deem-data/ArtiFact huggingface dataset:
Kaert, ofte Voyagie, Van Jacob le Maire, bewijst VE. in wat manieren den voorsz Jacob le Maire, door een nieuwe Straet, de Zuyt-zee ghepasseert is, tot in Indien
Object type: print
Date: 1617 – 1619
Materials: paper
Techniques: engraving, etching
Location: northern netherlands
Artist: Anonymous
Subjects: antwerp, maps of separate countries or regions, landscapes in polar regions, exploration, expedition, voyage of discovery

Oorspronkelijke illustraties eerst gebruikt in: Willem Cornelisz Schouten, Iovrnael ofte beschryvinghe van de wonderlijcke reyse, ghedaen door Willem Cornelisz Schouten van Hoorn, inde iaren 1615. 1616. en 1617, Willem Jansz Blaeu, Amsterdam, 1618. Kopieën naar deze platen gebruikt in: J. van Spilbergen, Oost ende West-Indische spiegel der 2 leste navigatiën, ghedaen inden jaeren 1614, 15, 16, 17, ende 18. daer in vertoont woort, in wat gestalt Ioris van Speilbergen door de Magellanes de werelt rontom geseylt heeft ...; met de Australische navigatiën, van Iacob le Maire, ... met veel wonders ... in 26 coperen platen afghebeelt, N. Geelkerck, Leiden 1619. Later opnieuw gebruikt in : I. Commelin, Begin ende voortgangh, van de Vereenighde Nederlantsche Geoctroyeerde Oost-Indische Compagnie, J. Janssonius, Amsterdam 1646. Genummerd: No. 23.
Vase with Buddhist figures
Object type: vase
Date: 1667 – 1700
Materials: cobalt, copper, porcelain
Techniques: painting, underglaze
Culture: chinese
Subjects: men,dragons,tigers

By the seventeenth century, traditional Buddhist themes were common both in literati paintings and in the decorative arts. The holy men depicted here are arhats (luohans), Buddha’s disciples. One tussles with a snarling tiger, another calls a roaring dragon, and the third has a cane and a straw hat. Probably copied from a woodblock print, these figures represent stock figures rather than specific individuals.
Cylinder seal and modern impression: worshiper and the sun god; king; bull-man and a lion-man
Object type: cylinder seal
Date: 1800 – 1701
Materials: mineral
Culture: babylonian
Location: mesopotamia or syria

Although engraved stones had been used as early as the seventh millennium B.C. to stamp impressions in clay, the invention in the fourth millennium B.C. of carved cylinders that could be rolled over clay allowed the development of more complex seal designs. These cylinder seals, first used in Mesopotamia, served as a mark of ownership or identification. Seals were either impressed on lumps of clay that were used to close jars, doors, and baskets, or they were rolled onto clay tablets that recorded information about commercial or legal transactions. The seals were often made of precious stones. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery no longer extant in any other medium, they serve as a visual chronicle of style and iconography. The modern impression of the seal is shown so that the entire design can be seen. This seal shows a series of standing figures. A bearded male figure wearing a high domed headdress stands behind a wrestling lion-man and bull-man. A bearded worshipper offers a horned animal before a deity wearing a horned headdress. The deity holds a saw in his right hand, identifying him as Shamash, the sun god, who wields a saw to carve his passage through the eastern mountains every morning. A number of objects are arranged in the empty spaces of the pictorial field including a recumbent ram, walking bull, fish, turtle(?), fly, lion, and a grotesque frontal head identified as that of the demon Humbaba.
Left foot
Object type: sculptor's model votive, foot, left
Date: 400 – 30
Materials: limestone
Location: egypt
Subjects: feet

Small Late Period and Ptolemaic reliefs or sculptures that depict a subject in a partial or unfinished way but are themselves finished objects constitute a special class of object. Guidelines like those for artists are often prominently exhibited as part of the object, although, in fact, many instances can be noted where the object simply could not serve as a suitable model for a traditional formal Egyptian representation. Personifications of kingship, figures that may represent the now emerging demigods Imhotep and Amenhotep Son of Hapu, and popular gods like Harpokrates or Isis, are heavily represented within the corpus. Taken together, the figures represented and the other features indicate the reliefs and sculptures of this class, sometimes called by Egyptologists "sculptor’s models / votives," were the material of a donation practice, perhaps connected with the prolific temple building of these centuries. Unfortunately there is little to illuminate us about the mechanics of such a donation practice. This sculpture of a foot belongs to a group that seem to focus on elements that are characteristic of pharaonic sculpture. Here the foot of a forward striding left leg is depicted, although the support panel that would appear behind it in an actual stone sculpture is omitted.
Saint Anthony Abbot from an Augustinian altarpiece
Object type: painting
Date: 1450 – 1475
Materials: oil, panel, paint, wood
Techniques: painting
Culture: venetian
Location: venice
Subjects: saints, altar, christian subjects, christianity, religion, religious, religious attire, religious figures, religious scenes, bearded man, book, bibles, man
Ruiterportret van keizer Frans I Stefan
Object type: print
Date: 1729 – 1750
Materials: paper
Techniques: engraving, etching
Artist: Anonymous
Subjects: frans i stefan (duits keizer), riding a horse, ass, or mule; rider, horseman, historical persons, hacking and thrusting weapons: sword, emperor
Landschap met een lege hooiberg
Object type: print
Date: 1851 – 1851
Materials: paper
Techniques: etching
Location: leiden
Artist: jacobus ludovicus cornet
Artist role: draughtsman, print maker
Artist dates: 1815 – 1882
Subjects: hay-stack, prospect of city, town panorama, silhouette of city
Inscriptions: collector's mark: Lugt 2228

Landschap met een lege hooiberg. Op de voorgrond een brug over een beekje. Op de achtergrond de contouren van een stad.
Gezicht op de twee Blokhuizen in de Amstel
Object type: print
Date: 1752 – 1789
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: rowing-boat, canoe, etc., fortifications, military engineering, canals, waters (in city), windmill
Inscriptions: collector's mark: Lugt 1641b

Gezicht op de twee Blokhuizen in de Amstel buiten Amsterdam, gebouwd ter verdediging van de stad na de mislukte aanslag door Willem II op Amsterdam op 30 juli 1650. Nadat ze in 1651 waren voltooid werden ze in juli 1654 alweer afgebroken. Onderwerpsrubriek binnen de Atlas Amsterdam: Vestingwerken: Bolwerken - Rondeel - Wachttorens - Blokhuizen - Kazematten - Ontwerpen Kostuum Alva.
Gezicht op Texel bij het Nieuwe Veer
Object type: print
Date: 1781 – 1787
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: coat of arms (as symbol of the state, etc.), coat of arms (as symbol of the state, etc.) (+ city; municipal), ships (in general)

Latere staat ook gebruikt in: Aa, Cornelis van der. Atlas van de zeehavens der Bataafsche Republiek. Met derzelver beschrijvingen in XXXI kunstplaaten / Atlas van de zeehavens der Bataafsche Republiek, die van Batavia en Onrust. Mitsgaders de afbeeldingen van de haringvisscherij en de walvischvangst […]. Amsterdam: Evert Maaskamp, 1805.
Design for Vis-à-vis, no. 857
Object type: drawing
Date: 1850 – 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
Spring Blossoms, Montclair, New Jersey
Object type: painting
Date: 1891 – 1891
Materials: canvas, charcoal, crayon, oil
Culture: american
Artist: george inness
Artist role: artist
Artist nationality: american
Artist dates: 1825 – 1894
Subjects: landscapes,trees,spring

George Inness, who began his career painting in the Hudson River School mode, embraced a variety of styles throughout his long career. Exposure to the work of French Barbizon artists as well as to the pantheistic philosophy of Swedish scientist and theologian Emanuel Swedenborg led him to develop a more personal approach to painting. Inness’s later landscapes, such as this work, grew increasingly expressive and atmospheric. By the 1880s, a younger generation of European-trained artists—whose work was informed by the French Barbizon and Impressionist painters as well as by the Aestheticism of James McNeill Whistler—celebrated Inness as an American Original.
Portret van William Spottiswoode
Object type: print
Date: 1883 – 1883
Materials: paper
Techniques: engraving
Location: london
Subjects: london, physicist, historical persons, mathematics (+ portrait of scholar, scientist)
Titelpagina voor: S. Bochart, Opera Omnia, 1692
Object type: print
Date: 1692 – 1692
Materials: paper
Techniques: engraving, etching
Location: utrecht
Subjects: adam naming the animals, the tower of babel
Inscriptions: collector's mark: Lugt 2228

Adam, gezeten onder een boom, geeft de dieren hun namen. Op de inzet bovenaan een stad met een toren, vermoedelijk Babel, met op de voorgrond een man onder een boom. Titelpagina voor de verzamelde werken van theoloog en taalkundige Samuel Bochart.
Harp
Object type: harp
Date: 1780 – 1780
Materials: wood
Techniques: gilding
Location: france
Artist: Anonymous
April / Avril
Object type: print
Date: 1781 – 1781
Techniques: hand coloring, mezzotint
Artist: richard earlom
Artist role: engraver
Artist nationality: british
Artist dates: 1743 – 1822
Subjects: women
Combat entre les Fregates Hollandaises le Castor, Capitaine P. Melvill et la Briele Capitaine G. Oorthuis; et les Fregates Anglaises (...) Cap. St. Marie
Object type: print
Date: 1782 – 1790
Materials: paper
Techniques: engraving, etching
Location: rotterdam
Subjects: dordrecht, the hague, naval officer, pieter melvill van carnbee, rotterdam, gerardus oorthuys, battle (+ naval force)
Inscriptions: collector's mark: Lugt 2228

Zeegevecht bij Cadiz tussen twee Nederlandse fregatten Castor en Den Briel en twee Engelse fregatten Flora en Crescent, 30 mei 1781. In de marge de titel in het Frans. Onderdeel van een serie van vier platen van zeeslagen in het jaar 1781.
Shukongojin
Object type: sculpture
Materials: wood
Techniques: polychromy
Location: japan

Known also as the Thunderbolt Deity, this fierce protector of the Law of Buddhism brandishes a vajra that symbolizes the power of wisdom to penetrate ignorance and destroy evil. Shukongo-jin belongs to the same category of gods as the paired guardians (nio) often placed on either side of the gateways to Buddhist temples.

Because Shukongo-jin was not intended to blend into a sculptural ensemble, artists frequently used the opportunity to portray him as an occasion for eccentric and exaggerated effects. This figure, for example, is comparatively small, but it still conveys the threat of explosive force appropriate to the deity’s role. He stands surrounded by churning waves, while a divine wind blows his garments about and fuels the flames that are his hair. The hyperrealism of his chiseled muscles and bulging veins is a characteristic feature of Japanese sculpture of this era.
Dwaasheid van het menselijke leven
Object type: print
Date: 1556 – 1556
Materials: paper
Techniques: engraving, etching
Location: haarlem
Subjects: children's games and plays, (story of) bacchus (dionysus), liber, fool, simpleton, numskull, christ in agony waiting to be crucified; he is sitting on or near the cross or on a stone, 'christus im elend', 'christus in der rast', scales, proverbs, sayings, etc.
Inscriptions: collector's mark: Lugt 2228

Een zot trekt met beide handen aan een enorme weegschaal, die door de hemel wordt opgehouden. Hij kiest de kant van de weegschaal waar Bacchus op zit. De god van de wijn heft een wijnglas omhoog en zit op een wijnton. Christus, met doornenkroon en kruis, zit aan de andere kant van de weegschaal. Die laat de zot schieten. Naast hem twee kinderen. Een speelt met een stokpaard, de andere met poppen. De prent valt te interpreteren als een allusie op het leven van de mens. Hij zal na zijn kinderjaren moeten kiezen tussen vroomheid en aardse lusten. De prent heeft een Nederlands en Latijns onderschrift.
Portret van een onbekende man
Object type: print
Date: 1820 – 1870
Materials: paper
Techniques: lithograph
Location: eastern europe
Artist: Anonymous
Subjects: adult man, historical persons
Inscriptions: collector's mark: Lugt 2228, inscription
Madonna in Glory with Two Saints
Object type: drawing
Date: 1567 – 1600
Materials: ink
Techniques: brush, highlighting, pen, wash
Artist: anonymous, italian, late 16th century
Artist role: artist
Artist nationality: italian
Artist dates: 1550 – 1600
Subjects: animals,angels,madonna and child,saints
Icones variarum navium Hollandicarum quarum usus maximè in aquis interioribus regionis
Object type: print
Date: 1677 – 1702
Materials: paper
Techniques: engraving, etching
Location: low countries
Subjects: sailing-ship, sailing-boat
Inscriptions: collector's mark: Lugt 2228

Enkele Friese veerschepen op een woelige zee.
Desakh raginii
Object type: indian miniature
Date: 1700 – 1800
Materials: paper
Techniques: brush
Location: jaipur
Artist: Anonymous
Inscriptions: inscription
Double Bat-Head Figure Pendant
Object type: pendant
Date: 1201 – 1600
Materials: gold
Techniques: casting
Culture: diquís
Location: costa rica
Venus, or the Bath
Object type: print
Materials: watercolor
Techniques: aquatint
Artist: joseph constantine stadler
Artist role: artist
Artist nationality: german
Artist dates: 1780 – 1822
Subjects: female nudes,venus
Korenmolenaarsgilde van Amsterdam, gildepenning van Jacob Cornelis
Object type: medal
Date: 1776 – 1776
Materials: brass
Techniques: engraving
Location: amsterdam
Artist: Anonymous
Subjects: jacob cornelis

Messing penning. Voorzijde: korenmolen. Keerzijde: opschrift
Korporaal en Fuselier van het Algemeen Depôt der Landmagt
Object type: print
Date: 1823 – 1823
Materials: paper
Techniques: engraving, etching, hand coloring
Location: netherlands
Subjects: (military) uniforms

Een Nederlandse korporaal en fuselier van het Algemeen Depot van de Landmacht. Met gekruiste geweren. Plaat 23. Uniformvoorstelling in 'Beschrijving hoedanig de Koninklijke Nederlandsche troepen' van J.F. Teupken, 1823.
VOC, duit Holland, 1753
Object type: coin
Date: 1753 – 1753
Materials: copper
Techniques: striking
Location: dordrecht

Koperen munt. Voorzijde: gekroond wapenschild van Holland. Keerzijde: monogram van de VOC, waarboven muntteken en waaronder jaartal. Gladde rand.
Ex libris van F.L.P.
Object type: bookplate
Date: 1957 – 1957
Materials: paper
Techniques: printing block
Location: portugal
Subjects: portrait of a writer, book
Inscriptions: date
Portret van Pruisische generaal Gebhard Leberecht von Blücher vorst van Wahlstatt
Object type: print
Date: 1800 – 1821
Materials: paper
Techniques: etching
Location: zutphen
Subjects: rostock, generaal, gebhard leberecht von blücher von wahlstatt
Inscriptions: collector's mark: Lugt 2228
Oorspronkelijke verpakking kastanje Anne Frank boom
Object type: box
Date: 2010 – 2010
Materials: cardboard
Techniques: printing
Location: netherlands
Subjects: anne frank

Kartonnen doosje dat dient als verpakking van de verschillende onderdelen van het herinneringsobject van de Anne Frankboom. Aan de buitenkant in zwart, grijstinten en groen bedrukt met afbeeldingen en teksten die toelichting op het object geven.
Twee beren, waarvan één gevild, in een landschap met bovenaan op een blad de organen en botten van het dier
Object type: book illustration
Date: 1669 – 1669
Materials: ink, paper
Techniques: engraving, etching, pen
Location: paris
Subjects: dissection, beasts of prey, predatory animals: bear (+ anatomy of animals), beasts of prey, predatory animals: bear
Inscriptions: inscription: ‘L'Ours.’

Prent uit: Perrault, Claude. Description anatomique d'un cameleon, d'un castor, d'un dromadaire, d'un ours et d'une gazelle. Parijs: Frédéric Léonard, 1669.
A peasant woman, standing in center facing right, carrying one basket on her head and another in her right arm, another peasant woman on a donkey and a figure on foot to left in the background, from "Various figures and lands" (Diverse figure e paesi)
Object type: print
Date: 1649 – 1649
Techniques: etching
Artist: stefano della bella
Artist role: artist
Artist nationality: italian
Artist dates: 1610 – 1664
Subjects: women
Portret van Guillermo Robazoglio da Casale, 32ste Minister Generaal van de franciscaner orde
Object type: print
Date: 1710 – 1738
Materials: paper
Techniques: engraving
Location: italy
Artist: antonio luciani
Artist role: print maker
Artist dates: 1700 – 1738
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2228

Deze prent maakt deel uit van een groep van 60 portretten.
Portret van Pierre Jean Mariette, prentverzamelaar en -handelaar te Parijs
Object type: print
Date: 1765 – 1765
Materials: paper
Techniques: etching
Subjects: paris, print maker, pierre jean mariette
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 4779
Design for a Cassone.  Verso, Design for a Cabinet Door or Cassone Lid
Object type: drawing
Date: 1600 – 1600
Materials: ink
Techniques: pen, wash
Artist: anonymous, italian, 17th century
Artist role: artist
Artist nationality: italian
Artist dates: 1600 – 1700
Subjects: chests
Man and Child (from McGuire Scrapbook)
Object type: watercolor
Date: 1811 – 1885
Materials: gouache, gum arabic, watercolor, paper
Culture: american
Artist: william page
Artist role: artist
Artist nationality: american
Artist dates: 1811 – 1885
Subjects: girls,men

In 1850 Page traveled to Italy and remained there for a decade. There, he became infatuated with the Venetian Renaissance masters--particularly Titian--and attempted to emulate their technique. Page’s layering of pigments in this diminutive rendering of a man and a child reflects his interest in Titian’s method of achieving luminosity in his paintings. By loosely applying small strokes of watercolor Page created a sense of informality appropriate to the scale of the work, which has the intimacy of portraits rendered in miniature. The artist’s difficulty in depicting the ﬂesh tones is suggested by the amount of scraping that appears on the faces, but he attended carefully to the details of the upholstery and costumes, both of which contribute to the charm and appealing sentimentality of this closely observed domestic portrait.
Man in kostuum tijdens de Oud-Hollandse feesten te Leiden
Object type: ansichtkaart, prentbriefkaart
Date: 1908 – 1908
Materials: cardboard
Techniques: photograph
Location: haarlem
Artist: Anonymous
Subjects: dress-up party, armour, casting weapons: spear, festivities, historical persons (portraits and scenes from the life), leiden
Inscriptions: date
Karikatuur van een schietende man
Object type: print
Date: 1620 – 1687
Materials: paper
Techniques: etching
Location: france
Subjects: caricatures (human types), adult man, firearms: rifle
Inscriptions: collector's mark: Lugt 240
Samson en Delila
Object type: drawing
Date: 1669 – 1722
Materials: chalk, paper
Artist: adriaen van der werff
Artist role: draughtsman, painter, print maker
Artist dates: 1659 – 1722
Subjects: samson asleep in delilah's lap; she is usually shown beckoning to a philistine or putting a finger to her lips