deem-data/ArtiFact huggingface dataset:
Enfant de bronze, representant le Genie des Richesses affis sus Cerbere, qui pousse en l'air un gros jet d'eau dans les Jardins de Versailles
Object type: print
Date: 1686 – 1686
Materials: paper
Techniques: etching, hand coloring
Location: the hague
Subjects: garden fountain, cerberus, the three- or many-headed dog; 'cerbero' (ripa), statues, sculptures in garden

Fontein met een putto als personificatie van rijkdom gezeten op Cerberus in de tuinen van Versailles. Rechtsonder het serienummer: F13. Prent maakt deel uit van een album.
Jan C. Schüller tussen een paar heuvels in de Meramec Highlands tijdens de wereldtentoonstelling in St. Louis (Louisiana Purchase Exposition), 1904
Object type: photograph
Date: 1904 – 1904
Materials: cardboard, paper
Techniques: gelatin silver print
Artist: Anonymous
Subjects: painter, print maker, draughtsman, jan schüller
Inscriptions: annotation: ‘Tusschen een paar heuvels // Meramec Highland’, annotation: ‘Jan C. Schüller’

Jan C. Schüller tussen een paar heuvels in de Meramec Highlands tijdens de wereldtentoonstelling in St. Louis (Louisiana Purchase Exposition), 1904.
Gold ring
Object type: ring
Date: 334 – 201
Materials: gold
Culture: greek
Subjects: alexander the great,men

Intaglio gold ring: head of Alexander the Great in the guise of Herakles, wearing the lion's skin, with paws fastened round the neck.
Cap
Object type: cap
Date: 1780 – 1800
Materials: cotton, silk
Culture: european
The Penitent St. Mary Magdalen
Object type: drawing
Date: 1742 – 1742
Materials: chalk
Artist: charles parrocel
Artist role: artist
Artist nationality: french
Artist dates: 1688 – 1752
Subjects: human figures,musical instruments,angels,mary magdalene
Double heads of protagonists in the Year of Disasters
Object type: print
Date: 1672 – 1672
Materials: paper
Techniques: engraving, etching
Location: northern netherlands
Artist: romeyn de hooghe
Artist role: draughtsman, goldsmith, painter, print maker
Artist dates: 1645 – 1708
Subjects: london, karel ii (koning van engeland), rampjaar (disaster year)
Inscriptions: inscription: ‘Net als een Karel valt hij de keerels op de huijt / Maer als een Tijger wie verbonden breeckt om buyt.’

In 1672, known as the ‘Year of Disasters’, the Dutch Republic came under simultaneous attack by France, England and Germany. The double heads depict the protagonists, whose true nature is revealed when they are turned upside down. From left to right, they are: Stadtholder William III as Mars, Louis XIV as a lion, the English King Charles II as a tiger, Archbishop Henry of Bavaria as an ass and the Bishop of Munster as a swine. Johan and Cornelis de Witt are a fox and a wolf. Many believed they were to blame for the war.
Twee mannelijke figuren
Object type: drawing
Date: 1706 – 1750
Materials: chalk, paper
Artist: cornelis troost
Artist role: draughtsman, painter, print maker
Artist dates: 1696 – 1750
Subjects: postures of the human figure
Man met baal wol op zijn rug, van achteren
Object type: drawing
Date: 1652 – 1652
Materials: chalk, ink, paper
Techniques: brush
Location: zwolle
Artist: harmen ter borch
Artist role: draughtsman
Artist dates: 1638 – 1677
Inscriptions: annotation: ‘Harman ter Borch.de[n].15.Novembr. Anno 1652’
View of the Temples of Venus and of Diana in Baia from the South
Object type: drawing
Date: 1594 – 1594
Materials: chalk, ink
Techniques: brush, pen, wash
Artist: jan brueghel the elder
Artist role: artist
Artist nationality: netherlandish
Artist dates: 1568 – 1625
Subjects: temples,ruins
Bowl
Object type: bowl
Date: 1467 – 1500
Materials: earthenware
Techniques: glazing
Culture: spanish
Location: spain
Subjects: bowls

Lusterware is the term used to describe a glazed earthenware ceramic decorated with an iridescent finish. The technique for creating this finish was developed in the ninth century under the rule of the Abbasid Caliphate in present-day Iraq. The medium involves a technique that is difficult to master, but if completed successfully, the surfaces of the ceramic objects display an iridescent sheen which is achieved through multiple firings and the application of a metal-based pigment (including silver, copper, tin, or a combination of these). Lusterware manufacture is still difficult to understand from a technical perspective because for generations, production was kept secret to protect workshop practices from being replicated by competitors. Therefore, pigment formulas and trade techniques were passed down from master to pupil and rarely recorded. Knowledge of the technique for creating lusterware made its way to the Iberian Peninsula by the twelfth century, when most of the region was still under Islamic rule. By the 1400s, the Iberian center of lusterware production was in Manises, near the city of Valencia. Previously a Muslim taifa, or principality, the Kingdom of Valencia was conquered in the thirteenth century by James I for the Crown of Aragon, and it was here that Christians and Muslim potters worked, sometimes together, for a diverse clientele with a voracious appetite for high quality lustered wares.
Parrot (one of a pair)
Object type: figure
Date: 1760 – 1770
Materials: faience
Techniques: glazing
Subjects: parrots

Faience, or tin-glazed and enameled earthenware, first emerged in France during the sixteenth century, reaching widespread usage among elite patrons during the seventeenth and early eighteenth centuries, prior to the establishment of soft-paste porcelain factories. Although characterized as more provincial in style than porcelain, French faience was used at the court of Louis XIV as part of elaborate meals and displays, with large-scale vessels incorporated into the Baroque garden designs of Versailles. Earlier examples of French faience attest to the strong influence of maiolica artists from Italy. Later works demonstrate the ways in which cities such as Nevers, Rouen, Lyon, Moustiers, and Marseille developed innovative vessel shapes and decorative motifs prized among collectors throughout Europe. While faience can be created from a wide mixture of clays, it is foremost distinguished by the milky opaque white color achieved by the addition of tin oxide to the glaze. French faience is typically divided into two types. Grand feu (high fire) describes pieces that have been decorated with glaze and metallic oxides before being fired a single time at a high temperature of around 1650°F (900°C). Petit feu (low-fire) faience, developed in the second half of the eighteenth century, refers to a process whereby the clay body is fired before being glazed and decorated with metallic oxides and then fired again at a lower temperature; pieces can also go through a third firing. Grand feu pieces have a more limited color palette that consists of blue, yellow, brown-purple, and green. By contrast, the lower firing temperature of petit feu faience enabled both greater precision in painting techniques and variety in the range of colors.
Gezicht op de Ka-Aibashi brug, met op de achtergrond de berg Fuji, Japan
Object type: album leaf
Date: 1890 – 1903
Materials: paper, photographic support
Techniques: albumen print, hand coloring
Location: japan
Artist: Anonymous
Subjects: bridge, mountains
Inscriptions: inscription: ‘P 89 Fuji from Sudsukawa (Ka-Aibashi) bridge name’
Man bij een waterval
Object type: print
Date: 1835 – 1835
Materials: paper
Techniques: etching
Location: vaassen
Subjects: walking-stick, staff, waterfall, landscapes (+ landscape with figures, staffage)
Inscriptions: collector's mark: Lugt 2228

Man met een wandelstok bij een waterval.
Theatrale voorstelling van een man in een historisch kostuum aan tafel, op de achtergrond leunt een paartje over een hek
Object type: stereograph
Date: 1850 – 1880
Materials: cardboard, photographic support
Techniques: albumen print
Location: europe
Artist: Anonymous
Subjects: historical costume, summer-house, arbour, garden-house (dutch: 'theekoepel'), europe
Inscriptions: number: ‘11891’
Bataille D'Oestervel, Margarite de Parme Gouvernante 1567
Object type: history print
Date: 1665 – 1727
Materials: paper
Techniques: etching
Location: northern netherlands
Artist: johannes jacobsz van den aveele
Artist role: print maker
Artist dates: 1655 – 1727
Subjects: battle, fighting in general

Slag bij Oosterweel, 13 maart 1567. De gevechten voor het dorpje Oosterweel buiten Antwerpen. De calvinisten onder leiding van Jan van Marnix worden verslagen door de troepen van de hertog van Aremberg en Philips van Lanoy. Rechts de Schelde. Linksonder een cartouche met de titel en de legenda A-K in het Frans.
Underdress
Object type: underdress
Date: 1805 – 1810
Materials: silk
Culture: british
Bottle
Object type: bottle
Date: 401 – 700
Materials: ceramic, pigment
Culture: moche
Location: peru
Subjects: birds
Luzern. Franziskanerkirche
Object type: ansichtkaart, prentbriefkaart
Date: 1895 – 1905
Materials: cardboard
Techniques: photograph
Location: zurich
Artist: Anonymous
Subjects: interior of church
Portret van Johann Nathanael Lieberkühn
Object type: print
Date: 1757 – 1757
Materials: paper
Techniques: etching
Artist: georg friedrich schmidt
Artist role: draughtsman, print maker
Artist dates: 1712 – 1775
Subjects: historical persons
Inscriptions: collector's mark: Lugt 240
Man en hond bij het hunebed van Rolde, bij Assen
Object type: photograph
Date: 1885 – 1895
Materials: paper
Techniques: collodion silver print
Location: rolde
Artist: johannes gerardus kramer
Artist role: fotograaf
Artist dates: 1845 – 1903
Subjects: trees, megalithic chambered tomb, dolmen
Inscriptions: inscription: ‘De Hunnebedden te Rolde 5 kwartier/ loopens van Assen (heen en terug) -/ Sept-Oct: 1900’
Capote
Object type: capote
Date: 1840 – 1840
Materials: silk, metal
Culture: american
Gold Belt Mount with Rivet
Object type: belt mount
Materials: gold
Culture: avar

The treasure contains an array of belt fittings, some elaborately decorated, some unfinished or defectively cast. Some show no signs of use, while others are quite worn. 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.
Le trouvère No 44
Object type: book
Date: 1802 – 1888
Materials: paper, photographic support
Techniques: albumen print, printing, engraving
Place Vendome - La Colonne renversée
Object type: photograph
Date: 1871 – 1871
Materials: paper
Techniques: albumen print
Location: place vendôme
Artist: Anonymous
Subjects: ruin of a building ~ architecture
Dress border
Object type: border
Date: 1701 – 1800
Materials: linen, silk
Subjects: human figures,animals,birds,flowers
Abâzîz, Intérieur d'un Village Arabe
Object type: photograph
Techniques: paper negative, salted paper print
Artist: félix teynard
Artist role: artist
Artist nationality: french
Artist dates: 1817 – 1892
Subjects: architecture,villages,landscapes
Portret van Christoph Fürer von Haimendorf
Object type: print
Date: 1733 – 1733
Materials: paper
Techniques: engraving, etching
Location: nuremberg
Artist: johann wilhelm windter
Artist role: draughtsman, print maker
Artist dates: 1696 – 1765
Subjects: mayor, helmet, castle, historical persons, armorial bearing, heraldry
Inscriptions: inscription: ‘JW Windter sc’, collector's mark: Lugt 2228, collector's mark: Lugt 2760

Links een gezicht op het kasteel van Neurenberg. Met onderschrift in het Latijn.
Nude Model, Reclining
Object type: print
Date: 1893 – 1893
Materials: ink, paper
Techniques: transfer
Location: united states
Artist: james mcneill whistler
Artist role: artist
Artist nationality: american
Artist dates: 1834 – 1903
Reuk
Object type: print
Date: 1607 – 1637
Materials: paper
Techniques: engraving
Location: unknown
Subjects: smell, smelling (one of the five senses), fettered cupid, 'amor cruciatus'
Inscriptions: collector's mark: Lugt 2228

De personificatie van de Reuk. Een hond springt tegen haar op. Amor biedt haar een mand met rozen aan. Ze wordt vergezeld door een man. In de marge een tweeregelig onderschrift in het Latijn.
Louqsor
Object type: print
Date: 1839 – 1841
Materials: paper
Techniques: aquatint
Location: paris
Subjects: river, ships, boats on land, beached
Inscriptions: inscription: ‘Hr. Bossance Quai Voltaire 11’, inscription: ‘Rittner & Goupil Boulevd Montmartre 15’, inscription: ‘N.P. Lerebours Place du Pont Neuf 15’
Varkens
Object type: print
Date: 1610 – 1703
Materials: paper
Techniques: engraving, etching
Artist: Anonymous
Subjects: pig

Twee liggende varkens in een stal. Links een rennend varken.
Portret van W.G. Brill, hoogleraar wijsbegeerte en letteren en rector magnificus van de Universiteit Utrecht 1871-1872
Object type: print
Date: 1866 – 1871
Materials: paper
Techniques: engraving
Artist: johannes arnoldus boland
Artist role: print maker
Artist dates: 1838 – 1922
Subjects: historical persons, professor
Inscriptions: signature: ‘W.G. Brill’
Slaughter Pen, Foot of Round Top, Gettysburg
Object type: photograph
Techniques: albumen print, photography
Location: united states
Artist: timothy h. o'sullivan
Artist role: artist
Artist nationality: american, born ireland
Artist dates: 1840 – 1882
Subjects: collected by hugh edwards, gardner's photographic sketch book
Cherub
Object type: crèche figure
Date: 1751 – 1800
Materials: wood
Techniques: polychrome
Subjects: angels

In 1964, Loretta Hines Howard generously presented to the Museum over 140 Neapolitan crèche figures, dating from the second half of the eighteenth century. The varied assortment includes figures from the three traditional scenes of a complete Neapolitan presepio: the Nativity, with angels, shepherds, and sheep; the procession of the three Magi, with their colorful retinue of attendants; and the varied and gay crowd of country and town people thronging the tavern, or inn, of Bethlehem — the diversorium mentioned by St. Luke, where on the Holy Night there was no place for Mary and Joseph. Averaging between twelve and fifteen inches in height, according to the position they were to take in perspective in the stage set, the figures are pliable and can be given poses at will, according to their facial expressions. Their bodies are made of tow and wire, their arms and legs are finely carved of wood, and their heads and shoulders are modeled of terracotta and accurately finished. Their attire, often enriched by accessories, jewels, and embroideries, is a sheer joy for the lover of folklore and eighteenth-century costumes. According to a tradition that seems to be supported by stylistic comparisons with figures in the collections of Naples and in the vast holdings of the Bavarian National Museum in Munich, some of the winsome heads of the Howard angels are to be credited to the best eighteenth-century masters: Giuseppe Sammartino (1720–1793), well known for his monumental sculptures in marble and in stucco, his pupils Salvatore di Franco, Giuseppe Gori, and Angelo Viva, and one Lorenza Mosca (d. 1789), who was employed at the Royal Porcelain Factory at Capodimonte and stage director of the Royal Christmas Crib. Since Mrs. Howard's gift, the Museum has recreated the Neapolitan Christmas crib scene, much to the delight of visitors during the holiday season.
View of Futami Beach at Ise
Object type: print
Date: 1810 – 1820
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: shōtei hokuju 昇亭北寿
Artist role: artist
Artist nationality: japanese
Artist dates: 1790 – 1820
Subjects: beaches,seascapes,waves
Pasfoto's personeel
Object type: photograph
Date: 1914 – 1919
Materials: cardboard
Techniques: gelatin silver print
Location: bangka
Artist: Anonymous
Subjects: robert julius boers, colonial system, mining, historical persons, industries ~ metal (+ men (labourers))
Inscriptions: inscription

Albumblad met 29 kleine pasfoto's van personeel werkzaam bij het hoofdbureau van de Banka-tinwinning te Muntok. Portretten van Indonesische mannen en enkele Nederlanders, zonder aanduiding van functie. Onder de foto's de naam van de geportretteerde. Onderdeel van het fotoalbum aangeboden aan Robert Julius Boers bij zijn vertrek naar Nederland in 1919 door het personeel van de Banka-tinwinning.
The Golden Age
Object type: print
Date: 1620 – 1620
Techniques: engraving
Artist: adriaen matham
Artist role: artist
Artist nationality: dutch
Artist dates: 1599 – 1660
Subjects: infants,male nudes,female nudes,cows,dogs,goats
Kasteel Popkensburg op Walcheren
Object type: drawing
Date: 1851 – 1851
Materials: paper, pencil, watercolor
Techniques: brush
Artist: f. bourdrez
Artist role: draughtsman
Subjects: city-view, and landscape with man-made constructions, castle
Manshoofd met hoed en pijp
Object type: print
Date: 1756 – 1817
Materials: paper
Techniques: aquatint, drypoint, etching
Location: unknown
Artist: louis bernard coclers
Artist role: draughtsman, print maker
Artist dates: 1741 – 1817
Subjects: head-gear: hat (+ men's clothes), pipe ~ tobacco (+ taking (particular) foodstuffs: eating, drinking, smoking, chewing, etc.)
Inscriptions: collector's mark: Lugt 240
Terracotta rim fragment of a kylix: eye-cup  (drinking cup)
Object type: kylix fragment, eye cup
Date: 520 – 510
Materials: terracotta
Culture: greek, attic

Exterior, part of palmette with bit of palmette heart; eyebrow and part of eye
Groningse plak
Object type: coin
Date: 1425 – 1506
Materials: silver
Techniques: striking
Location: groningen

Zilveren munt. Voorzijde: dubbelkoppige adelaar met kruisje onder elke kop, onder de adelaar wapenschildje. Keerzijde: lang gevoet kruis, in het hart wapenschildje.
Change of Residence, from the Suite of Late Wood-Block Prints
Object type: print
Date: 1899 – 1899
Materials: ink, paper, watercolor
Techniques: woodblock print
Location: france
Artist: paul gauguin
Artist role: artist
Artist nationality: french
Artist dates: 1848 – 1903
Evening slippers
Object type: evening slipper
Date: 1835 – 1845
Materials: silk
Culture: american

In the first three decades of the 19th century, evening slippers were often worn in both bright and pastel colors. As tastes changed and skirts lengthened to obscure the feet, less attention fell on footwear and black and white satin slippers became predominant. The grass green of this pair of shoes was one of the few bright colors which persisted for evening wear into the 1840s, albeit a distant third behind white and black judging from surviving examples and accounts. Although this basic form remained the standard evening slipper for over fifty years, one can see the distinctive wide square toe commonly worn around 1840 in this example.
George van Renesse
Object type: album leaf
Date: 1933 – 1936
Materials: paper
Techniques: rotogravure
Location: amsterdam
Artist: godfried de groot
Artist role: fotograaf
Artist dates: 1894 – 1963
Subjects: musician in non-work situation

Albumblad met een portret van en een tekst over de pianist George van Renesse. Onderdeel van het Esperanto album uit ca. 1933-1936.
Le Commentaire
Object type: print
Date: 1843 – 1843
Materials: paper
Techniques: lithograph
Location: paris
Subjects: adolescent, young woman, maiden, thinking, thought, reflection; 'pensiero' (ripa), book
Inscriptions: check stamp: Lugt 470b, collector's mark: Lugt 964

Prent gebruikt voor: Curmer, L. Les Beaux-Arts. Illustration des Arts et de la Littérature. Parijs: L. Curmer, 1843. Vol. 1, 2e livraison.
Keizersgracht bij de Reguliersgracht in Amsterdam
Object type: photograph
Date: 1860 – 1875
Materials: cardboard, paper
Techniques: albumen print
Location: amsterdam
Subjects: street
Globular Jar
Object type: vessel
Materials: glaze, porcelain
Location: china
The Garden of Love, Right Half
Object type: print
Date: 1631 – 1631
Materials: paper
Techniques: woodcut
Location: germany
Artist: christoffel jegher

Christoffel Jegher produced several large-scale woodcuts in collaboration with the Flemish painter and diplomat Peter Paul Rubens, of which this two-sheet print is the largest. The panoramic garden setting includes delights such as a group of musical enthusiasts perched on plush chairs and colonnaded ledges on the left; on the right is a fountain grotto with decorative streams of water into which the most boisterous men try to cajole their lovers. The unsure woman on the far right, her waist firmly grasped by a smooth-talking admirer, resists the necessary push into temptation from a determined, winged Eros.

Rubens was deeply involved in producing prints after his paintings, of which the most illustrious were woodcuts created from about 1632 to 1636 by Christoffel Jegher. The most ambitious of these large woodcuts is the Garden of Love, a composition inspired by the painting of this subject (now at Waddeson Manor, Buckinghamshire), dated around 1630/31. Rather than an exact reproduction of the painting, the composition was redrawn with variations by Rubens on a separate sheet as a model for the woodcut artist to follow; it was then printed by Jeghers on two nearly equal-sized sheets that function as self-contained works. Belonging to the tradition of Medieval love gardens, the right half contains portraits of Rubens and his radiant young wife, Helena Fourment, who is echoed in almost all the female faces.
Fragment
Object type: textile
Materials: textile
Location: egypt
Zonnehof
Object type: print
Date: 1738 – 1740
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: theatre, theatrical performance, stage design
Inscriptions: collector's mark: Lugt 2228

Toneelvoorstelling in de Amsterdamse Schouwburg op de Keizersgracht met het coulissendecor Zonnehof met scène uit: Het eeuwgetijde van den Amsteldamschen Schouwburg. Het decor gedrukt van een aparte plaat binnen een passe-partout met de zaal, zijloges, orkestbak en de façade van het toneel met zuilen, guirlandes en kroonluchters. De titel en een vierregelig vers ook gedrukt van een aparte plaat. Onderdeel van een serie van 12 toneeldecors.
Portretten van geleerden
Object type: print
Date: 1652 – 1652
Materials: paper
Techniques: engraving, etching
Location: germany
Artist: clemens ammon
Artist role: print maker
Artist dates: 1627 – 
Subjects: scholar, philosopher, historical persons

Prent waarschijnlijk uit: Boissard, Jean Jacques. Bibliotheca chalcographica (...) Frankfurt am Main: Johannes Ammon, 1652, dl. 8.
Monument met hoornen des overvloeds en wapenschilden
Object type: book illustration
Date: 1712 – 1712
Materials: paper
Techniques: engraving, etching
Location: leiden
Subjects: mayor, pieter van leyden, coat of arms (as symbol of the state, etc.), 'cornucopia', horn of plenty
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760

Monument met twee hoornen des overvloeds en drie wapenschilden. Daarbij een opdracht aan president burgemeester Pieter van Leyden, heer van Vlaardingen.