deem-data/ArtiFact huggingface dataset:
Sickle Fragment
Object type: sickle, haft, adhesive
Date: 1186 – 1070
Materials: wood
Location: egypt

This object is a fragment of a wooden sickle. Ancient Egyptians used sickles such as this to harvest the grain that they made into bread and beer for daily consumption and for funerary offerings. Many tomb reliefs show sickles in use, such as in the Old Kingdom tomb of Raemkai (MMA 08.201.1) and in the New Kingdom tomb of Sennedjem (MMA 30.4.2). Sharp pieces of flint (now missing) were set into a groove on the interior of the curved part of the sickle, and held in place with an adhesive. Some of the adhesive still remains in the groove. The handle of this sickle is missing, but was originally attached with small pegs, two of which are still in place. The placement of the pegs and handle indicate that this sickle was probably made for a right-handed farmer.
Large oval box (one of a pair)
Object type: box
Date: 1775 – 1777
Materials: silver gilt
Artist: gottlieb satzger
Artist role: maker
Artist dates: 1709 – 1783
Zakdoek van batist met witwerk dat doorloopt in een rand kantborduurwerk met zigzag-patroon en rondom een rand kloskant
Object type: handkerchief
Date: 1700 – 1799
Materials: cotton, linen
Techniques: lace, embroidered, weave, embroidery
Location: europe
Artist: Anonymous

Zakdoek van naturelkleurig batist met borduurwerk - witwerk - met daaromheen een opengewerkte rand van kantborduurwerk: werk met samengetrokken draden dat vanuit het batist doorloopt en is doorgestopt. Het open naaiwerk geeft door het vierkante raster dat op een geknoopt netwerk lijkt de indruk van filetkant. Aan dit geheel is rondom een rand kloskant genaaid: Binche-kant. Vierkant model met rechte randen. Het wit op wit borduurwerk bevindt zich in een aaneengesloten patroon langs de rand van het batist en bestaat uit ijle omkrullende ranken met kleine blaadjes en clusters van drie rozetbloempjes waartussen enkele grotere bloemen staan, verschillend van vorm en met opengewerkte bloemharten. De hoeken hebben elk drie holle schulpen. Het werk met samengetrokken draden heeft een vierkant raster waarin met doorstopwerk een zigzag-patroon met roosjes is gemaakt. De zigzag wordt hier en daar onderbroken door drie geborduurde rozetbloempjes. Een brede strook achttiende eeuws kant is om het geheel genaaid, met naden bij de hoekpunten. Het kant heeft een zich herhalend patroon van een ovale bloem en een liggend pluimvormig blad. De motieven zijn gemaakt in linnenslag met opengewerkte randjes en kleine uitsparingen. Ze zijn met elkaar verbonden door een geringde sneeuwvlokkengrond. In de motieven is als siergrond een sneeuwvlokkengrond zonder ringen toegepast. De rechte randen zijn afgewerkt met picots.
Miss Lafero, from the Actresses series (N203) issued by Wm. S. Kimball & Co.
Object type: photograph
Date: 1889 – 1889
Techniques: color lithograph
Artist: william s. kimball & company
Artist role: publisher
Subjects: portraits,women,actresses

Trade cards from the "Actresses" series (N203), issued in 1889 by Wm. S. Kimball & Co.
Bottle vase with birds
Object type: vase
Date: 1899 – 1899
Materials: stoneware
Artist: r. w. martin and brothers
Artist role: maker
Artist nationality: british
Artist dates: 1873 – 1915
Subjects: birds,plants

Determined that pottery vessels should be regarded as true works of art, avant-garde ceramicists in France in the last decades of the nineteenth century transformed their craft into an intellectual and emotional endeavor. The pioneers of this revival were Jean Carriès, Ernest Chaplet, Théodore Deck, and Auguste Delaherche. These revolutionary artist-potters embraced artisanal traditions while pursuing lost techniques through exhaustive experimentation. Reacting to what they viewed as an excessive and improper use of ornament, they celebrated the simplicity and sincerity of their medium, following the tenets of the Art Nouveau style taking place in Europe. Based on the principles of the British Arts and Crafts movement, Art Nouveau artists sought to reform the decorative arts by emphasizing uniqueness and a return to craftsmanship. Artist-potters found inspiration in Asian ceramics, particularly Japanese stoneware (a hard, dense type of pottery), which was shown in 1878 at the Exposition Universelle in Paris, as well as in the forms, glazes, and techniques of Chinese porcelain and pottery. They also looked to European traditions such as the rustic salt-glazed stoneware of the sixteenth and seventeenth centuries and Gothic sculpture and architecture. In the process they created works of ceramic art that were entirely modern and new. This piece was acquired from the Robert A. Ellison Collection, renowned collector of European art pottery of the highest quality by the greatest artist-potters of the late nineteenth and early twentieth centuries, whose generous gift allows the Museum to tell the narrative of the art pottery movement in Europe.
Portret van de medicus Nicolaas Willem Rauwenhoff
Object type: print
Date: 1794 – 1828
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: book
Inscriptions: collector's mark: Lugt 2228
Portret van Johannes Plevier op 57-jarige leeftijd
Object type: print
Date: 1742 – 1761
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: middelburg, adult man, historical persons
Brooch
Object type: brooch
Date: 1900 – 1900
Materials: gemstone, enamel, gold
Culture: american
Location: united states
Artist: theodore b. starr
Artist role: artist
Artist nationality: american
Artist dates: 1837 – 1907
Subjects: human figures,harps,scarabs

This gold brooch is composed of a kneeling figure clad in Egyptian headdress, arm bands, and loincloth playing a falcon-headed harp set with an oval amethyst carved as a scarab. The figure and harp rest on a plinth supported by two coiled snakes. Green, blue, and red enamel accent the harp, figure, and snakes, and the falcon’s eye is a demantoid (green) garnet. The back of the brooch is delicately engraved with details echoing those highlighted by enamels on the front; the revers of the amethyst is engraved with hieroglyphic symbols. Stamped in incuse lettering on the back of the plinth is "T.B. Starr." Theodore B. Starr was among the most prominent and influential jewelry and silversmithing firms in New York City during the late nineteenth and early twentieth centuries. Originally in partnership with jeweler and silversmith Herman Marcus under the name of Starr & Marcus, Theodore B. Starr established his own eponymous firm in 1877. Starr’s work was regularly and enthusiastically heralded in the press. On March 18th, 1880 The Independent published an article in which "The House of Theodore B. Starr" is described as an establishment that develops "an educated demand for ‘beauty in use;’" and where one will find "his taste and his intelligence stimulated." The article goes on to state, "No more striking proof exists of the progress which, as people, we have made and are daily making, in the arts which, as the classic poet puts it, ‘soften our moral natures and forbid us to be brutal.’ The Metropolitan Museum of Art is worthy of study because it shows us what has been done in this direction in other lands and other ages. Warerooms such as those of Theodore B. Starr are not less worthy of a visit because they show us what is doing now in our own country." Such hyperbolic praise was not unusual for T.B. Starr, and the contention that the firm was producing important and artistic jewelry is supported by surviving examples of the firm’s work. This piece is a lovely example of T.B. Starr’s work in the Egyptian revival style, a taste that captured the imagination of Western jewelers and their patrons from the 1860s into the 1920s. Evoking exotic treasures unearthed from Egyptian royal tombs, jewelry adorned with such symbolic and talismanic motifs as scarabs, lotus blossoms, sphinxes, and ibises ensured protection from evil and the promise of eternal life.
Plate 7: Pluto in a niche, holding a bident, with Cerberus next to him, from a series of mythological gods and goddesses
Object type: print
Date: 1526 – 1526
Techniques: etching
Artist: giovanni jacopo caraglio
Artist role: artist
Artist nationality: italian
Artist dates: 1500 – 1565
Subjects: male nudes,dogs,pluto
Portret van Johann Lorenz Pfeiffer
Object type: print
Date: 1740 – 1740
Materials: paper
Techniques: engraving, etching
Location: germany
Subjects: historical persons, book - mm - book open
Inscriptions: collector's mark: Lugt 2228
Francesco de Medici, Prince of Tuscany
Object type: print
Date: 1634 – 1634
Materials: paper
Techniques: engraving, etching
Location: italy
Artist: stefano della bella
Artist role: artist
Artist nationality: italian
Artist dates: 1610 – 1664

This posthumous portrait of Francesco de Medici was made for his funeral book. The young prince, who was studying for a career in the military arts, fell victim to the plague at the Siege of Ratisbon in 1634, when he was only 20 years old. In this portrait, Stefano della Bella depicted Francesco as a military man—both dressed in and framed by armor and a sword—with a battle taking place in the distance. The fine line work in this print is a testament to the artist’s prowess as a printmaker, particularly the delicate rendering of the prince’s face and the background fighting.
Brief aan Philip Zilcken
Object type: letter
Date: 1891 – 1891
Materials: ink
Techniques: pen, writing
Location: haarlem
Artist: jacobus gerardus veldheer
Artist role: draughtsman, print maker
Artist dates: 1866 – 1954
Subjects: the hague, painter, philip zilcken, the graphic arts
Inscriptions: collector's mark: ‘RPK’
Landschap in de Ardennen met figuren en ezel op een houten brug
Object type: print
Date: 1821 – 1834
Materials: paper
Techniques: lithograph
Location: dordrecht
Subjects: ass, donkey, river, bridge
Inscriptions: title: ‘Vue des Ardennes’
Ruit met fragmenten van lambrequins, wapenruiten en een onderschrift "Adriaen Sticke, Heere der Stede ende vrije Heerlijckheyt van Breskens. Anno 1657"
Object type: wapenruit
Date: 1657 – 1657
Materials: glass, lead
Techniques: leading
Artist: Anonymous

Ruit met fragmenten van lambrequins, wapenruiten en een onderschrift. Samengestelde ruit met diverse wapenfragmenten. In het onderschrift: Adriaen Sticke, Heere der Stede ende vrije Heerlijckheyt van Breskens. Anno 1657.
Koning Karel II van Engeland spreekt de zittende leden van de Staten-Generaal toe, 1660
Object type: print
Date: 1660 – 1660
Materials: paper
Techniques: engraving, etching
Location: northern netherlands
Artist: anthony van zijlvelt
Artist role: print maker
Artist dates: 1637 – 1715
Subjects: london, karel ii (koning van engeland), festivities (+ speech, address ~ festive activities)

Koning Karel II van Engeland spreekt de Staten-Generaal toe, 1 juni 1660. Episode tijdens zijn rondreis door en vertrek uit de Nederlanden. Rechts de koning rechts met begeleiders zittend onder een baldakijn achter een tafel. In de lucht putti met de wapens van Holland en de koning van Engeland. De muren bekleed met landschapstaferelen.
Portret van Thomas Anton Pilgram
Object type: print
Date: 1664 – 1675
Materials: paper
Techniques: engraving
Artist: johann jakob metzger
Artist role: print maker
Subjects: adult man, historical persons, armorial bearing, heraldry
Inscriptions: collector's mark: Lugt 2228
Poortgebouw
Object type: drawing
Date: 1828 – 1828
Materials: chalk, paper, pencil
Artist: carel jacobus behr
Artist role: draughtsman
Artist dates: 1812 – 1895
Subjects: city-gate
Inscriptions: date: ‘1828’
Portret van Frederik Willem III van Pruisen
Object type: photomechanical print
Date: 1875 – 1930
Materials: paper
Techniques: photograph, snipping
Location: germany
Subjects: berlin, frederik willem iii koning van pruisen, crown (symbol of sovereignty), historical persons, (military) uniforms, king
Cairo (Egypt) Pyramid of Cheops ans Sphinx
Object type: ansichtkaart, prentbriefkaart
Date: 1895 – 1905
Materials: paper
Techniques: photograph
Location: cairo
Artist: Anonymous
Subjects: sphinx (lion/woman); 'sfinge' (ripa) - aa - female human figure, pyramid (historical grave form)

Onderdeel van Reisalbum met foto's van bezienswaardigheden in Griekenland en Egypte.
Terracotta rim fragment of a stemless? kylix (drinking cup)
Object type: kylix fragment
Date: 467 – 435
Materials: terracotta
Culture: greek, attic

Exterior, buttock and tail of satyr to right
Gezicht op de Aiguille des Grands Charmoz
Object type: stereograph
Date: 1860 – 1880
Materials: cardboard, photographic support
Techniques: albumen print
Location: savoie
Artist: ernest eléonor pierre lamy
Artist role: publisher
Artist dates: 1828 – 1900
Subjects: mountain-top, peak
Inscriptions: number: ‘38.’
Gezicht op het Governor Palace in Matanzas
Object type: photograph
Materials: paper
Techniques: platinum process
Location: matanzas
Artist: Anonymous
Subjects: public gardens, park (+ city(-scape) with figures, staffage), exterior ~ representation of a building
Pendant
Object type: pendant
Date: 1650 – 1675
Materials: diamond, gemstone, enamel, gold
Subjects: cross
Fluted Bowl with Jewelled Base
Object type: drawing and watercolor
Materials: chalk, gouache, paper, paint, watercolor
Location: belgium
Artist: giuseppe grisoni
Artist nationality: italian, born flanders
Artist dates: 1699 – 1769
Ontwerp voor een nieuw beursgebouw in Amsterdam: drie aangezichten van de gevel van ontwerp 91
Object type: book illustration
Date: 1886 – 1886
Materials: paper
Techniques: photograph
Location: amsterdam
Artist: Anonymous
Subjects: market-hall

Prent uit: Bouwkundig tijdschrift 6, deel 32 der bouwkundige bijdragen (1886), pl. 13.
Fragment of Dish
Object type: ceramic fragment
Date: 1301 – 1500
Materials: glaze, stonepaste
Techniques: painting, underglaze
Location: egypt or syria
Ronde flessenbak
Object type: wine coaster
Date: 1816 – 1819
Materials: wood, silver, velvet
Location: amsterdam
Artist: diederik lodewijk bennewitz
Artist role: silversmith
Artist dates: 1763 – 1826
Inscriptions: : ‘minervakop met A’, maker's mark: ‘DLB’, alloy mark

De flessenbak heeft een vlakke bodem met een verhoging in het midden en een opstaande naar boven uitgebogen gladde wand. Langs de onder- en de bovenzijde zijn filetranden aangebracht. Onder de bodem is een mahoniehouten klos aangebracht, waarop een rand groen fluweel is gelijmd.
Oura, Nagasaki
Object type: photograph
Date: 1865 – 1870
Materials: paper
Techniques: albumen print
Location: japan
Artist: Anonymous
Subjects: japan
The wind & the sun
Object type: print
Materials: paper
Techniques: wood engraving
Location: london
Subjects: sun represented as face, wheel, etc., winds, 'en route', traveller under way
Inscriptions: collector's mark: Lugt 2228

Prent uit: The baby's own Aesop being the fables condensed in rhyme. Londen: Routledge & Sons, 1887. Of een latere uitgave.
Briefkaart aan Philip Zilcken
Object type: postcard
Date: 1898 – 1898
Materials: cardboard, ink
Techniques: pen, writing
Location: renkum
Artist: simon moulijn
Artist role: draughtsman, print maker
Artist dates: 1866 – 1948
Subjects: painter, philip zilcken, the graphic arts, exhibition ~ art, venice
Inscriptions: collector's mark: ‘RPK’
Trade Card for Myers & Co., Designers, Engravers, Steel Plate, Lithographic & Letterpress Printers
Object type: print, trade card
Date: 1801 – 1900
Techniques: lithography
Artist: anonymous, british, 19th century
Artist role: artist
Artist nationality: british
Artist dates: 1800 – 1900
Bomen bij een rotswand
Object type: print
Date: 1817 – 1884
Materials: paper
Techniques: etching
Location: france
Artist: jean alexis achard
Artist role: print maker
Artist dates: 1807 – 1884
Subjects: trees, rocks
Inscriptions: collector's mark: Lugt 2228, inscription: ‘1er état / Premier epr. d'essai unique [?]’
Amsterdamsche Postharmonie, groepsportret
Object type: photograph
Date: 1920 – 1940
Materials: cardboard, photographic support
Techniques: gelatin silver print
Location: unknown
Artist: Anonymous
Samuel Slater, The Father of American Manufacturers (Handkerchief)
Object type: textile
Date: 1890 – 1890
Materials: cotton
Techniques: engraving, weave, printing
Location: rhode island
Artist: james provan & son's after a portrait by james sullivan lincoln
Artist nationality: american
Artist dates: 1890 – 
Subjects: propaganda
Inscriptions: "Samuel Slater the Father of American Manufacturers. / Crescit Subpondere Virtus / Pawtucket Falls and Bridge.1890. / Old Slater Sunday School Pawtucket, R.I. First Sunday School in America / David Harley & Co., Merchants Exhange Park Place and Main Street Pawtucket, R.I. / Old Slater Mill. Pawtucket, R.I. First Cotton Mill in America. / Engrved at James Provan & Sons, Prov. R.I. /  Cranston Printworks Co. Cranston, R.I. Printers."
Gezicht in Amsterdam
Object type: sketchbook leaf
Date: 1893 – 1893
Materials: chalk, paper
Location: amsterdam
Artist: george hendrik breitner
Artist role: draughtsman, painter, print maker
Artist dates: 1857 – 1923
Subjects: city-view, and landscape with man-made constructions, civic architecture; edifices; dwellings, amsterdam

Pagina 201 en pagina 202 uit een als schetsboek gebruikte agenda met 108 bladen.
Reine d'Etrurie (colorieè)
Object type: photograph
Date: 1860 – 1869
Techniques: glass negative, salted paper print
Artist: pierre-louis pierson
Artist role: artist
Artist nationality: french
Artist dates: 1822 – 1913
Subjects: portraits,women
Titelvignet voor: Johannes Isacius Pontanus, Historische beschrĳvinghe der seer wĳt beroemde coop-stadt Amsterdam, 1614
Object type: print
Date: 1614 – 1614
Materials: paper
Techniques: letterpress printing
Location: amsterdam
Subjects: globe, vignette, dog
Inscriptions: collector's mark: Lugt 2228

Titelvignet voor: Pontanus, Johannes Isacius. Historische beschrĳvinghe der seer wĳt beroemde coop-stadt Amsterdam. Amsterdam: Jodocus Hondius, 1614.
Burgonet
Object type: armor
Date: 1560 – 1560
Materials: steel
Culture: german
Location: nuremberg
Portret van Hugo de Groot
Object type: book illustration
Date: 1619 – 1619
Materials: paper
Techniques: engraving
Subjects: delft, hugo de groot, historical persons, portrait of a writer
Inscriptions: collector's mark: Lugt 240

Prent uit: Sententie, uyt-ghesproocken ende ghepronuncieert over Hugo de Groot (...). Den Haag: Hillebrant Jacobsz. van Wouw, 1619, tegenover de titelpagina.
Sleutel
Object type: key
Date: 300 – 400
Materials: bronze
Location: france

Bronzen sleutel. Ring rond , daaronder een vierkant steunstuk, waarop een Andreaskruis gegraveerd is. Stam vierkant, de baard staat daar van onderen dwars tegenaan en is zijdelings zesvoudig getand.
Puzzle Card Number 11, A "Public Man" Puzzle, from the Jokes series (N118) issued by Duke Sons & Co. to promote Honest Long Cut Tobacco
Object type: print
Date: 1890 – 1890
Techniques: color lithograph
Artist: w. duke, sons & co.
Artist role: publisher
Artist nationality: american
Artist dates: 1870 – 1920
Subjects: playing cards

Trade cards from the "Puzzles'" series (N125), issued in a numbered set of 15 cards ca. 1890 by W. Duke Sons & Co. Each card presents a puzzle to be solved on the recto and the answer to another puzzle card from the set.
Pepe Illo making the pass of the 'recorte', plate 29 from The Art of Bullfighting
Object type: print
Materials: paper
Techniques: aquatint, engraving, burnishing, drypoint, etching
Location: spain
Artist: goya (francisco de goya y lucientes)
Artist role: artist
Artist nationality: spanish
Artist dates: 1746 – 1828
Ex libris van J.T. Barrett
Object type: bookplate
Date: 1800 – 1899
Materials: paper
Techniques: etching
Artist: Anonymous
Subjects: armorial bearing, heraldry
Ingang van de Sint-Pietersberg nabij Maastricht
Object type: photograph
Date: 1880 – 1900
Materials: cardboard, photographic support
Techniques: albumen print
Location: netherlands
Artist: théodor weijnen
Artist role: fotograaf
Artist dates: 1835 – 1904
Subjects: cave, grotto

Ingang van de Sint-Pietersberg nabij Maastricht. In de opening zit een man naast een stapel mergelblokken.
Gezicht op de Amstelkerk te Amsterdam
Object type: book illustration
Date: 1723 – 1744
Materials: paper
Techniques: etching
Location: northern netherlands
Artist: adolf van der laan
Artist role: draughtsman, print maker
Artist dates: 1689 – 1742
Subjects: church (exterior), city-view, and landscape with man-made constructions (+ city(-scape) with figures, staffage)
Inscriptions: collector's mark: Lugt 1641b

Prent mogelijk uit: Leuven, Roeland van. 's Waerelds koopslot, of de Amsteldamsche beurs. Amsterdam: Jacobus Verheyde (I), 1723. Of uit: Leuven, Roeland van. 's Waerelds koopslot Of de Amsteldamse beurs. Amsterdam: Gerrit Bouman, 1730. Of uit: Gebouwen, Gezigten en Oudheden der Stad Amsterdam. Haarlem: Johannes Marshoorn, 1736. Of uit latere publicatie van 1741 of 1744.
Carriage Design (unnumbered)
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
Untitled (Half Drunk)
Object type: print
Materials: paper
Techniques: lithograph
Location: france
Artist: paul gavarni
Artist role: artist
Artist nationality: french
Artist dates: 1804 – 1866
Vier vignetten met wapenschilden
Object type: titelblad, titelpagina
Date: 1562 – 1562
Materials: paper
Techniques: engraving, etching, letterpress printing
Subjects: vignette, armorial bearing, heraldry

Vier voorstellingen op een albumblad. Bovenaan twee voorstellingen met een wapenschild, beide geflankeerd door personificaties. In het midden een wapenschild omgeven door putti. Eén van de putti steekt een model van een schip in de lucht en heeft een caduceus in de handen. De tweede blaast op een trompet en een derde staat met een trommel en een vaandel. Onderaan het titelvignet van de Parijse boekverkoper Guillaume Merlin. Drie personen bewerken het land en zorgen voor de planten van de wereld. Daarbij Vader Tijd. De prenten maken deel uit van een album.