deem-data/ArtiFact huggingface dataset:
Landaulet #865
Object type: drawing
Date: 1850 – 1870
Materials: graphite, 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
Morning after the Storm, the husband's return / Le Matin devenue Calme, le retour du mari
Object type: print
Date: 1798 – 1798
Materials: paper
Techniques: engraving
Location: london
Subjects: arrival and return ~ travelling, family life at home, storm
Inscriptions: collector's mark: Lugt 2228

Tekst in het Engels en Frans in de ondermarge.
Lamp
Object type: vessel
Date: 1 – 200
Materials: terracotta
Culture: roman
Location: italy
De Winkel near Abcoude
Object type: painting
Date: 1877 – 1877
Materials: canvas, oil
Subjects: meadow, pasture, windmill in landscape, river (+ landscape with figures, staffage), abcoude
Inscriptions: signature: ‘Gabriel ft. de Haas figur.’

This painting is a collaboration between two painters. Gabriël was known for his polder landscapes, De Haas for his accomplished rendering of cattle. The result is a truly Dutch picture with a windmill, willow trees and cows by the small river Winkel at Abcoude, near Amsterdam. Both artists signed at the lower left: Gabriel ft De Haas fig. That is to say that Gabriël painted the picture and De Haas added the figures.
Glass perfume bottle
Object type: perfume bottle
Date: 67 – 300
Materials: glass
Culture: roman

Translucent blue green. Rim folded out, over, and in; broad flaring mouth; cylindrical, slight convex neck with irregular tooling marks at top and horizontal indent around base; concical body with slightly concave sides; pushed-in bottom. Intact; many pinprick bubbles; dulling, iridescence and small patches of creamy weathering on exterior, thicker creamy brown weathering on inside of mouth and neck with some soil encrustation on interior.
Platter
Object type: platter
Date: 1701 – 1733
Materials: faience
Techniques: glazing
Artist: jacques hustin
Artist role: maker
Artist dates: 1649 – 1749
Subjects: coat of arms

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.
Pottery Whistle
Object type: pottery whistle
Date: 1801 – 1900
Materials: clay
Culture: peruvian
Location: peru
Subjects: birds
Battlefield. Spion's Kop 24.2.00
Object type: album leaf
Date: 1900 – 1900
Materials: cardboard, paper, photographic support
Techniques: gelatin silver print
Location: spionkop
Artist: Anonymous
Subjects: horrors of war

Onderdeel van Fotoalbum met opnames van de Tweede Boerenoorlog (1899-1902).
Gezin in een rijtuig met paard in Frankrijk
Object type: photograph
Date: 1900 – 1910
Materials: paper, photographic support
Techniques: albumen print
Location: france
Artist: Anonymous
Subjects: parents with their children, four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach, france

Onderdeel van Fotoalbum van een Franse amateurfotograaf met opnames van een familie, distilleerderij Delizy & Doistau Fils, het leger en bezienswaardigheden in Frankrijk.
Gezicht op de oever van de Marne in Charenton-le-Pont, Frankrijk
Object type: stereoscopic photograph
Date: 1856 – 1890
Materials: glass, paper
Techniques: slide
Location: charenton-le-pont
Artist: Anonymous
Subjects: river bank
Inscriptions: number: ‘133’
Bifacial Sickle Insert
Object type: sickle, insert, denticulate, bifacial, tool
Date: 4500 – 4000
Materials: stone
Location: egypt

This small piece of flint was a key element to a successful agricultural season in ancient Egypt. Grain was a staple of the economy, as bread and beer made from grain were consumed daily. They also formed the foundation of eternal sustenance, as funerary offerings. Ancient Egyptians used sickles made from flint and wood to reap grain. Pieces of flint such as this one were shaped to fit into a wooden haft along with a number of other such inserts, and secured with an adhesive. The flint pieces provided a sharp edge to cut the grain stalks. With use, the flint would wear down and develop a shiny gloss. The flint inserts could be re-sharpened or replaced as needed. Bifacial sickle inserts like this constitute some of the earliest evidence for farming in Egypt. They were made mainly during the 5th- 4th millennia BC, after which they were replaced by sickle inserts made on thin blades with less invasive retouch. The sickle inserts on blades were faster to produce, but likely did not last as long as the larger, thicker bifacial inserts. This change marks a transition in systems of production and distribution of flint tools that coincided with the development of the state. Flint, rather than copper alloy, was the primary material used to make sickles in Egypt until the first millennium B.C. when iron became more widely available. The reason for using flint was probably multifaceted and included considerations such as its abundance, its ease of manufacture compared to casting metal tools, flint’s proficiency at cutting grain, and the relationships between the people who made flint tools and the people who used them.
Reliquary and Printed Konpon Darani Text
Object type: drawing and watercolor
Materials: gold, ink, paper, wood
Location: japan
Artist: Anonymous

The miniature wooden reliquary displayed here is actually in the shape of a pagoda, or sacred tower. It is one of a set of a million such reliquaries made by the order of Empress Shôtoku (718-770), and therefore, the set is known as the Hyakumantô (one million pagodas). It is believed that the empress ordered these pagodas to be made as a prayer for peace after a violent rebellion in 764.
These reliquaries each held short prayers (darani) of printed text taken from sutras, or sacred writings. A hole was carved into the wooden body of the pagoda to house the rolled-up text, and the ornamental crown acts as a plug. The darani text that was contained in this pagoda, and others like it, are among the oldest printed texts in existence.
This pagoda was acquired before 1917 in Japan by Louise Norton Brown, an avid collector of Japanese printed material. Her collection was acquired by Martin Ryerson, who in turn gave it to the Art Institute.
Christ and the Virgin
Object type: pax
Date: 1476 – 1500
Materials: gilt bronze, niello, silver
Subjects: christ,virgin mary,cross

The inscription probably records the name of the donor and may be translated, "Jacopo, son of the notary Vannis, son of Cole [Nicola?]." Niello is an alloy of silver, copper, and lead to which sulphur and often borax are added. In pulverized form this composition is applied to a silver plaque that has been prepared with an incised design and heated until the composition and the silver fuse. When cool, the plaque is scraped until the blackened composition remains in the incised areas alone and is then rubbed until the silver regains its shine.
Journal des Dames et des Modes, Costume Parisien, 10 juin 1807, (813): Habit de Drap (...)
Object type: fashion print
Date: 1807 – 1807
Materials: paper
Techniques: engraving, hand coloring
Location: paris
Subjects: clothing for the upper part of the body (vest) (+ men's clothes), neck-gear ~ clothing (cravat) (+ men's clothes), coat (+ men's clothes), fashion plates, shoes, sandals (+ men's clothes), trousers, breeches, etc. (breeches) (+ men's clothes), walking-stick, staff, cane (+ men's clothes)
Inscriptions: title: ‘Costume Parisien.’, caption: ‘Habit de Drap. Culotte de Peau.-Costume Négligé.’

Staande man gekleed in een 'Costume Négligé'. Hij draagt een 'habit' van laken, een vest en een kniebroek van leer. Hemd en cravate. Kousen en slobkousen. Accessoires: hoge hoed, handschoenen, wandelstok, schoenen met vierkante neuzen. De prent maakt deel uit van het modetijdschrift Journal des Dames et des Modes, uitgegeven door Pierre de la Mésangère, Parijs, 1797-1839.
Gezicht op de Boog van Titus op het Forum Romanum in Rome
Object type: photograph
Date: 1851 – 1900
Materials: cardboard, paper
Techniques: albumen print
Location: forum romanum
Artist: Anonymous
Subjects: triumphal arch
Inscriptions: collector's mark: ‘VOSMAER’, number: ‘220.’
Portrait of Carle Vernet, from "L'Artiste"
Object type: print
Date: 1837 – 1837
Techniques: etching
Artist: louis pierre henriquel-dupont
Artist role: etcher
Artist nationality: french
Artist dates: 1797 – 1892
Subjects: men,portraits
Dress panels
Object type: panel
Date: 1775 – 1775
Materials: silk
Subjects: flowers
Half Model of a 14-Gun Cutter
Object type: builder's model
Date: 1780 – 1820
Materials: wood
Techniques: polychromy
Location: netherlands
Artist: Anonymous
Inscriptions: inscription, top centre, on a rectangular black label: ‘KOTTER LANG 80 vt’, inscription, on the back: ‘KOTTER L80V’, label, bottom right: ‘408’ former inventory label

Gepolychromeerd mallenmodel (stuurboord) van een eenmaster. Zeven geschutpoorten op één dek. Gewrongen spiegel, hol wulf, geen details van het hek; recht roer met vierkante roerkoning. De zeeg loopt naar achter en naar voren op, één barkhout. Gepiekt rondspant, scherp onderwaterschip, zeer veel stuurlast. Sterk achterover hellende mast. Schaal 1:40 (afgeleid).
A Doleful Disaster, or Miss Fubby Fatarmin's Wig Caught Fire
Object type: print
Techniques: etching
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: satire,men,women,fire

A plump lady's hair is on fire and has overturned a chair and tea tray. Screaming servants rush in from the right. A footman holds up a table-cloth to fling over her head, and his companion flings the liquid contents of a bucket in her face.
Zilverwerk en edelsmeedkunst, tweede deel
Object type: album leaf
Date: 1748 – 1748
Materials: paper
Techniques: etching
Location: paris
Subjects: candlestick

Een aantal van de objecten in deze reeks heeft een eigen ondertitel, die verwijst naar genummerde 'cahiers' (afleveringen) waarin de prenten werden uitgegeven. Het is onduidelijk welke objecten recies bij welke aflevering horen. Daarom is die ondertitel enkel verwerkt bij de prent waarop die voorkomt.
Akizuki Yuminosuke's Daughter Miyuki, Later the blind Musician Asagao (Akizuki Yuminosuke musume Miyuki, nochi ni goze Asagao)
Object type: print
Date: 1848 – 1848
Techniques: woodblock print
Location: japan
Artist: utagawa kuniyoshi
Artist role: artist
Artist nationality: japanese
Artist dates: 1797 – 1861
Yamato shinoe zukushi
Object type: book
Date: 1686 – 1686
Techniques: woodblock print
Location: japan
Artist: hishikawa moronobu 菱川師宣
Artist role: artist
Artist nationality: japanese
Artist dates: 1618 – 1694
Brocade
Object type: brocade
Date: 1601 – 1800
Materials: metal thread, silk
Techniques: brocade
Location: iran
Soap box
Object type: soap box
Date: 1713 – 1714
Materials: silver
Artist: anthony nelme
Artist role: maker
Artist dates: 1622 – 1722
Critiquing the Reliance on Koans
Object type: hanging scroll
Date: 1467 – 1533
Materials: ink, paper
Culture: japanese
Artist: tōkei sōboku
Artist role: artist
Artist nationality: japanese
Artist dates: 1454 – 1517

In this dynamically executed calligraphy, the Zen monk Tōkei Sōboku quotes Dahui Zonggao (1089–1163), a Chan monk of the Song dynasty, to criticize the Rinzai sect’s reliance on koans—paradoxical anecdotes and riddles meant to provoke spiritual wisdom.
Girandole
Object type: girandole
Date: 1817 – 1817
Materials: gesso, glass, wood
Techniques: gilding
Culture: american
Location: united states
Subjects: eagles

This girandole mirror and its mate (1974.363.2) were made for the Albany townhouse of Stephen Van Rensselaer IV (1786–1868). Popular during the Federal period, girandole mirrors were often surmounted by eagle finials. Their name derives from the candle arms that extend from the frame, allowing the candlelight to reflect off the convex mirror and illuminate an entire room.
The Weather-Peasant "Das Schadet Nit"
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
Portret van Jan Gerrits van Emden op 55-jarige leeftijd
Object type: print
Date: 1665 – 1702
Materials: paper
Techniques: engraving, etching
Subjects: theologian, historical persons
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2228

Tekst in het Nederlands in de ondermarge.
Trousers
Object type: trouser
Date: 1801 – 1825
Materials: linen
Culture: american
Saucer with griffins and floral scrolls
Object type: platter
Date: 1800 – 1800
Materials: glaze, gold, paint, porcelain
Techniques: firing, forming, gilding, relief, turning, vitrification
Location: france
Artist: Anonymous

Schotel van porselein met rechte wand, beschilderd op het glazuur in blauw, rood, groen, zwart en goud. Op het plat een gouden medaillon met daarin gegrift een pot en takken. Hieromheen een gouden band en een band met bloemranken. De wand is bedekt met goud met daarop driemaal een zeshoekig vak met een griffioen[?]. De vakken zijn aaneengeschakeld met blauwe bloemvormen. Gouden rand.
De bouw van het paard van Troje
Object type: print
Date: 1965 – 1965
Materials: paper, ink
Techniques: etching
Artist: aat verhoog
Artist role: print maker
Artist dates: 1933 – 
Subjects: the building of the wooden horse with minerva's help
Inscriptions: edition: ‘9/10’, signature: ‘Aat Verhoog’, title: ‘Aat Verhoog/ "De bouw van het paard van Troje"’

Rechts een houten stellage in de vorm van een paard, links een rennend figuur frontaal gezien.
Mensen met huilend kind in een auto in Prambanan
Object type: photograph
Date: 1917 – 1917
Materials: photographic support
Techniques: daylight paper print
Location: prambanan
Artist: Anonymous
Subjects: parents with their children, automobile

Onderdeel van Familiealbum met foto's van een familie in de voormalige kolonie Nederlands-Indië en van een suikerfabriek in Purworejo.
Vignette of trophies
Object type: print
Date: 1801 – 1900
Techniques: engraving
Artist: anonymous, mexican
Artist role: artist
Nieuwjaarswensch, Door de Vulders & Aanstekers der Lantaarns, binnen de Stad Zaandam. Op het Jaar 1852
Object type: print
Date: 1851 – 1852
Materials: paper, wax
Techniques: letterpress printing
Location: netherlands
Subjects: oil-lamp (+ kindling a light; lit, burning light, lamp, candle), street lighting, street
Inscriptions: collector's mark: Lugt 2228, inscription: ‘Den Weledele Heer Bodel Nijenhuis te Leiden’

Nieuwjaarswens van de lantaarnopstekers van Zaandam voor het jaar 1852. Enkele lantaarnopstekers met ladders aan het werk in een straat in Zaandam. Twee mannen halen bij een huis geld op. Binnen een omlijsting van fileetwerk. Onderaan een vers in drie kolommen. Namens de lantaarnopsteker: Jn. van Heek.
Vlucht naar Egypte
Object type: print
Date: 1708 – 1708
Materials: paper
Techniques: etching
Location: nuremberg
Subjects: the flight into egypt: mary, joseph, the child (and sometimes others) on their way; mary usually riding on an ass
Inscriptions: collector's mark: Lugt 2228

Proefdruk van een prent welke is opgenomen als illustratie in: Historiae Celebriores Veteris Testamenti. Christoph Weigel, 1708.
Landschappen
Object type: print
Date: 1858 – 1859
Materials: paper
Techniques: lithograph
Artist: bruno van straaten (i)
Artist role: draughtsman, print maker
Artist dates: 1786 – 1870
Subjects: barn, river, bridge
Inscriptions: collector's mark: Lugt 2228

Landschap met rivier. Over de rivier een houten brug waarop een man staat te vissen. Rechts daarvan een schuur met een vrouw in de deuropening. Links een pad waarover een figuur met mand in de arm loopt. Links in de verte heuvels en een boerderij.
Willem I, koning der Nederlanden
Object type: medal
Date: 1817 – 1817
Materials: bronze
Techniques: striking
Location: brussels
Artist: joseph pierre braemt
Artist role: print maker
Artist dates: 1796 – 1864
Subjects: the hague, berlin, william i of the netherlands

Bronzen penning. Voorzijde: borststuk man binnen omschrift. Keerzijde: blanco veld binnen krans van olijftakken
Moeras met vier wilgen
Object type: print
Date: 1862 – 1901
Materials: paper
Techniques: etching, intaglio
Artist: jules guiette
Artist role: print maker
Artist dates: 1852 – 1901
Subjects: swamp, inland marsh, fens, trees: willow
Inscriptions: annotation: ‘Le marais avec les quatre saules; 1er Etat’, collector's mark: Lugt 2228
Design for Phaeton, no. 797
Object type: drawing
Date: 1850 – 1874
Materials: gouache, graphite, 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
Spinning Wheel and Spools
Object type: print
Date: 1801 – 1900
Materials: ink, paper
Techniques: surimono, woodblock print
Culture: japanese
Artist: ryūryūkyo shinsai
Artist role: artist
Artist nationality: japanese
Artist dates: 1799 – 1823
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 500 – 480
Materials: terracotta
Culture: greek, attic

Exterior, vines with bunches of grapes; draped woman to right with her arms extended
Ths. Zumalacarréguy
Object type: print
Date: 1835 – 1835
Materials: paper
Techniques: lithograph
Subjects: ranks in the army, historical persons
Inscriptions: collector's mark: Lugt 2228
Buste van een oude man met baard
Object type: print
Date: 1750 – 1850
Materials: paper
Techniques: etching
Location: france
Artist: Anonymous
Subjects: old man, beard
Inscriptions: collector's mark: Lugt 2228

Buste van een oude man met baard, in profiel naar links, het hoofd naar beneden gewend.
Geestelijkheid en ridderstand
Object type: print
Date: 1731 – 1788
Materials: paper
Techniques: engraving, etching
Location: augsburg
Artist: johann esaias nilson
Artist role: draughtsman, print maker, publisher
Artist dates: 1721 – 1788
Subjects: ornament ~ cartouche, organization, functionaries and dignitaries in roman catholic church; clergy in general, the three estates: nobility, clergy, commoners, nobility and patriciate; chivalry, knighthood
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760

Blad met links de geestelijke stand en rechts de ridderstand. Links een rocaille cartouche met Christus aan het kruis met doodshoofd en slang. Aan de bovenzijde een driehoek met stralenkrans. Links staat een putto met een boek en een schaap. Rechts een rocaille cartouche met helm, wapens, kasteeltoren en een vlag. Rechts staat een putto met helm, lans en een ordeband naast een open boek met tekst. In de ondermarge twee kolommen met tweeregelige Duitse tekst. Uitgeversnummer XI.