deem-data/ArtiFact huggingface dataset:
Ceramic Fragment
Object type: fragment
Date: 201 – 800
Materials: earthenware
Techniques: glazing
Location: iraq

This ceramic fragment was excavated in Ctesiphon, the Sasanian metropolis and administrative capital conquered by Arab Muslim armies in 637. The city continued to be inhabited throughout the era, when it was known in Arabic as al-Mada’in, or "the cities", because of the expansive area it encompassed. Arab and Persian historians and poets indulged in describing al-Mada’in/Ctesiphon’s grand monuments. Muslim rulers also celebrated the glory of these monuments, which through time had acquired symbolic significance due to their association with the city’s imperial past. This was the case of the Taq-i Kisra, an impressive colossal ivan (a vaulted hall with one side open) that was partially dismantled to reuse its bricks in caliphal buildings in the new capital of Baghdad. Finds like this fragment attest to the continued occupation of Ctesiphon’s urban area in the first centuries of the Islamic period, during which a pilgrimage site developed at Salman Pak, an area named after the tomb of Salman al-Farsi, one of the early companions of the Prophet and the first Iranian to convert to Islam. The site is still visited by pilgrims today. Excavations in the Ctesiphon area were undertaken by an expedition in 1928–29 sponsored by the German Oriental Society (Deutsche Orient-Gesellschaft). The Metropolitan Museum of Art and the Staatliche Museen, Berlin, undertook a joint expedition for one season in 1931–32. Several excavations were conducted, including at the Taq-i Kisra, in a small, fortified area south of the palace at Tell Dheheb, at multiple houses at the mounds of Ma’aridh, and at additional houses at a small mound called Umm ez-Za’tir. According to the agreements, the finds were first divided with the Iraqi authorities, between Berlin and New York.
Koe, van voren gezien
Object type: drawing
Date: 1819 – 1881
Materials: chalk, paper
Artist: johannes tavenraat
Artist role: draughtsman, painter, print maker
Artist dates: 1809 – 1881
Subjects: cow
Broken bead
Object type: bead
Date: 900 – 801
Materials: amber
Culture: iranian
Location: iran
Kous gebreid van witte zijde met brede katoenen boord
Object type: clothing
Date: 1910 – 1920
Materials: cotton, silk
Techniques: knitting
Location: lille
Artist: Anonymous

Kous van witte zijde. Model: met naad. Boord van katoen. Vierkante hiel. Bruine vlekken op de hiel.
Andiron with figure of Ceres (allegory of Peace) (one of a pair)
Object type: andiron
Date: 1601 – 1700
Materials: bronze
Artist: girolamo campagna
Artist role: artist
Artist nationality: italian
Artist dates: 1549 – 1625
Subjects: women,putti,cornucopia

These bronzes were formerly components of a larger pair of andirons subsequently turned into statuettes and mounted on marble plinths. Each andiron is comprised of two main pieces, the deity and the pedestal. The Allegory of Peace is a female figure standing on a shield and helmet and cradling a cornucopia of fruit in her right arm. In the companion Allegory of War, the figure, also female, wears a helmet and holds a spear and shield; a sphinx supports an escutcheon at her feet. Both pedestals are composed of a central urn-shaped stem decorated with four lion masks atop an octagonal base, with sides alternately straight and concave. Two amorini with outstretched arms flank the urn and support the base of the deity. Only the left arm of Peace was cast separately (a fragment of an unknown object remains in the left hand). The left leg of Peace is stamped with the number “1945,” an interesting detail that cannot refer to a date, since the bronze was acquired in 1914. It might be an inventory number of the sort that a nineteenth-century dealer would have used.[1] The models derive from Girolamo Campagna’s marble sculptures of Peace and War above the Porta al Senato in the Sala delle Quattro Porte of the Palazzo Ducale, Venice.[2] The bronzes were formerly attributed to Jacopo Sansovino, then Alessandro Vittoria on the basis of their similarity to a pair of andirons in the collection of J. Pierpont Morgan also attributed to him.[3] Given their serial and highly finished quality, our statuettes should be considered casts inspired by Campagna’s well-known compositions, not direct products of his workshop but possibly of seventeenth-century manufacture, and typical of the refined decorative output of the robust Venetian bronze industry.[4] Footnotes (For key to shortened references see bibliography in Allen, Italian Renaissance and Baroque Bronzes in The Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2022.) 1. See James David Draper, letter of November 2, 1987, ESDA/OF. 2. See notes by Johanna Hecht dated 1985 in ESDA/OF. For discussion and illustrations of the marbles, see P. Rossi 1968, pp. 19, 66, pl. 6 (dating the works ca. 1589–90); and Timofiewitsch 1972, pp. 248–49, no. 8, pls. 30–33 (dating them half a decade earlier). 3. Morgan Library & Museum, New York, AZ154.1–.2. Planiscig 1921, p. 490, attributed the pair in the Morgan collection to Alessandro Vittoria, never citing The Met bronzes. It is not clear if Weihrauch 1956, p. 102 (“P. Morgan, jetzt Metropo.-Mus., New York”), was referring to the Morgan pair or ours. The presence of both pairs in New York probably generated the confusion. 4. On the production of andirons in Renaissance Venice, see Motture 2003.
Portret van een zittend kind
Object type: album leaf
Date: 1887 – 1895
Materials: cardboard, photographic support
Techniques: albumen print
Location: brighton
Artist: william hall
Artist role: fotograaf
Artist dates: 1826 – 
Subjects: sitting figure, historical persons, tot, toddler ~ the ages of man
Inscriptions: inscription: ‘(...)/ Special Apparatus for Out-doos Photography./ Family. Marriage. Pic-Nic, & c. other Groups/ Equestrian Portraits, Houses, Ships/ W. HALL & SON/ Machinery, Animals & c. & c./ Pictures, finished, framed & c./ Brighton/ 80, West Street.’
A Great Titmouse (Parus major) Perched on a Branch
Object type: drawing
Date: 1667 – 1700
Materials: watercolor
Artist: pieter withoos
Artist role: artist
Artist nationality: dutch
Artist dates: 1654 – 1693
Subjects: birds
Doorgestikte sitsen sprei
Object type: bedspread
Date: 1600 – 1980
Materials: textile, cotton
Location: east indies
Alfred Lord Tennyson
Object type: page
Date: 1888 – 1893
Materials: paper
Techniques: photoaquatint
Subjects: alfred tennyson, historical persons, portrait of a writer
Inscriptions: inscription: ‘Alfred Lord Tennyson/ by/ G. F. Watts. R.A. 1859.’
Ontwerp voor een tapijt
Object type: drawing
Date: 1854 – 1864
Materials: gouache, paper
Techniques: brush
Location: amsterdam
Artist: Anonymous
Subjects: ornaments ~ art
Inscriptions: inscription: ‘[...]D Ekas’, retailer's mark: ‘JHS.’, number: ‘No 398.’, inscription: ‘P Te[...]ngen.’, number: ‘2.’

De presentatietekeningen BK-1971-77-1 t/m 86 zijn kopieën van de originele ontwerptekeningen. Ze werden gemaakt voor vertegenwoordigers van bijvoorbeeld magazijnen, die ze aan hun klanten konden tonen. De meeste tekeningen tonen een kwart van het dessin inclusief rand, middenpartij (de zogenaamde grond of fond) en centraal medaillon. Door het gebruik van spiegels kan de illusie van het gehele tapijt worden opgeroepen. Een deel van de tekeningen heeft een alfabetische opeenvolgende letter als kenmerk, de andere groep een cijfer.Waarschijnlijk is de reeks dessins met een letter eerder samengesteld dan de genummerde tekeningen.
Hellevaart
Object type: print
Date: 1506 – 1538
Materials: paper
Techniques: woodcut
Location: germany
Artist: albrecht altdorfer
Artist role: draughtsman, print maker
Artist dates: 1480 – 1538
Subjects: christ leaving hell: he liberates patriarchs, prophets, kings and other persons from hell, among them adam, eve, moses, david, and john the baptist
Inscriptions: number: ‘22,2 - 55’, collector's mark: Lugt 240

Christus, op de rug gezien, met een vaandel in de linkerhand, trekt Adam uit het voorgeborchte. Eva staat naast hem. Vierendertigste prent uit een serie van veertig.
Sheet 9: Julius Caesar in his horse-drawn chariot, from "The Triumph of Julius Caesar"
Object type: print
Date: 1599 – 1599
Techniques: hand coloring, woodcut
Artist: andrea andreani
Artist role: artist
Artist nationality: italian
Artist dates: 1558 – 1629
Subjects: julius caesar,men,horses,chariots

This print is from a scrapbook (album) containing woodcuts and chiaroscuro prints. It was presumably taken apart when it was acquired by The Met in 1922. On the front page of the volume there appeared a statement that this collection was made by the poet Samuel Rogers (1763-1855) and then bought by Angela Coutts (1816-1906) in memory of him at the sale of the collection at his house (28 April – 20 May, 1856). #1615a Rogers Sale. #146 Burdett Coutts Sale (Sotheby’s, May 1922). The prints from the original album have the range 22.73.3-1–22.73.3-161.
Huis van een smid in het bos van Rozendaal
Object type: sketchbook leaf
Date: 1833 – 1833
Materials: paper, pencil
Location: rozendaal
Artist: johannes tavenraat
Artist role: draughtsman, painter, print maker
Artist dates: 1809 – 1881
Subjects: forest, wood, cottage
Inscriptions: date and inscription: ‘gezigt bij den Smid/ Rosendaal 1833.’

Blad 2 recto uit een schetsboek met 41 bladen.
Kamerscherm met zes portretten van onbekende mensen
Object type: vouwscherm, kamerscherm
Date: 1895 – 1905
Materials: paper, paint, metal, textile, wood
Techniques: albumen print, brush
Artist: Anonymous
Subjects: adult woman, historical persons - bb - woman, girl (child between toddler and youth)
Dürer's Zimmer
Object type: photograph
Date: 1850 – 1900
Materials: photographic support
Techniques: albumen print
Artist: Anonymous
Subjects: albrecht-dürer huis
Mr. Prudhomme: – My son, salute this monument..., from L'Exposition Universelle
Object type: print
Date: 1855 – 1855
Materials: paper
Techniques: lithograph
Artist: honoré daumier
Artist role: artist
Artist nationality: french
Artist dates: 1808 – 1879
Subjects: satire,boys,men

Mr. Prudhomme, a character invented by Henri Monnier to symbolize bourgeois complacency and self-satisfaction, doffs his hat and gestures toward the Palais de l'Industrie, the exhibition hall constructed for the Exposition Universelle of 1855. His son mimics his gesture. In the caption, he rattles on about how he could have participated in the exhibition, but his modesty prevented it. This proof was signed and dated by the printer Destouches, indicating that the print would be published exactly as presented in this impression. Complete translation of the caption: "Mr. Prudhomme: – My son, salute this monument, which is more than a monument, since it is a bazaar, which is even more than a bazaar, since it is the Palace of Industry…. oh my son, your father also could have exhibited!…. I made models of calligraphy, which, I dare say, would excite the admiration of all genuine connoisseurs, no matter what nationality, but my modesty has prevented me from sending anything to this exhibition…. but it doesn’t matter, always remember, my son, that politeness is the genteel prerogative of well-mannered men."
Ex libris van A. Musaph
Object type: bookplate
Date: 1900 – 1929
Materials: paper
Techniques: linocut
Location: netherlands
Artist: erich wichmann
Artist role: print maker
Artist dates: 1890 – 1929
Subjects: kneeling figure
Inscriptions: inscription: ‘Erich Wichman / voor Dr. A. Musaph’
Muuranker van het Gelderse Spijker te Arnhem
Object type: schieter, schoter
Date: 1500 – 1600
Materials: iron
Location: unknown
Artist: Anonymous

Muuranker, afkomstig van het Gelderse Spijker te Arnhem. gesloopt in 1880.
Upholstery from a settee
Object type: upholstery panel
Date: 1801 – 1900
Materials: silk
Verschillende dieren
Object type: print
Date: 1636 – 1692
Materials: paper
Techniques: etching
Artist: Anonymous
Subjects: hoofed animals: buffalo, herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.
Inscriptions: collector's mark: Lugt 2228

Kopie naar gelijknamige prent uit een achtdelige serie met voorstellingen van verschillende dieren door Pieter Bodding van Laer.
Hercules and Nessus, from The Labors of Hercules
Object type: print
Date: 1542 – 1542
Materials: paper
Techniques: engraving
Location: germany
Artist: sebald beham
Artist role: artist
Artist nationality: german
Artist dates: 1500 – 1550
5 o'clock on June 30th, from 'The public at the exhibition,' published in Le Petit Journal pour Rire, June 25, 1864
Object type: print
Materials: paper
Techniques: lithograph
Artist: honoré daumier
Artist role: artist
Artist nationality: french
Artist dates: 1808 – 1879
Subjects: sleeping,men

- Hello.... Monsieur art lover.... wake up, the exhibition is over... we're closing!
Versterkt huis aan de waterkant
Object type: print
Date: 1771 – 1802
Materials: paper
Techniques: etching
Location: netherlands
Artist: jan izaak van mansvelt
Artist role: print maker
Artist dates: 1761 – 1802
Subjects: castle, hunter
Inscriptions: collector's mark: Lugt 2228

Een versterkt huis aan de kant van een meer. Rechts op de voorgrond een staande en een geknielde jager die op eenden schieten.
Int iaer ons heeren duijsent vijf hondert ses en dortich (...) datmen de stadt delft branden sach opden dorden dach meij
Object type: print
Date: 1536 – 1599
Materials: paper
Techniques: engraving
Location: northern netherlands
Subjects: on fire, ablaze, delft

Monniken in het Lazarushuis buiten de stad zien dat in de verte de stad Delft in brand staat, 3 mei 1536. Opschriften in de voorstelling en onderschrift van drie regels.
Pendant
Object type: pendant
Date: 701 – 1300
Materials: stone
Techniques: carving
Location: iran

This object was excavated at 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 to 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. American archaeologists and hundreds of Iranian workers excavated archaeological areas named Tepe Madrasa, Village Tepe, Sabz Pushan, Qanat Tepe, Tepe Alp Arslan, Vineyard Tepe, among others. They uncovered vast neighborhoods with mostly residential buildings, but also mosques, bathhouses, and possibly a governmental palace. Two main chronological phases were recognized in the sites: the first covers the ninth-tenth centuries and the second covers the eleventh-twelfth centuries. Thousands of artifacts were also recovered, mostly ceramic, glass, metal, and stone vessels, as well as carved and painted stuccoes and wall paintings, which were divided in half between the two countries, resulting in over four thousand objects in the Met’s collection today.
Portret van Theodor Roos
Object type: print
Date: 1683 – 1683
Materials: paper
Techniques: engraving
Subjects: painter, theodor roos, historical persons, portrait, self-portrait of painter

Prent mogelijk uit: Sandrart, Joachim. Academia nobilissimae artis pictoriae sive de veris (...). Neurenberg: Christian Sigismund Froberg, 1683.
La Cathédrale de Bamberg, Allemagne
Object type: stereoscopic photograph
Date: 1860 – 1890
Materials: glass
Techniques: slide
Location: bamberg
Artist: ferrier père-fils et soulier
Artist role: publisher
Subjects: church (exterior)
Inscriptions: number: ‘2’, number: ‘646.’
Portret van José Mariano Michelena
Object type: print
Date: 1820 – 1850
Materials: paper
Techniques: lithograph
Artist: f. fabroni
Artist role: print maker
Subjects: politician, adult man, historical persons
Inscriptions: collector's mark: Lugt 2228
July - Down at Beulah from George Cruikshank's Steel Etchings to The Comic Almanacks: 1835-1853
Object type: print
Materials: paper, steel
Techniques: printmaking, etching
Location: england
Artist: george cruikshank
Artist role: artist
Artist nationality: british
Artist dates: 1792 – 1878
The actors Ichikawa Omezo I (R) as Tomita Hyotaro and Otani Oniji III (L) as Kawashima Jibugoro
Object type: print
Date: 1794 – 1794
Materials: paper
Techniques: printing block, woodblock print
Location: japan
Artist: toshusai sharaku 東洲斎 写楽
Artist role: artist
Artist nationality: japanese
Artist dates: 1794 – 1795
Ceramic Fragment
Object type: fragment
Date: 1501 – 1600
Materials: earthenware, glaze
Location: iran
Twee mensen poseren bij een brug over het water bij Landgoed De Paauw
Object type: photograph
Date: 1913 – 1913
Materials: paper, photographic support
Techniques: photography
Location: netherlands
Artist: geldolph adriaan kessler (dolph)
Artist role: fotograaf, industrieel, voetballer
Artist dates: 1884 – 1945
Subjects: huize de paauw
Rules for Drawing Caricaturas with an Essay on Comic Painting
Object type: book
Date: 1789 – 1789
Techniques: etching
Artist: francis grose
Artist role: author
Artist nationality: british
Artist dates: 1731 – 1791
Subjects: faces,profiles
De moordenaar (Il Bravo)
Object type: print
Date: 1660 – 1660
Materials: paper
Techniques: engraving, etching
Location: brussels
Subjects: murderer

Prent naar het schilderij van (toegeschreven aan) Tititaan dat zich in de collectie van het Kunsthistorisches Museum te Wenen bevindt (inventarisnummer GG_64). David Teniers heeft waarschijnlijk van alle schilderijen uit de collectie van Leopold Willem van Oostenrijk een olieverfstudie op doek of paneel vervaardigd (zgn. pasticcio), die als voorbeeld voor de prentmakers diende. Het is niet altijd duidelijk of de pasticci door hem zijn gemaakt of door zijn atelier. Niet alle pasticci zijn overgeleverd.
Petticoat
Object type: petticoat
Date: 1820 – 1820
Materials: cotton
Culture: british
Puppy
Object type: puppy
Date: 1850 – 1850
Materials: porcelain
Techniques: incising, molding
Culture: japanese
Subjects: dogs
Coin Portraying Emperor Claudius
Object type: coin
Date: 41 – 54
Materials: bronze, copper alloy, metal
Culture: roman or egyptian
Location: egypt
Inscriptions: Reverse: AYTO KPA

The front (obverse) of this coin portrays the head of Emperor Claudius, facing right, laureate. The back (reverse) depicts a winged caduceus (a symbol of peace and concord) between four grain ears.
Gezicht van het Jongens-Wees-Huys der Roomsch-Gezinden, te Amsterdam / Vue de la Maison des Pauvres Garçons Catholiques, à Amsterdam
Object type: print
Date: 1770 – 1783
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: courtyard, orphanage
Inscriptions: collector's mark: Lugt 1641b

Vanaf 1760 gaf Pierre Fouquet stadsgezichten van Amsterdam naar tekeningen van verschillende kunstenaars uit. Deze prenten werden aanvankelijk los verkocht. Later werden ze samengebonden verkocht in verschillende volgordes en aantallen in:

(1). Afbeeldingen van de wyd-vermaarde koopstad Amsterdam benevens des zelvs voornaamste gebouwen en gezigten alle naar het leeven getekend / Receuil des edifices les plus considerables et des plus belles vues, de la fameuse ville d'Amsterdam, dessinées d'après nature. Amsterdam: Pierre Fouquet, 1778-1783. Deze 'uitgave' bestond waarschijnlijk alleen uit een titelblad en inhoudsopgave van de tot dusver 100 uitgegeven prenten, die de koper zelf aan zijn of haar reeds verzamelde prenten kon toevoegen. De hoeveelheid en volgorde van prenten verzameld onder deze titel verschilt dus sterk.
(2). Nieuwe atlas, van de voornaamste gebouwen en gezigten der stad Amsterdam, met derzelver beknopte beschryvingen. 2 dln. Amsterdam: Daniël Jean Changuion en Petrus den Hengst [in opdracht van Pierre Fouquet], 1783.

Ook werden er door verschillende uitgevers tussen 1788 (Amsterdam: Petrus Conradi) en 1805 (Amsterdam: Evert Maaskamp) heruitgaven gepubliceerd.
The Dream of Paris
Object type: painting
Date: 1536 – 1536
Materials: oil, paint, panel
Techniques: painting
Location: germany
Artist: monogrammist pg
Artist nationality: germany
Artist dates: 1525 – 1550
Subjects: mythology, boatman, boats, water, figures, figure, nudes, landscape, knights, goddesses, greece, century of progress, world's fairs, chicago world's fairs
Inscriptions: Inscribed on paper attached to central tree trunk: PARIS / TRAM; in ligature on central tree trunk: 1 O.W. / 1536 / PG (or GP)

Faced with choosing the fairest goddess among Minerva, Juno, and Venus, the Trojan prince Paris picked Venus, shown here holding a heart and the golden apple given as a prize in the contest, with her son Cupid frolicking at her feet. Paris wears the garb of a contemporary knight rather than classical dress, a choice that emphasizes the enduring relevance of his moral crossroads as well as, through contrast, the nudity of the goddesses. His sleeping pose and the painting’s inscription, PARIS / TRA(U)M (“dream of Paris,” on the slip of paper attached to the tree), indicate that he is in the midst of a dream vision, a poetic device carried over from medieval allegory and used to foreshadow future events in a narrative. Here, these include the departure of Paris and Helen by boat in the middle distance, the catalyst for the Trojan War.
Paris. L'Arc des Tuileries
Object type: ansichtkaart, prentbriefkaart
Date: 1904 – 1906
Materials: cardboard
Techniques: autotype
Location: paris
Artist: Anonymous
Subjects: monument, statue, square, place, circus, etc. (+ city(-scape) with figures, staffage), paris
Portret van Amalia van Solms, prinses van Oranje-Nassau
Object type: print
Date: 1633 – 1673
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: amalia of solms-braunfels
Inscriptions: collector's mark: Lugt 2228

Portret van Amalia van Solms, prinses van Oranje-Nassau. In de marge een tweeregelig onderschrift in het Latijn.
Sages in a Bamboo Grove
Object type: hanging scroll
Date: 1368 – 1911
Materials: ink, silk
Culture: chinese
Artist: unidentified artist
Artist role: artist
Brief aan Jan Veth
Object type: letter
Date: 1912 – 1912
Materials: ink, paper
Techniques: pen, writing
Artist: herman gorter
Artist role: letterkundige
Artist dates: 1864 – 1927
Subjects: dordrecht, amsterdam, painter, draughtsman, designer, jan veth, printed matter
Inscriptions: collector's mark: ‘RPK’
Patent-spel
Object type: popular print
Date: 1700 – 1899
Materials: paper
Techniques: colour
Location: netherlands
Artist: Anonymous
Subjects: board-games of chance, board-games
Inscriptions: collector's mark: Lugt 2760

Cirkelvormig bordspel met vakjes met dobbelstenen. Op het middenveld een voorstelling van spelende kinderen bij een tafel. Midden boven de spelregels. Genummerd linksonder: No. 69.
Meisje op driewieler
Object type: photograph
Date: 1908 – 1939
Materials: cardboard, photographic support
Techniques: gelatin silver print
Location: deventer
Artist: Anonymous
Subjects: tricycle, family life at home, (playing with) toys, deventer
Inscriptions: inscription

Albumblad met een foto van een meisje in de tuin op een driewieler, te Deventer. Onderdeel van het familiealbum 1938-1939.