deem-data/ArtiFact huggingface dataset:
François Joseph Lefebvre (1755–1820)
Object type: painting, miniature
Date: 1800 – 1800
Materials: ivory
Artist: french painter
Artist role: artist
Artist nationality: french
Subjects: men,portraits
Coal Wharf, Alexandria, Virginia
Object type: photograph
Techniques: albumen silver print, glass negative
Artist: andrew joseph russell
Artist role: artist
Artist nationality: american
Artist dates: 1830 – 1902
Subjects: american civil war
Design for a Waistcoat Pocket
Object type: drawing and watercolor
Date: 1770 – 1810
Materials: gouache, graphite, ink, paper, watercolor
Techniques: drawing, painting
Location: france
Subjects: flowers, foliage, rocks

In the 18th century designs for textiles were often drawn by professionals trained in floral painting. Designs for waistcoats usually show the lower edge of the garment from the pocket to the hem, indicating to both embroiderer and client all of the motifs included in the pattern. Some drawings are inscribed with numbers. Such numbers helped the merchant and makers identify patterns and prices when a client selected a pattern.
Biface, commonly referred to as a hand ax
Object type: tool, biface, hand ax, sub cordiform
Materials: stone
Location: egypt

Often referred to as handaxes, bifaces were made by the Hominin predecessors of humans during the Lower Paleolithic period. Although bifaces are found in many shapes and sizes, the basic tool type was used for a very long time span and can be found all over Africa, Asia and Europe. Rather than a tool made for a specific task, bifaces were a kind of multi-tool that could be used in a variety of ways such as chopping, cutting, and scraping. Additionally the large tools could serve as a portable source for flakes if smaller tools or sharper edges were needed. This example, however, is rather small and flat, and can be classified as a sub-cordiform biface. The presence of a retouched notch on the distal tip underlines the potential for these tools to be re-worked as needed.
Fotoreproductie van The Immaculate Conception of Los Venerables door Bartolomé Esteban Murillo
Object type: photograph
Date: 1865 – 1900
Materials: cardboard, photographic support
Techniques: albumen print
Location: berlin
Subjects: madonna (i.e. mary with the christ-child) in the air, or on the clouds
Inscriptions: inscription: ‘Murillo: Immaculée conception/ 117/ Gustav Schauer/ Photographisches Kunst- und Verlags - Institut/ Berlin/ Grosse Friedrichs - Strasse 188’
Sibeth, Geheimer Justizrath, Abgeordneter zur II Kammer
Object type: print
Date: 1830 – 1860
Materials: paper
Techniques: lithograph
Location: berlin
Subjects: adult man, historical persons
Inscriptions: collector's mark: Lugt 2228
Three Muses seated underneath a flying putto who gestures downward, a cruciform composition, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738-39) at Fontainebleau
Object type: print
Date: 1560 – 1569
Techniques: engraving
Artist: giorgio ghisi
Artist role: artist
Artist nationality: italian
Artist dates: 1515 – 1582
Subjects: muses
Portret van Friedrich Wilhelm Ludwig van Pruisen
Object type: print
Date: 1815 – 1815
Materials: paper
Techniques: stippling
Location: berlin
Subjects: berlin, knighthood order (with name) - insignia of a knighthood order, e.g.: badge, chain (with name of order), knighthood order, historical persons, (military) uniforms
Inscriptions: collector's mark: Lugt 2228
Een aanraking!
Object type: poster
Date: 1920 – 1920
Materials: paper
Techniques: lithograph
Location: netherlands
Artist: evert möllenkamp

poster uitgegeven door het Veiligheids Instituut/Veiligheids Museum
Portret van Kirchgaesser
Object type: print
Date: 1845 – 1850
Materials: paper
Techniques: tone lithography
Subjects: adult man, historical persons
Inscriptions: collector's mark: Lugt 2228
Portret van Cornelia Hendrika Nije
Object type: cabinet photograph
Date: 1890 – 1910
Materials: cardboard, photographic support
Techniques: collodion silver print
Location: baarn
Artist: gerardus george johannes mathijs frohn
Artist role: fotograaf
Artist dates: 1871 – 1910
Subjects: historical persons
Inscriptions: annotation: ‘C.H. Nije/ Zuster van J.G. Jonker-Nije’
Fantasy Portrait of a Woman with a Flute, and Musical Instruments
Object type: print
Date: 1598 – 1602
Materials: paper
Techniques: engraving
Location: haarlem
Artist: hendrick goltzius
Artist role: draughtsman, painter, print maker
Artist dates: 1558 – 1617
Subjects: musical instruments; group of musical instruments, anonymous historical person portrayed alone
Inscriptions: collector's mark: Lugt 240

This sheet features impressions of both sides of a single medallion. Its pendant presents a fantasy portrait of a bagpiper, of which only an impression of the portrait side is known. They complemented each other and together also had an amusing function: the verses rhyme and together the images are full of erotic allusions. Flutes and bagpipes symbolized male genitalia.
The Strand
Object type: photograph
Date: 1850 – 1900
Techniques: albumen print
Location: england
Artist: Anonymous
Artist nationality: probably english
Artist dates: 1800 – 1899
Out for a Walk, from the series "A Collection of Contemporary Beauties of the Pleasure Quarters (Tosei yuri bijin awase)"
Object type: print
Date: 1783 – 1783
Techniques: woodblock print
Location: japan
Artist: torii kiyonaga
Artist role: artist
Artist nationality: japanese
Artist dates: 1752 – 1815
Gezicht op Alhambra, in Granada
Object type: print
Date: 1626 – 1686
Materials: paper
Techniques: etching
Location: antwerp
Subjects: garden fountain, palace
Inscriptions: collector's mark: Lugt 2228
Daguerreotypie naar schilderij/prent L. Robert Rome 1830
Object type: reproduction
Date: 1839 – 1841
Techniques: daguerreotype
Artist: vincent chevallier
Artist role: fotograaf
Terracotta fragments of kylikes (drinking cups)
Object type: kylix fragment
Date: 530 – 510
Materials: terracotta
Culture: greek, attic

Two parts of kylix feet; one fragment is from the stem of a cup, the other is from the top of the foot; both are glazed on the underside
Bronze knife
Object type: knife
Date: 1600 – 1050
Materials: bronze
Culture: minoan
Subjects: knives

Straight base with two rivets. The edges of the blade are nearly parallel.
Inwijding van het Theatre Royale van Antwerpen, penning door de Staten van Antwerpen aan de architect P. Bourla geschonken
Object type: history medal
Date: 1834 – 1834
Materials: bronze
Techniques: striking
Location: brussels
Artist: laurent joseph hart
Artist role: die cutter
Artist dates: 1810 – 1860
Subjects: antwerp

Bronzen penning. Voorzijde: theater binnen omschrift; afsnede: opschrift. Keerzijde: opschrift onderlauwertak en boven wapenschild binnen omschrift
Fabel van de ezel en zijn drie meesters
Object type: print
Date: 1608 – 1608
Materials: paper
Techniques: engraving, etching, letterpress printing
Location: prague
Artist: aegidius sadeler (ii)
Artist role: draughtsman, print maker
Artist dates: 1568 – 1629
Subjects: ass, donkey, (story of) jupiter (zeus), hitting at something, fables

Een ezel wordt door een man met een knuppel geslagen. In de hemel kijkt Jupiter toe. De fabel beschrijft hoe een ezel niet tevreden is met zijn meester en tot driemaal toe Jupiter vraagt van meester te veranderen. Elke keer krijgt de ezel een slechtere meester. De moraal van het verhaal leert dat men zich moet neerleggen bij zijn lot in het leven.
Portret van Henry Hugo Pierson
Object type: print
Date: 1850 – 1866
Materials: paper
Techniques: engraving
Location: leipzig
Artist: moritz lämmel
Artist role: print maker
Artist dates: 1822 – 1866
Subjects: historical persons, portrait of composer
Inscriptions: collector's mark: Lugt 2228

Een facsimile signatuur in de ondermarge.
Terracotta oil lamp
Object type: lamp
Date: 350 – 250
Materials: terracotta
Culture: greek

Large, wheel-made body, with applied nozzle. Large central filling hole, surrounded by a plain, flat band and two concentric grooves; convex-curving side to deep body, with a pierced projecting knob on left side. Raised and slightly splayed base ring and deep concave base. Intact, except for chip in base ring. Heavy, thick base.
Fiori di Ricami Nuovamente Posti in Luce, page 8 (recto)
Object type: book print ornament archiecture
Date: 1591 – 1591
Techniques: woodcut
Location: italy
Artist: matteo florimi
Artist role: designer
Artist nationality: italian
Artist dates: 1581 – 1613
Subjects: flowers

Designed by Matteo Florimi, Italian, active Siena, ca. 1581-died 1613, published by Francesco de' Franceschi, Italian, active 16th century, Venice. From top to bottom, and left to right: Design composed of 2 horizontal registers. Top register is decorated with 3 triangular motifs: the left and right motifs are ornamented with a different floral pattern, whereas the middle motif is ornamented with a double-headed bird with a crown. Bottom register is decorated with 3 triangular motifs, each ornamented with a different floral pattern.
[Two Japanese Men and One Japanese Woman Posing with Flowering Branches]
Object type: photograph
Date: 1870 – 1879
Techniques: albumen silver print, glass negative
Artist: Anonymous
Artist role: artist
Subjects: men,portraits,women
Terracotta fragment of an oinochoe (jug)
Object type: oinochoe fragment
Date: 460 – 440
Materials: terracotta
Culture: greek, attic

Bent right arm and part of upper torso of a draped male to left, holding a branch? in his right hand
Prenten-magazijn voor de jeugd
Object type: print
Date: 1850 – 1881
Materials: paper
Techniques: letterpress printing, engraving
Location: leiden
Subjects: historical persons, batavia
Inscriptions: collector's mark: Lugt 2760

Blad met 4 voorstellingen uit het leven van Jan Pietersz. Coen. Boven elke voorstelling een titel en onder elke voorstelling een achtregelig vers. Genummerd rechtsboven: No. 174.
A Courtesan and Her Attendants with a Revolving Shadow Lantern
Object type: woodblock print tan e
Date: 1715 – 1720
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: okumura masanobu
Artist role: artist
Artist nationality: japanese
Artist dates: 1686 – 1764

A courtesan and her two young female attendants enjoy watching a type of revolving shadow lantern (mawari dōrō). A spinning wheel was attached to a stick inserted into the middle to act as the spinner. When a candle was lit and placed inside the lantern, the rising air current caused the wheel to spin, which in turn rotated the inner frame and cast a shadow on the outer layer. The revolving lantern consists of an outer frame onto which a thin layer of paper is attached, and inside is a paper cylinder with cut-out shapes of a procession of a courtesan and her entourage. A candle illuminates the cylinder as it is rotated to create optical illusion that the figures are in motion. Here the lantern projects a parading courtesan (shinzō), child attendants (kamuro), and servants (kasha). Though the print is entitled Keisei nayose (names of courtesans), the libretto is actually a playful song incorporating the names of brothel districts. The print lacks a seal, but the distinctive figure style aligns with that of Okumura Masanobu. The courtesan’s hairstyle indicates that the print was designed in the 1710s or 1720s. This is an example of a tan-e, a type of early print that is hand-colored with an orange-red (tan) pigment as well as yellow, crimson, pale indigo, and green—popular from around 1688 to the 1710s.
Ferrière à Margaux
Object type: page
Date: 1862 – 1867
Materials: photographic support
Techniques: albumen print
Location: margaux
Artist: alfred danflou
Artist role: fotograaf, schrijver
Subjects: castle
Inscriptions: inscription: ‘propriétaire: M. FERRIÈRE.’

Foto op negende ongenummerde pagina na pagina 83.
Boots
Object type: boot
Date: 1830 – 1830
Materials: leather
Culture: british
Portret van Friedrich August Lehr
Object type: print
Materials: paper
Techniques: engraving
Location: frankfurt am main
Artist: nikolaus hoff
Artist role: print maker
Artist dates: 1798 – 1873
Subjects: historical persons, physician, doctor
Inscriptions: collector's mark: Lugt 2228
Apis figure inscribed for Padishernefer son of Khonsuirdis
Object type: figurine, apis, padishernefer, khonsuirdis
Date: 664 – 200
Materials: metal
Location: egypt
Subjects: bulls

The worship of the Apis bull is attested as early as Dynasty I. A single living representative was stabled near the Ptah temple in Memphis. The bull selected for this important role had certain colorful markings, such as a white triangle on the forehead, and black patches resembling winged birds or scarabs on the body. The bull is often shown, as here, wearing a large sun disc, a banded collar, and a decorated rectangular cloth on its back. Similar markings are easily visible on Apis acc. no. 17.190.62. An inscription on the base provides the name of the donor and his parents. The Apis bull participated in ceremonies of fertility and regeneration. When it died, it was embalmed and buried with all honors; at that time, a new bull bearing the requisite markings was selected. Beginning with the reign of Amenhotep III (1390–1352 B.C.) in Dynasty 18, the place of Apis burials gradually became a huge and growing underground system of chambers called the Serapeum in the Memphite necropolis, Saqqara. The bull was so revered that even the mothers of Apis bulls had their own cult and burial place.
Bureau van Willem Drees
Object type: desk
Materials: textile, wood
Techniques: woodworking
Location: amsterdam
Artist: arnold h. jansen
Artist role: interieurontwerper, meubelontwerper
Subjects: the hague, willem drees, amsterdam

In 1967 W. Drees presented several items to the Rijksmuseum on loan. In 1991 the Drees family changed this loan into a gift. In 2003 a number of objects were added from the estate of W. Drees.
Nieuwjaarskaartenverkoopster
Object type: print
Date: 1800 – 1800
Materials: paper
Techniques: etching
Location: berlin
Artist: daniel nikolaus chodowiecki
Artist role: draughtsman, print maker
Artist dates: 1726 – 1801
Subjects: christmas card, stall, booth (~ market), merchant, salesman - bb - women engaged in trade and commerce
Inscriptions: collector's mark: Lugt 2228

Links in de marge zijn op schetsmatige wijze verschillende koppen en figuren geëtst.
View of Mount Fuji from Koshigaya, Province of Musashi (Musashi, Koshigaya Zai), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei)
Object type: print
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: utagawa hiroshige
Artist role: artist
Artist nationality: japanese
Artist dates: 1797 – 1858
Subjects: mountains,landscapes
Titelpagina voor: Hermannus Samuel Reimarus, De voornaamste waarheden van den natuurlyken gods-dienst, in tien verhandelingen, 1758
Object type: print
Date: 1758 – 1758
Materials: paper
Techniques: etching
Location: leiden
Subjects: the new jerusalem, the all-seeing eye, triangle with eye ~ symbol of god the father
Inscriptions: collector's mark: Lugt 2228

Titelpagina voor: Reimarus, Hermannus Samuel. De voornaamste waarheden van den natuurlyken gods-dienst, in tien verhandelingen. Leiden: Honkoop, Abraham (I), 1758.
Prent afkomstig uit een plakalbum met titelprenten, ornamenten etc. op blauw papier in 1983 uit elkaar gehaald. Volgens een notitie op verso zat de prent op p. 213 van dit album.
Candelabra Designs and Stair Railing Designs, nos. CCCXCV–CCCXCVII and 398–400, plate 60 from "Designs for Various Ornaments"
Object type: print
Techniques: etching
Artist: michelangelo pergolesi
Artist role: artist and publisher
Artist nationality: italian
Artist dates: 1760 – 1801

These designs for candelabra and ornamental railings are numbered CCCXCV to CCCXCVII and 398 to 400. The print comes from a group created and published serially in London by Pergolesi between 1777 and 1792. There is no title page, but a prospectus of ca. 1786 described the group as: "A great variety of original designs of vases, figures, medallions, friezes, pilasters, panels and other ornaments, in the Etruscan and grotesque style." The complete set contains 67 plates numbered 1-66 (two are numbered 56), with designs within the plates irregularly numbered 1-435 (in Roman numerals at first, with Arabic numbers later introduced). In 1801, after Pergolesi's death, four additional plates of designs were published by a bookseller Dulouchamp (or Dulonchamp).
Bowl
Object type: bowl
Date: 550 – 500
Materials: terracotta
Culture: etruscan

Shallow bowl with foot, light brown in color.
Suzani (large hanging or cover)
Object type: textile
Date: 1840 – 1890
Materials: cotton, silk
Techniques: embroidery, weave
Location: uzbekistan
Subjects: flowers

Densely embroidered with colorful silk threads, this lush hanging or cover exemplifies suzani textiles produced during the latter half of the nineteenth century in eastern Uzbekistan, particularly near the oasis cities of Bukhara and Kokand. Art historians and collectors use the term suzani to describe a family of embroidered textiles made in Central Asia by urban dwelling Uzbek and Tajik women. During the nineteenth century, young women in particular embroidered hangings and covers as well as other household linens for their trousseaux.

The design and embroidery of a suzani usually involved a number of steps. The pieced, plain woven cotton cloth that serves as the ground fabric for the embroidery was purchased in a single length, then cut and stitched together to produce a large rectangular panel upon which a designer, known as a kalamkash, could draw the pattern. To complete the embroidery, the embroiders agreed on the colors for the different parts of the design, the lengths were unstitched, and then each embroiderer worked carefully on her own to complete her panel. When the embroiderers finished the panels, they once again were stitched together to produce a finished object. This suzani, comprised of four lengths, shows signs of the different embroiderers’ hands, particularly in the central floral motif. Divided between two cotton panels along the center line of the design, half of the carnation-like blossom features black embroidered details, while these same details on the other half of the flower were embroidered in a lighter brown thread. These types of subtle misregistrations highlight the combined efforts involved in making these important domestic furnishings.
Portrait of Maria Schaep, Wife of Hendrick Bicker
Object type: painting
Date: 1682 – 1682
Materials: canvas, oil
Artist: michiel van musscher
Artist role: draughtsman, painter, print maker
Artist dates: 1645 – 1705
Subjects: mayor, historical persons - bb - woman
Inscriptions: signature and date: ‘M.l v. Musscher Pinx.t Aº. 1682.’

Michiel van Musscher (1645 - 1705). Portrait of Maria Schaep (1658 - 1725). In original gilt frame with housekeeping attributes.
Mon bourgmestre
Object type: print
Date: 1875 – 1875
Materials: paper
Techniques: aquatint, etching
Location: brussels
Subjects: adult man (+ back view)
Inscriptions: collector's mark: Lugt 2228
Bosweg bij avond
Object type: print
Date: 1869 – 1924
Materials: paper
Techniques: etching, intaglio
Artist: anton l. koster
Artist role: draughtsman, painter, print maker
Artist dates: 1859 – 1937
Subjects: evening, forest path or lane
Inscriptions: collector's mark: Lugt 2228
The Repeal, or the Funeral of Miss Ame Stamp
Object type: print
Date: 1766 – 1766
Techniques: etching
Artist: anonymous, british, 18th century
Artist role: etcher
Artist nationality: british
Artist dates: 1700 – 1800
Subjects: satire,american revolution,men,women,boats,politics
Ewer
Object type: ewer
Date: 1667 – 1733
Materials: enamel, gilt bronze, glaze, porcelain
Techniques: overglaze, painting
Culture: chinese
Subjects: animals,flowers
Bronze fish hook
Object type: fish hook
Date: 2400 – 1450
Materials: bronze
Culture: minoan
Zu Prag
Object type: print
Date: 1635 – 1635
Materials: paper
Techniques: etching
Location: cologne
Subjects: city-view, and landscape with man-made constructions, prague
Portret van Simon Fokke
Object type: drawing
Date: 1716 – 1716
Materials: chalk, paper
Location: amsterdam
Artist: cornelis troost
Artist role: draughtsman, painter, print maker
Artist dates: 1696 – 1750
Subjects: amsterdam, print maker, draughtsman, simon fokke
Inscriptions: collector's mark

Portrait of a standing child seen from the front. The child holds a tricorn hat in his right hand, while holding his left hand to the chest.
Tile
Object type: tile
Date: 1651 – 1700
Materials: glaze, stonepaste, wax
Techniques: polychrome, resist
Location: iran
Subjects: fruit
The Martyrdom of Saint Anastasia
Object type: drawing
Date: 1721 – 1721
Materials: chalk, gouache, ink
Techniques: brush, highlighting, pen, wash
Artist: michelangelo cerruti ("il candelottaro")
Artist role: artist
Artist nationality: italian
Artist dates: 1663 – 1748
Subjects: men,women,angels,saints

Robert Dance identified this drawing as a study by Cerruti for a ceiling painting in the nave of Santa Anastasia, Rome. The outlines of the elaborately shaped field of the canvas are clearly established in the drawing. However, there are significant differences in the placement of all of the principal figures in the complex composition. The Portuguese Cardinal Nuno da Cunha e Ataide (1664-1750; created 1712) was named protector of Santa Anastasia on June 16, 1721. At that time the church was apparently in a very dilapidated state, and he immediately ordered a new roof and a sumptuous wood ceiling at an initial cost of 4,000 scudi. This was followed by the commission given to Cerruti for the large ceiling canvas that he painted in twenty-eight days and which was in place by April 25, 1722 (see N. Mallory in Bolletino d'Arte, no. 61, 1976, p. 103). Saint Anastasia was said to have been burned alive, tied to a stake in the ground with arms outstretched, at Sirmium in Pannonia during the persecutions of Diocletian in A. D. 304. She was venerated in Rome at an early date, and her cult became associated with a church known as 'titulus Anastasiae' that had been built in the fourth century and named after its founder, a Christian woman called Anastasia. This early foundation, enlarged and embellished over the years, soon came to be called the church of Santa Anastasia, the Pannonian martyr. Until the very recent identification of this drawing, Cerruti was hardly known as a draughtsman. In the Kupferstichkabinett of Berlin there is an early pen drawing of hunters resting in an inn, signed and dated 1686 (KdZ 451; Gernsheim photograph 33879), and Cerruti's red chalk self-portrait executed for Nicola Pio is in the Nationalmuseum, Stockholm (Clark, 1967, p. 12, no. 10). Vittorio Casale recently attributed to Cerruti frescoes in the vault of the sacristy of Santa Maria in Via Lata, Rome, and he has identified a drawing in the Ambrosiana, Milan (inv. F 253 no. 983), as a study for the Assumption of the Virgin that occupies the center of the ceiling (see V. Casale in Scritti di Storia dell'Arte in onore di Federico Zeri, Milan 1984, pp. 744, 753-754, note 24).
Gezicht op de Pont Notre-Dame in Parijs met paardenkarren met goederen
Object type: stereograph
Date: 1850 – 1880
Materials: cardboard, photographic support
Techniques: albumen print
Location: paris
Artist: Anonymous
Subjects: four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach, bridge in city across river, canal, etc.
Inscriptions: inscription: ‘Pont Notre Dame, Paris Parijs (Frankrijk) [...]’
Broche van zilveren munt met beeldenaar van Wilhelmina
Object type: brooch
Date: 1940 – 1950
Materials: silver
Location: netherlands
Artist: Anonymous
Subjects: print maker, wilhelmina of the netherlands

Broche van zilveren munt met beeldenaar van Wilhelmina, voorzien van een kanonsluiting. Het portret is uitgezaagd.
Ophaalbrug in Harlingen
Object type: print
Date: 1914 – 1914
Materials: paper
Techniques: etching, intaglio
Artist: willem adrianus grondhout
Artist role: draughtsman, painter, print maker
Artist dates: 1878 – 1934
Subjects: city-view, and landscape with man-made constructions, bascule bridge, harlingen
Inscriptions: collector's mark: Lugt 2228

Op de achtergrond huizen en afgemeerde schepen aan een kade.