deem-data/ArtiFact huggingface dataset:
Ste. Reynelde, vierge et martyre (St. Reineldis, Virgin and Martyr), July 16th, 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: men,women,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.
Interieur van een zaal in het stadhuis te Nancy
Object type: photomechanical print
Date: 1891 – 1896
Materials: paper
Techniques: photograph
Location: nancy
Subjects: townhall, vestibule, hall
Inscriptions: inscription: ‘Hotel de ville de Nancy/ Salon carré ou de l'académie/ (peintures de Girardet, 1757)’

Deze prent maakt deel uit van een omslag met 103 prenten op 101 bladen en een titelblad.
Gezicht op de Remigiuskerk te Duiven
Object type: photograph
Date: 1905 – 1905
Materials: cardboard, photographic support
Techniques: albumen print
Location: duiven
Artist: anoniem (monumentenzorg)
Artist role: fotograaf
Subjects: church (exterior)
Inscriptions: annotation: ‘Duiven R.K. Kerk’, annotation: ‘e’
Staten van Walcheren
Object type: jeton
Date: 1596 – 1596
Materials: copper
Techniques: striking
Location: middelburg
Artist: Anonymous
Subjects: staten van walcheren, walcheren
Inscriptions: inscription: ‘Bt CALCVLI. ORDINVM/ WALACHRIAE’, inscription: ‘16Mt46. PROTECTOR. ET. HOSTIS’

Koperen penning. Voorzijde: walvis met staart in lucht binnen omschrift. Keerzijde: kaart van eiland Walcheren binnen omschrift.
L'Abreuvoir
Object type: print
Date: 1746 – 1780
Materials: paper
Techniques: engraving, etching
Artist: jean pelletier
Artist role: print maker
Artist dates: 1736 – 1780
Subjects: landscape with ruins, giving water, feeding (cattle), pastorals, arcadian scenes, herd, flock
Inscriptions: collector's mark: Lugt 240
Portret van Filips III van Frankrijk
Object type: book illustration
Date: 1636 – 1636
Materials: paper
Techniques: engraving, letterpress printing
Location: paris
Subjects: historical persons, king

Prent uit: Bie, Jacob de. Les vrais portraits des rois de France. (...) Parijs: Jean Camusat, 1636, dl. 2, p. 249.
Hanging or Bed Cover (Palampore)
Object type: hanging or bed cover
Date: 1701 – 1733
Materials: cotton
Location: india
Subjects: flowers
Twelve-light torchère (one of a pair)
Object type: torchère
Date: 1840 – 1840
Materials: bronze, copper, gilt bronze
Techniques: veneering
Artist: pierre philippe thomire
Artist role: maker
Artist nationality: french
Artist dates: 1751 – 1843

This urn and its companion, 64.163.2, are copies of a marble vase, known as the Medici vase, which is thought to have been made during the second half of the first century A.D. The brilliant green mineral called malachite which forms the surface of these torchères was mined in Russia, probably in the region of the Ural mountains 1500 miles to the east of Moscow. Factories were set up near the mines, where Russian workmen cut the malachite fragments into thin sheets and applied them to shaped metal forms. During the nineteenth century, these forms were sent in considerable numbers to Paris where they were enhanced by gilt-bronze mounts from such firms as Thomire et Compagnie. The museum has a much larger malachite vase with gilt-bronze mounts also signed by Thomire and dated 1819 (44.152a, b).
Boats in a Harbor
Object type: print
Materials: paper
Techniques: etching
Location: england
Artist: edwin edwards
Artist role: artist
Artist nationality: english
Artist dates: 1823 – 1879
The Bombardment of Naarden, April 1814
Object type: painting
Date: 1814 – 1814
Materials: canvas, oil
Artist: pieter gerardus van os
Artist role: draughtsman, painter, print maker
Artist dates: 1776 – 1839
Subjects: siege, position war
Inscriptions: signature: ‘PG van Os’, inscription and date: ‘Kommerrust den 4e April 1814’

Het beschieten van Naarden, april 1814. Op een schans bij Kommerrust staan soldaten en officieren bij kanonnen waarmee op de stad Naarden geschoten wordt. Links op de helling liggen enkele kruiwagens.
Palais de Versailles. Façade côté de la Terrasse
Object type: photomechanical print
Date: 1903 – 1920
Materials: cardboard
Techniques: photograph
Location: versailles
Subjects: palace, exterior ~ representation of a building, garden pond
Design for Vis-à-vis, no. 941
Object type: drawing
Date: 1870 – 1870
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
Perseus bevrijdt Andromeda
Object type: print
Date: 1608 – 1612
Materials: paper
Techniques: engraving
Location: delft
Subjects: perseus and andromeda
Inscriptions: inscription: ‘N12’, inscription: ‘N59’, collector's mark: Lugt 2228a

Perseus komt op een gevleugeld paard aangestormd om het zeemonster te doden dat Andromeda, aan een rots gekluisterd, bedreigt. Onder de voorstelling twee drieregelige Latijnse coupletten.
Information for the public
Object type: print
Date: 1850 – 1850
Materials: paper
Techniques: hand coloring, lithograph
Artist: Anonymous
Subjects: caricatures (human types)
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 4779

Karikatuur van een vrouw, mogelijk een verklede man, in een roze jurk met een hoed op haar hoofd. Onder haar rechterarm een handtas en onder haar linkerarm een schoothondje.
Apothecary jar (orciuolo)
Object type: apothecary jar
Date: 1431 – 1431
Techniques: maiolica, glazing
Artist: giunta di tugio
Artist role: artist
Artist dates: 1400 – 1466
Subjects: birds

It is likely that this large and impressive apothecary jar, decorated with a crane against a ground of oak leaf foliage, belonged to the pharmacy of the Arcispedale Santa Maria Nuova, Florence's oldest and most distinguished hospital. Its likely maker, Giunta di Tugio, delivered many maiolica wares to the hospital, especially in the year 1431. The existence of other apothecary jars in the same style, also bearing the hospital's emblem, a crutch, suggests that they all form part of an extensive commission of maiolica wares executed by Giunta after Hispano-Moresque prototypes.
Deez' prent met veel verscheidenheid, / Wordt lievers u weêr toegeweid [(...)]
Object type: print
Date: 1850 – 1870
Materials: paper
Techniques: colour, letterpress printing
Location: netherlands
Subjects: children's games and plays, child, child playing with animals
Inscriptions: collector's mark: Lugt 2760

Blad met 9 taferelen met kinderen. Onder elke afbeelding een zesregelig vers. Rechtsboven genummerd: No. 40.
Decorative belt plaque
Object type: belt plaque
Date: 701 – 800
Materials: gilt bronze
Culture: chinese
Foot (?)
Object type: foot
Date: 1701 – 1800
Materials: gilt bronze
Titelpagina voor: Horatius en Joost van den Vondel, Lierzangen en dichtkunst, 1703
Object type: print
Date: 1703 – 1703
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Artist: jan lamsvelt
Artist role: print maker
Artist dates: 1674 – 1743
Subjects: (story of) minerva (pallas, athena), satyr(s) (in general), apollo playing the lyre, apollo citharoedus, crowning with laurel
Inscriptions: collector's mark: Lugt 2228

Apollo spelend op zijn lier zit bovenop een muur met rondboog. Op de voorgrond wordt rechts een man gelauwerd door Minerva en zit links een sater met globe en panfluit. In de achtergrond Pegasus op de berg Parnassus.
Isaac Sweers, Vice Admiral of the Admiralty of Holland and West Friesland
Object type: bust
Date: 1673 – 1674
Materials: terracotta
Techniques: molding, painting
Location: the hague
Artist: rombout verhulst
Artist role: sculptor
Artist dates: 1624 – 1698
Subjects: nijmegen

After Vice Admiral Sweers (1622-1673) had been killed in the naval Battle of Kijkduin, he was honoured with a stately tomb. This terracotta bust is the model of the marble portrait for that monument in the Oude Kerk in Amsterdam. Its maker, Rombout Verhulst, left it to Baron Jacob van
Wassenaer. The latter ordered the pedestal around 1700, giving rise to a personal tribute to the naval hero.
Rand van de Grote Hagen (rechterblad bovenkant)
Object type: print
Date: 1675 – 1675
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: mayor, armorial bearing, heraldry, leiden
Inscriptions: collector's mark: Lugt 2228

Deze prent is oorspronkelijk bedoeld als onderdeel van de rand van de zogenaamde Grote Hagen, een wandkaart van Leiden uit 1675. Deze wandkaart bestaat uit een plattegrond van Leiden met daaromheen een rand (met boven de titel en de wapens van de stad en de burgemeesters, langs de zijkanten afbeeldingen van gebouwen in de stad en onder een stadsprofiel). De plattegrond is gedrukt van vier platen, de rand van veertien.

Hoewel het jaartal 1670 in de titel staat en de wapens aan de bovenkant van de vier in 1670 zittende burgemeesters zijn, blijkt uit archiefonderzoek dat deze wandkaart pas in 1675 voor het eerst is gedrukt en uitgegeven (zie documentatie voor meer informatie).

Voor een digitaal gemonteerde versie van de hele rand zie koepelrecord.

Voor een digitaal gemonteerde versie van de bovenkant van de rand zie RP-P-AO-10-18A-A.

Voor een digitaal gemonteerde versie van de onderkant van de rand zie RP-P-AO-10-18A-B.

Voor een digitaal gemonteerde versie van een latere druk van de plattegrond zie RP-P-AO-10-18.

Voor een digitaal gemonteerde versie van de Kleine Hagen zie RP-P-AO-10-81.
Draak/zeemonster
Object type: architectural element
Date: 1850 – 1875
Materials: dye, earthenware, glaze
Techniques: vitrification
Location: china
Artist: Anonymous

Kop gedeelte van de draak/zeemonster, bestaande uit twee delen, verbonden met een houten staaf. De draak staat op zijn onderkaak, de staart steekt omhoog. Blauw, bruin, rood en wit geglazuurd en beschilderd.
Takken van een distel
Object type: photomechanical print
Date: 1885 – 1895
Materials: paper
Techniques: photograph
Subjects: plants and herbs: thistle
Jean-Victor Moreau
Object type: print
Date: 1816 – 1831
Materials: paper
Techniques: engraving, etching
Location: paris
Artist: Anonymous
Subjects: commander-in-chief, general, marshal, historical persons
Portret van Johann Wolfgang von Goethe
Object type: photomechanical print
Date: 1899 – 1901
Materials: paper
Techniques: letterpress printing
Location: berlin
Subjects: draughtsman, johann wolfgang von goethe, historical persons, portrait of a writer

Prent waarschijnlijk uit: Werkmeister, Karl. Das Neunzehnte jahrhundert in Bildnissen. 4 dln. Berlijn: Photographischen Gesellschaft, [1899-1901].
Landscape with Bridge
Object type: print
Date: 1750 – 1770
Techniques: etching
Location: venice
Artist: joseph wagner
Artist role: artist and publisher
Artist nationality: italian
Artist dates: 1706 – 1780
Gezicht op het Tribunal de commerce en de Pont Notre-Dame in Parijs
Object type: stereograph
Date: 1850 – 1880
Materials: cardboard, photographic support
Techniques: albumen print
Location: paris
Artist: Anonymous
Subjects: bridge in city across river, canal, etc.
Inscriptions: inscription: ‘Tribunal de Commerce Pont Notre [...]’
Kop van een rund
Object type: drawing
Date: 1786 – 1839
Materials: chalk, paper
Artist: pieter gerardus van os
Artist role: draughtsman, painter, print maker
Artist dates: 1776 – 1839
Subjects: cow
Bottom of a Vessel with Foot
Object type: fragment
Date: 301 – 433
Materials: glass
Culture: coptic
Location: egypt
Funerary relief
Object type: funerary relief
Date: 101 – 300
Materials: limestone
Location: syria
Subjects: men,women,aramaic

Inscription: (On left of reclining male figure) 1 Zabdibol, 2 son of Mokimu, 3 son of Nurbel, 4 son of Zabda, 5 [so]n of ‘Abday, 6 (son of) [Zabdi]bol. (By girl on right) 1 Tadmur, 2 his daughter. (By head of boy) 1 Mokimu, 2 his son. (By girl on left) 1 ‘Alayyat, 2 his daughter. Transliteration: 1 zbdbwl 2 br mqymw 3 br nwrbl 4 br zbdʾ 5 [b]r ʿbdy 6 [zbd]bwl 1 tdmwr 2 brth 1 mqymw 2 brh 1 ʿlyt 2 brth This sculpture in high relief shows full-length figures of a man, his son, and two daughters. It is a gravestone depicting a banquet scene that probably sealed the opening of a family burial niche in Palmyra. The man is reclining on a richly decorated couch, holding a palm spray or cluster of dates in his right hand and a cup in his left. The two daughters wear veils, necklaces, and earrings. The son wears a necklace and holds grapes in his right hand and a bird in his left. It bears a Palmyrene Aramaic inscription giving the names of each of the deceased and five generations of their paternal ancestors. By the mid-first century A.D., Palmyra — or "place of the palms"—was a wealthy and impressive city located along the caravan routes that linked the Parthian Near East with Roman-controlled Mediterranean ports. During the period of great prosperity that followed, the citizens of Palmyra adopted customs and modes of dress from both the Iranian Parthian world to the east and the Greco-Roman west. This blend of eastern and western elements is also present in Palmyrene art. In this sculpture, the care lavished on details of dress and jewelry recalls the Parthian approach to figural representation while the postures and the distinct sense of volume conveyed by the carving in high relief are Greco-Roman in style. Large-scale funerary structures were common in Palmyra. Vaults, some of which were belowground, had interior walls that were constructed to form burial compartments in which the deceased, extended full length, were placed. Sculpted limestone reliefs depicting the deceased and often carrying an Aramaic inscription giving the subject’s name and genealogy represented the "personality" or "soul" of the person. These were constructed as markers for eternity much like modern gravestones and mausoleums. Adapted from, Art of the Ancient Near East: A Resource for Educators (2010)
Gezicht op de Elisabethpromenade in Boedapest
Object type: cabinet photograph
Date: 1850 – 1900
Materials: cardboard, photographic support
Techniques: albumen print
Location: budapest
Artist: klösz
Artist role: fotograaf
Subjects: avenue, boulevard, promenade, esplanade
Inscriptions: retailer's mark: ‘8. Wácziutcza 8/ Hatschek Miksa/ Opticus, Budapest/ 8 Waitzstrasse 8’, number: ‘50’, number: ‘24’, address: ‘Fényképezte és Kiadja Klösz Gy./ Budapesten, Hatvaniucza, a barátok épületében/ Mindennemü utánzás tilos.’
Dame met een hoed
Object type: drawing
Date: 1865 – 1913
Materials: chalk, paper
Artist: a.a.l. de grammont-hubrecht
Artist role: draughtsman, painter, print maker
Artist dates: 1855 – 1913
Subjects: anonymous historical person portrayed alone
Flask
Object type: flask
Date: 1847 – 1848
Materials: gemstone, glass
Techniques: glassblowing, molding
Culture: american
Location: united states
Artist: dyottville glass works
Artist role: maker
Artist nationality: american
Artist dates: 1833 – 1833
Subjects: george washington,men,profiles
Beaker with cover
Object type: beaker with cover
Date: 1720 – 1720
Materials: glass
Esemplario di lavori, page 8 (verso)
Object type: book print ornament architecture
Techniques: bookbinding, inlay, woodcut
Location: italy
Artist: nicolò zoppino
Artist role: publisher
Artist nationality: italian
Artist dates: 1478 – 1544
Subjects: ornament

Published by Nicolo Zoppino, Italian, active 16th century, Venice. From top to bottom, and left to right: Design composed of 6 horizontal registers of varying sizes: zigzag of diamonds, various symbols with three black birds in middle, zigzag of small diamonds connected by lines, small white diamonds contained within larger black shape touching other half made of pattern resembling vine and leaves, diamond pattern connected to wave-like pattern on other half, and white 'x's within black diamonds.
Furniture element with a monkey
Object type: furniture element
Date: 1800 – 1701
Materials: ivory
Culture: assyrian
Location: anatolia
Subjects: monkeys

This fragment belongs to a group of carved ivories, mostly furniture elements, probably found at the site of a palace at Acemhöyük in central Anatolia. Like most of the ivories from Acemhöyük, this object depicts imagery borrowed and transformed from Egyptian sources. The delicately incised image on this small flat piece of ivory can be identified by its characteristic cheek ridges and body form as the African guenon monkey. Depicted squatting and holding a jar, the monkey wears a necklace of beads. Its fur is shown with two different textures, a spotted coat on the legs and body and a striated ridge down the back. Monkeys were beloved by the ancient Egyptians, and their representations in Egyptian art show them both as mischievous pets, and as symbols of fecundity and magical sexual powers in the afterlife when depicted on scarabs and amulets.
Portret van Jan Maurits Quinkhard
Object type: print
Date: 1741 – 1741
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: amsterdam, painter, draughtsman, jan maurits quinkhard, print maker, pieter tanjé, portrait, self-portrait of painter, tools, implements of painter
Inscriptions: collector's mark: Lugt 240

Portret van schilder en tekenaar Jan Maurits Quinkhard, wijzend op het portret van Pieter Tanjé, dat op de schildersezel staat. In zijn hand houdt Quinckhard een palet en bundel penselen. Onder het portret een vierregelig vers in het Nederlands.
Zittende man
Object type: sketchbook leaf
Date: 1884 – 1886
Materials: chalk, paper
Location: the hague
Artist: george hendrik breitner
Artist role: draughtsman, painter, print maker
Artist dates: 1857 – 1923
Subjects: sitting figure, adult man

Pagina 58 uit een schetsboek met 29 bladen.
Light Summer Cloathing [sic]
Object type: print
Techniques: etching
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: satire,hats,women,fashion
The Visitation
Object type: collage
Date: 1601 – 1800
Materials: canvas, glass, linen, paint, paper, silk
Subjects: doorways,men,landscapes,trees,virgin mary
Commode
Object type: commode
Date: 1760 – 1760
Materials: wood, gilt bronze, iron
Artist: pietro piffetti
Artist role: maker
Artist nationality: italian
Artist dates: 1701 – 1777

One of a pair made by Pietro Piffetti (royal cabinetmaker to King Carlo Emanuele III) to furnish his private apartment at the Turin School of Ebanisti e Minusieri, this sumptuous commode is a superior example of its maker’s skill, as well as of his personal taste in decorative art. Its serpentine form references the established rococo style, while the stripes in the back corners offer a touch of quietness at the dawn of neoclassicism. The ormolu mounts were likely contributed by Francesco Ladatte (1706-1787), an Italian sculptor with whom Piffetti frequently collaborated. The dots of darker colored wood that pepper the walnut briar veneer are not simply an element of the commode’s design; they are wooden nails that secure the veneer to the commode’s dramatically curved form, a technique invented by Piffetti and employed here for the first time. Given that Piffetti made the commode to furnish his own apartments, it may be an important example of the artisans’ experimentation with novel techniques outside of the pressures of royal patronage.
Goddess
Object type: figure
Date: 3500 – 3000
Materials: terracotta
Culture: pakistani
Subjects: indus valley,goddess
A Young Man Climbing a Hillside Aided by Cupid, from Allegory of the Misuse of Worldly Property
Object type: print
Date: 1609 – 1609
Materials: paper
Techniques: engraving
Location: netherlands
Artist: willem van swanenburgh
Artist role: print maker
Artist nationality: dutch
Artist dates: 1580 – 1612
Inscriptions: Lettered below image: "2 / Caeca Voluptatem mox ... syn lust te boeten."

This print series uses symbolic imagery to criticize the love and pursuit of worldly and material goods. A well-to-do man in a white neck ruff is repeatedly tempted by bags of gold presented to him by a blindfolded cupid and a horned demon. In the first print, the Devil sits before an easel, painting the man’s heart with images of women and jewels, while a woman ties a cord around the man’s ankle, binding him to the sin of lust. In the second, Cupid has been transformed from a symbol of pure love into one of greed as he points at bags of coins, tempting the man to climb the cliff. In the third plate, the Devil helps the man place a statue representing Hope onto the coins. Only in the final print, when the man is approached by the skeletal figure of Death, does he realize that his horde of treasure will not protect him.

The series is based on designs by Maerten van Heemskerck, known for his allegorical compositions that were intended to reinforce moral lessons.
Knip
Object type: knip
Date: 1400 – 1950
Materials: iron
Techniques: tinning
Thou Art the Brightest Jewel in My Crown
Object type: print
Techniques: relief print
Artist: thomas nast
Artist role: artist
Artist nationality: american, born germany
Artist dates: 1840 – 1902
Subjects: satire,men,crowns

Widely considered to be one of the most important American satirists of the nineteenth century, Thomas Nast was a leading cartoonist in the United States in the mid to late nineteenth century. An outspoken defender of principled politicians, Nast targeted leaders whom he deemed unethical through his biting illustrations. These works harnessed popular references that could be easily understood by a partially illiterate audience. In 1868 the United States House of Representatives resolved to impeach President Andrew Johnson for removing the secretary of war from office without the approval of the Senate—a violation of the Tenure Office Act. Johnson, whom Nast’s cartoons often adversely referred to as "King Andy," is pictured donning a fur-trimmed cloak, and his stare is fixed on a jewel-encrusted crown. The caption refers to the glimmering gem at the top of the crown inscribed "Chase." This is a reference to Chief Justice Salmon P. Chase, who was criticized for overstepping his authority when he made several unilateral rulings in Johnson’s favor without soliciting the opinions of the Senate.