deem-data/ArtiFact huggingface dataset:
Table et étagère
Object type: print
Date: 1885 – 1895
Materials: paper
Techniques: hand coloring, lithograph
Location: paris
Subjects: furniture for storage, table

Ieder Livraison in de serie Le Garde-Meuble bevat negen platen: drie 'sièges' (zitmeubels), drie 'meubles' (diverse meubels zoals tafels en kasten) en drie 'tentures' (gordijnen en draperieën).
Ewer of Zenobius
Object type: ewer
Materials: gilt, silver
Culture: avar or byzantine

It is unclear whether this ewer, with its Greek inscription, is actually Byzantine. Though five imperial control stamps appear on the bottom, they were in fact not struck but instead engraved to simulate genuine Byzantine stamps. The inscription may have simply been copied by an Avar craftsman from a Byzantine model. The Avars The Avars were a nomadic tribe of mounted warriors from the Eurasian steppe. The Byzantine emperor Justinian negotiated with them in the sixth century to protect the Empire’s northern border along the Black Sea. Emboldened by their subjugation of numerous tribes, they unsuccessfully attempted to seize the Empire’s capital, Constantinople. They remained a scourge of both Byzantium and the Western kingdoms until Charlemagne defeated them through a series of campaigns in the 790s and early 800s. All the money and treasure that the Avars had been years amassing was seized, and no war in which the Franks have ever engaged . . . brought them such riches and such booty. Up to that time the Avars had passed for a poor people, but so much gold and silver was found . . . that one may well think that the Franks took justly from the Avars what the Avars had formerly taken unjustly from other nations. — Einhard (ca. 770–840), biographer of the Frankish ruler Charlemagne, early 800s The Vrap Treasure Tribute payments from the Byzantine Empire and war booty provided the Avars with enormous amounts of gold and silver. Avar goldsmiths created work of exceptionally high quality and were counted among the Avars’ ruling class. This ensemble of objects, all found together in Vrap, in present-day Albania, would seem to attest to the wealth of the Avars. Why this varied group was brought together remains a mystery. Some scholars have suggested that these objects were part of a treasure belonging to an Avar chief; others have speculated that they were the materials of an Avar artist. Others question whether an Avar metalsmith made them at all and assert these objects to be the products of a provincial Byzantine artist.
Roosendaal
Object type: photograph
Date: 1867 – 1880
Materials: cardboard, paper
Techniques: albumen print
Location: amsterdam
Artist: pieter oosterhuis
Artist role: draughtsman, print maker
Artist dates: 1816 – 1885
Subjects: country-house
Inscriptions: name: ‘Phot de P. Oosterhuis Amsterdam’
Portret van Petrus Johannes Simon van Eupen
Object type: print
Date: 1790 – 1850
Materials: paper
Techniques: etching
Subjects: antwerp, historical persons
Inscriptions: collector's mark: Lugt 2228

Met vierregelig vers in het Frans uit Molières 'Tartuffe' onder het portret.
The cabinet-maker and upholsterer's drawing-book, in three parts
Date: 1793 – 1794
Location: london
Artist: thomas sheraton
Artist role: author
Artist nationality: british
Artist dates: 1751 – 1806

Sheraton published this influential pattern book in forty-two biweekly installments between 1791 and 1793. The first complete edition of the Drawing-Book was issued in two volumes in 1793 and included sixty-nine designs for furniture. Sheraton added an "Accompaniement" with fourteen plates to the second edition in 1794 and published a revised edition in 1802. The only documented evidence of the Drawing-Book in America is a copy of the first edition bearing the signature of Thomas Seymour (1771–1848), son of John Seymour, an English cabinetmaker who emigrated to Portland, Maine, in 1785, and nine years later established himself in the trade in Boston with his son as partner. A number of designs in the Drawing-Book are repeated on American furniture of the late eighteenth and early nineteenth century, including designs in Salem, New York, Philadelphia, Baltimore, and other ports in the South.
Figuurstudies
Object type: drawing
Date: 1500 – 1600
Materials: chalk, ink, paper
Techniques: pen
Subjects: the (nude) human figure; 'corpo humano' (ripa)
Gevelaanzicht van de Onze-Lieve-Vrouwekerk te Amsterdam
Object type: print
Date: 1856 – 1856
Materials: paper
Techniques: lithograph
Location: amsterdam
Subjects: roman catholic church, parts of church exterior and annexes: façade, plan ~ architecture
Inscriptions: collector's mark: ‘35-29’ Lugt 1641b

Rechtsboven genummerd: PL.IIII. Onderaan een schaalroede. Onderwerpsrubriek binnen de Atlas Amsterdam: R.K. Gemeenten: Sint Nicolaaskerk t/m Willibrordus (Rustenburgerstraat).
Strijktafel, bestaande uit een lang rechthoekig blad op twee schragen.
Object type: strijktafel
Date: 1690 – 1710
Materials: brass, wood
Location: amsterdam
Artist: Anonymous

De strijktafel bestaat uit een losliggend blad, de strijkplank, op twee driepotige schragen. Het blad is zeer gedetailleerd geconstrueerd. Om kromtrekken te voorkomen is het blad aan de onderzijde vertevigd met drie dwarsdelen, vastgezet met vier rijen van steeds dertien nagels in een strak patroon. De plank is voorzien van een witte afwerklaag. De verbindingen van de schragen zijn met houten pennen verankerd.
Begin van het Congres van Wenen, ter herordening van Europa
Object type: jeton
Date: 1814 – 1814
Materials: copper
Techniques: striking
Location: nuremberg
Subjects: vienna
The Actors Otani Oniji I as Soga no Goro and Sanogawa Ichimatsu I as the sister of Yoshinaka in the play "Fuji no Yuki Mitsugi Soga," performed at the Nakamura Theater in the first month, 1746
Object type: print
Date: 1746 – 1746
Techniques: printmaking, woodblock print
Location: japan
Artist: torii kiyonobu ii
Artist nationality: japanese
Artist dates: 1725 – 1761
Bench
Object type: bench
Date: 1740 – 1780
Materials: wood
Culture: american
Location: united states
Bottle with stopper and suspension ring, possibly intended for unguent
Object type: bottle, stopper, suspension ring
Materials: bronze, copper alloy
Location: egypt

Many artworks of the Roman Period in Egypt represent the taste of wealthy urban merchant and rich farming classes of Roman Egypt. Wide trade of luxury works is evident, and Greco-Roman style dominates. Since Egyptian pharaohs had first authorized Greek trading colonies and employed Greek mercenaries in the seventh century BC., there was a considerable Greek presence in Egypt. With Alexander's conquest, Macedonian Greek Ptolemies ruled as successors to the pharaohs, and Ptolemaic Greek and eastern Mediterranean soldiery was heavily settled in parts of Egypt. Although the Ptolemaic kings maintained traditional Egyptian religious and political forms, elite society, of mixed Greek and Egyptian descent, aspired to Greek culture in many respects. With the replacement of a Ptolemaic pharaoh in Memphis and Alexandria by a Roman emperor in Rome, the status of Greek culture and art, if anything, increased. However, multiple cultural influences were t play, and their reconciliation differed, depending on the identity of the patron and on whether personal, public, religious, or funerary purposes were in question. This small handled bottle has a stopper attached by a chain to a ring that is attached to both handle so as not to be lost. Another chain is attached to the ring ends in a larger ring. Most likely the bottle held perfumed oil or unguent to be used when visiting the public baths; the chain might have served to attach the bottle to a belt or the wrist. Public baths were introduced to Egypt under the Ptolemies and continued as a popular social practice under the Romans.
Kerkgangers
Object type: print
Date: 1929 – 1929
Materials: paper
Techniques: woodcut
Artist: dick ket
Artist role: draughtsman, print maker
Artist dates: 1902 – 1940
Subjects: bridge in city across river, canal, etc.
Inscriptions: collector's mark: Lugt 2228
Notched Ovate Bannerstone
Object type: sculpture
Date: 4800 – 4800
Location: ohio
Subjects: authority
Portret van een onbekende man met zijn armen over elkaar
Object type: carte de visite
Date: 1861 – 1871
Materials: cardboard, paper
Techniques: albumen print
Location: stockholm
Artist: jacob lundbergh
Artist role: fotograaf
Artist dates: 1828 – 1904
Subjects: adult man, historical persons
Inscriptions: inscription: ‘W5/ 050’, inscription: ‘J. LUNDBERGH/ FOTOGRAF/ Göthgatan/ No. 2. Urvädersgränd No. 2./ STOCKHOLM’, inscription: ‘[...]’
Female Lancers - or A Scene in St. James's Street
Object type: print
Materials: paper
Techniques: etching
Location: england
Artist: isaac robert cruikshank
Artist role: artist
Artist nationality: english
Artist dates: 1789 – 1856
Bowl with Medallions of Butterflies, Peonies, Chrysanthemums, Peaches, Plums and Orchids
Object type: vessel
Materials: enamel, porcelain
Techniques: overglaze, painting
Location: china
Portrait of a Man
Object type: painting
Date: 1544 – 1578
Materials: canvas, oil
Artist: giovanni battista moroni
Artist role: artist
Artist nationality: italian
Artist dates: 1524 – 1578
Subjects: helmets,men,portraits
Les Métamorphoses d'Ovide, Vol. I and II
Object type: book
Date: 1732 – 1732
Location: amsterdam
Artist: ovid
Artist role: author
Artist nationality: roman
Artist dates: 43 – 17
Pendant with lion's head
Object type: pendant in the form of a lion's head
Date: 700 – 401
Materials: gold
Culture: etruscan
Subjects: lions
Panel
Object type: panel
Date: 1501 – 1700
Techniques: embroidery
1/10 gulden van Nederlands Indië,1900
Object type: coin
Date: 1900 – 1900
Materials: copper
Techniques: striking
Location: utrecht
Artist: wilhelmina of the netherlands
Artist role: print maker
Artist dates: 1880 – 1962

Zilveren munt. Voorzijde: tussen waarde-aanduiding 1/10 G gekroond rijkswapenschild. Boven kroon landsaanduiding en onder wapenschild jaartal. Keerzijde: tweeregelig Maleis opschrift in Arabische tekens, waaromheen omschrift in het Javaans. Kartelrand.
Fotoreproductie van een gravure van De ontmoeting van Maria de'Medici en Hendrik IV in Lyon door Jean-Marc Nattier, naar het schilderij door Peter Paul Rubens
Object type: page
Materials: photographic support
Techniques: albumen print
Artist: peter paul rubens
Artist role: draughtsman, painter, print maker
Artist dates: 1577 – 1640
Subjects: print maker, maria de' medici, hendrik iv (koning van frankrijk en navarra), queen, king, lyon
“Desk with Writing Set and Plum Flowers,” from the series Ise Calendars for the Asakusa Group (Asakusa-gawa Ise goyomi)
From the Spring Rain Collection (Harusame shū), vol. 2
Object type: print
Materials: ink, paper
Techniques: surimono, woodblock print
Culture: japanese
Artist: kubo shunman
Artist role: artist
Artist nationality: japanese
Artist dates: 1757 – 1820
Subjects: animals,flowers,desks,brushes

Surimono are privately published woodblock prints, usually commissioned by individual poets or poetry groups as a form of New Year’s greeting card. The poems, most commonly kyōka (witty thirty-one-syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images. This album forms part of a set of three containing more than four hundred surimono. The prints are arranged on facing leaves according to themes or in a way that creates an attractive arrangement of designs, complementary in both color and shape. The printing techniques, pigments, and paper used for surimono were often the highest quality, and represent the epitome of late Edo-period woodblock printing.
Notities over jachtopziener Ad Sebel
Object type: sketchbook leaf
Date: 1864 – 1864
Materials: paper, pencil
Location: capelle aan den ijssel
Artist: johannes tavenraat
Artist role: draughtsman, painter, print maker
Artist dates: 1809 – 1881
Inscriptions: date and inscription: ‘[...]’

Sebel was jachtopziener van het jachthuis Sneppenschrik bij Capelle aan den IJssel.
Portret van Stefanus van Engeland
Object type: book illustration
Date: 1701 – 1788
Materials: paper
Techniques: engraving, etching
Location: london
Subjects: historical persons, king
Inscriptions: collector's mark: Lugt 2228

Prent uit: Hume, David. History of England (...). Londen: Thomas Cadell, 1789, dl. 1, p. 348.
Witte doopjurk met witwerk
Object type: doopjurk
Date: 1910 – 1940
Materials: textile
Techniques: lace, embroidery
Location: europe
Artist: Anonymous

De doopjurk heeft een rechte zoom met daarboven vijf oprijgjes. Aan de uiteinden van de mouwen een geschulpte strook Valenciennes-kant. Aan de achterzijde bij de hals sluit de jurk met drie ronde witte knopen.
Mindless Ballad (Stumpfsinnige Ballade)
Object type: print
Date: 1911 – 1911
Techniques: lithograph
Artist: moriz jung
Artist role: artist
Artist nationality: austrian
Artist dates: 1885 – 1915
Subjects: swords,men
Bowl
Object type: bowl
Date: 1701 – 1800
Materials: glaze, porcelain
Culture: chinese
Theo, from the Actresses series (N668)
Object type: photograph
Date: 1888 – 1888
Techniques: albumen silver print
Subjects: portraits,women,actresses

Trade cards from the "Actresses" series (N668), issued ca. 1888. The publisher is unknown.
Afternoon dress
Object type: afternoon dress
Date: 1875 – 1875
Materials: silk
Culture: french
Artist: house of worth
Artist role: design house
Artist nationality: french
Artist dates: 1858 – 1956

The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette. Charles Frederick Worth was born in England and spent his young adulthood working for textile merchants in London while researching art history at museums. In 1845 he moved to Paris and worked as a salesman and a dressmaker before partnering with Otto Bobergh to open the dressmaking shop, Worth and Bobergh, in 1858. They were soon recognized by royalty and major success followed. In 1870 Worth became the sole proprietor of the business. At his shop, Worth fashioned completed creations which he then showed to clients on live models. Clients could then order their favorites according to their own specifications. This method is the origin of haute couture. Worth designed gowns which were works of art that implemented a perfect play of colors and textures created by meticulously chosen textiles and trims. The sheer volume of the textiles he employed on each dress is testimony to his respect and support of the textile industry. Worth's creative output maintained its standard and popularity throughout his life. The business continued under the direction of his sons, grandsons and great-grandsons through the first half of the twentieth century.
Brief aan Willem Bogtman
Object type: letter
Materials: paper, pencil
Techniques: writing
Location: leiden
Artist: richard nicolaüs roland holst
Artist dates: 1868 – 1938
Subjects: amsterdam, print maker, pieter hendrik van moerkerken, haarlem, willem bogtman, drawing, sketch, drawing, applied arts, arts and crafts; industrial design, photography, cinematography, education, tuition of the artist (in general), exhibition ~ art, money
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 500 – 480
Materials: terracotta
Culture: greek, attic

Interior, buttock and thigh of male?; part of an inscription, KALOS
Portret van Franciscus Ferdinandus de Serponte et Bregaziis
Object type: print
Date: 1638 – 1693
Materials: paper
Techniques: engraving
Subjects: historical persons, lawyer, attorney at law, portrait of a writer
Inscriptions: collector's mark: Lugt 2228
The Annunciation, from The Life of the Virgin
Object type: print
Materials: paper
Techniques: etching
Location: france
Artist: jacques callot
Artist role: artist
Artist nationality: french
Artist dates: 1592 – 1635
Subjects: crowns, christian subjects, mythology, prints and drawings, virgin mary
Chimneypiece: Affronted griffons on the lintel and candelabra on the jambs (Ch. accompagnée de son plan et décorée d'une frise de griffons), from Diverse Maniere d'adornare i cammini ed ogni altra parte degli edifizi...(Different Ways of ornamenting chimneypieces and all other parts of houses)
Object type: print ornament architecture
Date: 1769 – 1769
Techniques: etching
Artist: giovanni battista piranesi
Artist role: artist
Artist nationality: italian
Artist dates: 1720 – 1778
Subjects: fireplaces,griffins,fire

Although Giovanni Battista Piranesi is best known for his capricious, often ruinous landscape compositions, architecture and interior design formed an important part of his theoretic and artistic life’s work. In 1769 he published his print series ‘Diverse Maniere (…)’ in which he presented designs for chimneypieces and other parts of the interior executed in Egyptian, Etruscan, Greek and Tuscan Style. The 67 etched plates in this series are preceded by an apologia by the artist in which he describes his views on contemporary design. The prints of chimneypieces play a crucial role in his argument. Because they did not exist in this form in Antiquity, to Piranesi they perfectly illustrated how the Antique could be adapted to fit the needs of modern society. The imaginative compositions in Piranesi’s print series did not just represent capricious ideas however, but in some cases show works which were executed in Roman palaces and public buildings during the 1760s.
The Sawhorse, plate 12 from Imaginary Prisons
Object type: print
Date: 1761 – 1761
Materials: paper
Techniques: engraving, etching
Location: italy
Artist: giovanni battista piranesi
Artist role: artist
Artist nationality: italian
Artist dates: 1720 – 1778
Domus Augustiana, cornice, elevation in profile, ornamental detailing (recto) Unidentified, cornice, elevation in profile, ornamental detailing (verso)
Object type: collection ornament architecture
Materials: chalk, ink
Techniques: incising
Artist: anonymous, french, 16th century
Artist role: draftsman
Artist nationality: french
Artist dates: 1500 – 1600
Subjects: ornament
[William Calder Marshall]
Object type: carte de visite
Date: 1860 – 1869
Techniques: albumen silver print
Artist: john and charles watkins
Artist role: photography studio
Artist nationality: british
Artist dates: 1840 – 1875
Subjects: men,portraits
Dancer with a Fan
Object type: drawing
Date: 1890 – 1895
Materials: charcoal, pastel, paper
Artist: edgar degas
Artist role: artist
Artist nationality: french
Artist dates: 1834 – 1917
Subjects: fans,women,dancers,ballet
Wrakhout
Object type: print
Date: 1914 – 1914
Materials: paper
Techniques: drypoint, intaglio
Artist: wijnand otto jan nieuwenkamp
Artist role: draughtsman, print maker
Artist dates: 1874 – 1950
Subjects: parts of ship's exterior
Inscriptions: collector's mark: Lugt 2233
Portion of Chasuble Back
Object type: textile
Date: 1567 – 1633
Materials: fiber, gilt, metal, silk
Techniques: embroidery, treatment, embroidered, patterning, weave
Location: italy
Subjects: crosses, chevrons, botanical/floral
Kraan van zilver
Object type: spigot
Date: 1675 – 1700
Materials: silver
Location: amsterdam
Artist: Anonymous

Kraan van zilver met open-dicht draaibare stop en ringvormig handvat.
Sauceboat tray (part of a service)
Object type: sauceboat tray
Date: 1770 – 1785
Materials: hard paste porcelain
Vissersboten in de branding
Object type: drawing
Date: 1834 – 1893
Materials: paper, pencil
Artist: willem anthonie van deventer
Artist role: draughtsman, painter, print maker
Artist dates: 1824 – 1893
Subjects: sailing-ship, sailing-boat, beach
Lijst en een ornament
Object type: sketchbook leaf
Date: 1858 – 1858
Materials: paper, pencil
Artist: maria vos
Artist role: draughtsman, painter, print maker
Artist dates: 1824 – 1906
Subjects: frame of painting, etc.

Blad 9 verso uit een schetsboek met 19 bladen.
Der Antiquar
Object type: print
Date: 1900 – 1925
Materials: paper
Techniques: lithograph
Artist: monogrammist gk (prentmaker
Artist role: print maker
Subjects: heating stove, shop-window, show-window, book-shop, bookseller
Inscriptions: collector's mark: Lugt 4780

Een boekhandelaar zit op een stoel in zijn antiquariaat met een prent in zijn handen. Door de etalage kijken mensen naar binnen. Op de voorgrond staat een kachel.
Ontwerp voor een venster en een ornament met bladeren
Object type: album leaf
Date: 1876 – 1924
Materials: chalk, ink, paper
Techniques: pen
Artist: gerrit willem dijsselhof
Artist role: designer, draughtsman, print maker
Artist dates: 1866 – 1924
Subjects: window, foliage, tendrils, branches ~ ornament

Blad 5 recto uit een album met 17 bladen.
Stomme Passie
Object type: print
Date: 1530 – 1530
Materials: paper
Techniques: hand coloring
Location: amsterdam
Artist: doen pietersz.
Artist role: publisher
Subjects: ornaments ~ art, david (not in biblical context); possible attributes: crown, harp, book in which illustrations are essential, moses (not in biblical context); possible attributes: rays of light or horns on his head, rod, tables of the law

Bovenaan drie figuren uit het Oude Testament. Links een man met zwaard en ezel (Bileam?), in het midden Mozes met de tafelen der wet en rechts koning David met de harp. Links en rechts van de omlijsting met de titel zuilen. Onderaan tonen twee putti een wapenschild met het drukkersmerk van Doen Pietersz.. Prent maakt deel uit van een boek.
The university
Object type: photomechanical print
Date: 1870 – 1882
Materials: paper
Techniques: photograph
Artist: Anonymous
Subjects: university, façade (of house or building)

Boven een gezicht op de universiteit van Parramatta, onder een gezicht op een museum te Parramatta.
Kous, paar, gebreid met geschulpte bovenrand, versierd met slingers en reliëf tussen opengebreide banden
Object type: stocking
Date: 1880 – 1900
Materials: cotton
Techniques: knitting
Location: netherlands
Artist: Anonymous

Kous van effen gebreide witte katoen met een sierboord van verticale banen in een dubbele helixpatroon, afgewisseld met ajour banen. Naad middenachter. Ingebreid de initialen: 'MTB'. Voorzien van versierde geschulpte bovenrand, met slingers en reliëf tussen opengebreide banden.
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 490 – 480
Materials: terracotta
Culture: greek, attic

Interior, wreathed youth to right, holding a slipper in his right hand; head and part of upper torso, and bent right arm of filleted woman to left; Obverse, lower back, bit of right thigh, and left buttock and leg of male with a chlamys, to left; genitals and legs of a male with a chlamys, to left; start of handle root; Reverse, lower legs of a male to right; right buttock, thigh, and calf, and left calf and foot of male to right
Lamp
Object type: lamp
Materials: copper alloy
Location: egypt