deem-data/ArtiFact huggingface dataset:
Zakkendragershuis te Rotterdam
Object type: drawing
Date: 1790 – 1790
Materials: ink, paper
Techniques: brush, pen
Artist: jan bulthuis
Artist role: draughtsman, print maker
Artist dates: 1750 – 1801
Subjects: city-view, and landscape with man-made constructions, rotterdam
Chasuble
Object type: chasuble
Materials: metal thread, silk
Subjects: men,flowers,cross

Although this resembles a chasuble- the tabard-like garment worn by a priest during ecclesiastic services- this piece was probably never worn, and instead only assembled in the very late nineteenth century, likely by a dealer to appeal to the collectors' market. There are multiple patches of two different crimson Italian velvets, both of good quality, thick with deep pile, of the design style called "inferriata" or "ferronerie" because of their similarity to scrolling ironwork. The velvet fragments have been cleverly assembled to create the ground of the garment, to which have been attached very high-quality embroidered strips, heavy with metal thread imitating a basket weave. The embroideries are likely earlier in make than the velvets, and attributable to northern Europe, perhaps the Southern Netherlands. They are punctuated by ten shields (four on the front, six on the reverse) each bearing items of the "Arma Christi"- the Instruments of the Passion associated in the Bible with Jesus Christ's Crucifixion- executed in "or nué" technique: on the front, the whipping Column; the Crown of Thorns; Saint Peter's sword and a martyr's palm; the Cross; the soldiers' dice (twice- on front and reverse); the torch and mace (twice- on front and reverse); and, on the reverse, the flagellum and reed; and the thirty pieces of silver of Judas's betrayal. Another chasuble in The Met's collection (58.167 in the department of Medieval Art) includes strikingly similar embroidered strips with the Arma Christi, which might originally have graced the same set of vestments as these. Added to these, are two small panels depicting anonymous bishop saints, which have been positioned as if the arms of the cross on the reverse of the garment; though at first glance these appear similar to the embroidered strips with the shields, closer inspection reveals them to be vastly inferior in both technique and raw materials, and likely salvaged a third and much later work.
Bronzen vaas met daarin verwerkt waterspuwers aan de rand van een bassin
Object type: photograph
Date: 1860 – 1900
Materials: paper
Techniques: albumen print
Location: france
Artist: Anonymous
Inscriptions: annotation: ‘215 - Versailles - Bassin de Neptune, vase en plomp bronze L.P. Phot.’

De vaas is gedecoreerd met kreeften en zeedieren. Onderdeel van een serie met betrekking tot het interieur van het paleis van Versailles met kroonluchters, deuren, portalen en meubelstukken.
Vase
Object type: vase
Date: 1567 – 1633
Materials: glaze, porcelain
Culture: chinese
2 kopeken uit Rusland van tsaar Alexander II, 1867
Object type: coin
Date: 1867 – 1867
Materials: copper
Techniques: striking
Location: sint-petersburg

Koperen munt. Voorzijde: dubbelkoppige gekroonde adelaar met gespreide vleugels en met op zijn vleugels kleine wapenschilden en op zijn borst een groot, met een ridderorde omhangen wapenschild en in zijn poten een scepter en een gekroonde bol. Boven de adelaar een kroon met lint. Waarde-aanduiding in omschrift onderaan. Keerzijde: tussen twee samengebonden takken in twee regels waarde-aanduiding. Daaronder in het Cyrillisch de letters S,P en B [=Sint Petersburg]. Jaartal bovenaan in omschrift. Kartelrand.
Cleaver or faggot-knife
Object type: cleaver or faggot knife
Date: 1501 – 1600
Materials: steel
Tile
Object type: tile
Date: 221 – 220
Materials: earthenware
Culture: chinese
Subjects: human figures,animals,weapons
Studies van kamelen
Object type: drawing
Date: 1876 – 1951
Materials: chalk, paper
Artist: theo nieuwenhuis
Artist role: designer, draughtsman, print maker
Artist dates: 1866 – 1951
Subjects: hoofed animals: camel
Ewer
Object type: ewer
Date: 1801 – 1900
Materials: brass, gilt bronze

This electrotype is after a sixteenth-century original in the Victoria and Albert Museum, London, at the time of reproduction.
Portret van Willem II, graaf van Holland
Object type: print
Date: 1650 – 1650
Materials: paper
Techniques: engraving, etching
Location: haarlem
Artist: cornelis visscher (ii)
Artist role: draughtsman, painter, print maker
Artist dates: 1628 – 1658
Subjects: earl, helmet, crown (symbol of sovereignty), armour
Inscriptions: collector's mark: Lugt 240

Willem II, graaf van Holland en rooms-koning. Hij draagt een harnas en een mantel en heeft op het hoofd een helm met een kroon. De omlijsting is versierd met een wapen met een leeuw en een adelaar.
John Williams op Samoa
Object type: popular print
Date: 1869 – 1882
Materials: paper
Techniques: colour, letterpress printing, engraving
Location: netherlands
Subjects: missionary, ships (in general), spreading the gospel; missionary work
Inscriptions: collector's mark: Lugt 2760

Blad met 4 voorstellingen van de missionaris John Williams op Samoa. Onder elke afbeelding een onderschrift. Genummerd midden boven: No. 56.
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 400 – 351
Materials: terracotta
Culture: greek, attic

Interior, calf and foot of a draped figure to right?; Exterior, knees and calves of male to left
Judith slaying Holofernes
Object type: print
Date: 1775 – 1775
Techniques: etching
Artist: giuseppe canale
Artist role: artist
Artist nationality: italian
Artist dates: 1725 – 1802
Fotoreproductie van een schilderij, (vermoedelijk) voorstellende een portret van Selina Tollemache
Object type: reproduction
Date: 1890 – 1900
Materials: photographic support
Techniques: gelatin silver print
Artist: Anonymous
Subjects: historical persons - bb - woman, veil
Verlustigt, Kind'ren! U een poosje, / Bij 't gene U hier de prentkunst biedt; / 't is Kloris' bruiloft met zijn Roosje, / Wie kent dit Neerlan is blijspel niet?
Object type: popular print
Date: 1781 – 1828
Materials: paper
Techniques: colour, letterpress printing
Location: netherlands
Subjects: wedding feast, wedding meal
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228

Blad met 8 voorstellingen over de bruiloft van Kloris en Roosje. Onder elke afbeelding een vierregelig vers. Genummerd rechtsboven: N. 99.
Portret van een staande vrouw en een zittende man bij een balustrade
Object type: album leaf
Date: 1885 – 1906
Materials: cardboard, photographic support
Techniques: albumen print
Location: amsterdam
Subjects: historical persons - bb - woman, historical persons, balustrade
Inscriptions: inscription: ‘W.G. Kuijer & Zonen/ Hofphotographen/ Amsterdam/ Westermarkt 19./ Spéciale Inrichting/ voor/ VERGROOTINGEN/ in alle Formaten.’
Strijd tussen vastenavond en vasten
Object type: print
Date: 1596 – 1659
Materials: paper
Techniques: engraving
Subjects: fat and thin (human types), fasting ~ roman religion, shrove tuesday, 'mardi gras' ~ non-liturgical celebrations of carnival, fighting
Inscriptions: collector's mark: Lugt 240

Twee groepen mensen vertegenwoordigen vastenavond en vasten die tegen elkaar strijden. Aan de zijde van vastenavond tonen de weldoorvoede deelnemers hun zondige gewoonten van gulzig eten en drinken, ze zijn behangen met etenswaren zoals worsten, wafels, pannekoeken, jachtbuit en drinkkannen. Als wapens worden onder andere een wafelijzer en allerlei huisraad. Een spit met op de punt een roemer wordt gehanteerd door een dikke figuur, zwaaiend met een drinkbeker en zittend op een bierton. Hun tegenstanders die hun deugd zoeken in het vasten moeten het stellen met een kariger maal van vis en krakelingen. Zij zwaaien dreigend met een visnet en rooster. Onder de voorstelling staat een vers in Latijn en de nederlandse vertaling die wijzen op de strijd tussen deugd en zonde.
Vrouw met een voorwerp in haar handen
Object type: sketchbook leaf
Date: 1883 – 1885
Materials: chalk, paper
Location: the hague
Artist: george hendrik breitner
Artist role: draughtsman, painter, print maker
Artist dates: 1857 – 1923
Subjects: adult woman, carrying something

Pagina 8 uit een schetsboek met 17 bladen.
Enlightened Protector Mahakala with Six Arms (Shadbhuja)
Object type: sculpture
Date: 1701 – 1900
Materials: bronze, copper alloy, gilt, pigment
Culture: tibetan or chinese
Location: china
VOC, duit Zeeland, 1780
Object type: coin
Date: 1780 – 1780
Materials: copper
Techniques: striking
Location: middelburg

Koperen munt. Voorzijde: gekroond wapenschild van Zeeland. Keerzijde: monogram van de VOC, waarboven muntteken en waaronder jaartal. Gladde rand.
Ontwerpen voor sieraden in de vorm van zwartornamenten
Object type: print
Date: 1612 – 1612
Materials: paper
Techniques: engraving
Location: leiden
Tapuit bij zijn nestholte
Object type: photograph
Date: 1900 – 1930
Materials: paper, photographic support
Techniques: gelatin silver print
Location: netherlands
Artist: richard tepe
Artist role: fotograaf
Artist dates: 1864 – 1952
Inscriptions: signature: ‘foto / R Tepe’, annotation: ‘Tapuit bij zijne nestholte’
Sword Guard (Tsuba)
Object type: sword guard tsuba
Date: 1701 – 1800
Materials: copper, gold, iron, silver
Culture: japanese
Location: japan
Subjects: flowers
Arm Defense for Right Arm
Object type: arm defense for right arm
Date: 1530 – 1530
Materials: gold, steel
Culture: german
Location: germany
Portret van kardinaal Tommaso Maria Ferrari
Object type: print
Date: 1703 – 1703
Materials: paper
Techniques: engraving, etching, letterpress printing
Location: naples
Subjects: rome, cardinal, historical persons

Prent uit: Gimma, Giacinto. Elogj accademici della Società degli Spensierati di Rossano (...). Napels: Carlo Troise, 1703, p. 269.
The Consecration of a Bishop
Object type: drawing
Date: 1701 – 1800
Materials: chalk, graphite, paper
Techniques: brush, heightening, wash
Artist: anonymous, french, 18th century
Artist role: artist
Artist nationality: french
Artist dates: 1700 – 1800
Subjects: men,bishops
Bezoek aan Hainburg an der Donau, Oostenrijk
Object type: photograph
Date: 1930 – 1931
Materials: cardboard, photographic support
Techniques: gelatin silver print
Location: hainburg an der donau
Artist: berti hoppe
Artist role: fotograaf
Subjects: courtyard, city-gate, street (+ city(-scape) with figures, staffage)

Vijf foto's van poorten en een foto van een straat in Hainburg an der Donau. In de onderschriften is vermeld dat het gaat om de Ungartor, de Fischertor, een oud hofje en de Landstrasse. Deze foto's maken deel uit van een album.
Pelvis Tab. I.
Object type: print
Date: 1762 – 1762
Materials: paper
Techniques: engraving, etching
Subjects: parts of the human body (skeleton excepted), pelvis
Inscriptions: collector's mark: Lugt 2228
Servet van linnen met pellenpatroon
Object type: napkin
Date: 1400 – 1950
Materials: linen
Techniques: peeled fabric
Location: northern netherlands
Halve gulden van Friesland, 1696
Object type: halve gulden
Date: 1696 – 1696
Materials: silver
Techniques: striking
Location: leeuwarden

Zilveren munt. Voorzijde: tussen waarde-aanduiding gekroond generaliteitswapenschild. Keerzijde: staande Nederlandse maagd met in rechterhand speer, waarop hoed, met linkerhand steunend op een altaar, waarop bijbel. In afsnede jaartal.
Pair of panels
Object type: panel
Date: 1667 – 1733
Materials: wood
Techniques: polish
Subjects: arrows,leaves
The Virgin and Child with Saint Elizabeth and Saint John the Baptist
Object type: print
Date: 1650 – 1700
Techniques: engraving
Artist: Anonymous
Artist role: artist
Subjects: saint john the baptist,virgin mary,jesus,saints
Twee studies van een zittende hond
Object type: drawing
Date: 1821 – 1891
Materials: chalk, paper
Artist: guillaume anne van der brugghen
Artist role: draughtsman, print maker
Artist dates: 1812 – 1891
Subjects: dog
Apollo
Object type: album leaf
Date: 1695 – 1695
Materials: paper
Techniques: letterpress printing
Location: paris

Verklaring van de prent met voorstelling van Apollo (ontbreekt in album) in het Frans. Pagina 5. Tekstblad maakt deel uit van een album.
Terracotta fragment of a skyphos (deep drinking cup)
Object type: skyphos fragment
Date: 450 – 401
Materials: terracotta
Culture: greek, attic

Fragment from the underside of a skyphos with two black glaze concentric circles with an incised dot in the center; the fragment has miltos
Fortitude
Object type: statuette
Date: 1740 – 1750
Materials: terracotta
Artist: angelo piò
Artist role: artist
Artist nationality: italian
Artist dates: 1690 – 1770
Subjects: shields,women
Portret van Christoph Friedrich Hellwag
Object type: print
Date: 1820 – 1885
Materials: paper
Techniques: lithograph
Location: hamburg
Artist: Anonymous
Subjects: historical persons, physician, doctor
Inscriptions: collector's mark: Lugt 2228
Portret van August Wilhelm Antonius Neidhardt, Graf von Gneisenau
Object type: print
Date: 1814 – 1856
Materials: paper
Techniques: stippling
Location: berlin
Artist: ludwig buchhorn
Artist role: painter, print maker
Artist dates: 1770 – 1856
Subjects: knighthood order (with name) - insignia of a knighthood order, e.g.: badge, chain (with name of order), historical persons, (military) uniforms
Inscriptions: collector's mark: Lugt 2228
Fossa Cingens; Confessionis Augustana=nae Templum transiens, Joannis que De porta Rubrâ turrim respiciens / Gesicht van de Cingel, verbij de Luitersche Nieuwe Kerk; naa de Jan Roon Poortz tooren
Object type: print
Date: 1680 – 1700
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: canals, waters (in city), amsterdam
Inscriptions: watermark
Remains of the Abbey Church, Bury St. Edmunds
Object type: photograph
Date: 1857 – 1857
Techniques: albumen silver print
Artist: george downes
Artist role: artist
Artist nationality: british
Subjects: architecture,churches
Ostrakon with a Letter from Jonah to Elias
Object type: ostrakon
Date: 600 – 600
Materials: ink, limestone
Culture: coptic
Location: egypt
Illustr. et Excell. Domini Baronis Erici Flemming Regni Senatoris Palatium Holmense
Object type: print
Date: 1670 – 1670
Materials: paper
Techniques: etching
Subjects: palace

Kungliga Biblioteket, 'Suecia': http://www.kb.se/samlingarna/Kartor-bilder/Suecia-antiqua/ (geraadpleegd november 2016).
Tempio di Vespasiano e Arco di Septimus Severus (Roma)
Object type: photograph
Date: 1867 – 1874
Materials: cardboard, paper
Techniques: albumen print
Location: rome
Subjects: ruin of a building ~ architecture, triumphal arch, gate, entrance, scenes ~ anonymous historical person(s), rome
Inscriptions: number: ‘No. 1035.’, inscription: ‘C. 85.’, address: ‘SOMMER & BEHLES/ ROMA E NAPOLI’, number: ‘5’, inscription: ‘Roma’
Plate
Object type: plate
Date: 1750 – 1750
Materials: faience
Techniques: glazing
Artist: pierre chapelle ii
Artist role: artist
Artist dates: 1684 – 1760
Subjects: birds,insects,flowers

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.
De Heilige Familie met de kleine Johannes de Doper, zittend onder een palmboom
Object type: drawing
Date: 1719 – 1769
Materials: ink, paper
Techniques: pen
Artist: francesco fontebasso
Artist role: draughtsman, painter, print maker
Artist dates: 1707 – 1769
Subjects: holy family with john the baptist (as child)
Zonsondergang bij Blairgowrie
Object type: print
Date: 1923 – 1923
Materials: paper
Techniques: drypoint
Location: blairgowrie
Subjects: low hill country, sunset, farm or solitary house in landscape
Inscriptions: collector's mark: Lugt 2760, annotation: ‘Martin Hardie’, collector's mark: Lugt 2228
Hendrik XIII ontvangt een ridder
Object type: print
Date: 1795 – 1795
Materials: paper
Techniques: etching
Location: berlin
Artist: daniel nikolaus chodowiecki
Artist role: draughtsman, print maker
Artist dates: 1726 – 1801
Subjects: history, ruler, sovereign, knight, armorial bearing, heraldry
Inscriptions: collector's mark: Lugt 2228

Latere staat gebruikt voor: Deutsche Monatsschrift (...). 3 dln. Leipzig: Sommersche Buchhandlung, 1795.
Muziekmakende herders met schapen in rustiek landschap
Object type: print
Date: 1673 – 1736
Materials: paper
Techniques: etching
Location: augsburg
Subjects: herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc., sheep, resting - bb - out of doors, landscapes - hh - ideal landscapes, more than one musician with instrument
Inscriptions: number: ‘0065’, collector's mark: Lugt 2228, collector's mark: Lugt 2760
Portret van een onbekende vrouw bij een stoel
Object type: photograph
Date: 1855 – 1885
Materials: cardboard, paper
Techniques: albumen print
Location: london
Artist: john george kirby
Artist role: fotograaf
Artist dates: 1849 – 1913
Subjects: adult woman, anonymous historical person portrayed
Inscriptions: address: ‘295, Edgware Road/ W./ LONDON.’, inscription: ‘Negatives kept. Copies or Enlargements/ can be had at any time.’
Tussenzetsel van kloskant met anjer en cirkelvormend gevederd blad
Object type: strip
Date: 1740 – 1760
Materials: linen
Techniques: lace
Location: binche
Artist: Anonymous

Tussenzetsel van naturelkleurige kloskant, Binche-kant. Het zich herhalende en doorlopende patroon bestaat uit een schuinliggende anjer aan een gebogen stengel met gevederde bladeren. De bladeren vormen een cirkel. De motieven zijn met elkaar verbonden door een siergrond, een sneeuwvlokkengrond. De motieven zijn gemaakt in linnenslag met opengewerkte randjes. De lange zijden zijn recht afgewerkt. De strook is uit een linnen sloop geknipt, langs beide lange zijden loopt nog een rand van het linnen, het stiksel is deels losgelaten.
Geschiedenis van Jozef
Object type: print
Date: 1549 – 1550
Materials: paper
Techniques: etching
Location: haarlem
Subjects: container of ceramics: jar, jug, pot, vase, triumph of joseph: dressed in a royal attire he rides in one of pharaoh's chariots, preceded by a herald, interpretation of the dream of the thin and the full ears of corn, interpretation of the dream of the lean and the fat cows, animals with human head

Jozef staat voor de troon van de farao en legt hem uit dat de zeven vette en de zeven magere koeien in zijn droom staan voor zeven goede en zeven slechte oogstjaren. Op de achtergrond van de prent wordt Jozef geëerd in Egypte. De prent maakt deel uit van een serie over de geschiedenis van Jozef.
Cuirass
Object type: cuirass
Date: 1825 – 1825
Materials: copper alloy, gold, leather, steel
Culture: french
Location: france
Artist: coulaux frères, manufacture royale d'armes de klingenthal
Artist role: manufactory
Artist nationality: french
Artist dates: 1801 – 1836

This is one of only two known cuirasses with rich etched and gilt ornamentation dating from the restoration of the French monarchy, and a very rare example of nineteenth-century luxury armor. Forged and decorated in the Royal manufactory of Arms at Klingenthal in Alsace, it was probably specially ordered by François Marie Louis Victor, baron de Latour-Foissac (1784–1851) in anticipation of the coronation of Charles X of Bourbon (1757–1836, reigned 1824 to 1830) on May 29, 1825, in Reims. As the colonel of the Regiment of the Queen’s Cuirassiers, Latour-Foissac was the commander of the detachment that would escort the royal carriage during the solemn procession to Reims’ cathedral. Because of his age and declining health, however, Latour-Foissac, a seasoned veteran from the French Revolutionary and Napoleonic wars, obtained permission to retire from active duty on May 23, 1825, only two days before the coronation. The cuirass was perhaps borrowed by his successor, the count de Sainte-Marie, who would not have had the time to have another one made for his own use at the ceremony. Closely related in construction to the standard pattern of 1825, the cuirass is remarkable for the large scale and accomplished etched and gilded ornamentation of its surfaces with trophies of arms and foliage. In conception and execution the décor exhibits notable similarities to the blades of luxury sabers and swords made for high-ranking French military officers in the Klingenthal manufactory from the Directoire (October 26, 1795–November 9, 1799) through the monarchical Restauration (April 6, 1814–July 29, 1830) periods. A close comparison with edged weapons produced in Klingenthal leaves little doubt that the cuirass was etched and gilded by François-Xavier Bisch (1793–1841), who after the retirement of his father, François-Joseph Bisch (1756–1831), in 1822, became the chief etcher and gilder of luxury arms at Klingenthal. The similarities in conception to the decoration of edged weapons embellished by his father during the preceding decades, however, are likely indications that the latter’s ornamental designs were used for inspiration. Evidence for a collaboration between the father and son in the mid-1820s––when the cuirass was made––is provided by a luxury saber that was made no earlier than 1824 for the Dauphin (Louis Antoine de Bourbon, duke of Angoulême, 1775–1844) and discovered in the Tuileries during the Revolution of 1830. According to a published report, the saber bore an inscription establishing that the father had supplied the ornamental design and that his son had etched and gilded it ("Variétés. Notice sur un sabre et un manuscript trouvés aux Tuileries le 29 juillet 1830," Gazette littéraire, 1829, p. 636). The cuirass, which was probably made between September 1824 (Charles X’s accession to the throne) and May 1825 (his coronation), is the likely fruit of a comparable arrangement.
Scarab seal
Object type: stamp seal
Date: 1786 – 1560
Materials: stone
Location: levant
Ruiterstandbeeld van keizer Wilhelm I van Duitsland te Keulen
Object type: stereograph
Date: 1906 – 1906
Materials: cardboard, photographic support
Techniques: gelatin silver print
Location: cologne
Subjects: equestrian statue, façade (of house or building)
Inscriptions: number: ‘20’, inscription: ‘Neue Photographische Gesellschaft A. G., Steglitz-Berlin 1906.’
Belt Buckle with Bactrian Camels
Object type: belt buckle
Date: 200 – 101
Materials: bronze
Culture: north chinese
Subjects: camels
Moskee Cordoba, interieurdetails
Object type: photograph
Date: 1850 – 1899
Materials: paper, photographic support
Techniques: albumen print
Location: spain
Artist: Anonymous
Subjects: mezquita
Inscriptions: stamp: ‘UNIVERSITEIT VAN AMSTERDAM / KUNST / HISTORISCH / INSTITUUT’, inscription

Foto uit de studiecollectie van het Kunsthistorisch Instituut van de Universiteit van Amsterdam.
Portret van tsaar Nicolaas II van Rusland
Object type: photomechanical print
Date: 1905 – 1906
Materials: paper
Techniques: photograph
Artist: Anonymous
Subjects: historical persons, emperor
Inscriptions: inscription: ‘No. 9./ Czar Nicolaas II van Rusland.’

Deze prent maakt deel uit van een album.