ worden in alle afmetingen door mij vervaardigd.’
Het hert
Object type: popular print
Date: 1894 – 1959
Materials: paper
Techniques: lithograph, letterpress printing
Location: liège
Artist: Anonymous
Subjects: hoofed animals: deer
Inscriptions: collector's mark: Lugt 2760

Blad met een grote voorstelling van een hert. In de ondermarge een onderschrift. Genummerd rechtsboven: No 207.
Portret van Jacques-Auguste de Thou
Object type: print
Date: 1696 – 1696
Materials: paper
Techniques: engraving, etching
Location: paris
Subjects: paris, politician, historical persons, portrait of a writer, armorial bearing, heraldry
Inscriptions: collector's mark: Lugt 2228

Prent uit: Perrault, Charles. Les hommes illustres qui ont paru en France pendant ce siècle. Parijs: Antoine Dezallier, 1696.
Kop uit het koffie- en theeservies 'Saxonia'
Object type: eating drinking utensil
Date: 1904 – 1904
Materials: porcelain, chemical
Techniques: painted
Location: meissen
Artist: otto eduard voigt
Artist role: keramiekontwerper
Artist dates: 1870 – 
Inscriptions: model number: ‘12’, factory mark, model number: ‘U 127’

Kop van porselein, beschilderd in blauw en grijs. De kop hoort bij het koffie- en theeservies Saxonia. De kop is gemerkt.
Brief aan Christiaan Immerzeel
Object type: letter
Date: 1845 – 1845
Materials: ink, paper
Techniques: pen, writing
Location: amsterdam
Artist: alexander oltmans
Artist role: draughtsman, print maker
Artist dates: 1814 – 1853
Subjects: the hague, christiaan immerzeel, charitable works, money
Portret van een vrouw
Object type: photograph
Date: 1807 – 1871
Materials: cardboard, photographic support
Techniques: albumen print
Location: netherlands
Subjects: historical persons - bb - woman
Inscriptions: inscription: ‘Photogr. Atelier/ van/ Wegner & Mottu/ Kalverstraat D. 26./ AMSTERDAM./ Leijdschestraatweg buiten Catharijnen/ UTRECHT./ STEENDRUKKERY & PHOTOLITHOGRAPHIE/ Keyzersgracht H. H. 479./ AMSTERDAM./ Het cliché wordt voor verdere bestellingen bewaard.’, annotation: ‘Juli '71’
Melon-Shaped Jar with Butterflies, Gourds, and Scrolling Vines
Object type: vessel
Materials: enamel, porcelain
Techniques: overglaze, painting, underglaze
Location: china
Blenheim Palace
Object type: photomechanical print
Date: 1902 – 1909
Materials: cardboard
Techniques: photograph, lithograph, writing
Location: oxfordshire
Subjects: palace
Dish of an etagere with bouquets and flower sprays
Object type: étagère
Date: 1839 – 1839
Materials: glaze, gold, paint, porcelain
Techniques: firing, forming, gilding, turning, vitrification
Location: paris

De middelste schaal van een étagère van porselein, beschilderd op het glazuur in blauw, rood, roze, groen, geel, paars, zwart en goud. Versierd op de voor- en achterzijde met boeketten van verschillende bloemen en strooibloemen. Vanuit de gelobde, gouden rand, gemodelleerde bladranken, aangezet met goud.
Kowtowing figure with movable head
Object type: kowtowing figure with movable head
Date: 206 – 220
Materials: pottery
Culture: chinese
Andrew Wagoner
Object type: photograph
Date: 1865 – 1865
Techniques: albumen silver print, glass negative
Artist: reed brockway bontecou
Artist role: artist
Artist nationality: american
Artist dates: 1824 – 1907
Subjects: soldiers,american civil war,men,portraits
A Pope Recieving a Saint
Object type: drawing
Date: 1701 – 1800
Materials: chalk, ink, paper
Techniques: brush, pen, wash
Artist: anonymous, german, 18th century
Artist role: artist
Artist nationality: german
Artist dates: 1700 – 1800
Subjects: popes,saints
Corte onderrechtinghe op de figuerliicke afbeeldinghe, soo veel aengaet het recht ghebruyck vant Musquet
Object type: print
Date: 1597 – 1607
Materials: paper
Techniques: engraving, hand coloring
Location: the hague
Artist: jacques de gheyn (ii)
Artist role: painter, print maker
Artist dates: 1565 – 1629
Subjects: handling of weapons ~ military training, firearms: rifle

Een soldaat, ten voeten uit, naar rechts, die met beide handen bij zijn linkerdijbeen een musket (een bepaald type vuurwapen) vasthoudt. In zijn linkerhand behalve het musket ook een furket (musketvork). Deze prent is onderdeel van de reeks van 43 met de hand genummerde prenten van musketiers in de Wapenhandelinghe.
Portret van Johan van Duvenvoorde op 32-jarige leeftijd
Object type: print
Date: 1579 – 1617
Materials: paper
Techniques: engraving
Artist: hendrick goltzius
Artist role: draughtsman, painter, print maker
Artist dates: 1558 – 1617
Subjects: the hague, historical persons, commander-in-chief, admiral
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 963
Ivory label incised with an early hieroglyph that may be the image of a bundle of arrows
Object type: label, bundle of arrow
Date: 2650 – 2650
Materials: ink, wood
Location: egypt
Subjects: hieroglyphs
Plaque with robed priests leading animals
Object type: relief
Date: 900 – 701
Materials: ivory
Culture: assyrian
Location: mesopotamia
Subjects: animals,men

This large plaque of ivory was probably blackened through exposure to fire when the palace complexes at Nimrud were sacked during the final defeat of Assyria at the end of the seventh century B.C. It depicts a procession to the right, with decorative borders at top and bottom in the form of stepped crenellations, which are projections that lined the tops of defensive walls. The figures lead animals as offerings, presumably to the Assyrian king and court. At the left edge is the head and forelegs of a horse, led by a bearded figure wearing an elaborate robe and rounded cap. Two cattle follow, a large bull and a smaller calf. They are led by another bearded and robed figure who grasps the ropes attached to the large bull’s nose and the calf’s horn. A third richly dressed figure is partially preserved at the right edge; he wears a fringed shawl that can be clearly seen, overlapped by the other figure’s extended hand. Carved ivory pieces such as this were widely used in the production of elite furniture during the early first millennium B.C., and were often inlaid into a wooden frame using joinery techniques and glue. Ivories carved in this style, in which scenes similar to those depicted in the stone reliefs decorating the walls of the Assyrian palaces are represented using an incised technique, are thought to have been made in Assyrian workshops for the use of the royal court. This piece was found together with other carved ivory fragments in the same style in the throne room of the Nabu Temple at Nimrud. Built by the Assyrian king Ashurnasirpal II, the palaces and storerooms of Nimrud housed thousands of pieces of carved ivory. Most of the ivories served as furniture inlays or small precious objects such as boxes. While some of them were carved in the same style as the large Assyrian reliefs lining the walls of the Northwest Palace, the majority of the ivories display images and styles related to the arts of North Syria and the Phoenician city-states. Phoenician style ivories are distinguished by their use of imagery related to Egyptian art, such as sphinxes and figures wearing pharaonic crowns, and the use of elaborate carving techniques such as openwork and colored glass inlay. North Syrian style ivories tend to depict stockier figures in more dynamic compositions, carved as solid plaques with fewer added decorative elements. However, some pieces do not fit easily into any of these three styles. Most of the ivories were probably collected by the Assyrian kings as tribute from vassal states, and as booty from conquered enemies, while some may have been manufactured in workshops at Nimrud. The ivory tusks that provided the raw material for these objects were almost certainly from African elephants, imported from lands south of Egypt, although elephants did inhabit several river valleys in Syria until they were hunted to extinction by the end of the eighth century B.C.
Vossenjacht
Object type: print
Date: 1612 – 1612
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: fox hunting, casting weapons: spear, the kill (~ hunting)
Inscriptions: collector's mark: Lugt 1641, stamp

Een man te paard nadert met opgeheven zwaard een op zijn rug liggende vos, die door honden in het nauw is gedreven. Vier andere mannen rennen naar het dier toe met speren en knuppels: een van hen spietst de vos. Daarachter zit een vos vast door een strik om zijn lijf. Een man met een stok in de aanslag rent ernaartoe. Op de achtergrond een drijfjacht. Onderwerpsrubrieken binnen de Atlas Zeden en Gewoonten: Handel, nijverheid en verkeer, jacht.
Abriss der Belagerung Breda, deren umbliegenden Landschafft, Item der Zweij Stadischen Läger zu Rosenthal und Sprang. 1625
Object type: print
Date: 1625 – 1625
Materials: paper
Techniques: etching
Location: germany
Artist: Anonymous
Subjects: delft, the hague, frederick henry (prince of orange), maurice (prince of orange), maps of separate countries or regions, siege, position war

Kaart van het beleg van Breda door het Spaanse leger onder Spinola, 27 augustus 1624 tot 5 juni 1625. Breda met een groot deel van het omliggende land en de legerplaatsen van de belegerende troepen bij Ginneken en van de Staatse legers onder Maurits bij Roosendaal en onder Frederik Hendrik bij Sprang. Aan de linkerzijde de Schelde en Antwerpen, bovenaan het Hollands Diep en de Biesbos. Linksboven een inzet met een plattegrond van Breda.
Portretten van beroemde mensen
Object type: print
Date: 1818 – 1832
Materials: paper
Techniques: stippling
Location: berlin
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2228
Antonius Triest, bisschop van Gent
Object type: history medal
Date: 1622 – 1622
Materials: silver
Techniques: casting
Location: brussels
Artist: adriaan waterloos
Artist role: medailleur
Artist dates: 1600 – 1684
Subjects: ghent, antonius triest

Zilveren penning. Voorzijde: borststuk man. Keerzijde: man met lendedoek, aureool en kruis uit wiens lendenen bloed druppelt in een kelk binnen omschrift
Lappet
Object type: lappet
Date: 1701 – 1750
Techniques: lace
Portret van Anton Henne
Object type: print
Date: 1826 – 1849
Materials: paper
Techniques: aquatint, engraving, etching
Artist: Anonymous
Subjects: politician, eyeglasses, spectacles, historical persons, portrait of a writer
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 500 – 451
Materials: terracotta
Culture: greek, attic

Interior, part of line border of tondo; Exterior, part of calf and foot of figure to right
Ceremonie met van overspel verdachte vrouwen
Object type: print
Date: 1686 – 1727
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Artist: matthijs pool
Artist role: print maker
Artist dates: 1676 – 1740
Subjects: ordealing an adulterous woman (jewish law)
Inscriptions: collector's mark: Lugt 2228

Tijdens een ceremonie drinkt een vrouw uit een grote kelk. Tegenover haar staat de hogepriester. De mannen uit de gemeenschap kijken toe. Op de voorgrond wordt op een altaar geofferd. Dit is de Joodse ceremonie die de trouw van een getrouwde vrouw test (Num. 5:11-35).
Pouch (Forel)
Object type: purse
Date: 1301 – 1400
Materials: canvas, metal thread, silk
Culture: french
View of the Amer Fort, near Jaipur, Rajasthan, India
Object type: photograph
Date: 1865 – 1890
Materials: cardboard, paper
Techniques: albumen print
Location: amer
Artist: Anonymous
Subjects: fortress, palace, lake
Inscriptions: title: ‘Amber near Jeypore -/ View of Palace and fort’, number: ‘83’, number: ‘121’
Portret van Joh. Baltas. Schütz
Object type: print
Date: 1672 – 1672
Materials: paper
Techniques: engraving
Location: vienna
Subjects: dog
Inscriptions: date

De jonge Joh. Baltas. Schütz leunt met zijn arm op een tafel en houdt onder de andere arm een hond.
Roof Seat Break #3588
Object type: drawing
Date: 1880 – 1880
Materials: gouache, gum arabic, ink, watercolor
Techniques: pen
Artist: brewster & co.
Artist role: manufacturer
Artist nationality: american
Subjects: carriages

Brewster & Company History Established in 1810 by James Brewster (1788–1866) in New Haven, Connecticut, Brewster & Company, specialized in the manufacture of fine carriages. The founder opened a New York showroom in 1827 at 53-54 Broad Street, and the company flourished under generations of family leadership. Expansion necessitated moves around lower Manhattan, with name changes reflecting shifts of management–James Brewster & Sons operated at 25 Canal Street, James Brewster Sons at 396 Broadway, and Brewster of Broome Street was based at 372 & 374 Broome Street with a repository (showroom) on 14th Street & Fifth Avenue. By 1874, Brewster & Company had 400 employees and combined warehouse and factory facilities at 47th & 48th Streets and Broadway. Brewster successfully branched out to produce their own automobiles, as well as supplying bodies for Rolls Royce at their Long Island City location. Notable clientele included Alfred Gwynne Vanderbilt, August Belmont, J.P. Morgan, John Jacob Astor, Andrew J. Cassatt (brother of artist Mary Cassatt), William Rockefeller, Henry Clay Frick and Pierre Lorillard. Talented draftsmen employed by the firm included Paul Steinbeck, Herman Stahmer and John Gribbon, the latter teaching at the Carriage Builders and Designers Technical School, which opened in 1880 and was housed initially at the Metropolitan Museum of Art. When the company finally dissolved in 1923, its last owner William Brewster (1866–1949) donated its archive of design and presentation drawings to the Museum where he served as benefactor and trustee. Of all American carriage manufacturers, none was as highly regarded for design, finish and quality as Brewster & Company. They won many awards for outstanding workmanship, including the Legion d’Honneur (Legion of Honor) at the 1878 Paris Exposition (3rd World’s Fair). In appreciation for this achievement the Carriage Builders’ National Association presented them with a gold enameled Tiffany & Company plaque and autograph book signed by leading American carriage builders, both now at the Metropolitan Museum of Art. Merri Ferrell, 2016
Pastorale
Object type: print
Date: 1701 – 1800
Materials: ink
Techniques: printmaking, etching, printing
Location: france
Artist: gilles demarteau
Artist role: artist
Artist nationality: french
Artist dates: 1722 – 1776
Extase van Teresa
Object type: print
Date: 1681 – 1681
Materials: paper
Techniques: engraving
Location: vatican city
Subjects: personal devotion of st. theresa - female saint meditating, in ecstasy
Inscriptions: collector's mark: Lugt 240

Het beeld door Bernini bevindt zich in de Santa Maria della Vittoria in Rome. Het werd tussen 1647 en 1652 vervaardigd.
Gelykheid
Object type: print
Date: 1795 – 1795
Materials: paper
Techniques: stippled etching
Location: netherlands
Artist: Anonymous
Subjects: equality, equity, fairness, righteousness; 'equalità', 'equità', 'giuditio giusto', 'ordine dritto e giusto', 'ugualità' (ripa) (+ abstract concept represented by female figure)
Inscriptions: collector's mark: Lugt 2228

Personificatie van de Gelijkheid met een tablet met de tekst 'Droits de l'Homme, Rechten van den Mensch', in de andere hand een paslood, verder symbolen van overvloed, ca. 1795.