deem-data/ArtiFact huggingface dataset:
Reproduction of a Sarmatian cup with animal handle
Date: 1801 – 1900

Electrotyping is a chemical process used historically to make high quality reproductions of works of art. During the Victorian era, one of the main producers was Elkington & Co. of Birmingham. They were licensed by the South Kensington Museum of London (now the Victoria & Albert Museum) to produce replicas of objects from royal treasuries and museums across Europe. The electrotypes approved by the Department of Science and Art, a British governmental agency, carry Messrs. Elkington’s mark in the form of an official stamp in metal. This modern electrotype is a copy of a gold cup in the Hermitage Museum, St. Petersburg. The original was found in 1864 in the Khokhlach kurgan (burial mound) in the vicinity of Novocherkassk, one of the largest cities of the Don region. It was part of a group of precious objects – a crown, collars, ornaments, flacons or perfume-boxes – known as the “Treasure of Novocherkassk” and thought to be the burial of an elite Sarmatian woman from the first century A.D. Sarmatian objects are decorated with animal imagery comparable to the earlier Scythian “animal style” and frequently enhanced with colored inlays. The handle is in the shape of an elk whose eyes, back muscles, shoulder blades, and hips were originally inlaid with turquoise, coral and glass. In the nineteenth century, many museums collected copies of ancient and historical works of art with the aim of presenting outstanding works to a broader public and to serve as inspiration for artists and manufacturers. The Metropolitan Museum of Art, founded in 1870, began to acquire electrotypes in its first decade. In 1883, Henry Marquand, a collector and early patron of the Museum, funded a large purchase from Elkington & Co. of nearly three hundred pieces. Today, these works are part of many departments in the Museum and along with plaster casts reflect the history of collecting and the role of the museum as a locus for the teaching of art history.
Design for a Clock with Two Cherubs
Object type: drawing
Date: 1801 – 1900
Materials: gouache, graphite, ink, watercolor
Techniques: brush, pen, wash
Artist: anonymous, french, 19th century
Artist role: artist
Artist nationality: french
Artist dates: 1800 – 1900
Subjects: clocks
Dutailly, Variettees/ Beaumaine, Variettees/ Beaumaine, Variettees, from the Actors and Actresses series (N45, Type 4) for Virginia Brights Cigarettes
Object type: photograph
Date: 1888 – 1888
Techniques: albumen silver print
Artist: allen & ginter
Artist role: publisher
Artist nationality: american
Subjects: portraits,women,actresses

Trade cards from the "Actors and Actresses" series (N45, Type 4), issued ca. 1888 by Allen & Ginter to promote Virginia Brights, Dixie, Our Little Beauties and Opera Puffs Cigarettes. Type 4 cards from the N45 series contain four miniature portraits of actresses on one card.
Allegorisch grafmonument voor Jan van Speyk, 1831
Object type: print
Date: 1831 – 1831
Materials: paper
Techniques: lithograph
Location: netherlands
Subjects: amsterdam, antwerp, jan van speyk, 'historia'; 'historia' (ripa), fame; 'fama', 'fama buona', 'fama chiara' (ripa), navy (+ sailing-ships), self-sacrifice, death in the service of a higher purpose, gunpowder disaster
Inscriptions: collector's mark: ‘E P’, collector's mark: Lugt 2228

Allegorisch grafmonument voor Jan van Speyk, met een voorstelling van het in de lucht springen van de kanonneerboot van Jan van Speyk op de Schelde voor Antwerpen op 5 februari 1831. Links naast het monument de Faam met bazuin en schepenkroon, rechts schrijft Clio de geschiedenis. Een engel (Victorie?) brengt een lauwerkrans, op het graf een huilende genius met de Nederlandse vlag. Rechts in de lucht Mars, linksboven wordt Van Speyk in de hemel ontvangen door onsterfelijke helden. Op de voetstuk van het monument een tienregelig vers.
Glass mosaic dish
Object type: bowl, mosaic
Date: 200 – 35
Materials: glass
Culture: greek, eastern mediterranean

Translucent blue, translucent turquoise green, opaque white, and opaque yellow. Vertical rim; shallow, convex side, tapering downward to broad, slightly convex bottom. Composite mosaic pattern formed from polygonal sections and square segments of four canes: the first in a blue ground with a white spiral; the second in a turquoise green ground with a yellow spiral; the third in yellow segments, and the fourth in white segments. A turquoise green cane wound spirally with a single white thread is attached as a rim. Intact, but one chip and crack in bottom and two holes drilled in side below rim; pitting and dulling on interior, small patches of iridescent weathering, and soil encrustation on exterior. Rotary grinding marks on interior. This bowl is highly decorative, with spiral designs and contrasting patches of translucent and opaque glass. It imitates an even more luxurious type of tableware, for the prominent squares of yellow glass act as substitutes for sections of gold glass.
Lille Nouveau, Le Palais Rameau
Object type: page
Date: 1878 – 1882
Materials: paper
Techniques: woodburytype
Artist: Anonymous
Subjects: palace, lille
Inscriptions: inscription: ‘Le Nord Contemporain/ Revue Artistique & Archéologique’, inscription: ‘Ou aura Lieu, le 1er avril, l'exposition des arts industriels’

Prent op derde ongenummerde pagina na pagina 96.
Gezicht van een jonge vrouw
Object type: print
Date: 1892 – 1931
Materials: paper
Techniques: woodcut
Artist: jan heyse
Artist role: painter, print maker
Artist dates: 1882 – 1954
Subjects: adolescent, young woman, maiden
Inscriptions: collector's mark: Lugt 2228
Leven van Christus
Object type: album leaf
Date: 1653 – 1654
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: christ's dispute with the doctors in the temple; he counts his arguments on his fingers

Christus discussieert met de schriftgeleerden in de tempel. De prent maakt deel uit van een album.
Bead
Object type: bead
Date: 7000 – 330
Materials: silver
Mademoiselle Sarah Bernhardt de la comédie française
Object type: print
Date: 1879 – 1886
Materials: paper
Techniques: lithograph
Location: london
Subjects: paris, sarah bernhardt, historical persons, historical costume, sculpture
Inscriptions: collector's mark: Lugt 2228
Ontwerp voor een kabinetje bij Arent van Hasselt, Keizersgracht 584, Amsterdam
Object type: drawing
Date: 1783 – 1783
Materials: ink, paper, pencil
Techniques: brush, pen
Artist: jurriaan andriessen
Artist role: draughtsman, painter
Artist dates: 1742 – 1819
Gesigt na d Muyder Poort
Object type: print
Date: 1661 – 1726
Materials: paper
Techniques: engraving, etching
Artist: gerard valck
Artist role: print maker, publisher
Artist dates: 1651 – 1726
Subjects: bridge, city-gate, canal (+ landscape with figures, staffage)
Inscriptions: collector's mark: Lugt 1641b

Gezicht op de Eerste Muiderpoort en de bijhorende brug te Amsterdam, gezien van buiten de stad. Rechtsonder genummerd: 9. Onderwerpsrubriek binnen de Atlas Amsterdam: B. Poorten, verzamelbladen, G. Eerste Muiderpoort.
Summer Day on Conesus Lake
Object type: painting
Date: 1870 – 1870
Materials: canvas, oil
Culture: american
Artist: john frederick kensett
Artist role: artist
Artist nationality: american
Artist dates: 1816 – 1872
Subjects: lakes,landscapes,boats

The smallest and westernmost of the eleven Finger Lakes of New York State, Conesus Lake was a popular summer resort visited frequently by Kensett to socialize with Robert M. Olyphant, one of his ardent friends and patrons, who owned a home there. The artist's portrayal of the scene, a counterpoint of lake surface and recumbent terrain supporting towering trees, creates a classic stage suited to the genteel parties—boating, picnicking, promenading, or simply relaxing—in and out of the groves sheltering the bank. Kensett's artistic training in Britain in the 1840s seems revealed by the evocation here of earlier English views along the Thames River, for example, below Richmond Hill.
Evening cape
Object type: evening cape
Date: 1860 – 1869
Materials: silk
Culture: european
Design for Wagon, no. 577d
Object type: drawing
Date: 1860 – 1860
Materials: gouache, 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
Nabootsing uit Zuid-Borneo van een 1/2  stuiver voor Nederlands Indië tijdens Brits bestuur, 1813
Object type: coin
Date: 1813 – 1820
Materials: copper
Techniques: striking

Koperen munt. Voorzijde: imitatie van: tussen waarde-aanduiding 1/2 St monogram van de Engelse Oostindische Compagnie. Daarboven letter b. Keerzijde: eenregelig opschrift, waaronder jaartal. Boven opschrift geïmiteerd muntteken en onder jaartal geïmiteerd muntmeesterteken.
Portret van Jozef II, Duits keizer
Object type: print
Date: 1765 – 1799
Materials: paper
Techniques: engraving
Artist: Anonymous
Subjects: jozef ii (duits keizer), knighthood order, historical persons, emperor
Portret van de predikant Adriaan van Oostrum
Object type: print
Date: 1670 – 1713
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: wig
Inscriptions: collector's mark: Lugt 2165
Glass alabastron (perfume bottle)
Object type: alabastron
Date: 200 – 35
Materials: glass
Culture: greek, eastern mediterranean
Willem III legt tijdens de kroning de eed af, 1689
Object type: print
Date: 1689 – 1689
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: william iii (prince of orange and king of england, scotland, and ireland), london, maria ii stuart (koningin van engeland, schotland en ierland), new ruler taking the oath, coronation of a ruler, westminster abbey

Tijdens de kroningsceremonie legt Willem III de eed af op de bijbel, Maria kust de bijbel, 21 april 1689. Genummerd rechtsboven: 208. Plaat P in de serie 'Engelants schouwtoneel' over de Glorious Revolution 1688-1689 (tweede deel). Met onderschriften in het Nederlands en Frans.
Ensemble
Object type: ensemble
Date: 1850 – 1850
Materials: cotton
Culture: british
Portrait of P. Procureur
Object type: print, album
Date: 1751 – 1800
Techniques: etching
Artist: guillaume thiemet
Artist role: artist
Artist nationality: french
Artist dates: 1700 – 1850
Subjects: men,portraits

This print is bound in an album made up of sixteen early impressions and one later impression of La Live de Jully's "Recueil de caricatures", etched ca. 1754 after drawings by Jacques François Joseph Saly, eight caricatures etched after Thiemet, and two anonymous prints of a standing man and standing woman.
The Virgin nursing the infant Christ, Joseph at left, after Reni
Object type: print
Date: 1600 – 1700
Techniques: engraving
Artist: Anonymous
Artist role: artist
Subjects: virgin mary,jesus,joseph,nursing

Copy in reverse of an etching by Reni depicting the Virgin nursing Christ; copy distinguished by the addition of Joseph at left and a different inscription. Verso is not visible as print it laid to another sheet of paper.Verso is not visible as print it laid to another sheet of paper.
Zeitgenossen
Object type: print
Date: 1829 – 1840
Materials: paper
Techniques: etching
Location: new york city
Artist: Anonymous
Subjects: historical persons, battle

Afkomstig uit de portretserie 'Zeitgenossen', uitgegeven tussen 1829 en circa 1840.
Vallei der Koningen
Object type: page
Materials: paper
Techniques: albumen print
Location: thebes
Artist: francis frith
Artist role: publisher
Artist dates: 1822 – 1898
Subjects: dale, valley, cult of the dead
Het laatste oordeel, blad L
Object type: print
Date: 1530 – 1582
Materials: paper
Techniques: engraving
Location: vatican city
Artist: giorgio ghisi
Artist role: print maker
Artist dates: 1520 – 1582
Subjects: last judgement
Inscriptions: collector's mark: ‘Hinloopen’, number: ‘4’, collector's mark: Lugt 11, collector's mark: Lugt 10

Prent maakt deel uit van een groep van tien prenten die samen één grote voorstelling vormen naar het fresco met het Laatste Oordeel door Michelangelo in de Sixtijnse Kapel in het Vaticaan.
From the Desk to the Throne, A New Quick Step by Joseph Bonaparte the Bass By Messers Nappy and Tally
Object type: print
Techniques: etching
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: satire,men,politics

Joseph, dressed as a lawyer, steps atop a desk with his right toe, while extending his other leg to point his left toe at a map of Spain and Portugal, at Madrid. His hands are raised above his head to hold onto cushions on which is the crown of Spain. Four clerks sit facing each other at the desk he has left, which has double slopes, divided by the low rail from which he steps. One asks: "Why Joseph wither art thou going"; he looks down answer: "Whither - but to fill my high destiny? And like my noble Brother Sway tne Sceptre of another." The other clerks say respectively: "But proverbs tell of many Slips Between the tankard & the lips And really I am apt to give The proverb credit as I live" and "He must needs go whom the Devil drives and should it cost his Neck; Ownds! what a prodigious step for a Notary's clerk."
Aanzicht van het Casino del Giardino bij Sint-Jan van Lateranen
Object type: album leaf
Date: 1636 – 1647
Materials: paper
Techniques: engraving
Location: rome
Artist: matthäus greuter
Artist role: print maker
Artist dates: 1564 – 1638
Subjects: civic architecture; edifices; dwellings, rome

Vooraanzicht van het Casino del Giardino bij Sint-Jan van Lateranen. Boven de poort het wapenschild van de familie Giustiniani. Prent maakt deel uit van een album met een serie prenten naar de sculpturen in de verzameling in de Galleria Giustiniani te Rome.
Ridders te paard, 1217
Object type: history print
Date: 1840 – 1863
Materials: paper
Techniques: lithograph
Location: utrecht
Subjects: knight, netherlands, haarlem

Vorst omringd door zijn ridders, allen te paard buiten een kasteel, in het jaar 1217. Rechts een standaarddrager met een standaard waarop het wapen van Haarlem.
Groep reizigers op treinstation
Object type: print
Date: 1862 – 1862
Materials: paper
Techniques: letterpress printing, engraving
Subjects: station; shelter (railway, tramway), departure ~ travelling
Inscriptions: collector's mark: Lugt 2228

Gebruikt als illustratie in: Le Monde illustré, 3 mei 1862.
Hondenkar
Object type: drawing
Date: 1869 – 1941
Materials: paper, pencil
Artist: johannes abraham mondt
Artist role: draughtsman, print maker
Artist dates: 1859 – 1941
Subjects: animal traction, animal-drawn vehicle (carriage etc.), dog
Nefertum amulet
Object type: amulet, nefertum, broken foot
Date: 1070 – 525
Materials: faience, thread
Location: egypt
Charger
Object type: ceramic
Date: 1601 – 1700
Materials: earthenware
Techniques: glazing
Location: spain
Doos
Object type: box
Date: 1750 – 1800
Materials: lacquer, wood
Location: japan
Artist: Anonymous

Achthoekig langwerpig doosje met zowel boven als onder afgeplatte kanten.
Panel
Object type: textile
Date: 1701 – 1800
Materials: cotton, wood
Techniques: weave, printing
Location: portugal
Revolver uit Atjeh
Object type: percussion revolver
Date: 1862 – 1881
Materials: iron, wood
Location: london
Subjects: atjeh, atjeh-oorlog
Inscriptions: mark: ‘Lemat & Girard's Patent London’

Revolver, in Atjeh veroverd of buitgemaakt. Percussiesysteem, cylinder met negen kamers en twee lopen. Met haan waarvan de kop basculeert en neerslaat op een 10. schoorsteentje, corresponderende met de 2e of achterliggende loop. Gemerkt no. 8225. Op de loop: Lemat & Girard's Patent London.
De nieuwe bondgenooten in Zuid-Afrika
Object type: cartoon
Date: 1901 – 1901
Materials: paper
Techniques: lithograph
Location: netherlands
Artist: johan braakensiek
Artist role: draughtsman, print maker
Artist dates: 1858 – 1940
Subjects: african peoples (zulus), personifications of countries, nations, states, districts, etc., blessing the married couple, spreading the gospel; missionary work, political caricatures and satires

Het bondgenootschap als huwelijk tussen John Bull (Engeland) en een Zulukrijger krijgt de zegen van een missionaris. Beide mannen hebben kleding en wapens van elkaar uitgewisseld. De zendeling staat op een vat met buskruit.
Shepherdess
Object type: print
Date: 1780 – 1780
Techniques: aquatint, etching, roulette, engraving
Artist: gilles-antoine demarteau
Artist role: artist
Artist nationality: french
Artist dates: 1756 – 1802
Straatgezicht met hondenkar
Object type: photomechanical print
Date: 1893 – 1898
Materials: paper
Techniques: autotype
Artist: Anonymous
Subjects: four-wheeled vehicle drawn by two animals, dog
Inscriptions: inscription: ‘Electric paper.’, inscription: ‘Association Belge de photographie’
Christuskop
Object type: print
Date: 1815 – 1862
Materials: paper
Techniques: engraving
Subjects: 'portraits' of christ
Inscriptions: mark: ‘21’, collector's mark: Lugt 2228
Terracotta fragment of a neck-amphora of Panathenaic shape
Object type: neck amphora fragment
Date: 534 – 468
Materials: terracotta
Culture: greek, attic

Part of the wheel of a chariot to right; drapery and feet of a figure to right
Twee Poolse vaandeldragers
Object type: costume print
Date: 1577 – 1577
Materials: paper
Techniques: engraving
Artist: abraham de bruyn
Artist role: print maker, publisher
Artist dates: 1540 – 1587
Subjects: standard-bearer, flag-bearer, warfare; military affairs (+ cavalry, horsemen), folk costume, regional costume, (military) uniforms, europeans (with name)
Inscriptions: collector's mark: Lugt 2228

Twee paarden en ruiters naar links. De paarden zijn in stap. De ruiters zijn op zijn Pools gekleed. Ze dragen allebei een vaandel. De prent heeft een Duits onderschrift en Latijns opschrift. Prent oorspronkelijk uit 'Equitum descripcio...', 1577.
Mourning dress
Object type: mourning dress
Date: 1872 – 1874
Materials: cotton, silk
Culture: american

Black mourning dress reached its peak during the reign of Queen Victoria (1819-1901) of the United Kingdom in the second half of the 19th century. Queen Victoria wore mourning from the death of her husband, Prince Albert (1819-1861), until her own death. With these standards in place, it was considered a social requisite to don black from anywhere between three months to two and a half years while grieving for a loved one or monarch. The stringent social custom existed for all classes and was available at all price points. Those who could not afford the change of dress often altered and dyed their regular garments black. The amount of black to be worn was dictated by several different phases of mourning; full mourning ensembles were solid black while half mourning allowed the wearer to add a small amount of white or purple. This half mourning dress shows the care with which additional colors were implemented in mourning attire with the white accents carefully placed to not overwhelm the black and create a visually appealing transitional garment.
Scriptura en de mens
Object type: book illustration
Materials: paper
Techniques: letterpress printing
Artist: Anonymous
Subjects: 'salvator mundi', making a blessing gesture; an orb in his hand or at his feet, personification of holy writ, 'sacra scriptura', reading the bible or other religious books, the bible as a book
Inscriptions: collector's mark: Lugt 2228

Deze houtsnede werd voor het eerst gebruikt in: Ludolphus de Saxonia. Tboeck vanden leven Jhesu Christi [eerste Nederlandse vertaling in druk van Vita Christi], Antwerpen: Gerard Leeu, 3 Nov. 1487, a3 verso. Mogelijk is dit blad afkomstig uit een latere editie, verschenen bij Claes Leeu in Antwerpen of Peter van Os in Breda, tussen 1488-1499.
Pendant
Object type: pendant
Date: 801 – 1400
Materials: glass
Location: egypt
Terracotta fragments of kylikes (drinking cups)
Object type: kylix fragment
Date: 520 – 500
Materials: terracotta
Culture: greek, attic

Exterior, two fragments with palmette fronds
Esplanade & pier from the west
Object type: photomechanical print
Date: 1902 – 1905
Materials: cardboard
Techniques: lithograph, writing
Location: glasgow
Artist: Anonymous
Subjects: pier, quay, wharf, sea, glasgow
Inscriptions: postage stamp
Reproductie van een schilderij van een man en vrouw binnenshuis door Milne Ramsey
Object type: photomechanical print
Date: 1872 – 1879
Materials: paper
Techniques: woodburytype
Artist: milne ramsey
Artist dates: 1847 – 1915
Subjects: man and woman cohabiting, communal rooms
Inscriptions: inscription: ‘Musée pour tous 1877’
Fragment
Object type: textile
Materials: paper, silk
Techniques: bookbinding, gilding, patterning, weave
Location: japan
Wegwijsbord
Object type: photomechanical print
Date: 1890 – 1895
Materials: paper
Techniques: autotype
Location: prague
Subjects: tripod
Container of Crushed Garnets
Object type: jade carving material
Date: 1901 – 2000
Materials: gemstone
Culture: chinese
Plate from Telemachus
Object type: print
Date: 1797 – 1797
Materials: paper
Techniques: engraving
Location: england
Artist: after thomas stothard
Artist nationality: english
Artist dates: 1755 – 1834
Schoenmakersgilde van Bolsward, overmanspenning van burgemeester Franciscus Elgersma
Object type: medal
Date: 1727 – 1727
Materials: silver
Techniques: engraving
Location: netherlands
Artist: Anonymous
Subjects: mayor

Guilds were urban organisations of people in specific occupations. The guild represented the interests of the profession. Each member had a token as proof of membership. The person’s name was engraved on one side of the token, often together with the arms of the guild or of the city in which it was based. The other side carried a motif signifying the occupation represented by the guild.
Terracotta rim fragment of a kylix: eye-cup (drinking cup)
Object type: kylix fragment
Date: 534 – 501
Materials: terracotta
Culture: greek, attic

Exterior, head and part of the upper torso of a filleted youth to right; head and part of the upper torso of a draped filleted woman to left; head and upper torso of a youth to right, looking back over his right shoulder, with his arms bent, and his right hand raised, behind his head; part of an eyebrow and eye, in added white
Tea caddy incised with “Elizabeth Floud 1767”
Object type: tea caddy
Date: 1767 – 1767
Materials: stoneware
Techniques: salt glaze, underglaze