deem-data/ArtiFact huggingface dataset:
Toothpick Holder
Object type: toothpick holder
Date: 1888 – 1888
Materials: glass
Techniques: pressed
Culture: american
Location: united states
Artist: richards and hartley flint glass co.
Artist role: maker
Artist nationality: american
Artist dates: 1867 – 1890
Hercules Assisting Atlas
Object type: print
Date: 1620 – 1680
Techniques: engraving
Artist: claude mellan
Artist role: artist
Artist nationality: french
Artist dates: 1598 – 1688
Subjects: male nudes,hercules,globes
Portret van Jacob van Mosscher
Object type: print
Date: 1734 – 1785
Materials: paper
Techniques: mezzotint
Location: northern netherlands
Artist: jan stolker
Artist role: draughtsman, painter, print maker
Artist dates: 1724 – 1785
Subjects: jacob van mosscher, gloves, mittens, etc., head-gear: hat (+ men's clothes), portrait, self-portrait of painter
Inscriptions: collector's mark: Lugt 240

De schilder Jacob van Mosscher met zijn handschoenen in de hand. Hij draagt een hoed.
Prie-Dieu Cover
Object type: textile
Date: 1857 – 1860
Materials: cotton, silk, wool
Techniques: embroidery, embroidered, weave, stitching
Location: england
Bronze handle of a hydria (water jar)
Object type: handle of a hydria
Date: 500 – 476
Materials: bronze
Culture: greek
Subjects: palmettes

The embellishment of the handle shows the traditional combination of the upper body of a woman and a palmette.
S. Dorothea
Object type: print
Date: 1596 – 1659
Materials: paper
Techniques: engraving
Subjects: the virgin martyr dorothea of caesarea; possible attributes: basket of roses and apples, child with basket of roses, garland of roses, roses in hand or lap
Inscriptions: collector's mark: Lugt 2228

Prent naar ontwerp van Peter Paul Rubens.
Allegory of Eternity
Object type: drawing and watercolor
Date: 1544 – 1545
Materials: chalk, gouache, ink, paper
Techniques: brush, heightening, pen, drawing, transfer, wash
Location: italy
Artist: giorgio vasari
Artist role: artist
Artist nationality: italian
Artist dates: 1511 – 1574
Inscriptions: Inscribed recto, in pen and brown ink: E T E R N I T / A S
Kop van een man, in profiel naar links
Object type: drawing
Date: 1819 – 1881
Materials: ink, paper
Techniques: pen
Artist: johannes tavenraat
Artist role: draughtsman, painter, print maker
Artist dates: 1809 – 1881
Subjects: caricatures (human types)
Man met hoed
Object type: drawing
Date: 1831 – 1877
Materials: paper
Techniques: etching
Artist: adolphe alexandre dillens
Artist role: draughtsman, painter, print maker
Artist dates: 1821 – 1877
Subjects: head-gear, adult man
Inscriptions: collector's mark: Lugt 2228
Oboe
Object type: oboe
Date: 1820 – 1820
Materials: wood, brass, ivory
Location: dresden
Artist: johann heinrich wihelm grenser
Artist dates: 1753 – 
Inscriptions: inscription: ‘kroon] / H. GRENSER / DRESDEN / 2’, inscription: ‘[kroon] / H. GRENSER / DRESDEN’

Hobo van palmhout met vier ivoren ringen en tien messing kleppen met achthoekige plaatjes. Het derde gat is dubbel. De vingersteun is uit het instrument gesneden. Gemarkeerd op het bovenste gedeelte: [kroon] / H. GRENSER / DRESDEN / 2. Gemarkeerd op de middelste en onderste gedeelte: [kroon] / H. GRENSER / DRESDEN.
Portret van een meisje, staand bij een stoel
Object type: photograph
Date: 1883 – 1910
Materials: cardboard, photographic support
Techniques: collodion silver print
Location: hoorn
Artist: johannes laurens theodorus huijsen
Artist role: fotograaf
Artist dates: 1852 – 1910
Subjects: historical persons - bb - woman, toddler (female), chair
Inscriptions: inscription: ‘J.L.T. HUIJSEN/ Photographe/ Bekroond op verschillende/ Tentoonstellingen/ HOORN/ Ramen 17./ De plaat blijft ter nabestelling bewaard.’
Gezicht op de moskee van de Aïssawiyya te Tanger
Object type: page
Date: 1887 – 1897
Materials: paper
Techniques: photoaquatint
Location: tanger
Subjects: temple, shrine ~ islam, mohammedanism, façade (of house or building)
Inscriptions: title: ‘Mosque of the Aissowieh.’
Cavalry Officer's Saber
Object type: sword
Date: 1810 – 1810
Materials: gold, silver, steel, wood
Culture: american
Location: united states
Artist: john lynch
Artist role: silversmith
Artist nationality: american
Artist dates: 1761 – 1848

This saber exemplifies the appeal of simple hilt designs in America from the Colonial to the Federal era, and is remarkable among the handful of comparable sabers that survive for the fact that it is the only known example of its type with a signed hilt. The work of John Lynch, a Baltimore silversmith and watch and clock-maker, the hilt is closely related in form and even decoration to that of the saber of Captain Thorndick Chase of Baltimore (1755–1838) in the Maryland Historical Society, and to the hilts of a few additional specimens, which are traditionally thought to have been made in Philadelphia. It occupies a special place in Lynch's work, as his silver hilts for swords and another saber customarily feature eagle-shaped pommels and grips of ivory.
Ruïneus kerkgebouw bij een waterval
Object type: drawing
Date: 1700 – 1800
Materials: ink, paper
Techniques: brush, pen
Artist: Anonymous
Subjects: waterfall
Inscriptions: monogram, recto, lower right, pen and brown ink: ‘AE’

Ruïneus kerkgebouw bij een waterval, linksonderaan twee vissers.
Candlestick
Object type: candlestick
Date: 1830 – 1870
Materials: earthenware
Culture: american
Location: united states
Ste. Brigitte de Suède, veuve (St. Bridget of Sweden, Widow), July 23rd, from "Les Images De Tous Les Saincts et Saintes de L'Année" (Images of All of the Saints and Religious Events of the Year)
Object type: print
Date: 1636 – 1636
Techniques: etching
Artist: jacques callot
Artist role: artist
Artist nationality: french
Artist dates: 1592 – 1635
Subjects: altars,men,saints

This print is part of a series comprised of a title page, frontispiece, and 122 plates. Each of these 122 plates contains four oval scenes depicting Saints and Religious Events for each day of the year. This etching was originally one of four oval scenes on a plate in the series.
Wilton Garden, plate 1
Object type: book
Date: 1640 – 1640
Techniques: etching
Location: england
Artist: isaac de caus
Artist role: designer
Artist nationality: british
Artist dates: 1590 – 1655
Subjects: human figures,gardens,men,dogs,horses,trees,coat of arms

The garden of Wilton House (Wiltshire), famous today for its eighteenth-century landscape design containing England's first Palladian bridge, was originally laid out in the mid-1630s by the French-born Isaac de Caus (active 1623–55). It was commissioned by Philip Herbert, fourth earl of Pembroke, pivotal figure of the intellectual circles at court, to which the architect Inigo Jones (1573–1652) belonged. Recognized for having brought the classical style to England, Jones may well have been involved in Wilton's building campaign, given its Italianate components. In this plate, De Caus's garden view, framed by onlookers in the foreground, provides an elevated prospect of the entire geometric layout, stretching from the north, across the full length of the building facade, toward a balustraded grotto at the southern end. The strictly enclosed, rectangular layout consists of three main parts symmetrically aligned around a broad central axis. Starting with a compartment of parterres de broderie nearest the house, the middle section contains a wooded area or wilderness, usually placed at the end but in this case situated so as to hide the irregular flow of the River Nadder. The large hippodrome-shaped section comprising the third part of the garden is inspired by Greco-Roman architecture. The statues and waterworks, executed by Nicholas Stone, also follow classical Italian precepts.
Effigies cardinalium nunc viventium
Object type: print
Date: 1686 – 1691
Materials: paper
Techniques: engraving, etching
Location: rome
Subjects: cardinal, historical persons, armorial bearing, heraldry

Met rechtsboven zijn wapenschild en linksboven het wapen van paus Innocentius XI.
Mrs. Richard Galloway
Object type: painting
Date: 1764 – 1764
Materials: canvas, oil
Culture: american
Artist: john hesselius
Artist role: artist
Artist nationality: american
Artist dates: 1728 – 1778
Subjects: portraits,women
Dish
Object type: dish
Date: 1167 – 1233
Materials: stonepaste
Techniques: glazing, luster painting
Location: iran
Subjects: human figures
Plate
Object type: plate
Date: 1770 – 1800
Materials: earthenware
Culture: american
Location: united states
Fotoreproductie van een tekening van Rafaël (vrouw met waterkruiken)
Object type: photograph
Date: 1880 – 1900
Materials: cardboard, paper, photographic support
Techniques: carbon print
Journal des Luxus und der Moden 1786, Band I, T. 32
Object type: fashion print
Date: 1786 – 1786
Materials: paper
Techniques: etching, hand coloring
Location: weimar
Subjects: head-gear: cap (+ women's clothes), fashion plates, dress, gown (+ women's clothes), mourning dress, fan (+ women's clothes)
Inscriptions: number: ‘T.XXXII’

Berlijnse vrouw, gekleed in rouwkleding voor tweedegraads rouw (die zes maanden duurt). Zij draagt een zwarte Levite met mouwen en een fichu van witte crêpe. Om het middel een brede sjerp van witte crêpe. Op het hoofd een 'Fortune' van zwarte stof. Lange zwarte handschoenen. Een donkere dichtgevouwen waaier in de hand. Prent uit het modetijdschrift Journal des Luxus und der Moden, uitgegeven door Friedrich Justin Bertuch en Georg Melchior Kraus, Weimar, 1786-1826.
Panel of tiles (8)
Object type: tile
Date: 1660 – 1660
Materials: faience
Techniques: glazing

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.
The Country Club
Object type: print
Techniques: etching
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: satire,men,women,dogs,dining,servants
The Half and The Whole (pair of vases)
Object type: vase pair
Date: 1895 – 1899
Materials: bone china
Techniques: gilding
Artist: minton(s)
Artist role: maker
Artist nationality: british
Artist dates: 1793 – 2001

Hearts as symbols of love were not a common feature of neoclassical decoration on eighteenth-century ceramics. By contrast, Solon frequently adopted the motif alongside cupid figures. Vases such as this pair became illustrations of Victorian sentiment.
La Rouerie de Dame Simone, plate 7 from "The Decameron"
Object type: print
Date: 1873 – 1873
Techniques: etching
Artist: léopold flameng
Artist role: engraver
Artist nationality: french
Artist dates: 1831 – 1911
Servet van linnendamast
Object type: napkin
Date: 1702 – 1702
Materials: linen
Techniques: damask, weave

Servet van linnendamast, herovering van Landau door de geallieerden in de Spaanse Successieoorlog. Vertoont van onder naar boven de wapens van het Heilige Roomse Rijk, Holland en Engeland, een stadsgezicht op de belegerde vesting Landau (inweving: LANDAVW), het wapen van Oostenrijk, een door een engel belauwerde veldheer te paard en een gekroonde dubbele adelaar, het geheel binnen een brede band van wapentrofeeën; onder de stadspoort van Landau wordt het wapen van Kortrijk afgebeeld.
Saint Dominic
Object type: print
Date: 1582 – 1582
Techniques: engraving
Artist: johann sadeler (i)
Artist role: artist
Artist nationality: netherlandish
Artist dates: 1550 – 1601
Subjects: men,saints
Axe
Object type: religious ritual object
Materials: jade
Location: china
Inname van Belgrado, 1717
Object type: book illustration
Date: 1729 – 1729
Materials: paper
Techniques: etching, letterpress printing
Location: northern netherlands
Subjects: paris, vienna, eugenius van savoye, battle (+ land forces), plan of battle
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760

Blad bedrukt met tekst op beide zijden, een gegraveerde initiaal H en een cartouche met een voorstelling van de veldslag bij de verovering van de stad Belgrado door de keizerlijke troepen onder de prins van Savoye op de Turken, 16 augustus 1717. Op de achterzijde een vignet met de drie furieën (Bernard Picart 1727). Blad (Pag. 127-128) uit het eerste deel van: Jean du Mont, Oorlogskundige beschryving van de veldslagen en belegeringen, der drie ... wydvermaarde krygsoversten... den Prins Eugenius van Savoye, den ... Hertog van Marlborough, en den Prins van Oranje en Nassau-Vriesland, in de editie van 1729. Dit eerste deel is gewijd aan de daden van Eugenius, prins van Savoye.
Portret van een vrouw
Object type: photograph
Date: 1883 – 1913
Materials: cardboard, photographic support
Techniques: collodion silver print
Location: hoorn
Artist: albert a. kleintjes
Artist role: fotograaf
Artist dates: 1854 – 1942
Subjects: historical persons - bb - woman
Inscriptions: inscription: ‘Alb. A. Kleintjes/ Photographe/ Hoorn/ Kerkstraat/ 4e huis v. d. Kaasmarkt./ Nabestellingen en Vergrootingen van deze en andere/ Portretten kunnen ten allen tijde geleverd worden.’
Studioportret van een man in lange jas
Object type: carte de visite
Date: 1863 – 1870
Materials: cardboard, paper
Techniques: albumen print
Location: brussels

De man leunt met ene hand op een rugleuning van een stoel
Witte strik
Object type: menswear
Date: 1920 – 1980
Materials: textile
Techniques: weave
Location: europe
Artist: Anonymous
Vrijheid
Object type: print
Date: 1793 – 1793
Materials: paper
Techniques: engraving, etching
Subjects: attributes of hercules (with name), libertas as roman personification, freedom, liberty; 'libertà' (ripa), yoke, 'hydra'; 'hidra' (ripa), dictatorial government, tyranny; 'tirannide' (ripa)
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228

Vrijheid heeft de hydra van de tirannie verslagen en het juk van despotisme gebroken.
Dish with Carved Arabic Inscription in Floriated Kufic Reading "al-'izz" ("Glory")
Object type: dish
Date: 1001 – 1100
Materials: stonepaste
Techniques: carving, glazing
Location: iran

This dish attributed to Iran and similar ones with carved decoration under a turquoise glaze are among the earliest stonepaste manufactured in Syria and in Iran in the second half of the 11th century. The elaborate inscription on this piece shows letters shaped as a trefoil motif or with floriated endings, set against scrolls and medallion-like scrolls. They read, in Arabic, "al-ʿizz", translated as "the glory."
[Manuscript Letter from W. H. Fox Talbot to Antonio Bertoloni]
Object type: letter
Date: 1839 – 1839
Materials: ink, paper
Artist: william henry fox talbot
Artist role: artist
Artist nationality: british
Artist dates: 1800 – 1877
Allegorie op het Bestand en de vereniging der partijen, 1609
Object type: propagandaprent
Date: 1609 – 1609
Materials: paper
Techniques: engraving
Location: northern netherlands
Artist: elias van den bossche
Artist role: print maker
Subjects: delft, frederick henry (prince of orange), the hague, maurice (prince of orange), infante van spanje isabella clara eugenia, brussels, albrecht aartshertog van oostenrijk, antwerp, spain, justice, 'justitia'; 'giustitia divina' (ripa) ~ one of the four cardinal virtues, symbols, allegories of peace, 'pax'; 'pace' (ripa), blessings of peace, isaiah's prophecy of the swords beaten into plough-shares, mercy, compassion; 'compassione', 'misericordia' (ripa) (+ abstract concept represented by female figure), truth; 'verità' (ripa) (+ abstract concept represented by female figure), chariot, triumphal car, symbols, allegories of war; 'guerra' (ripa), signing of peace treaty, concluding the peace, specific aspects, allegorical aspects of mars; mars as patron

Allegorie op de met het Bestand bereikte vrede, 1609. Links aartshertog Albrecht en Isabella, Jan Neyen en vertegenwoordigers van de Staten-Generaal. Rechts leiden Maurits en Spinola gezamenlijk de stoet van alle 17 provinciemaagden. In het midden de triomfwagen van de Vrede (Pax) begeleid door Rechtvaardigheid (Justitia), Barmhartigheid (Misericordia) en Waarheid (Veritas), op de voorgrond wordt de oorlogsgod Mars geboeid afgevoerd. Op de achtergrond het omsmeden van zwaarden tot ploegscharen. Boven drie medaillons met portretten van Spinola, Albrecht en de graaf van Bucquoy. Onderaan twee medaillons met portretten van Maurits en Frederik Hendrik.
Paperweight
Object type: glass
Date: 1848 – 1848
Materials: glass
Location: baccarat
Artist: baccarat glassworks

The colorful geometric clusters embedded in this paperweight reflect the nineteenth-century European fascination with optical effects. Sir David Brewster invented the kaleidoscope in 1815, and its colorful and changing patterns brought great visual entertainment. Paperweights such as this example reformed this childlike pastime for a sophisticated adult audience. Depicted in glass were tiny glittering flowers, small black and blue cameos of figures, and even miniature bottlecaps. These were delicately arranged within the orb for the observant eye to discover.

From the late 1840s to early 1860s, French manufacturers of fine glass and crystal—such as Baccarat (Alsace), Clichy (Paris), and Saint-Louis (Lorraine)—catered to the vast public enthusiasm for beautiful yet functional desk accessories. Paperweights, which were designed to secure loose papers against drafts, were among their most popular products.
The Hopes of the Family, or Miss Marrowfat at Home for the Holidays
Object type: print
Date: 1809 – 1813
Techniques: etching
Location: london
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: satire,men,women,dogs,butchers,musicians
Zes voorstellingen met spelende kinderen
Object type: book illustration
Date: 1878 – 1878
Materials: paper
Techniques: wood engraving, letterpress printing
Location: london
Subjects: children's games and plays, child

Prent uit: Greenaway, Kate. Under the window, pictures & rhymes for children. Londen: George Routledge & Sons, 1878, p. 14.
Decoratie bij de Hogesluis voor de ontvangst van Willem III en Emma in Amsterdam
Object type: photograph
Date: 1879 – 1879
Materials: paper
Techniques: albumen print
Location: amsterdam
Artist: albert greiner
Artist role: fotograaf, fotostudio
Artist dates: 1833 – 1890
Subjects: the hague, emma (queen consort of the netherlands), brussels, willem iii (koning der nederlanden), festivities
Inscriptions: title: ‘Amsterdam Amstel Hotel 1878 huwelijk Willem III - Emma’, name: ‘A. Greiner Amsterdam’
Sacra
Object type: carte de visite
Date: 1880 – 1890
Materials: paper, photographic support
Techniques: photography
Location: jakarta
Design for 4 seat Phaeton, no top, no. 3691
Object type: drawing
Date: 1881 – 1881
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
The Doorway
Object type: print
Date: 1879 – 1880
Materials: ink, paper
Techniques: drypoint, etching, roulette
Location: united states
Artist: james mcneill whistler
Artist role: artist
Artist nationality: american
Artist dates: 1834 – 1903
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 480 – 470
Materials: terracotta
Culture: greek, attic

Exterior, part of trainer's wand?; above, an alpha
The Foundry
Object type: photograph
Techniques: albumen silver print, glass negative
Artist: louis lafon
Artist role: artist
Artist nationality: french
Artist dates: 1870 – 1899
Subjects: factories,interiors,industry

Laid to rest in this empty foundry, implements of labor conjure a crew of ghosts. Louis Lafon depicts the space as one might a tomb, its contents unlikely relics of a civilization still in the making. Photographing what one French engineer called "the state of progress," Lafon won recognition for his inky oversized prints of new factories and machines. But barely visible against this foundry’s far wall, behind the stacked steel molds and towering hoist, a crucifix and a religious roundel rest on the floor. These could point to an earlier use of the space, and perhaps complicate its claim on modernity.
65e. Vüe d'optique représentant le palais de Cesar dans le faubourg a Vienne appelle Favorita
Object type: opticaprent
Date: 1745 – 1775
Materials: paper, watercolor
Techniques: brush, etching
Location: france
Subjects: palace, street (+ city(-scape) with figures, staffage), vienna
Inscriptions: watermark, collector's mark: Lugt 2233