deem-data/ArtiFact huggingface dataset:
Gallerie des Modes et Costumes Français, 1782, rr. 238: Robe de matin à l'Anglais (...)
Object type: fashion print
Date: 1782 – 1782
Materials: paper, ink, watercolor
Techniques: aquatint, etching, hand coloring
Location: paris
Subjects: pendant, trinket, 'breloque' (+ women's clothes), dress, gown: morning dress (+ women's clothes), dress, gown: robe à l'anglaise (+ women's clothes), fashion plates, head-gear: hat (+ women's clothes), shoes, sandals (+ women's clothes), piece of clothing covering the breast or décolleté (fichu) (+ women's clothes), necklace (+ women's clothes), muff (+ women's clothes)
Inscriptions: title (possibly false): ‘Robe de matin à l'Anglaise avec des manches en amadis. jupon coupé à grand volant de mousseline. fichu à double garniture. Cette femme est coëffée d'un chapeau de Vergogne a long poil avec un ruban au tour.’, collector's mark: Lugt 2228

Ochtendjapon (Robe à l'Anglaise) van mousseline met brede geplooide strook aan de onderrand. Fichu met dubbele geplooide rand. Eenvoudig plat hoedje met lint om de bol. Mof om de linkerpols. Ketting met kruisje. Prent uit serie rr. 34e Cahier de Costumes Français, 31e Suite d'Habillemens à la mode en 1782, Gallerie des Modes et Costumes Français.
Allegorie op de afwachtende houding van de Patriotten na 1787
Object type: print
Date: 1791 – 1792
Materials: paper
Techniques: engraving, etching, hand coloring
Location: northern netherlands
Artist: Anonymous
Subjects: fortitude, 'fortitudo' ~ one of the four cardinal virtues, hope, 'spes'; 'speranza divina e certa' (ripa) ~ one of the three theological virtues, dog, patriots (1780-1795)
Inscriptions: collector's mark: Lugt 2228

Allegorie op de afwachtende houding van de Patriotten of Kezen na 1787, ca. 1791-1792. In cirkel links: een keeshond met ketting aan een boom geklonken. Met onderschrift: ik word met geweld gedwongen. In cirkel rechts: een keeshond staand voor een hondenhok en paal met vrijheidshoed. Met onderschrirft: Haast zal ik hem vinden. Tussen de beide cirkels vrijheidsboom op sokkel met titel Egalité.
Rekenpenning uit Antwerpen op het handhaven van de Hervormde Godsdienst 1584
Object type: jeton
Date: 1584 – 1584
Materials: copper
Techniques: striking

Koperen penning met doorboring, op de voorzijde een engel met een molensteen boven een haven en scheepje op zee, met omschrift, op de keerzijde een brandende stad met omschrift.
Fragments of a terracotta kylix (drinking cup)
Object type: kylix fragment
Date: 515 – 515
Materials: terracotta
Culture: greek, attic
Artist: euthymides
Artist role: artist

Exterior, gods in Olympos Though fragmentary, the cup is exceedingly significant. It is signed by Euthymides as both painter and potter. None of the figural decoration of the interior is preserved, but the surviving pieces show that it was covered with a coral red slip. The subject of the exterior may have been the birth of Athena. The other fragments belonging to the cup are 1982.386 and L.1983.49, lent by the Monumenti, Musei e Gallerie Pontificie.
Bracelet with rams' heads
Object type: bracelet with rams' head
Date: 7000 – 330
Materials: silver
Subjects: rams
Double Lotus Shaped Ring with Incised Conch Motif
Object type: ring
Date: 701 – 933
Materials: gold
Culture: indonesian, javanese
The Seamstress
Object type: print
Date: 1853 – 1853
Techniques: printmaking, etching
Artist: jean-françois millet
Artist role: artist
Artist nationality: french
Artist dates: 1814 – 1875
Subjects: women,working
A Village Street: Dardagny
Object type: painting
Materials: canvas, oil
Artist: jean-baptiste-camille corot
Artist role: artist
Artist nationality: french
Artist dates: 1796 – 1875
Subjects: houses,streets,villages,women

Corot was a tireless traveler, and the extension of the network of French railroads in the 1850s widened the range of his summer journeys. In 1852, 1857, and 1863, he visited Dardagny, a small village near Geneva. This view, essentially unchanged today, was probably painted on Corot’s first visit. It is an excellent example of his remarkable ability to derive a poetic scene from a prosaic site.
Drie bidstoelen
Object type: print
Date: 1839 – 1885
Materials: paper
Techniques: hand coloring, lithograph
Location: paris
Subjects: seating furniture

Ieder Livraison in de serie Le Garde-Meuble bevat negen platen: drie 'sièges' (zitmeubels), drie 'meubles' (diverse meubels zoals tafels en kasten) en drie 'tentures' (gordijnen en draperieën).
Studie, mogelijk van een boot
Object type: sketchbook leaf
Date: 1906 – 1906
Materials: chalk, paper
Subjects: ships (in general)
Inscriptions: annotation: ‘[...]’

Pagina 13 uit een schetsboek met 14 bladen.
Meijer's prenten
Object type: print
Date: 1874 – 1874
Materials: paper
Techniques: lithograph, letterpress printing
Location: amsterdam
Artist: Anonymous
Subjects: snakes, animals, fishes, insects
Inscriptions: collector's mark: Lugt 2760

Blad met 41 voorstellingen van dieren en insecten, waaronder kreeften, muggen, vissen, slangen en mieren. Onder elke afbeelding een onderschrift. Genummerd rechtsboven: No. 31.
Verenigde Belgische Staten, 10 stuiver, 1790
Object type: coin
Date: 1790 – 1790
Materials: silver
Techniques: striking
Location: brussels

Zilveren munt. Voorzijde: staande leeuw naar rechts. Jaartal, waartussen engelenkop, in afsnede. Keerzijde: twee uit wolken komende ineengeslagen handen, waarin pijlenbundel. In afsnede waarde-aanduiding. Omschrift: IN VNIONE SALVS. Kabelrand.
Portret van Charles Rochussen
Object type: print
Date: 1871 – 1871
Techniques: printmaking, engraving
Location: amsterdam
Artist: petrus johannes arendzen
Artist role: draughtsman, print maker
Artist dates: 1846 – 1932
Subjects: rotterdam, painter, print maker, draughtsman, charles rochussen
Inscriptions: collector's mark: Lugt 12

Borstbeeld van de kunstenaar Charles Rochussen in ovaal.
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 470 – 460
Materials: terracotta
Culture: greek, attic

Interior, left shoulder and upper left arm, with drapery
Way with carriages leading to a quayside in Kolkata, West Bengal, India
Object type: album leaf
Date: 1865 – 1875
Materials: photographic support
Techniques: albumen print
Location: kolkata
Artist: Anonymous
Subjects: four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach, quay, public road

Onderdeel van Reisalbum met opnames van bezienswaardigheden in India, Duitsland, Zwitserland en Frankrijk.
Right wing of a polyptych with the Crucifixion
Object type: polyptych
Date: 1375 – 1400
Materials: ivory
Techniques: cutting
Location: ile-de-france
Artist: Anonymous
Subjects: bystanders at the foot of the cross, among whom mary, mary magdalene and john the evangelist; mary may be shown swooning

Onder een drietal gotische driepasbogen hangt Christus aan het kruis met links Maria met drie heilige vrouwen en rechts Johannes naast drie soldaten. Maria wordt door twee vrouwen bij de armen ondersteund. Johannes draagt een boek; een der soldaten wijst naar Christus, een ander houdt een groot slagzwaard vast. Rechts- en linksboven verdwijnen zon en maan.
Verhaal van Amor en Psyche
Object type: print
Date: 1530 – 1560
Materials: paper
Techniques: engraving, intaglio
Location: rome
Subjects: psyche with juno, psyche with ceres, venus punishing cupid, other scenes from the story of cupid and psyche
Inscriptions: collector's mark: ‘Hinloopen’, number: ‘16’, collector's mark: Lugt 10, collector's mark: Lugt 11

Venus straft haar zoon Amor vanwege zijn liefde voor de koningsdochter Psyche. Links staat Psyche samen met de godinnen Juno en Ceres. Italiaanse tekst in twee cartouches in ondermarge. Tweemaal genummerd linksonder: 17.
Prayer Rug
Object type: textile
Date: 1900 – 1900
Materials: cotton, wool
Techniques: cutting, weave
Location: turkestan
Ontwerp voor vignet van de Koninklijke Paketvaart Maatschappij
Object type: drawing
Date: 1874 – 1945
Materials: pencil, paper
Techniques: brush
Artist: carel adolph lion cachet
Artist role: draughtsman, print maker
Artist dates: 1864 – 1945
Subjects: frontispiece, names of organizations, companies, trade unions, etc., steamship, motorship
King and Queen
Object type: figure
Date: 1750 – 1800
Materials: ivory, silver
Techniques: cutting, gilding
Location: kandy
Artist: Anonymous
Subjects: kandy

Ivory figurines of kings from Sri Lanka and South India were crafted from the 16th century onwards as acts of reverence or as mementos of the monarch. These two later examples likely do not represent specific individuals but were created as diplomatic gifts or souvenirs for the European market.
De zon, onderdeel van het planetarium, tellurium, lunarium
Object type: lunarium
Date: 1800 – 1808
Materials: brass
Techniques: gilding
Location: amsterdam
Artist: hartog van laun
Subjects: amsterdam

Toestel waarmee de beweging van zon, aarde, maan en planeten aanschouwelijk kan worden voorgesteld. Een vergulde bol op een trapsgewijze statief stelt de zon voor. De zon is niet origineel, maar in een reconstructie uit de jaren zeventig van de twintigste eeuw.
Portret van Johann Gottfried Eichhorn
Object type: print
Date: 1762 – 1803
Materials: paper
Techniques: engraving
Subjects: theologian, ornament ~ medallion, historical persons
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 1388
Leger van Antiochus Epifanes doodt Israëlieten
Object type: print
Date: 1585 – 1585
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: the jews without resistance slain on the sabbath (1 maccabees 2:31-38)

Israëlieten die het gebod van Antiochus Epifanes hadden genegeerd worden op sabbat aangevallen en afgeslacht door het leger van de koning. Onder de voorstelling een verwijzing in het Latijn naar de Bijbeltekst in 1 Makk. 2. Deze prent maakt deel uit van een album.
Briefkaart aan August Allebé
Object type: postcard
Date: 1914 – 1914
Materials: cardboard, ink
Techniques: pen, writing
Location: groningen
Artist: nettie van haaften
Subjects: print maker, draughtsman, august allebé
Glass and gold inlay
Object type: mosaic block inlay
Date: 34 – 100
Materials: glass
Culture: roman

Translucent cobalt blue over opaque white, with opaque pale green inlay. Circular plaque with convex upper surface and slightly beveled edge. On upper surface, a vine leaf outlined in gold wire and inlaid with monochrome glass. Intact; many surface scratches and dulling on upper surface, pitting and faint iridescent weathering on underside and edge.
Hack Coach #422
Object type: drawing
Date: 1870 – 1870
Materials: ink, watercolor
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
Parure: tiara, necklace, and brooch
Object type: parure
Date: 1834 – 1866
Materials: gold, onyx
Artist: luigi saulini
Artist role: artist
Artist nationality: italian
Artist dates: 1819 – 1883
Subjects: cupid,apollo,psyche

Luigi Saulini learned hardstone and shell carving from his adopted father, Tommaso (1784–1864), and continued in the family trade from a successful shop in the Via del Babuino in Rome. Cameo-laden parures that included tiaras became fashionable among Napoleon's sisters and the ladies of his court. The taste survived for at least a half century. A bit of paper that accompanied the set when Weil lent it to the Metropolitan Museum in 1929 stated that the mounts were designed by John Gibson (1790–1866), a British sculptor resident in Rome, and executed by Castellani, the Roman firm of goldsmiths. Saulini's studio was near Gibson's, and many artists turned to Castellani for mounts in the best "archaeological" style. Certainly an able hand modeled the tiara's acorns and oak leaves and the firm is not to be ruled out, but the leaves are pointier than in other oak jewelry known to be by Castellani. The large stone in the tiara, despite the tradition probably not designed by Gibson, represents the toilet of Nausicaa, a rare subject even in ancient art. To ensure that Nausicaa, wise and beautiful daughter of King Alcinous of Phaeacia, would rescue the shipwrecked and travel-stained Ulysses as he slept in a bed of leaves at the mouth of the river Calliroe, Minerva directed her in a dream to go with her handmaids to the river to wash her family's linens. Here, though, her companions lavish their attention on the princess, fixing her hair, bringing her jewelry, and reflecting her beauty in a mirror. All but one of the other cameos copy ancient marbles. The bust in the brooch is of the Vatican's Apollo Belvedere. The three large stones in the necklace cite the statues Discobolus, Cupid and Psyche, and Cupid Stringing His Bow, the first in the Museo Nazionale in Rome, the last two in the Musei Capitolini. The unsigned nude youth with a hoop and a paddle on the clasp is after a long-lost ancient intaglio Johann Joachim Winckelmann singled out in his Thoughts on the Imitation of Greek Works in Painting and Sculpture, published in 1755. Its design survives in copies by Giovanni Pichler and others.
Christ on the Cross
Object type: print
Date: 1578 – 1620
Techniques: engraving
Artist: Anonymous
Artist role: artist
Subjects: men,women,christ,cross,crucifixion
Ring Weight
Object type: ring weight
Date: 601 – 900
Materials: glass
Location: egypt
Beziet eens Jonge Jeugd (...)
Object type: print
Date: 1558 – 1558
Materials: paper
Techniques: colour, letterpress printing
Location: amsterdam
Subjects: animals, tortoises, turtles, ships (in general), trunked animals: elephant
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760

Voor het drukken van deze prent is gebruik gemaakt van bestaande houtblokken. Voor de schildpad is gebruik gemaakt van een houtblok dat in de zestiende eeuw gebruikt werd voor de befaamde natuurhistorische boeken van de Zwitser Conrad Gessner. Minstens een deel van de houtblokken voor de illustraties van Gessners werk bevond zich in de achttiende en vroege negentiende eeuw in Nederland. Daar werden ze benut voor het drukken van cents- of volksprenten. De nogal willekeurige kleuring op de prenten is typerend voor dit soort goedkope grafiek. Opvallend is dat de dieren in de tekstjes die onder de afbeeldingen werden toegevoegd vaak anders zijn geduid dan bij Gessner.

De schildpad komt voor in verschillende publicaties van Gessner, alsmede herdrukken daarvan, zoals het vierde deel van Historiae animalium (eerste uitgave 1558).
Lago di Garda. Gardone Riviera Grand Hotel
Object type: ansichtkaart, prentbriefkaart
Date: 1906 – 1928
Materials: cardboard, photographic process
Location: toscolano-maderno
Subjects: ships (in general), lake, hotel, hostelry, inn
Bottle cooler from the Louis XV service (seau à bouteille)
Object type: cooler
Date: 1754 – 1754
Materials: enamel, gold, soft paste porcelain
Techniques: polychrome
Artist: vincennes manufactory
Artist role: manufactory
Artist nationality: french
Artist dates: 1740 – 1756
Subjects: fruit,flowers

These wine-bottle coolers (see also 1970.230.5) are among the eight produced for one of the most famous porcelain services of the eighteenth century. The dinner and dessert service was ordered by Louis XV from the Vincennes factory in 1751, and it was delivered between 1753 and 1755, in three major installments because of the large number of pieces involved. The service included many new forms, and, most notably, it was the first time that the ground color bleu céleste (sky blue) was employed for a service. This brilliant turquoise blue was one of the most expensive of all ground colors to produce, and it remained popular throughout the eighteenth century. The technical difficulty in achieving a uniform application of any ground color is evident in the slightly mottled aspect of the bleu céleste of these coolers, but the factory learned to overcome this obstacle several years after this service was made. Many of the forms, or models, made for the service remained in production throughout the century, as it was prohibitively expensive to design new ones each time a service was ordered. This model of wine-bottle cooler was designed by Jean-Claude Duplessis, director of the modeling workshop at the factory, who was responsible for the majority of the shapes produced at Vincennes and at its successor factory at Sèvres through the 1750s. It is not known which painters at the factory were responsible for the superb vignettes of flowers, but they reflect a remarkable level of skill for an enterprise that had been in active production for little more than eight years when these coolers were made.
Kan met een oor in de vorm van een sater die staat op een mascaron
Object type: ornament print
Date: 1533 – 1567
Materials: paper
Techniques: engraving
Location: italy

Uit serie van 14 deels genummerde bladen. De vazen hebben vermoedelijk antieke vazen als uitgangspunt gehad.
Tablet with Chariot Scene
Object type: tablet
Date: 1400 – 1390
Materials: faience
Location: egypt
Subjects: men,horses,chariots

During the New Kingdom, a new image emerged: the pharaoh alone in his chariot. Horses and chariots had been introduced to Egypt around 1600 B.C. by the Hyksos, foreign rulers of Levantine origin who controlled Lower Egypt at the time. By Dynasty 18, this mode of transport had been adopted by the Egyptian court. At some point, Egyptians improved chariot design, making the vehicles lighter and faster. This drawing on faience of a man driving a chariot pulled by two galloping horses in a food-producing garden illustrates how these new means of transport were gradually adopted by people outside the Egyptian court and army.
Buddhist Goddess Tara
Object type: sculpture
Date: 1401 – 1500
Materials: wood
Techniques: polychrome
Location: nepal
6 pence uit Engeland van George II, 1758
Object type: coin
Date: 1758 – 1758
Materials: silver
Techniques: striking
Location: london

Zilveren munt. Voorzijde: gelauwerd borstbeeld van de koning naar links. Keerzijde: rondom kruis binnen cirkel, waaromheen stralen, vier in kruisvorm geplaatste gekroonde wapenschilden. Jaartal bovenaan in omschrift. Kabelrand.
Fotoreproductie van een geschilderd portret van Louis de Rouvroy, hertog van Saint-Simon, door Hyacinthe Rigaud
Object type: reproduction
Date: 1886 – 1895
Materials: cardboard, paper
Techniques: albumen print
Location: paris
Artist: Anonymous
Subjects: historical persons, regent, substitute ruler; viceroy
Inscriptions: number: ‘40’, collector's mark: Lugt 2228
L'Office de la Vierge
Object type: print
Date: 1608 – 1688
Materials: paper
Techniques: engraving
Artist: claude mellan
Artist role: draughtsman, print maker
Artist dates: 1598 – 1688
Subjects: angels
Inscriptions: collector's mark: Lugt 240
Fan
Object type: fan
Date: 1867 – 1900
Culture: french
Artist: stern brothers
Artist role: designer
Artist nationality: american
Artist dates: 1867 – 2001
Subjects: men,women,boats
Design for Phaeton (unnumbered)
Object type: drawing
Date: 1870 – 1870
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
Laughter (Le Brun Travested, or Caricatures of the Passions)
Object type: print
Materials: ink
Techniques: etching, printing
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: satire,men,cats
Gezicht op de Charles te Massachusetts
Object type: page
Date: 1875 – 1875
Materials: paper
Techniques: photograph
Location: auburndale
Artist: Anonymous
Subjects: trees, river

Prent op tweede ongenummerde pagina na pagina 42.
Insect
Object type: endleaf
Date: 1828 – 1897
Materials: paper, pencil
Location: netherlands
Artist: adrianus eversen
Artist role: draughtsman
Artist dates: 1818 – 1897
Subjects: insects
Inscriptions: collector's mark: Lugt 2228

Insect. Voorste schutblad uit een schetsboek met 27 bladen.
Boek met figuren en stadsarchitectuur
Object type: book
Date: 1690 – 1710
Materials: gold, leather, paper
Location: amsterdam
Artist: Anonymous

Boek met figuren en stadsarchitectuur. Ingebonden in leer met goudopdruk.