deem-data/ArtiFact huggingface dataset:
Barber's basin
Object type: barber's basin
Date: 1767 – 1800
Materials: faience
Techniques: glazing
Artist: veuve perrin factory
Artist role: maker
Subjects: flowers,leaves

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.
Portret van Hendrik I en Ferdinand III, koningen van Castilië
Object type: print
Date: 1698 – 1698
Materials: paper
Techniques: engraving, etching
Location: paris
Subjects: historical persons, ruler, sovereign

Portret afkomstig van een grote prent, getiteld 'Series Chronologica et Imagines Regum Hispaniae ab Ataulpho ad Carolum II', bestaande uit meerdere bladen die samengevoegd konden worden, uitgegeven door Petrus de la Tour in 1698.
Man on Bended Knee, Pulling on Rope
Object type: drawing and watercolor
Date: 1604 – 1604
Materials: chalk, paper
Location: italy
Artist: bernardino poccetti
Artist role: artist
Artist nationality: italian
Artist dates: 1548 – 1612
The Sense of Sight
Object type: painting
Date: 1625 – 1649
Materials: canvas, oil
Artist: master of the annunciation to the shepherds
Artist role: artist
Artist nationality: italian
Artist dates: 1615 – 1645
Subjects: women,mirrors
Art - Goût - Beauté, Feuillets de l' élégance féminine, Mai 1929, No. 105, 9e Année, p. 8
Object type: magazine
Date: 1929 – 1929
Materials: paper
Techniques: lithograph, photography
Artist: charles goy
Subjects: tea- and coffee-service
Inscriptions: caption: ‘Interprétation d'un service à thé Louis XIV en argent massif. Création LAPPARRA’

Tekst met afbeelding van een zilveren theeservies 'Louis XIV' van Lapparra. Pagina uit het modetijdschrift Art-Goût-Beauté (1920-1933).
Kustwacht
Object type: print
Date: 1889 – 1932
Materials: paper
Techniques: lithograph
Artist: arie martinus luijt
Artist role: print maker
Artist dates: 1879 – 1951
Subjects: submarine, guard duty, keeping sentry
Inscriptions: collector's mark: Lugt 2228

Een soldaat in een lange jas met een geweer onder de arm loopt over de kade. Achter hem steekt een onderzeeër boven het water uit.
Portret van Albert Harmensz Dingsteden
Object type: print
Date: 1636 – 1641
Materials: paper
Techniques: engraving
Location: northern netherlands
Artist: jan van de velde (ii)
Artist role: draughtsman, painter, print maker
Artist dates: 1593 – 1641
Subjects: albert harmensz dingsteden
Inscriptions: collector's mark: Lugt 2228

De Amsterdamse burger Albert Harmensz Dingsteden op 25-jarige leeftijd. Dingstede werd in 1629 verbannen wegens Remonstrantse sympathieën.
Zelfportret
Object type: photograph
Date: 1935 – 1935
Materials: photographic support
Techniques: gelatin silver print
Location: netherlands
Artist: gerrit elink schuurman
Artist role: fotograaf
Artist dates: 1876 – 1953
Subjects: rotterdam, brussels, gerrit elink schuurman, portrait, self-portrait of photographer
Inscriptions: annotation: ‘Gerrit Elink Schuurman // geboren Rotterdam 1876 // gestorven Brussel 1953’
Yamauba Tying Kintarō’s Topknot
Object type: print
Date: 1795 – 1795
Materials: ink, paper
Techniques: nishiki e, woodblock print
Culture: japanese
Artist: kitagawa utamaro
Artist role: artist
Artist nationality: japanese
Artist dates: 1754 – 1806
Subjects: hair,boys,women,mirrors

Utamaro created numerous scenes featuring a mother and child. This print is one of more than thirty he made that depict the relationship between Yamauba and her adopted son, Kintarō (or Kintoki), who grew up to be a legendary hero. Here, Yamauba ties Kintarō's topknot while he looks in the mirror and imitates his mother's expression—a gesture that cleverly echoes the role of the mirror. Humor and parody are central themes in Utamaro's prints, particularly in his depictions of these two sitters. Yamauba, a "mountain nurse," can be recognized by her long face, bushy eyebrows, and unkempt hair. She found the mischievous, ruddy- and round-faced boy in the forest and brought him up. The child disliked Yamauba's mothering and often mocked her tenderness. The close-up view enabled Utamaro to focus on the expressive faces.
Brief aan Philip Zilcken
Object type: letter
Date: 1901 – 1901
Materials: cardboard, ink
Techniques: pen, printing, writing
Location: rotterdam
Artist: léonce bénédite
Artist role: conservator, museumdirecteur
Artist dates: 1856 – 1925
Subjects: george hendrik breitner, willem maris, amsterdam, marius bauer, louis van soest, the hague, painter, print maker, draughtsman, jan toorop, philip zilcken, painting (including book-illumination, miniature-painting), delft, rotterdam
Inscriptions: collector's mark: ‘RPK’
Vignet met de verbroedering tussen Nederlandse en Franse troepen na het beleg van de citadel van Antwerpen, 1832
Object type: titelprent, frontispice
Date: 1833 – 1833
Materials: paper
Techniques: hand coloring, lithograph
Location: paris
Artist: denis auguste marie raffet
Artist role: draughtsman, print maker
Artist dates: 1804 – 1860
Subjects: the soldier; the soldier's life, the defeated (after the battle), antwerp

De verbroedering tussen Nederlandse en Franse troepen na het beleg van de Citadel van Antwerpen. Voorstelling gebruikt op als vignet op de omslag van de serie van 24 prenten over het beleg van de Citadel van Antwerpen, 30 november - 23 december 1832. Dit exemplaar uitgeknipt en opgeplakt.
Portrait of Pedro de Salvador Carmona and his wife María García
Object type: print
Date: 1780 – 1780
Techniques: engraving, etching
Artist: manuel salvador carmona
Artist role: artist
Artist nationality: spanish
Artist dates: 1734 – 1820
Subjects: men,portraits,women

A significant printmaker who worked in Madrid, Salvador Carmona is little known outside Spain today. He made hundreds of prints, among them portraits, of which this is one of the most engaging. The inscription along the bottom records that it depicts his parents. The father, Pedro de Salvador Carmona, died the year the portrait was made, and thus it may be commemorative. In a clever demonstration of illusionism, the print presents the viewer with a visual challenge: it reproduces another engraving, with curling edges that project toward the viewer.
The Baptism of Christ
Object type: painting
Date: 1773 – 1773
Materials: copper, oil
Culture: mexican
Artist: nicolás enríquez
Artist role: artist
Artist nationality: mexican
Artist dates: 1704 – 1795
Subjects: saint john the baptist,baptism of christ

In 1773 Nicolás Enríquez created this set of five paintings for the private devotional use of Juan Bautista Echeverría, a Spanish-born merchant. Echeverría’s choice of subject matter is highly personal, reflecting both his Basque roots and his extended residence in Mexico. Enríquez lavished special attention on this painting of Echeverría’s namesake, Saint John, who is shown baptizing Christ in the Jordan. The painter took care to detail the crystalline drops of water poured on Christ’s head and to show his feet submerged in the flowing water of the river. An inscription avows that the image was painted "due to the devotion" of its owner.
L'Antiquaire
Object type: print
Date: 1743 – 1743
Materials: paper
Techniques: engraving, etching
Location: paris
Subjects: antique dealer, monkeys, apes
Inscriptions: collector's mark: Lugt 2228

Interieur met geklede aap die zijn collectie munten en boeken bestudeert.
Champs Elysées, Paris
Object type: tissue stereograph
Date: 1855 – 1875
Materials: cardboard, paper
Techniques: albumen print, hand coloring
Location: paris
Artist: Anonymous
Subjects: avenue, boulevard, promenade, esplanade
Lamp
Object type: lamp
Date: 701 – 1000
Materials: earthenware
Techniques: glazing
Location: iraq

This lamp contains an open reservoir that would have held burning oil and a wick. Soaked in the oil and lighted, the wick would transport the fuel to the flame. Ceramic lamps in this shape were most common in Iran and Iraq in the early Islamic periods. They are either unglazed or, from the ninth/tenth century onwards, glazed in green. By the twelfth century, the lamps’ shape had changed to include a closed reservoir that was often placed on a stem. This ceramic lamp was excavated in Ctesiphon, the Sasanian metropolis and administrative capital conquered by Arab Muslim armies in 637. The city continued to be inhabited throughout the era, when it was known in Arabic as al-Mada’in, or "the cities", because of the expansive area it encompassed. Arab and Persian historians and poets indulged in describing al-Mada’in/Ctesiphon’s grand monuments. Muslim rulers also celebrated the glory of these monuments, which through time had acquired symbolic significance due to their association with the city’s imperial past. This was the case of the Taq-i Kisra, an impressive colossal ivan (a vaulted hall with one side open) that was partially dismantled to reuse its bricks in caliphal buildings in the new capital of Baghdad. Finds like this lamp attest to the continued occupation of Ctesiphon’s urban area in the first centuries of the Islamic period, during which a pilgrimage site developed at Salman Pak, an area named after the tomb of Salman al-Farsi, one of the early companions of the Prophet and the first Iranian to convert to Islam. The site is still visited by pilgrims today. Excavations in the Ctesiphon area were undertaken by an expedition in 1928–29 sponsored by the German Oriental Society (Deutsche Orient-Gesellschaft). The Metropolitan Museum of Art and the Staatliche Museen, Berlin, undertook a joint expedition for one season in 1931–32. Several excavations were conducted, including at the Taq-i Kisra, in a small, fortified area south of the palace at Tell Dheheb, at multiple houses at the mounds of Ma’aridh, and at additional houses at a small mound called Umm ez-Za’tir. According to the agreements, the finds were first divided with the Iraqi authorities, between Berlin and New York.
Earring cast with Mount Meru
Object type: earring
Date: 701 – 1200
Materials: gold
Culture: indonesian, central java
Landschap met de dorre boom
Object type: print
Date: 1634 – 1693
Materials: paper
Techniques: etching
Location: augsburg
Artist: jonas umbach
Artist role: print maker
Artist dates: 1624 – 1693
Subjects: low hill country, trees
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228

Heuvelachtig landschap met op de voorgrond een dode boom. Over het pad loopt een jager met drie honden.
Muziekkamer van het huis van Paul Sandel in Tandjong Poera, Langkat Sumatra
Object type: photograph
Date: 1900 – 1900
Materials: cardboard, paper, photographic support
Techniques: albumen print
Location: bindjai
Subjects: tandjong poera
Zittend mannelijk naakt, van voren gezien (3e prijs 1788)
Object type: drawing
Date: 1788 – 1788
Materials: chalk, paper
Artist: jan kamphuijsen
Artist role: draughtsman, painter
Artist dates: 1760 – 1841
Subjects: sitting figure (+ nude human being)
Roman Warriors
Object type: drawing
Date: 1700 – 1767
Materials: graphite, ink
Techniques: pen
Artist: johann elias ridinger
Artist role: artist
Artist nationality: german
Artist dates: 1698 – 1767
Subjects: soldiers,men,axes
The Bucking Horse, Wild West
Object type: print
Date: 1887 – 1887
Materials: ink, paper
Techniques: drypoint, etching
Location: united states
Artist: james mcneill whistler
Artist role: artist
Artist nationality: american
Artist dates: 1834 – 1903
Goochelaar op straat
Object type: stereograph
Date: 1852 – 1863
Materials: cardboard, paper
Techniques: albumen print, hand coloring
Location: paris
Subjects: illusionist, conjurer, juggler, 'legerdemain'
Inscriptions: inscription: ‘C. F:’
Mechanisch onderdeel uit het wrak van de Oost-Indiëvaarder Hollandia
Object type: part
Date: 1700 – 1743
Materials: copper
Location: netherlands
Artist: Anonymous
Subjects: verenigde oostindische compagnie, hollandia (schip), annet
Illustrated Proverbs, The Illustrated Lives of Women  (Ehon Mitsuwagusa) 絵本三津輪草
Object type: illustrated book
Date: 1741 – 1741
Materials: ink, paper
Culture: japanese
Artist: nishikawa sukenobu 西川祐信
Artist role: artist
Artist nationality: japanese
Artist dates: 1671 – 1750
Subjects: women
Verschillende dieren
Object type: print
Date: 1657 – 1659
Materials: paper
Techniques: etching
Location: amsterdam
Artist: adriaen van de velde
Artist role: draughtsman, painter, print maker
Artist dates: 1636 – 1672
Subjects: she-goat, nanny-goat
Inscriptions: collector's mark: Lugt 240
God the Father Surrounded by Angels and the Four Animals, Symbols of the Evangelists
Object type: drawing
Date: 1701 – 1800
Materials: graphite, ink, paper
Techniques: brush, cutting
Artist: anonymous, german, 18th century
Artist role: artist
Artist nationality: german
Artist dates: 1700 – 1800
Subjects: animals,angels,gods
Gezicht op en beschrijving van Béthune
Object type: print
Date: 1652 – 1652
Materials: paper
Techniques: engraving, etching, letterpress printing
Location: amsterdam
Subjects: coat of arms (as symbol of the state, etc.) (+ city; municipal), coat of arms (as symbol of the state, etc.) (+ province; provincial), prospect of city, town panorama, silhouette of city
Inscriptions: collector's mark: Lugt 195, collector's mark: Lugt 2228

Gezicht op en beschrijving van Béthune. Linksboven in het gezicht op Béthune het wapen van het graafschap Artesië. Rechtsboven het wapen van Béthune. Linksonder een kader met legenda 1-14. Met Nederlandse tekst op verso.
Groep Saramaccaner Marrons
Object type: photograph
Date: 1895 – 1895
Materials: photographic support
Techniques: collodion silver print
Location: suriname
Artist: théodore van lelyveld
Artist role: painter
Artist dates: 1867 – 1954
Subjects: public road in village (+ city(-scape) with figures, staffage), suriname
Inscriptions: inscription: ‘Groep Boschnegers in het kamp a/d Maho-kreek (Saramacca) (19 octr. '95) / Kapt. Jackson’

Een groep bosnegers in een dorp aan de Saramacca. Centraal de kapitein Jackson. Fotoafdruk in een fotoalbum van Théodore van Lelyveld over Suriname uit 1895-1898.
Martinvs Pepyn
Object type: print
Date: 1596 – 1659
Materials: paper
Techniques: engraving
Subjects: artist, historical persons, portrait, self-portrait of painter
Inscriptions: collector's mark: Lugt 240

Prent naar schilderij van Anthony van Dyck.
Cup with handle with a coat of arms and a monogram
Object type: cup
Date: 1750 – 1774
Materials: glaze, gold, paint, porcelain
Techniques: firing, gilding, turning, vitrification
Location: china
Artist: Anonymous

Oorkop van porselein, beschilderd op het glazuur in rood, roze, groen, bruin, paars, zwart en goud. Op de wand een ongeïdentificeerd familiewapen verdeeld in twee vakken met in 1. een object op een roze grond; 2. een druiventak tegen een witte achtergrond. Het helmteken is een druiventak. Het wapen is omgeven door bladranken. Op de rand een band met druivenranken. Een tweede wapen met het monogram 'G.R.[?]'. Wapenporselein met emailkleuren.
Fotoreproductie van een schilderij van Adam en Eva uit het paradijs verdreven
Object type: page
Date: 1866 – 1890
Materials: paper
Techniques: albumen print
Artist: Anonymous
Subjects: expulsion of adam and eve from paradise (genesis 3:22-24), picture, painting
Rechter en de Dood
Object type: print
Date: 1524 – 1526
Materials: paper
Techniques: woodcut
Subjects: dance of death; death together with one or more human beings, magistracy, judges

De houtblokken werden voor 1526 vervaardigd door Hans Lützelburg en pas in 1538 voor het eerst gebruikt als boekillustraties in: Les simulachres & historiees faces de la mort avtant elegamment pourtraictes que artificiellement imaginées... a Lyon, Soubsz l'escu de Coloigne, MDXXXVIII, (M. en G. Trechsel, voor F. Frellon in Lyon), 1538. Later verschenen nog andere uitgaven.
Portret van Johann Ignaz Felbiger
Object type: print
Date: 1721 – 1771
Materials: paper
Techniques: engraving
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2228
Deurklopper in de vorm van slangen
Object type: photograph
Date: 1875 – 1900
Materials: cardboard, photographic support
Techniques: albumen print
Location: europe
Artist: Anonymous
Subjects: snakes, door-knocker, doorbell, ornament ~ arabesque, europe
The home of Jacob Hett ("Peter")
Object type: reproduction
Date: 1871 – 1873
Materials: paper
Techniques: photograph
Location: oberammergau
Subjects: housing, façade (of house or building)
Taglio del Palazzo. I. traversando l'edificio da mezzo giorno verso tramontana
Object type: print
Date: 1622 – 1622
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: hôtel, i.e. small palace in city - aa - civic architecture: inside, section ~ architectural design or model
Inscriptions: collector's mark: Lugt 240
Menigte bij de ingang van een kerk
Object type: book illustration
Date: 1514 – 1532
Materials: paper
Techniques: letterpress printing
Artist: Anonymous
Subjects: roman catholic church

Deze prent is gebruikt in: Petrarca, Francesco. Von der Artzney bayder Glück, des guten und widerwertigen: unnd weß sich ain yeder inn Gelück und Unglück halten sol (...). Augsburg: Heinrich Steiner, 1532. Deze uitgave is ook bekend onder de titel 'Trostspiegel in Glück und Unglück'.
Le Troupeau Traversant Le Ruisseau
Object type: print
Date: 1630 – 1683
Techniques: etching
Artist: nicolaes pietersz berchem
Artist role: artist
Artist nationality: dutch
Artist dates: 1620 – 1683
Subjects: animals,infants,men,women,cows,sheep
Gezicht op Angoulême
Object type: album leaf
Date: 1657 – 1657
Materials: paper
Techniques: engraving, etching, hand coloring
Location: the hague
Subjects: city-view in general; 'veduta'

Prent uit: Zeiller, Martin. Topographia Galliae. 13 dln. Frankfurt: Caspar Merian, 1657, dl. 7, na p. 12. De titel is uit de originele prent gesneden. Boven de gravure is een deel lucht en wolken (bij)geschilderd, waarin de titel gelijmd is. Origineel op één blad gedrukt met het gezicht op Blois (RP-P-1956-186).
Gezicht op de Prinsengracht, hoek Spiegelgracht
Object type: cabinet photograph
Date: 1850 – 1915
Materials: cardboard, paper
Techniques: albumen print
Location: amsterdam
Artist: Anonymous
Subjects: city-view in general; 'veduta', canal, the usual house or row of houses, street
Inscriptions: inscription: ‘Prinseng: hoek spiegelstr gracht / Het hoekhuis is in ongeveer 1908 / afgebroken’, collector's mark: ‘11.48’ Lugt 1641b

Onderwerpsrubriek binnen de Atlas Amsterdam: Prinsengracht, Korte Prinsengracht, Prins Hendrikkade. Zie ook Portefeuille 1: gezichten van het IJ op de stad.
Trekpaard aan muurring aangelijnd
Object type: album leaf
Date: 1808 – 1814
Materials: paper
Techniques: etching
Artist: johann adam klein
Artist role: draughtsman, print maker
Artist dates: 1792 – 1875
Subjects: hitching up, harnessing ~ animal traction, horse
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228
Button or Bead
Object type: button or bead
Date: 801 – 1100
Materials: stone
Techniques: carving
Location: iran

This object was excavated at Nishapur. Nishapur was a vital city in the early and middle Islamic periods, located along one of the main trajectories that connected Iran and West Asia Islamic lands with Central Asia and China. These itineraries are often referred to by the term ‘Silk routes’ but were in fact crucial to the movement of constellations of materials and objects, as well as people and ideas. The diverse population of Nishapur and its surroundings, from the better-researched elite groups of merchants, land-owning aristocracy, and literates, to the less-known artisans, farmers, miners, and servants, were instrumental in adapting global cultural trends to create their own distinctive visual languages. This is seen in the material remains of everyday life in medieval Nishapur – from pots and pans to lighting devices, inkwells, textiles and trimmings, jewelry, games and toys, talismanic devices, weapons, coins, and architectural fragments. Nishapur lost its political prominence due to a series of earthquakes and invasions that peaked in the thirteenth century. Today, the medieval city is a vast archaeological area, while the relatively small modern city is situated to its north. Instead Mashhad, a major pilgrimage site, emerged as a major prosperous metropolis in the region. Between 1935 and 1948, the "Persian Expedition" of the Metropolitan Museum of Art excavated at several sites at Nishapur under an agreement with the Iranian authorities. American archaeologists and hundreds of Iranian workers excavated archaeological areas named Tepe Madrasa, Village Tepe, Sabz Pushan, Qanat Tepe, Tepe Alp Arslan, Vineyard Tepe, among others. They uncovered vast neighborhoods with mostly residential buildings, but also mosques, bathhouses, and possibly a governmental palace. Two main chronological phases were recognized in the sites: the first covers the ninth-tenth centuries and the second covers the eleventh-twelfth centuries. Thousands of artifacts were also recovered, mostly ceramic, glass, metal, and stone vessels, as well as carved and painted stuccoes and wall paintings, which were divided in half between the two countries, resulting in over four thousand objects in the Met’s collection today.
Ring Stone
Object type: ringstone fragment
Date: 101 – 100
Materials: stone
Culture: indian
Subjects: birds,maurya,mauryan,women
Oosters tapijt
Object type: oriental rug
Date: 1800 – 1900
Materials: wool
Location: kula

Oosters tapijt, bidkleed, van geknoopte wol, versierd met een terra-cotta mihrab, met een rechthoekige top, gestut door twee zuilen. In de top hangt een gestileerde lamp. De zwikken zijn gevuld met plataanbladeren. Rondom drie randen en vier zomen.
Kuehne, 3rd Base, Pittsburgh, from the series Old Judge Cigarettes
Object type: baseball card, photograph
Date: 1888 – 1888
Techniques: albumen print, photography
Artist: goodwin & company
Artist role: publisher
Artist dates: 1850 – 1950
Subjects: men,portraits,baseball,athletes

From the Old Judge Cigarettes series N173, 1887-1889. Series consists of 407 cabinet cards total, and the Metropolitan Museum of Art owns 152. Issued by Goodwin & Company, New York.
Ladle
Object type: ladle
Date: 1760 – 1761
Materials: silver
Twee aanblikken van een hand met een carcinoom
Object type: stereograph
Date: 1884 – 1894
Materials: paper
Techniques: photoaquatint
Subjects: external tumours, skin and venereal diseases, hand