deem-data/ArtiFact huggingface dataset:
Vase (vase chinois) (one of a pair)
Object type: vase
Date: 1791 – 1791
Materials: enamel, gilt, gold, hard paste porcelain, metal, platinum
Artist: sèvres manufactory
Artist role: manufactory
Artist nationality: french
Artist dates: 1740 – 9999
Subjects: human figures,chinoiserie

Fashions changed quickly in France during the eighteenth century, but the taste for decoration in the Chinese style and for black lacquer never waned. This pair of vases, which dates from the last decade of the century, reflects a model known at the Sèvres factory as vase chinois, and the handles in the form of the head of a fantastic beast allude to the exoticism then associated with China. The decoration, executed in platinum and two tones of gold, evokes Chinese landscapes in the depiction of craggy rocks, twisting tree branches, and pagodas, and the dress and hairstyles of the figures are clearly intended to suggest Asians. The gold chinoiserie scenes on a black ground are the porcelain equivalent of Japanese black lacquer. The taste for “black lacquer porcelain” coincided with the popularity at the French court of furniture mounted with panels of Japanese lacquer. It is likely that this pair of vases was owned by Louis XVI. The factory archives record that two vases chinois were purchased by the king at the sale of Sèvres porcelain held at Versailles from late December 1791 to mid-January 1792. Their sale price of 1,920 livres is consistent with the lavishness of the decoration seen on this pair.
Ellen's Isle
Object type: page
Date: 1855 – 1865
Materials: photographic support
Techniques: albumen print
Location: loch katrine
Artist: george washington wilson
Artist role: publisher
Artist dates: 1823 – 1893
Subjects: island, lake
Jug with stylized flowers
Object type: jug
Date: 1730 – 1770
Materials: cobalt, glaze, stoneware, tin
Techniques: firing, forming, relief, turning, vitrification
Location: lahntal
Artist: Anonymous
Inscriptions: inscription: ‘M.A.S.’

Kruik van steengoed op standring met een bolvormig lichaam en lange, wijde nek. Het C-vormige oor is bevestigd aan de nek en de schouder. Gedeeltelijk bedekt met kobaltblauw. De buik is zeshoekig met op elke zijde een rond vak gevormd door een gedrukte en opgelegde band van bollen in reliëf. In de vakken afwisselend een ingegrifte, gestileerde decoratie van een bloemrank of planten bij een hek. Onder en boven deze decoratie een band met een ingedrukte zigzaglijn (knibis). De nek is verdeeld in drie banden met gestileerde bladranken, knibis of gestileerde bloemen. Een ingedrukte decoratieve band en blauwe stippen op de voet. Aan het oor is een tinnen montuur met deksel bevestigd. Op de deksel de geslagen letters 'M.A.S.'; de binnenzijde met een onleesbaar merk. Lahntal, Westerwald.
The Return of the Prodigal Son
Object type: print
Date: 1636 – 1636
Techniques: etching
Artist: rembrandt van rijn
Artist role: artist
Artist nationality: dutch
Artist dates: 1606 – 1669
Subjects: men,women,jesus
Staande berggeit
Object type: print
Date: 1565 – 1630
Materials: paper
Techniques: etching
Location: italy
Artist: antonio tempesta
Artist role: draughtsman, painter, print maker
Artist dates: 1555 – 1630
Subjects: goat
Inscriptions: number: ‘4’, collector's mark: Lugt 11

Deze prent maakt deel uit van een reeks van 28 prenten van dieren.
Speculum Romanae Magnificentiae
Object type: print
Date: 1550 – 1550
Materials: paper
Techniques: engraving
Location: rome
Subjects: communication by means of 'statue parlanti', such as marforio and pasquino in rome, piece of sculpture, reproduction of a piece of sculpture, rome
Inscriptions: collector's mark: Lugt 2228

Het beeld staat op het Piazza di Pasquino in Rome.
Deze prent behoort tot het prentcorpus dat bekend staat als de ‘Speculum Romanae Magnificentiae’ (‘Spiegel van Romeinse pracht’). Dit corpus, bestaande uit prenten met voorstellingen van kunstwerken en gebouwen uit het antieke en het moderne Rome, vond zijn oorsprong bij uitgevers Antonio Salamanca en Antonio Lafreri. Deze twee buitenlandse uitgevers bundelden hun krachten te Rome in de periode 1553-1563. Hun prenten werden al snel razend populair bij toeristen en verzamelaars, die de prenten individueel of in grote groepen aanschaften. Grote groepen Speculum-prenten werden vaak op aanvraag samengebonden in albums. Er zijn verschillende Speculum-albums overgeleverd die allemaal verschillen van inhoud. Tussen 1573 en 1577 gaf Antonio Lafreri een speciale titelpagina uit (met de titel ‘Speculum Romanae Magnificentiae’) die mensen voor hun verzamelingen konden voegen. Het overlijden van Lafreri in 1577 betekende niet het einde van het corpus. Een groot deel van de koperplaten ging over op Claudio en Stefano Duchetti. De rest raakte verspreid over verschillende andere uitgevers. De populariteit van de Speculum-prenten wist nog geruime periode uitgevers te inspireren tot het laten maken van kopieën en het toevoegen van nieuwe prenten aan het corpus.
Terracotta fragments of a kylix: eye-cup (drinking cup)
Object type: kylix fragment
Date: 530 – 520
Materials: terracotta
Culture: greek, attic

Interior, the larger fragment has the ear, hair, part of the forehead, eyebrow, and top of the eye of a gorgoneion; the smaller fragment has part of the hair of the gorgoneion; Exterior, the larger fragment has part of an eye with a black and red oculus; vine; start of handle root; siren; the smaller fragment has part of a reserve band
View of the City of Raiebaagh in Visiapoer, India
Object type: painting
Date: 1662 – 1663
Materials: canvas, oil
Artist: johannes vinckboons
Artist role: draughtsman, print maker
Artist dates: 1616 – 1670
Subjects: river, locations for trading
Inscriptions: inscription: ‘Raiebaagh’

Views of VOC bases, by David and Johannes Vingboons, 1663. By 1660, the VOC had built up an extensive network of trading bases. For the Company's headquarters at East India House, the directors commissioned a series of ten views of places in Asia where the VOC had established a foothold. Seven of these views have survived.
[Reclining Nude]
Object type: photograph
Date: 1851 – 1853
Techniques: paper negative, salted paper print
Artist: julien vallou de villeneuve
Artist role: artist
Artist nationality: french
Artist dates: 1795 – 1866
Subjects: female nudes

A lithographer of scenes of daily life, costume, and erotica in the 1820s and 1830s, Julien Vallou de Villeneuve reportedly took up photography about 1842. Because his early photographs have not been identified, it has been assumed that they depicted naked women, a subject for which it was too improper to acknowledge authorship. Although prurient lithographs of courtesans playing with animals and large salon paintings of Oriental odalisques and half-draped Romans could pass the censors, photographs of naked flesh were suspect. Unless they were veiled or adorned and posed to look like painted nudes, the women in the photographs were considered too titillating. Between 1851 and 1855, Vallou made a series of small-scale paper photographs of naked women which he marketed (and legally registered) as models for artists. Whether they were intended solely for artists is arguable, but in order to sell the images openly the photographer had to work into his pictures the paraphernalia of the painter's studio--rugs, shawls, spears, beads, anklets, turbans, and the like. Despite these moderations Vallou's nudes were remarkable. Their flesh was tantalizingly real in both weight and texture; indeed, the photographs served Courbet as appropriately lifelike models. This image is one of the most minimally camouflaged. Swiveled to reveal an amphora of thighs, groin, and torso, her extremities and face hazed with shadow, this mid-nineteenth-century Parisian model reclining in a photographer's studio recalls both Titian and Goya. Vallou gave amplitude and breadth to the perfect pose by visually suspending the model in empty space, like a dream between couch and curtain.
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 460 – 450
Materials: terracotta
Culture: greek, attic

Interior, meander and cross square with dots in the corners; Exterior, tendrils; meander and cross square border
Gezicht op L'Hôpital in Lyon met op de voorgrond de Pont de Guillotière
Object type: album leaf
Date: 1876 – 1876
Materials: paper, photographic support
Techniques: albumen print
Location: lyon
Artist: Anonymous
Subjects: hospital, bridge in city across river, canal, etc., lyon

Onderdeel van Fotoalbum van Robert Daniel Crommelin (1841-1907).
Optochten en ruiterspelen
Object type: album leaf
Date: 1618 – 1618
Materials: paper
Techniques: etching
Subjects: musical instruments; group of musical instruments - cc - out of doors, garden fountain

Genummerd: 16. Deze prent maakt deel uit van een album.
Beaker
Object type: beaker
Date: 1801 – 1900
Materials: metal, silver
Artist: franchi and son
Artist role: manufacturer
Subjects: faces

This electrotype is after a seventeenth-century original in the Victorian and Albert Museum, London, at the time of reproduction.
Portret van Henri Daniël Guyot
Object type: print
Date: 1766 – 1830
Materials: paper
Techniques: aquatint, etching
Location: france
Subjects: france, historical persons, organization, functionaries and dignitaries in churches and in related institutions
Inscriptions: collector's mark: Lugt 2228
Lanspunt met koperen ring en ontbrekend hout
Object type: lanspunt
Date: 1850 – 1900
Materials: copper, iron, wood
Location: indonesia
Artist: Anonymous
Subjects: lombok

Lans met tweesnijdende kling met gebolde middengraat, de kling zit vast met een pin in de schacht. Het uiteinde van de schacht bestaat uit een rood koperen opengewerkte huls. De schacht is van bruin hout waarvan de bovenkant dikker is dan de onderkant. Aan de bovenzijde van de schacht staat het nummer 10567. De schede is van hout en heeft een breed insteekpunt maar loopt uit in een punt. Om de rand een rood koperen opengewerkte huls. Op de schede staat het nummer 725 0? 6644 10.
Ensemble
Object type: ensemble
Date: 1863 – 1866
Materials: cotton, leather, metal, wool
Culture: american
Landscape with a Waterfall, from Four Small Landscapes
Object type: print
Materials: gouache, paper
Techniques: woodcut
Location: netherlands
Artist: hendrick goltzius
Artist role: artist
Artist nationality: netherlandish
Artist dates: 1558 – 1617

Reminiscent of the Venetian landscape woodcuts made after paintings and drawings by Titian and Domenico Campagnola, this landscape shows a fisherman battling the force of a waterfall. In the first impression, Hendrik Goltzius heightened the print by hand with white gouache. The second impression is the final work and was created from multiple woodblocks.
Vliegende engel
Object type: print
Date: 1666 – 1707
Materials: paper
Techniques: engraving
Location: paris
Subjects: angle
Inscriptions: collector's mark: Lugt 240

Een engel zweeft boven een rivier waarin de hoorn des overvloeds, kronen en botten wegdrijven, hij wijst omhoog naar de zon en de glorie van God erboven. Op de achtergrond een brand en een vervallen stad. Het onderschrift wijst erop dat alleen God waarlijk is.
Loden penning van de Kille (Dordtse Kil) met K 1814 24 S
Object type: tax token
Date: 1814 – 1814
Materials: lead
Techniques: striking
Artist: Anonymous

Voorzijde: opschrift K 1814 24s. Keerzijde: gekroonde leeuw met zwaard en pijlenbundel
Reverse Copy of Le Feu d'Artifice sur l'Arno (Fireworks on the Arno), from "Les Caprices"
Object type: print
Date: 1601 – 1700
Techniques: etching
Artist: Anonymous
Artist role: artist
Design for Pony Phaeton, no. 3243
Object type: drawing
Date: 1876 – 1876
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
Marcus Antonius Coccius Sabellicus
Object type: book illustration
Date: 1669 – 1669
Materials: paper
Techniques: engraving
Artist: jean jacques boissard
Artist dates: 1528 – 1598
Subjects: venice
Inscriptions: collector's mark: Lugt 2228

Gemaakt voor: J.J. Boissard, Icones virorum illustrium doctrina &c eruditione praestanti um contines. Frankfurt am Main: de Bry, 1597-1599. Opnieuw gebruikt in: J.J.Boissard, Bibliotheca chalcographica, hoc est Virtute et eruditione clarorum Virorum Imagines. Heidelberg: Clemens Ammon, 1669. Dl. 1-5 (te herkennen aan de toegevoegde signatuur in de rechter onderhoek: 3B).
Stela of Reniseneb
Object type: stela, reniseneb
Date: 1765 – 1763
Materials: limestone, paint
Location: northern upper egypt
Subjects: men,women,hieroglyphs
L'Outillage
Object type: print
Date: 1899 – 1899
Materials: paper
Techniques: engraving
Location: paris
Artist: pieter dupont
Artist role: draughtsman, print maker
Artist dates: 1870 – 1911
Subjects: low hill country, horse, ploughing
Inscriptions: collector's mark: Lugt 2233

Een paard trekt een ploeg over een akker nabij Parijs. Voor het paard ligt een ploeg. Op de achtergrond een heuvellandschap met een rivier.
Scène uit een gedicht met Pegasus
Object type: print
Date: 1776 – 1800
Materials: paper
Techniques: engraving, etching
Location: france
Subjects: pegasus, the winged horse, literary characters and objects
Inscriptions: collector's mark: Lugt 2228

Prent uit: Palissot de Montenoy, Ch. La dunciade, poeme en dix chants. Parijs en Londen: s.n.s.a.
Vase
Object type: vase
Date: 1601 – 1650
Materials: stonepaste
Techniques: painting, underglaze
Location: iran
Subjects: flowers
Gewelf in een kerkinterieur
Object type: sketchbook leaf
Date: 1905 – 1906
Materials: paper, pencil
Location: vreeland
Artist: carel adolph lion cachet
Artist role: draughtsman, print maker
Artist dates: 1864 – 1945
Subjects: parts of church interior: vault, interior of church

Blad 16 verso uit een schetsboek met 34 bladen.
Optocht Jeugdstorm
Object type: photograph
Date: 1935 – 1937
Materials: photographic support
Techniques: gelatin silver print
Location: zeist
Artist: j. otto
Artist role: fotograaf
Subjects: military parade, pageant, zeist

Groep van de Jeugdstorm, loopt door een straat. Een jongen draagt de vlag van de Jeugdstorm met bovenop de stok als versiering een vliegende meeuw. De meeste jongens zijn in uniform. Voor de groep met de vlag lopen een paar meisjes zonder uniform.
Ten of Diamonds, from the Transparent Playing Cards series (N220) issued by Kinney Bros.
Object type: print
Date: 1888 – 1888
Techniques: color lithograph
Artist: kinney brothers tobacco company
Artist role: publisher
Artist nationality: american
Artist dates: 1869 – 2011
Subjects: playing cards

Playing cards issued as trade cards from the series "Transparent Playing Cards" (N233), issued in 1888 to promote Kinney Bros. Cigarettes for Kinney Tobacco Company. Some card versos state that there are 52 cards included in the deck whereas other versos confirm the number at 53. Each card verso reads, "Hold to the light/ Read your fortune."
Handle
Object type: handle
Date: 700 – 501
Materials: bronze
Culture: cypriot
Petticoat
Object type: petticoat
Materials: silk
Culture: french
Schetsboek met 43 bladen
Object type: sketchbook
Date: 1848 – 1888
Materials: cardboard, chalk, paint, linen, paper, pencil
Techniques: brush
Artist: anton mauve
Artist role: draughtsman, painter, print maker
Artist dates: 1838 – 1888
Subjects: landscapes, herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc., cultivation ~ agriculture
Inscriptions: workshop stamp: ‘Atelier/ A Mauve’, collector's mark: Lugt 2228a, label: ‘326/ 9’

Schetsboek bestaande uit 43 bladen met voornamelijk landschappen, weilanden met vee, spittende en ploegende boeren en herders met schapen. Op de voor- en achterzijde van de boekomslag potloodtekeningen van een karikaturale mannenkop.
Terracotta relief with bust of a woman
Object type: bust of a woman
Date: 400 – 400
Materials: terracotta
Culture: east greek
Subjects: women
Plantstudie
Object type: photograph
Date: 1928 – 1928
Materials: ink, paper
Techniques: rotogravure
Location: berlin
Subjects: plants (in general)
Inscriptions: number: ‘24’

facher Vergrößerung. Afkomstig uit losbladige uitgave.
Head of a Child (?)
Object type: sculpture
Date: 300 – 1
Materials: terracotta
Culture: greek
Location: greece
Portret van Jakob Arminius
Object type: print
Date: 1610 – 1655
Materials: paper
Techniques: engraving
Artist: sebastian furck
Artist role: print maker
Artist dates: 1600 – 1655
Subjects: leiden, theologian, historical persons
Inscriptions: collector's mark: Lugt 2228
Gezicht op een stadje in de Harz
Object type: photograph
Date: 1903 – 1908
Materials: cardboard, photographic support
Techniques: gelatin silver print
Location: harz
Artist: geldolph adriaan kessler (dolph)
Artist role: fotograaf, industrieel, voetballer
Artist dates: 1884 – 1945

Gezicht op een stadje in een heuvelachtig landschap in vermoedelijk de Harz. Onderdeel van het fotoalbum van Dolph Kessler met opnamen die hij maakte tijdens zijn verblijf in Engeland en op een wereldreis die hij als secretaris van Henri Deterding (directeur Koninklijke Olie) ondernam naar Nederlands-Indië, Japan, China en de Verenigde Staten, tussen 1906 en 1908.
Journal des Dames et des Modes, editie Frankfurt 14 juillet 1806,  Costume Parisien (29)
Object type: fashion print
Date: 1806 – 1806
Materials: paper
Techniques: engraving, hand coloring
Location: frankfurt am main
Subjects: clothing for the upper part of the body (vest) (+ men's clothes), clothing for the upper part of the body (shawl) (+ women's clothes), clothing for the upper part of the body (pelerine) (+ women's clothes), coat (+ men's clothes), fashion plates, head-gear: hat (+ women's clothes), dress, gown (+ women's clothes), shoes, sandals (+ men's clothes), trousers, breeches, etc. (breeches) (+ men's clothes), stockings, socks (+ men's clothes), walking-stick, staff, cane (+ men's clothes), belt, girdle, waistband (+ women's clothes)
Inscriptions: title: ‘Costume Parisien.’

De begeleidende tekst (p. 84) vermeldt: Fig. 1: 'Chapeau de négligé'. Japon van witte mousseline. Korte pofmouwen. Ceintuur van paars lint. Geplisseerde pélerine. Sjaal van groene zijde. Handschoenen van leer. Open schoenen in chamois. Fig. 2: Hoge hoed. Frak van zeegroene stof, met smalle taille en brede revers. Vest van gestreepte roze stof. Jabot met grote plooien. Culotte van witte kasjmier. Witte zijden kousen. De prent maakt deel uit van het modetijdschrift Journal des Dames et des Modes, uitgegeven in Frankfurt als kopie van de Franse editie van Pierre de la Mésangère, (1798-1848).
Plattegrond van Madrid, linkerdeel
Object type: print
Date: 1640 – 1706
Materials: paper
Techniques: engraving, etching, hand coloring
Location: amsterdam
Subjects: maps of cities

Linkerdeel van een kaart van de stad Madrid gezien in vogelvluchtperspectief. Prent maakt deel uit van een album.
Terracotta kylix: eye-cup (drinking cup)
Object type: kylix, eye cup
Date: 530 – 530
Materials: terracotta
Culture: greek, attic
Subjects: eyes

Obverse and reverse, between the eyes, dancing women The Dionysiac iconography of drinking cups at the end of the sixth century B.C. includes the ornamental motifs as well as the figures. Here the irregular space around the handle is filled with a vine. On the large Nicosthenic cup nearby, the plant is ivy. The women most likely have some connection with the symposium (drinking party).
Evening dress
Object type: evening dress
Date: 1880 – 1889
Materials: silk
Culture: british
Artist: liberty & co.
Artist role: design house
Artist nationality: british
Artist dates: 1875 – 2050

Liberty and Co. began designing dresses in 1884, under the supervision of architect E. A. Godwin, who shared Oscar Wilde's views that women's dress should be based on Grecian draping and classical form. This is a rare early example of a sumptuous, neoclassically draped dress. The bodice is lightly boned and the underskirt features the traditional dust ruffle. Oscar Wilde wrote an article entitled "Woman's Dress" for the Pall Mall Gazette on October 14, 1884, to rebut some of the letters written to the Gazette about his recent lectures on dress reform. Wilde explained his principles of dress: "I am not proposing any antiquarian revival of ancient costume, but tying merely to point out the right laws of dress, laws which are dictated by art and not by archaeology, by science and not by fashion; and just as the best work of art in our days is that which combines classic grace with absolute reality, from continuation of the Greek principles of beauty with the German principles of health will come, I feel certain, the costumes of the future."
Stencil
Object type: stencil
Date: 1701 – 1900
Materials: paper
Culture: japanese

The tiny scattered pattern of this stencil consists entirely of two characters from the katakana syllabary, ki and ri. The curve of the lines that form the character ri adds a dynamic rhythm and movement to the design. Since Japanese is full of homonyms, several words can be formed from these two characters, but the most appropriate to the pattern may be kirikiri, a mimetic word referring to speediness and spinning.
Funeral Pile of One of the Royal Family
Object type: photograph
Date: 1865 – 1865
Techniques: albumen silver print, glass negative
Artist: john thomson
Artist role: artist
Artist nationality: british, scottish
Artist dates: 1837 – 1921
Coffeepot
Object type: coffeepot
Date: 1735 – 1740
Materials: earthenware, gilt
Techniques: glazing
Subjects: flowers

The gift of the Hans Syz Collection in 1995 endowed the Museum with nearly three hundred examples of European and Asian ceramics meticulously acquired by Swiss-born collector Dr. Syz (1894–1991) to chart the migration of models and patterns from East to West. Documenting a continuous process of influence and adaptation, these pieces provide a discriminating review of the nuances of stylistic change resulting from three centuries of trade.