deem-data/ArtiFact huggingface dataset:
Valentine - Mechanical bouquet, holidays, wedding
Object type: valentine
Date: 1875 – 1875
Materials: silver, thread
Techniques: chromolithography, cutting
Artist: anonymous, british, 19th century
Artist role: artist
Artist nationality: british
Artist dates: 1800 – 1900
Subjects: flowers
Terracotta bird-shaped vase
Object type: askos in the form of a bird
Date: 850 – 750
Materials: terracotta
Culture: cypriot
Subjects: birds
De Buitengewoone Hollandsze Weeklyksze Nieuws-Vertelder. No. 10. 1760.
Object type: print
Date: 1760 – 1760
Materials: paper
Techniques: printing, letterpress printing
Location: amsterdam
Subjects: carolina (prinses van oranje-nassau), karel christiaan vorst van nassau-weilburg, apollo and the muses, apollo musagetes

Blad met een gedrukte beschrijving van het huwelijk van Karel Christiaan van Nassau-Weilburg met prinses Carolina in de Grote Kerk te Den Haag op 5 maart 1760. Tekst beginnend met een gedecoreerde inititaal A in een decoratieve rand met bladeren, bovenaan een vignet met Apollo en de Muzen op de Parnassus.
Plate from "The Set of Sheep"
Object type: print
Date: 1635 – 1683
Techniques: etching
Artist: nicolaes pietersz berchem
Artist role: artist
Artist nationality: dutch
Artist dates: 1620 – 1683
Subjects: sheep
Trinket Box
Object type: trinket box
Date: 1830 – 1870
Materials: porcelain
Culture: american
Location: united states
Subjects: children
Kerk in het dorp Wijngaarden, Alblasserwaard
Object type: drawing
Date: 1701 – 1759
Materials: ink, paper, pencil
Techniques: pen
Artist: cornelis pronk
Artist role: draughtsman, painter
Artist dates: 1691 – 1759
Subjects: church (exterior), founding a village
Inscriptions: inscription: ‘Wyngaarde, / (alblasserwaard)’
Coat
Object type: coat
Date: 1790 – 1799
Materials: silk
Culture: french

This young man’s tailcoat, with its high turned-down collar, narrow back, and wide lapels, exemplifies the exaggerated silhouette fashionable in post-revolutionary France. Striped textiles, modish from the 1760s, were ubiquitous in the dress of both sexes by the end of the century. In menswear, stripes served as a decorative substitute for the ornate, polychrome embroidery of earlier suits. The trend reflects the influence of Orientalism and neoclassical taste; in earlier centuries, stripes had pejorative connotations in the West and were associated with the clothing of socially marginalized groups.
Still Life with Combs
Object type: surimono
Date: 1820 – 1820
Materials: paper
Techniques: woodcut
Location: japan
Artist: kubota shunman
Artist role: print maker
Artist dates: 1757 – 1820
Subjects: comb, brush and other tools (care of the hair), still life of miscellaneous objects

Looking closely at this print, you can see just how cleverly it is made. The woodcutter and the printer ensured that you can discern exactly what kind of material the hair accessories are made of. In the foreground is an ebony comb inlaid with ivory cherry blossom; behind it is a transparent tortoiseshell comb; and below that a black lacquer comb and an ivory hairpin.
[Photo Collage: Man Holding Bag Inscribed "DOTE"]
Object type: carte de visite
Date: 1875 – 1875
Techniques: albumen silver print, lithograph
Artist: juan pedro chabalgoity
Artist role: artist
Artist nationality: uruguayan
Artist dates: 1848 – 1909

The carte de visite, a format comprised of an approximately 2 x 4 inch photograph mounted to card stock, was perhaps the most ubiquitous of nineteenth-century photographs. The French studio portrait photographer André-Adolphe-Eugène Disdéri first patented the carte in 1854. His innovation of exposing not just one but eight photographic images on the same glass plate negative enabled cartes to be made cheaply and reproduced on a mass scale. During the late 1850s and throughout the latter half of the century, these economical keepsakes depicting portraits of loved ones, celebrities, monarchs, and foreign types circulated en masse and spurred a veritable "cartomania." Collected in albums, traded among friends, and admired in drawing rooms, cartes put photography in the hands of virtually everyone, and thus offered a means of reflecting upon one’s own social standing in an ever-expanding world.
Portret van Karel de Grote
Object type: print
Date: 1730 – 1802
Materials: paper
Techniques: engraving
Artist: johann christian gottfried fritzsch
Artist role: print maker
Artist dates: 1720 – 1802
Subjects: charlemagne (holy roman emperor), crown (symbol of sovereignty), historical persons, ruler, sovereign
Inscriptions: collector's mark: Lugt 2228
Walking Elephant with Floral Caparison
Object type: decorative art
Date: 1601 – 1700
Materials: ivory
Location: deccan
Subjects: animals
Fragment of a votive bracelet
Object type: votive bracelet
Date: 1295 – 1070
Materials: faience
Location: egypt

During the winter of 1904-1905, archaeologist William Matthew Flinders Petrie undertook a survey of archaeological sites in the Sinai, including the Temple to Hathor as Mistress of the Turquoise Mines at Serabit el-Khadim. Covering the floor of the sanctuary and its portico, and extending several feet north, was a 2-3 inch thick layer of debris consisting of fragments of vessels, wands, sistra (sacred rattles), menats (sacred necklaces), animal figures, bracelets, and tiles. Made of faience, these objects were originally votive offerings to the goddess, placed in the temple by royal officials hoping to guarantee the success of their mining expeditions. Among the objects received by the Museum in return for its partial sponsorship of Petrie's expedition was a group of 36 bracelet and tile fragments, all bearing royal names or epithets. The cartouches here (see 09.182.19*) belong to Ramesside kings, primarily Ramesses II or III and Seti I.
A session of hypnotism, from 'News of the day,' published in "Le Charivari"
Object type: print
Materials: paper
Techniques: lithograph
Artist: honoré daumier
Artist role: artist
Artist nationality: french
Artist dates: 1808 – 1879
Subjects: satire,women
Hazen en een hond die een haas achterna zit
Object type: sketchbook leaf
Date: 1826 – 1888
Materials: ink, paper
Techniques: brush, pen
Artist: johannes antonius canta
Artist role: draughtsman, painter
Artist dates: 1816 – 1888
Subjects: rodents: hare, dog
Inscriptions: signature: ‘Tavenraat’

Vermoedelijk stuurde Tavenraat deze studies naar Canta. Blad 54 verso uit een schetsboek en album met 59 bladen.
Ex libris van John Symers
Object type: bookplate
Date: 1800 – 1899
Materials: paper
Techniques: etching
Artist: Anonymous
Subjects: armorial bearing, heraldry
King
Object type: glass
Date: 1701 – 1800
Materials: glass, metal
Techniques: lampwork
Location: france
The burial of Harold
Object type: print
Date: 1855 – 1855
Materials: paper
Techniques: letterpress printing, engraving
Location: london
Subjects: burial, preaching (in general)

Prent uit: The Art Journal 4 (1855), p. 235.
Portret van Tileman Heshusen
Object type: print
Date: 1563 – 1642
Materials: paper
Techniques: engraving
Subjects: historical persons, physician, doctor (+ portrait of scholar, scientist)
Inscriptions: collector's mark: Lugt 2228

Deze kopie van een prent door Balthasar Jenichen hoort bij een serie portretten van sturende personen tijdens de reformatie, gebruikt in: Agricola, Johann. Bildnüs und Abcontrafactur etzlicher Vornemer Gelerten Menner, durch welche Gott aus sonderbaren gnaden, die rechte reine Warheit des heiligen Evangelii, zu diesen unsern und beschrieben (...). Dresden: Gimmel Bergen, 1588.
Bacchanal
Object type: print
Date: 1601 – 1700
Artist: pierre brebiette
Artist role: artist
Artist nationality: french
Artist dates: 1598 – 1642
Subjects: animals,female nudes
Triomfwagen met Bacchanalische optocht
Object type: book illustration
Date: 1546 – 1546
Materials: paper
Techniques: letterpress printing
Location: paris
Subjects: ass, donkey, chariot, triumphal car, (scenes from) specific works of literature: colonna, hypnerotomachia poliphili, thiasos, i.e. bacchus' revel-rout, bacchanal without bacchus

Prent uit: Colonna, Francesco. Hypnerotomachie ou discours du songe de Poliphile, deduisant comme amour le combat a l'occasion de Polia. Parijs: Jacques Kerver, 1546, verso fol. 62.
Nessus and Dejanira
Object type: statuette group
Date: 1667 – 1700
Materials: bronze
Artist: francesco fanelli
Artist role: artist
Artist nationality: italian
Artist dates: 1608 – 1665
Subjects: female nudes,centaurs
Bedcover (Star of Bethlehem Quilt)
Object type: textile
Date: 1830 – 1830
Materials: cotton
Techniques: glazing, lining, weave, printing
Location: newburgh

This large bedcover presents a spectacular display of stylish English chintz contrasted with plain white cotton fabric and red patterned cotton, likely of American production. Piecing and quilting this brilliant array of fabrics was an ambitious project. Colorful large and impressively complex quilts became increasingly common toward the mid-19th century, as the availability of a broad range of patterned textiles resulted in the creation of quilts for show, fostering friendly competition among quilters.
Sampler
Object type: sampler
Date: 1801 – 1900
Materials: cotton, silk
Techniques: embroidery
Location: turkey
Phaeton, no top (unnumbered)
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
Gezicht op het Rokin, hoek Kromme Elleboogsteeg
Object type: drawing
Date: 1895 – 1895
Materials: ink, paper, pencil
Techniques: brush
Location: amsterdam
Artist: hobbe smith
Artist role: painter
Artist dates: 1862 – 1942
Subjects: city-view in general; 'veduta', façade (of house or building), street
Inscriptions: collector's mark: Lugt 800a, signature and date: ‘Hobbe Smith 1895’, inscription: ‘Krom Elleboog steeg / Rokin’

Tekening binnen de Atlas Van Eck ingedeeld op wijknummer 6.
Sneuvelen van kapitein-ter-zee jonkheer Jan van Gelder
Object type: history medal
Date: 1673 – 1673
Materials: silver
Techniques: casting, engraving
Location: netherlands
Artist: Anonymous
Subjects: battle of the texel

Zilveren penning. Voorzijde: cartouche met opschrift onder gehelmd wapenschild binnen omschrift. Keerzijde: zeeslag binnen omschrift.
Base and Foot of a Vessel
Object type: fragment
Date: 301 – 433
Materials: glass
Culture: coptic
Location: egypt
Châtelaine
Object type: chatelaine
Date: 1601 – 1900
Materials: silver
Location: india
Card table
Object type: card table
Date: 1810 – 1815
Materials: brass, iron, wood
Techniques: veneering
Culture: american
Location: united states
Artist: duncan phyfe
Artist role: maker
Artist nationality: american, born scotland
Artist dates: 1770 – 1854

Duncan Phyfe (1770-1854) was a Scottish émigré who established one of the most successful furniture-making operations in New York in the early nineteenth century. Phyfe produced furniture in the newest, Neoclassical style which was widely sought after by affluent consumers in New York and beyond in places as far south as the Caribbean. Thomas Cornell Pearsall (1768-1820), a New York merchant, commissioned Duncan Phyfe to make the spectacular swivel-top "pillar-and-claw" card tables for his family home on the East River known as "Belmont." The Pearsalls arranged Belmont with these card tables and another suite of chairs and sofas (1960.4.1-15), donated to the Metropolitan Museum in 1960, with a sella curulis or curule style crossed base designed after ancient Roman folding chairs.
Spotprent
Object type: print
Date: 1878 – 1878
Materials: paper
Techniques: lithograph
Location: netherlands

Spotprent. Plaat verschenen bij het weekblad De Nederlandsche Spectator, nr. 35, 1878.
Portret van Jozef II, Duits keizer
Object type: print
Date: 1765 – 1796
Materials: paper
Techniques: engraving
Artist: j.f. schuster
Artist role: print maker
Artist dates: 1720 – 1796
Subjects: vienna, jozef ii (duits keizer), historical persons, knighthood order of the golden fleece - insignia of a knighthood order, e.g.: badge, chain (with name of order)
Inscriptions: collector's mark: Lugt 2228
Half Mask (Menpō) with Gorget
Object type: half mask menpō with gorget
Date: 1600 – 1600
Materials: iron
Culture: japanese
Location: japan
Man
Object type: crèche figure
Date: 1667 – 1833
Materials: glass, silk, terracotta, fiber, metal
Techniques: polychrome
Subjects: men
Curb Bit
Object type: bit
Date: 200 – 1
Materials: copper alloy
Culture: thracian or celtic
Location: bulgaria

The mouthpiece of this bit consists of two spindle-shaped links articulated in the middle. They are connected on either side to lyre-shaped attachments for the bridle's cheekpieces (partly broken). The two shanks, from which hooks hang for the reins, are connected by a horizontal bar acting as a curb. The curb bar would have pressed the horse’s chin when reins were pulled back. The large lyre-shaped elements helped indicate the direction to the horse and held the bit in place in the mouth. The shape of these cheekpieces, as well as the rein hooks, are inspired from Hellenistic Greek and Macedonian bits, from which they evolved. This object is also an example of the earliest type of curb bit to have been invented. It seems to have developed in the Balkans among Thracian and Scordisci (Eastern Celts) cultures between the 3rd and 1st century B.C. These populations were known for their great equestrian skills, especially at war. Examples of these bits have also been occasionally found in some western Celtic burials dating to the 1st century B.C., but they mostly spread in Roman territories during the conquest, thanks to the Thracian and East Celtic cavalrymen incorporated in the army. Curb bits were actually an improvement in military technology, since they allowed riders to have very good control of their horses with only one hand, freeing the other for holding a weapon. Even if this bit is said to have been found in Rome, it was probably made in the Balkans, and then brought to the Italian peninsula by a rider of Eastern origin.
Mlle. Conceir, Paris, from the Actors and Actresses series (N171) for Old Judge Cigarettes
Object type: photograph
Date: 1886 – 1890
Techniques: albumen silver print
Artist: goodwin & company
Artist role: publisher
Artist dates: 1850 – 1950
Subjects: musical instruments,portraits,women,actresses

The "Actors and Actresses" series of trade cards (N171) was issued by Goodwin & Company from ca. 1886-90 to promote Old Judge, Gypsy Queen, and Temple Bar Cigarettes.
Portret van een meisje, staand bij een stoel in een tuin
Object type: carte de visite
Date: 1880 – 1920
Materials: cardboard, photographic support
Techniques: collodion silver print
Artist: Anonymous
Subjects: historical persons - bb - woman, garden, girl (child between toddler and youth), chair
Ear ornament
Object type: ear ornament
Date: 701 – 1200
Materials: gold
Culture: indonesian, central java
Klimmers
Object type: print
Date: 1534 – 1609
Materials: paper
Techniques: etching
Location: italy
Subjects: the (nude) human figure; 'corpo humano' (ripa), male sex; man
Inscriptions: collector's mark: Lugt 240

Drie naakte mannen die zojuist een helling hebben beklommen. Een van de drie probeert een vierde figuur te helpen die nog aan het klimmen is (hand zichtbaar onder). Op de achtergrond een landschap met een schuur.
Plate with a bouquets and flowers
Object type: plate dish
Date: 1762 – 1795
Materials: glaze, gold, paint, porcelain
Techniques: firing, forming, gilding, turning, vitrification
Location: frankenthal
Inscriptions: mark: ‘gekroonde CT/ III/ 46/ F/ H0’

Diep bord van porselein, beschilderd op het glazuur in blauw, rood, roze, groen, geel, zwart, bruin en goud. Op het plat een boeket van verschillende bloemen en een kokosnoot[?]. Om het boeket en op de rand strooibloemen. Het buitenste deel van de rand met een blauwe en gouden lijn. Gemerkt op de onderzijde met de gekroonde CT waaronder III, 46, F en H0.
Kauw in en weiland
Object type: photograph
Date: 1900 – 1930
Materials: paper
Techniques: gelatin silver print
Location: netherlands
Artist: richard tepe
Artist role: fotograaf
Artist dates: 1864 – 1952
Inscriptions: annotation: ‘Dohle in einer Wiese’, signature: ‘foto / R Tepe’
Wil, jeugd! uit deeze prentjes leeren, / Die ge ook als kaartjes kunt handteeren, / Dat van een keizer af, hoe groot, / Elk in het eind komt tot de dood
Object type: popular print
Date: 1806 – 1830
Materials: paper
Techniques: letterpress printing
Location: zaltbommel
Subjects: symbols and personifications of death, social position, playing-cards, nobility and patriciate; chivalry, knighthood
Inscriptions: collector's mark: Lugt 2760

Blad met 36 speelkaarten (floskaartjes) met voorstellingen van verschillende figuren. De afbeeldingen vormen achttien paren, aflopend genummerd van bovenaan links nummer 36 tot onderaan rechts nummer 1. Op de twee laagste nummers na tonen ze zeventien koppels, man en vrouw, met de man net één nummer hoger dan de vrouw, waarbij elk paar een beroep of een maatschappelijke positie voorstelt. Genummerd rechtsboven: No. 122.
Bead, One of a Pair
Object type: bead
Date: 1701 – 1800
Materials: gemstone, gold
Location: morocco

Because this bead and 1981.5.19 are the only beads of their type known to us, we can only speculate as to how they were used in combination with other elements; it is likely, however, that they were strung as a necklace and separated by pearls in multiple strands, as was common in many seventeenth- to nineteenth-century Moroccan necklaces. Although this type of pushed-up setting on a repoussé ground of thin metal is typical of Moroccan jewelry, the fine workmanship and design, including the dense setting of stones in graduated rows on the melonlike form, create an effect unparalleled in the work of this school.
Figuren in een zeilboot op een woelige zee
Object type: sketchbook leaf
Date: 1830 – 1860
Materials: paper, pencil
Artist: albertus van beest
Artist role: draughtsman, print maker
Artist dates: 1820 – 1860
Subjects: sailing-ship, sailing-boat, landscapes with waters, waterscapes, seascapes (in the temperate zone)
Inscriptions: signature: ‘AV Beest’

Op de achtergrond een zeilboot. Blad 36 recto uit een schetsboek met 46 bladen.
Tazza
Object type: tazza
Date: 1801 – 1900
Materials: metal, silver

This electrotype is after an arly seventeenth-century original at the Academy of Fine Arts, Lisbon, at the time of reproduction.
Na de tentoonstelling van pluimvee naar huis
Object type: sketchbook leaf
Date: 1875 – 1920
Materials: ink, paper
Techniques: pen
Location: netherlands
Artist: Anonymous
Subjects: birds, fowl (cock, hen, chicken, etc.), collection, exhibition, show

De familie keert terug naar huis met vogels onder de arm, na het bezoek aan de 'Tentoonstelling van Pluimgedierte'. Onderdeel van het schetsboek met humoristische tekeningen over het leven van een 'famille nombreuse'. Onderwerpsrubrieken binnen de Atlas Zeden en Gewoonten: Zeden en Gewoonten in Engeren Zin, Des menschen beging, midden en einde, Kinderleven.
Archeologische vondsten in en rond Rome
Object type: print
Date: 1756 – 1757
Materials: paper
Techniques: etching
Location: rome
Artist: giovanni battista piranesi
Artist role: designer, draughtsman, print maker
Artist dates: 1720 – 1778
Subjects: ruin of a building ~ architecture, grave, tomb, temple, shrine ~ roman religion, italy
Inscriptions: collector's mark: Lugt 2228

Blad met twee voorstellingen. Boven: de restanten van een tempel, volgens de titel de Tempio della Speranza Vecchia. Genummerd linksboven: Tav. XVIII. Genummerd rechtsboven: Fig. I. Titel in ondermarge. Onder: blik in een graftombe, volgens de titel gelegen bij Vigna Casali nabij de Porta San Sebastiano. Genummerd linksboven: Fig. II. Titel in ondermarge.
Tumbler
Object type: tumbler
Date: 1850 – 1870
Materials: glass
Techniques: pressed
Culture: american
Location: united states
Artist: bakewell, pears and company
Artist role: maker
Artist nationality: american
Artist dates: 1836 – 1882
Tile
Object type: tile
Date: 1501 – 1600
Materials: earthenware
Techniques: glazing
Portret van Henry Stuart in ovale omlijsting
Object type: print
Date: 1648 – 1664
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: london
Inscriptions: collector's mark: Lugt 2228

Portret van Henry Stuart, hertog van Gloucester, borststuk gekleed in harnas in ovale omlijsting met lauwerkrans. Basis met wapenschild en Latijns opschrift.
Dragonders
Object type: popular print
Date: 1842 – 1856
Materials: paper
Techniques: colour, letterpress printing
Location: turnhout
Subjects: warfare; military affairs (+ cavalry, horsemen)
Inscriptions: collector's mark: Lugt 2760

Blad met drie horizontale rijen met elk 11 dragonders (soldaten te paard) van voren gezien. De meest linker steeds met een trompet. Genummerd rechtsboven: N 20.
Schaefers Kunst-Chromo
Object type: photomechanical print
Date: 1897 – 1904
Materials: cardboard
Techniques: lithograph, writing
Location: scheveningen
Subjects: pier, quay, wharf
Inscriptions: postage stamp
München: Frauenkirche
Object type: ansichtkaart, prentbriefkaart
Date: 1905 – 1930
Materials: cardboard
Techniques: color autotype
Location: munich
Subjects: church (exterior)
Arm met kaarsenhouder van kaarsenkroon van twee hoogten met ieder acht armen
Object type: chandelier
Date: 1525 – 1550
Materials: brass
Techniques: casting, screwed
Location: southern netherlands
Artist: Anonymous
Subjects: vine-tendril, leaf, mary standing (or half-length), the christ-child sitting on her arm (christ-child to mary's left)

Kaarsenarm behorende bij een kaarsenkroon van twee hoogten met Mariafiguur bovenaan. De arm is twee maal gebogen en is versierd met vier druiventrossen en vijf wingerdbladeren. De ronde vetvanger is aan de onderkant versierd met visblaasmotieven en heeft naar het midden toe een naar beneden uitstekende rand van kruisbloemen, die de plaatsing op de arm maskeert. De kaarsenhouder is zesvlakkig, opengewerkt, geplaatst op drie verticale stijlen, overgaande in een uitsteeksel met schroefdraad. Dit is de zevende arm van de bovenste ring, genummerd met 7 ronde punten. De kaarsenhouder is ongenummerd.