deem-data/ArtiFact huggingface dataset:
Trajanus in rolwerk omlijsting
Object type: print
Date: 1524 – 1562
Materials: paper
Techniques: engraving, etching
Location: nuremberg
Artist: virgilius solis
Artist role: draughtsman, print maker
Artist dates: 1514 – 1562
Subjects: (story of) the emperor trajan
Inscriptions: collector's mark: Lugt 2228, number: ‘125’

Deze prent maakt deel uit van een serie bestaande uit twaalf prenten met de eerste Romeinse keizers staand in rolwerk omlijstingen. In de collectie van het Rijksmuseum bevinden zich elf van de twaalf prenten.
Hond van de poppendokter met reclametekst met een pop op de rug
Object type: photograph
Date: 1930 – 1940
Materials: photographic support
Techniques: gelatin silver print
Artist: Anonymous
Subjects: advertising, dolls for adults, dog
Gezichten op de Dom van Milaan
Object type: print
Materials: paper
Techniques: aquatint, etching
Location: italy
Artist: filippo naymiller
Artist role: print maker
Artist dates: 1804 – 1863
Subjects: square, place, circus, etc., church (exterior)
Inscriptions: collector's mark: Lugt 2228

Piazza del Duomo te Milaan met de Dom van vooraf gezien. Op het plein verscheidene figuren.
Sampler
Object type: sampler
Date: 1726 – 1726
Materials: linen, silk
Subjects: birds,flowers
Portret van Karel van Frankrijk, hertog van Berry
Object type: print
Date: 1714 – 1749
Materials: paper
Techniques: engraving, etching
Artist: Anonymous
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2228
Palestine - 270 - Roche ayant servi de table a Jésus et ses Disciples
Object type: page
Date: 1873 – 1878
Materials: photographic support
Techniques: albumen print
Artist: félix bonfils
Artist role: fotograaf
Artist dates: 1831 – 1885
Subjects: parts of church interior: chapel
Conjugal Gaiety
Object type: print
Materials: ink, paper
Techniques: engraving, etching
Location: france
Artist: nicolas delaunay
Artist role: draughtsman, print maker, printer, publisher
Artist nationality: french
Artist dates: 1739 – 1792
Ex libris van Lidi van Mourik Broekman
Object type: bookplate
Date: 1932 – 1934
Materials: paper
Techniques: printing block
Location: netherlands
Artist: a. seret
Artist role: print maker
Subjects: painter, sculptor, lidi van mourik broekman, mask, surf, breakers
Inscriptions: inscription: ‘cliché 1945 / A. Seret’
Gaming Bag
Object type: costume and accessory
Date: 1675 – 1700
Materials: gilt, leather, metal, silk
Techniques: embroidery, cutting, treatment, embroidered, interlacings, laid work, weave
Location: france
Herr Joachim
Object type: page
Date: 1885 – 1890
Materials: paper
Techniques: carbon print
Location: london
Subjects: musician, historical persons
Inscriptions: address: ‘57 & 61, Ebury Street, London.’
Terracotta fragments of kylikes (drinking cups)
Object type: kylix fragment
Date: 500 – 401
Materials: terracotta
Culture: greek, attic

Two parts of feet type C, outer face is profiled
Evening vest
Object type: evening vest
Date: 1850 – 1855
Materials: cotton, silk
Culture: american

Waistcoats and vests of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward. The textile on this vest carefully alludes to a very sophisticated 18th-century serpentine striped fabric. Although vests of the second half of the 19th century were more somber this vest echoes the decorative quality of the past in plain white.
Mask
Object type: mask
Materials: iron, lacquer
Culture: japanese
Location: japan
Artist: myōchin muneakira
Artist role: armorer
Artist nationality: japanese
Artist dates: 1673 – 1745
Subjects: masks

The sharp beak-like nose indicates that this mask represents a type of mountain demon (tengu).
Portret van Henriëtte Wassink en Dootje van Zijll de Jong lopend over een boulevard
Object type: album leaf
Date: 1930 – 1935
Materials: paper
Techniques: gelatin silver print
Location: nice
Artist: Anonymous
Subjects: batavia, the hague, henriëtte wassink, historical persons - bb - woman, strolling, avenue, boulevard, promenade, esplanade
Inscriptions: inscription: ‘Carte Postale/ Correspondance P Adresse’
Portret van Albert Hemelman
Object type: print
Date: 1892 – 1954
Materials: paper
Techniques: etching, intaglio
Artist: johannes henrichs
Artist role: print maker
Artist dates: 1882 – 1954
Subjects: amsterdam, print maker, draughtsman, albert hemelman, portrait, self-portrait of painter
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760

Een portret van de kunstenaar Albert Hemelman met een schildersezel in zijn hand. Op verso een krijttekening van een schaal.
Snuffbox with grisaille miniature of scene from Don Quixote
Object type: snuffbox, painting
Date: 1774 – 1775
Materials: enamel, gold
Artist: joseph etienne blerzy
Artist role: maker
Artist nationality: french
Artist dates: 1750 – 1806
Subjects: men,women,don quixote

In eighteenth-century Europe, Paris led the production of high-quality luxury goods. Parisian goldsmiths made a wide range of small, personal articles such as snuffboxes; étuis to hold sealing wax, tweezers, or utensils for sewing; souvenirs, which contained thin ivory tablets for note taking; and shuttles for knotting lace. Gold snuffboxes and boxes decorated with portrait miniatures were prized and frequently given as royal gifts, often to ambassadors or members of the court in lieu of cash payments for their services. Coveted and admired, these boxes were produced from a variety of materials. The best were skillfully made of gold and embellished with diamonds, enameled decoration, lacquer, and other luxurious materials. By the middle of the century, the taking of snuff had become an entrenched social ritual, and the snuffbox, too, had become an important social prop. Snuffboxes were considered highly fashionable accessories, with some merchants advertising new boxes with each change of season. The popularity of snuffboxes extended to all levels of society, and for those who could not afford gold, boxes were produced in less expensive materials such as silver, tortoiseshell, porcelain, or domestically produced lacquer.
Portret van een abt, aangeduid als L'abbé Maréchal
Object type: album leaf
Date: 1854 – 1885
Materials: cardboard, paper
Techniques: albumen print
Location: moselle
Artist: e. faure
Artist role: fotograaf
Subjects: abbot, anonymous historical person portrayed
Inscriptions: address: ‘A SARRALBE/ (Moselle)’
Teabowl (Chawan)
Object type: teabowl
Date: 1701 – 1800
Materials: glaze, iron, stoneware
Culture: japanese

This teabowl represents a classic type that originated in Song-dynasty China and was later produced in Japan. Its most prominent characteristic is the striking “hare’s-fur” glaze, named for the iridescent grayish-brown streaks resembling a thick growth of hair. Chinese teabowls of this type became highly prized in Japan, especially among Buddhist monks, during the twelfth and the thirteenth centuries. Later, similar vessels were produced in Japanese kilns, mainly in Seto.
Letter A
Object type: print
Date: 1630 – 1630
Materials: paper
Techniques: engraving
Location: germany
Artist: peter aubry
Artist role: print maker, publisher
Artist nationality: german
Artist dates: 1596 – 1668
Portraits of Turkish Sultans, from "Speculum Romanae Magnificentiae"
Object type: print
Date: 1567 – 1600
Techniques: engraving, etching
Artist: Anonymous
Artist role: artist
Subjects: men,portraits

This print comes from the museum’s copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae’ first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum’s copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place). Originally volume 3, plate 100 in the scrapbook.
Het Mirakel van Amsterdam, 1345
Object type: print
Date: 1639 – 1639
Materials: paper
Techniques: engraving
Location: southern netherlands
Subjects: confession; 'confessione sacramentale' (ripa) ~ the third of the seven sacraments, amsterdam

Een priester neemt de biecht af. Prent nr. 14 uit de serie van 16 voorstellingen van Het Mirakel van Amsterdam, naar de gebeurtenissen op 15 maart 1345. Onder de voorstelling twee zesregelige verzen in het Latijn en Nederlands.
Work Table
Object type: furniture
Date: 1880 – 1880
Materials: brass, bronze, gilt bronze, ivory, pewter, wood
Techniques: gilding
Location: france
Subjects: furniture

The innovative marquetry technique displayed on this work table, was patented in 1877 by Rosalie Duvinage, also called Veuve (Widow) Duvinage. She was the owner of Maison Giroux, a Paris firm that had produced a wide assortment of luxury goods for generations. In this mosaic technique, pieces of ivory were held fast within a matrix of engraved metal strips and different woods were inlaid to create complex patterns. Here the ivory ground is separated by a network of engraved brass and pewter that forms the branches and leaves of a flowering peony bush, within which rests a large pheasant. Different wood inlays reveal the contour and shading of both plant and bird.

The decoration of this table was inspired by the flood of imports coming from Asia, especially from China and Japan, to Europe in the second half of the 19th century. Images of flowers and animals that were originally Chinese were adapted by Japanese craftsmen for furniture and finally translated onto objects in Europe. The artists of Maison Giroux appear to have had a firm grasp on the symbolic language of Asia: according to custom, tree peonies represent the male principle yang, and the golden pheasant (a traditional symbol of feminine beauty) symbolizes yin, its natural complement.
Wedding boots
Object type: wedding boot
Date: 1870 – 1870
Materials: leather, silk, wood
Culture: american
Portret van François Rude
Object type: print
Date: 1886 – 1886
Materials: paper
Techniques: drypoint, etching, intaglio
Location: antwerp
Artist: arthur sterck
Artist role: print maker
Artist dates: 1868 – 1897
Subjects: sculptor, françois rude, portrait, self-portrait of sculptor, historical persons
Inscriptions: collector's mark: Lugt 2228
Égypte Moyenne. Pyramide de Chéphren
Object type: photograph
Date: 1849 – 1851
Materials: cardboard, paper
Techniques: salted paper print
Location: lille
Subjects: egyptian pyramids (wonder of the world)
Inscriptions: inscription: ‘Maxime Du Camp./ Gide et Baudry, Editeurs./ ÉGYPTE MOYENNE./ PYRAMIDE DE CHÉPHREN./ Imprimerie Photographique de Blanquard-Evrard, à Lille./ Pl. 10.’
Nations loués le Seigneur
Object type: print
Date: 1759 – 1759
Materials: paper
Techniques: etching
Location: berlin
Artist: daniel nikolaus chodowiecki
Artist role: draughtsman, print maker
Artist dates: 1726 – 1801
Subjects: david (not in biblical context); possible attributes: crown, harp
Inscriptions: collector's mark: Lugt 2228

Prent ook gebruikt in: Les pseaumes des David en vers avec des prières. Berlijn, Aux depens de la Compagnie du Consistroire, 1759.
Portret van de schilder Adriaen van Nieulandt (I)
Object type: print
Date: 1649 – 1649
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: antwerp, amsterdam, painter, draughtsman, adriaen van nieulandt (i), portrait, self-portrait of painter
Inscriptions: collector's mark: Lugt 2228

Prent gebruikt in: Image de divers hommes d'esprit sublime, qui par leur art et science devraient vivre éternellement et desquels la louange et renommée faict estonner le monde. Antwerpen: J. Meyssens, 1649.
Plaque of a Man
Object type: plaque
Date: 325 – 641
Materials: wood
Culture: byzantine or roman
Location: egypt

This wood plaque of a man holding an animal is from Akhmim, an important artistic center in late-antique Egypt. The rendering of the face resembles a mask. Recent research on late-antique and medieval North African art indicate that central African masks appear more than previously realized in artworks.
Miracula Domini Nostri Jesu Christi
Object type: print
Date: 1638 – 1643
Materials: paper
Techniques: etching
Location: paris
Subjects: miracles of christ ~ healing the sick
Inscriptions: collector's mark: Lugt 240

Maakt deel uit van een serie van dertien prenten voorstellende de wonderen van Christus, opgedragen aan de arts Charles Delorme (1584-1678).
Piece
Object type: piece
Date: 1701 – 1800
Materials: silk
Techniques: compound weave
Culture: japanese
Subjects: men,flowers
Hier ziet gij met groote vlijt, / De handel en de nijverheid
Object type: popular print
Date: 1848 – 1881
Materials: paper
Techniques: colour, letterpress printing
Location: den bosch
Artist: Anonymous
Subjects: street-trader, merchant, salesman
Inscriptions: collector's mark: Lugt 2760

Blad met 24 voorstellingen van straatverkopers. Onder elke afbeelding een tweeregelig vers. Genummerd midden boven: N. 6.
A Woman Seated at a Bench on the Avenue du Bois
Object type: drawing
Date: 1885 – 1885
Materials: graphite, watercolor
Artist: berthe morisot
Artist role: artist
Artist nationality: french
Artist dates: 1841 – 1895
Subjects: women,parasols
[Two Young Workmen with Hatchets]
Object type: tintype
Techniques: tintype
Artist: Anonymous
Artist role: artist
Subjects: men,portraits,tools
Portret van een man met hoge hoed, zittend aan een tafel
Object type: photograph
Date: 1860 – 1900
Materials: cardboard, photographic support
Techniques: albumen print
Subjects: adult man, historical persons, head-gear: top hat
Inscriptions: inscription: ‘Fotografia Española/ Pasaje Colon no. 2/ Barcelona’
Patroonhuls met kogel uit het wrak van de Oost-Indiëvaarder Hollandia
Object type: cartridge shell
Date: 1700 – 1743
Materials: copper, lead
Location: netherlands
Artist: Anonymous
Subjects: verenigde oostindische compagnie, hollandia (schip), annet

Cartridge case, tube; squashed, id. NG 1979-205H549.
De begrafenisstoet van Frederik Hendrik (plaat nr. 22), 1647
Object type: print
Date: 1647 – 1651
Materials: paper
Techniques: etching, hand coloring
Location: the hague
Subjects: delft, the hague, frederick henry (prince of orange), cortege, funeral procession
Inscriptions: collector's mark: Lugt 2228

De begrafenisstoet van stadhouder Frederik Hendrik te 's-Gravenhage op 10 mei 1647. Plaat nr. 22 met een deel van de stoet met de lijkwagen, boven de personen staan hun naam en functie. Onderdeel van een serie van 30 platen en 20 tekstbladen, bedoeld om aan elkaar geplakt te worden.
Cavalry Camp, looking towards Kadikoi
Object type: photograph
Date: 1855 – 1855
Materials: paper
Techniques: photography, salted paper print
Location: england
Artist: roger fenton
Artist role: artist
Artist nationality: english
Artist dates: 1819 – 1869
Subjects: collected by hugh edwards, documentary
Inscriptions: Printed recto, on mount, lower left, in black ink: "Deposé"; recto, on mount, lower right, in black ink: "Cavalry Camp, looking towards Kadikoi."; recto, on mount, along bottom edge, in black ink: "Photographed by R. Fenton. Manchester, Published by T. Agnew & Sons, March 25th  1856. / London, P. & D. Colnaghi H[?] Paris, Moulin, 23, Rue Richer. New York, Williams H[?]."; unmarked verso
English horn
Object type: oboe
Date: 1850 – 1899
Materials: wood, silver
Location: ferrara
Artist: carlo gherardi
Artist role: musical instrument maker
Inscriptions: inscription: ‘CARLO GHERARDI / SUCCESSORE AI F[RATE]LLI RIVA / FERRARA’, inscription: ‘[ster] / G. GHERARDI / SUCC[ESSO]RE RIVA / FERRARA (in een ovaal) / RG [monogram]’

Engelse hoorn van palmhout met veertien zilveren kleppen, twee open ringen en een vingersteun met een ring voor een koord. Gemarkeerd op alle delen: [ster] / G. GHERARDI / SUCC[ESSO]RE RIVA / FERRARA (in een ovaal) / RG [monogram]. De hobo zit in een houten koffertje bekleed met leer en paars fluweel. Gemarkeerd op de deksel: CARLO GHERARDI / SUCCESSORE AI F[RATE]LLI RIVA / FERRARA. In het koffertje zitten twee mondstukken, een ebbenhouten doosje met wax en een pallisander deksel voor de tap van het bovenste deel. In een vakje in de koffer zitten een gebroken zilveren klep en vier rieten.
Fantasy
Object type: drawing
Date: 1824 – 1898
Materials: ink, paper
Techniques: pen
Artist: pierre puvis de chavannes
Artist role: artist
Artist nationality: french
Artist dates: 1824 – 1898
Subjects: male nudes,pegasus
Figure of a parrot on a rock
Object type: figure
Date: 1700 – 1799
Materials: glaze, porcelain
Techniques: embroidery, firing, forming, vitrification
Location: china
Artist: Anonymous

Two Figurines of a Parrot on a Rock.
Derived from copper and potash (potassium carbonate), turquoise was first used as a glaze colour in the 15th century. After the porcelain body had been fired at a high temperature, the turquoise was applied and the piece fired again at a lower temperature. The glaze has a glassy
appearance and at times displays some crackle on the surface.
De strijd om de Gouden Stok, 1608
Object type: pamphlet
Date: 1608 – 1608
Materials: paper
Techniques: engraving
Location: northern netherlands
Artist: Anonymous
Subjects: the hague, maurice (prince of orange), hendrik iv (koning van frankrijk en navarra), tug-of-war, scales

De strijd om de Gouden Stok, 1608. Op het strand strijden een Hollandse schipper en een Spanjaard om een stok die zij beiden met een hand vasthouden. Op de achtergrond zes toeschouwers, waaronder prins Maurits (links) en koning Hendrik IV van Frankrijk (midden). De trekwedstrijd verbeeldt de strijd tussen de Republiek en Spanje om de macht in Oost-Indië en West-Indië, de gouden stok die rijkdommen schenkt. Bovenin de voorstelling in een cartouche een vers van 4 regels in het Nederlands: Een oud Schipper van Monickendam etc. Prent voorin een pamflet tegen de vredesonderhandelingen voor het Bestand in het jaar 1608.
Les Oies
Object type: print
Date: 1887 – 1887
Techniques: drypoint
Artist: félix-hilaire buhot
Artist role: artist
Artist nationality: french
Artist dates: 1847 – 1898
Subjects: geese
Textile Fragment
Object type: textile fragment
Date: 1701 – 1900
Materials: linen, silk
Techniques: embroidery, weave
Location: morocco
Portret van Zeno van Citium
Object type: book illustration
Date: 1805 – 1805
Materials: paper
Techniques: etching
Subjects: scholar, philosopher, historical persons

Prent waarschijnlijk uit: Galerie historique des hommes les plus célèbres (...). Parijs: Charles Paul Landon, 1805, dl. 4.
Simson steekt de korenvelden van de Filistijnen in brand
Object type: print
Date: 1579 – 1579
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: samson ties three hundred foxes two by two by their tails with a fire-brand in between; with the torches on fire he lets them go into the cornfields of the philistines which are set aflame
Inscriptions: number: ‘124’

Simson steekt de korenvelden van de Filistijnen in brand door vossen twee aan twee met de staarten aan elkaar te binden en een brandende fakkel ertussen te hangen. Simson stuurt de vossen het korenveld in. Onder de voorstelling een verwijzing in het Latijn naar de Bijbeltekst in Ri. 15:4. Deze prent maakt deel uit van een album.
Portret van de kunstschilder Gerrit Berckheyde
Object type: drawing
Date: 1725 – 1775
Materials: pencil
Techniques: brush, pen
Location: netherlands
Artist: Anonymous
Subjects: haarlem, painter, draughtsman, gerrit berckheyde

Naar een miniatuur op koper door Job Berckheyde uit ongeveer 1655, thans in het Frans Halsmuseum, Haarlem.
Jérusalem, Tombeau des rois de Juda, Cour extérieure
Object type: photograph
Date: 1854 – 1854
Techniques: paper negative, salted paper print
Artist: auguste salzmann
Artist role: artist
Artist nationality: french
Artist dates: 1824 – 1872
Subjects: tombs,ruins
Dog
Object type: sculpture
Date: 1867 – 1933
Materials: copper alloy
Culture: chinese
Subjects: dogs
Portret van Elisabeth Charlotte van Orléans
Object type: print
Date: 1655 – 1728
Materials: paper
Techniques: engraving, etching
Subjects: historical persons
Inscriptions: collector's mark: Lugt 240
Pendant Composed of Three Sets of Overlapping Volutes
Object type: pendant
Date: 201 – 300
Materials: gold
Culture: indonesian, javanese
Arm met kaarsenhouder van kaarsenkroon
Object type: chandelier
Date: 1795 – 1800
Materials: brass
Techniques: casting, screwed, turning
Location: amsterdam
Artist: Anonymous

De S-vormige arm heeft een krul op het eind aan de stamzijde en gaat naar buiten toe over in een verdikking met schroefgat. Daarin is de kaarsenhouder met de vetvanger vastgezet. De ronde houder heeft een holrond voetstuk, versmalt zich naar boven toe en heeft vervolgens een uitstekende rand. De vetvanger heeft aan de bovenkant een gegroefde ring. Dit is de vijfde arm, genummerd met 5 ronde punten.
Terracotta fragment of a skyphos (deep drinking cup)
Object type: skyphos fragment
Date: 500 – 468
Materials: terracotta
Culture: greek, attic

Calf and foot of a male, crouching to left
Paarden
Object type: print
Date: 1652 – 1702
Materials: paper
Techniques: etching
Location: netherlands
Subjects: animals (+ audible means of communication of animal(s): roaring, crying, singing, barking, mewing, neighing, chirping, etc.), horse
Inscriptions: collector's mark: Lugt 2228

Een zwart en een wit paard op de oever van een groot water. In de verte een stad. Rechtsonder genummerd: 1.
The White King in a Council with the Welsh Party, Receiving a Message, from "Der Weisskunig"
Object type: print
Techniques: woodcut
Artist: hans burgkmair
Artist role: artist
Artist nationality: german
Artist dates: 1473 – 1531
Subjects: kings,men

Der Weisskunig (the white king) is a loosely biographical account of the life of Emperor Maximilian I. The text, composed by Maximilian's secretary Marx Treitz-Sauerwein, is accompanied by illustrations by Burgkmair, Leonhard Beck, Hans Schäufelein, and Hans Springinklee, with the proofs completed between 1514 and 1516. However, they remained unpublished until the blocks were rediscovered in 1775, at which point they were published as a book by Hoffstätter in Vienna. The first edition was published again in 1799 by S. Edward in London with the French title, "Tableaux des principaux evénemens de la vie et du regne de l'empereur Maximilien I." It includes 236 woodcut illustrations.
Essempio di recammi, page 26 (recto)
Object type: book print ornament architecture
Date: 1530 – 1530
Techniques: woodcut
Artist: giovanni antonio tagliente
Artist role: author
Artist nationality: italian
Artist dates: 1465 – 1528

Written by Giovanni Antonio Tagliente, Italian, Venice ca. 1465-1527 Venice, published by Giovanantonio e i fratelli da Sabbio Venice. Closing remarks (continued) with bolded and larger initital letters at start of each new section.