deem-data/ArtiFact huggingface dataset:
Statue of the Goddess Sakhmet
Object type: statue, sakhmet
Date: 1390 – 1352
Location: egypt
Subjects: goddess

The goddess Sakhmet, whose lioness head with its small intense eyes and prominent sinewy jaws bespeaks her potential for violence, elicited great efforts of appeasement. This is one of some six hundred statues of the goddess created during the reign of Amenhotep III that either still stand in, or can be traced to, two main locales: the mortuary complex of the king at Kom el Heitan on the Theban west bank, and the Mut Temple Complex at Karnak on the east bank at Thebes. This statue was most likely found at the latter site. It was long thought that the king himself had erected statues in both places, but today many scholars believe that originally the statues all stood at the Kom el Heitan mortuary temple. There they formed part of Amenhotep’s massive statuary program. The Sakhmet statues have convincingly been shown to have constituted a "litany in stone" that appeased the goddess and invoked her not to use her negative powers, thereby delivering the king from illness and evil for a year. Based on our understanding of the litany, there may originally have been 730 statues, one seated and one standing for each day of the year. Moreover, it has been theorized they were arranged, along with other divine statues, across the giant courts at Kom el Heitan to form a vast celestial map that served as the king's eternal ritual calendar. The mortuary temple of Amenhotep III apparently began to suffer from rising groundwater not long after its construction, and statues and building materials within its precinct were removed to other sites. Many of the statues of Sakhmet thus had a second stage of life after their original deployment. The violent and powerful goddess was linked with the goddess Mut, wife of Amun, who was worshipped in the Precinct of Mut south of Karnak temple. Statues of Sakhmet had probably already begun to be moved to the Mut temple complex by the Nineteenth Dynasty as the two goddesses became more closely identified, and then a number of Sakhmet statues at the complex bear added names indicating the attention of rulers of the Third Intermediate Period, when alternately fierce and gentle goddesses with lion aspects, including Sakhmet and Mut, acquired great religious influence.
Rhyton terminating in the forepart of a wild cat
Object type: rhyton
Date: 100 – 1
Materials: mercury, silver
Techniques: gilding
Culture: parthian
Location: iran
Subjects: grapes,cats

Elaborate bowls, animal-headed drinking vessels, and rhytons—vessels which have a hole at the front from which liquid flows—were highly valued in ancient Near Eastern society. During the pre-Achaemenid, Achaemenid, and Parthian periods, examples made of silver, gold, and clay were used throughout a vast area extending both to the east and west of Iran. The animals on these vessels included the ram, horse, bull, ibex, supernatural creatures, and female divinities; some were engraved with royal inscriptions. Rhytons made of precious materials were probably luxury wares used at royal courts. Both the rhyton and the animal-headed vessel were adopted by the Greek world as exotic and prestigious Oriental products. Dating from the Parthian period, this silver rhyton is a fine example of the enduring influence of Hellenistic culture, which owes much to the artistic traditions of Achaemenid Iran. The horn-shaped vessel ends in the forepart of a panther; a spout for pouring is in the middle of the chest. A gilded fruit-laden grapevine winds around the panther's chest; at the other end of the rhyton, an ivy wreath encircles the rim. These are the symbols of the Greek wine god Dionysus, whose cult spread eastward with the invasion of Alexander. Dionysiac images—panthers, grapevines, and dancing females—were absorbed by the Parthians and continued to appear in the art of Near Eastern cultures in the Sasanian period (A.D. 224–651).
Trade Card for A. Salmon, Printer (Imprimeur)
Object type: print, trade card
Date: 1894 – 1894
Techniques: etching
Artist: anonymous, french, 19th century
Artist role: artist
Artist nationality: french
Artist dates: 1800 – 1900

This late nineteenth-century trade card reproducing Rembrandt’s self-portrait demonstrates the long legacy of the Dutch etcher as a model for artistic printing. Alfred Salmon opened his printing business in 1863, but the inclusion here of the name of his son-in-law, Auguste Porcabeuf, suggests that this card dates from about 1894, when he took over the enterprise.
Vase
Object type: vase
Date: 1501 – 1600
Materials: earthenware, glaze
Culture: italian
Subjects: dragons
Bust of a Man (a) and Sleeping Dog (b)
Object type: print
Date: 1843 – 1843
Techniques: etching
Artist: charles émile jacque
Artist role: artist
Artist nationality: french
Artist dates: 1813 – 1894
Subjects: men,dogs
Portret van Lodewijk van Frankrijk
Object type: print
Date: 1794 – 1846
Materials: paper
Techniques: engraving
Location: france
Subjects: lodewijk van frankrijk (dauphin van frankrijk), historical persons, king
Inscriptions: collector's mark: Lugt 2228
Pierre de Wiessant
Object type: statuette
Materials: bronze, patina
Artist: auguste rodin
Artist role: artist
Artist nationality: french
Artist dates: 1840 – 1917
Subjects: men

This is a reduced version of one of the figures of the monumental group The Burghers of Calais (see 1989.407). The tension of Pierre de Wiessant’s twisted stance announces his conflicted state as he approaches his own demise. The left side of his body stands erect, proceeding toward the enemy English camp while his right side pivots backward, his foot dragging behind him. Raising a large splayed hand, he shields his gaze from his fate.
Zintuig gezicht
Object type: print
Date: 1581 – 1656
Materials: paper
Techniques: engraving
Location: netherlands
Subjects: sight, looking (one of the five senses), the giving of the test commandment: god warns adam and eve not to eat from the tree of knowledge of good and evil
Inscriptions: collector's mark: Lugt 1967, collector's mark: Lugt 2228

Vrouw als personificatie van zintuig gezicht zittend in landschap, zij kijkt in een spiegel terwijl een roofvogel met gespreide vleugels naast haar staat. Op de achtergrond is een scène uit Genesis weergegeven, God toont Adam en Eva de boom der kennis van goed en kwaad. In marge onder twee regels Latijn.
Henry Tanworth Wells
Object type: photomechanical print
Date: 1873 – 1878
Materials: paper
Techniques: woodburytype
Artist: Anonymous
Subjects: portrait, self-portrait of painter, historical persons (portraits and scenes from the life) (+ (full) bust portrait)
Design for a Catafalque
Object type: drawing
Date: 1701 – 1800
Materials: ink
Techniques: wash
Artist: anonymous, italian, 18th century
Artist role: artist
Artist nationality: italian
Artist dates: 1700 – 1800
Subjects: architecture
Verloren zoon verkwist zijn geld
Object type: print
Date: 1612 – 1612
Materials: paper
Techniques: etching
Location: low countries
Subjects: the prodigal son in the midst of prostitutes feasting and dissipating his patrimony, usually in a brothel or inn

Op een voorplein voor een kasteel ligt de verloren zoon in de armen van een prostituee, terwijl een bediende zijn wijn bijvult. Twee muzikanten en een dame die een luit bespeelt, maken deel uit van het gezelschap. Rechtsachter wordt de verloren zoon een huis uitgejaagd.
Schets van een groep personen
Object type: drawing
Date: 1867 – 1923
Materials: charcoal, paper
Artist: george hendrik breitner
Artist role: draughtsman, painter, print maker
Artist dates: 1857 – 1923
Drie wandelaars op een houten brug
Object type: print
Date: 1640 – 1670
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: rowing-boat, canoe, etc., bridge
Inscriptions: collector's mark: Lugt 2228

Drie wandelaars op een houten brug over een rivier. Boten op de rivier. De prent maakt deel uit van een serie van twaalf landschappen.
Sleeve Band
Object type: textile
Materials: linen, wool
Techniques: tapestry weave
Culture: coptic, egyptian
Location: egypt
Initial letter V with putto
Object type: print
Date: 1496 – 1496
Techniques: woodcut
Artist: anonymous, italian, 15th century
Artist role: artist
Artist nationality: italian
Artist dates: 1400 – 1500
Het Vlaamsche Hoofd bij Antwerpen
Object type: print
Date: 1883 – 1883
Materials: paper
Techniques: aquatint, brush, etching
Location: antwerp
Artist: gerard jan bos
Artist role: print maker
Artist dates: 1860 – 1943
Subjects: river bank, antwerp
Inscriptions: inscription: ‘Het Vlaamsche Hoofd bij Antwerpen’, collector's mark: Lugt 2228
Token of James Monroe
Object type: token
Date: 1876 – 1876
Materials: bronze
Subjects: stars
Saint Paul holding a sword, in an oval frame, from "Christ, the Virgin, and Thirteen Apostles"
Object type: print
Date: 1600 – 1640
Materials: ink
Techniques: etching, pen
Artist: anonymous, 17th century
Artist role: artist
Artist dates: 1600 – 1700
Subjects: swords,portraits,saint paul

From Christ, the Virgin and Thirteen Apostles, a series of fifteen busts in oval frames printed from one plate, after Reni. Brown ink drawn around the outer border of the sheet.
Border
Object type: textile
Date: 1801 – 1900
Techniques: embroidery, embroidered
Location: india
Brief aan Sjoerd Kuperus
Object type: letter
Date: 1941 – 1941
Materials: ink, paper
Techniques: pen, printing, writing
Location: bloemendaal
Artist: jac. p. thijsse
Artist role: bioloog, onderwijzer, schrijver
Artist dates: 1865 – 1945
Subjects: print maker, draughtsman, sjoerd kuperus, illustration ~ printed matter, book, printed matter
Inscriptions: collector's mark: ‘RPK’, watermark
Musketmaat, leren huls met oortjes
Object type: kruitmaat
Date: 1590 – 1596
Materials: leather
Techniques: cutting
Artist: Anonymous
Subjects: willem barendsz., amsterdam, jacob van heemskerck
Currical Sleigh with Rumble Seat # 3811
Object type: drawing
Date: 1883 – 1883
Materials: gouache, ink, watercolor
Techniques: pen
Artist: brewster & co.
Artist role: manufacturer
Artist nationality: american
Subjects: sleighs

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
Red Spain mobilizes her reserves
Object type: news photograph
Date: 1937 – 1937
Materials: photographic support
Techniques: gelatin silver print
Location: amsterdam
Artist: Anonymous
Subjects: barcelona, spaanse burgeroorlog

Gewapende republikeinse burgers oefenen met wapens in de straten van Barcelona, 28 april 1937, tijdens de Spaanse Burgeroorlog. Op de achterzijde twee stempels en blaadje met perstekst in het Engels.
The Shell
Object type: print
Date: 1650 – 1650
Materials: ink, paper
Techniques: etching
Location: netherlands
Artist: rembrandt van rijn
Artist role: artist
Artist nationality: dutch
Artist dates: 1606 – 1669

In the 17th century, seashells became popular collectible objects because they were considered rare and exotic. They also became common subjects for still-life paintings known as Vanitas, which symbolically represent the transience of life. The etchings of both Wenceslaus Hollar and Rembrandt van Rijn could represent the simultaneous beauty and fragility of existence. While still lifes in general are exceedingly rare in Rembrandt’s work, Hollar’s etching (1996.609) comes from a series of seashells, consisting of 38 plates. Rembrandt’s shell could have been inspired by Hollar’s work, though Rembrandt’s decision to render the shell in a three-dimensional space represents a marked difference between the two etchings.
Kwitantie voor de heer Househoven
Object type: ontvangstbewijs, kwitantie
Date: 1770 – 1770
Materials: ink, paper
Techniques: pen, writing
Artist: gerrit kamphuysen
Artist role: miniatuurschilder
Subjects: anonymous historical person portrayed, painting (including book-illumination, miniature-painting), money
Inscriptions: collector's mark: Lugt 2233
Pendant
Object type: pendant
Date: 1759 – 1775
Materials: silver
Culture: american
Location: united states
Studie van een jongen ten halven lijve
Object type: pastel
Date: 1736 – 1738
Materials: paper
Artist: jean-etienne liotard
Artist role: painter, print maker
Artist dates: 1702 – 1789
Subjects: boy (child between toddler and youth), youth, adolescent, historical persons not known by name

Jean-Etienne Liotard (1702 - 1789). Portrait of a boy. Miss M.A. Liotard bequest, Amsterdam, 1873.
Interieur van de Martinuskerk, te Kassel
Object type: print
Date: 1831 – 1863
Materials: paper
Techniques: engraving
Location: kassel
Subjects: interior of church
Inscriptions: collector's mark: Lugt 2228
Portret van Christoffel van Brants met opdracht
Object type: print
Date: 1722 – 1727
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: amsterdam, christoffel van brants, (story of) neptune (poseidon), sailing-ship, sailing-boat, (story of) mercury (hermes), maps, atlases, historical persons, french or architectonic garden; formal garden, villa, armorial bearing, heraldry, country-house

Allegorisch portret van de lutherse koopman Christoffel van Brants, die in 1717 door tsaar Peter de Grote tot de Russische adelstand werd verheven en werd benoemd tot Russisch ambassadeur te Amsterdam. Zijn portret staat tegen een obelisk in een tuin, geflankeerd door Mercurius en Neptunus. Bovenin de obelisk zijn wapen. Onder het portret een zeilschip op zee en twee kinderen met een kaart. Daaronder de aan hem gerichte opdracht van Simon Schijnvoet. Langs de zijkanten gezichten op de door Schijnvoet ontworpen tuin van zijn buitenplaats 'Petersburg' aan de Vecht. Rechtsboven genummerd: 2.
Zeegevecht voor Lowestoft tussen de Engelsen en de Nederlanders onder Wassenaar van Obdam, 1665
Object type: print
Date: 1665 – 1665
Materials: paper
Techniques: engraving, etching, letterpress printing
Location: northern netherlands
Artist: Anonymous
Subjects: james stuart (hertog van york), jacob baron van wassenaer heer van obdam, battle (+ naval force), battle of lowestoft

Zeegevecht voor Lowestoft (Lestoffe) tussen de Engelsen onder de hertog van York en de Nederlanders onder Wassenaer van Obdam, wiens schip met 500 man in de lucht vliegt. De overlevenden vluchten en de Engelsen behalen de overwinning. (13-15 juni 1665). Bovenaan links de Engelse vloot, rechts in de verte Texel. Onder de plaat op het blad gedrukt een beschrijving van de zeeslag in 3 kolommen.
The Virgin holding the infant Christ, after Reni
Object type: print
Date: 1600 – 1640
Techniques: etching
Artist: anonymous, 17th century
Artist role: artist
Artist dates: 1600 – 1700
Subjects: christ,madonna and child,virgin mary
Ushnisha Cover
Object type: cover
Date: 701 – 933
Materials: gold
Culture: indonesian, javanese
Socketed Finial
Object type: finial
Date: 1300 – 1001
Materials: bone, ivory
Culture: chinese
Gold stater of Alexander the Great
Object type: stater
Date: 336 – 323
Materials: gold
Culture: macedonian
Subjects: alexander the great
Moeder geeft kind in kinderwagen te eten
Object type: print
Date: 1837 – 1856
Materials: paper
Techniques: hand coloring, lithograph
Location: turnhout
Artist: a. van loco
Artist role: print maker
Subjects: baby-carriage, pram, perambulator, feeding a baby, mother and baby or young child
Inscriptions: collector's mark: Lugt 2233
A costume and a sketch of a man in profile
Object type: drawing
Date: 1500 – 1500
Artist: anonymous, german, 16th century
Artist role: artist
Artist nationality: german
Artist dates: 1500 – 1600
Subjects: costumes,men
Library of the Metropolitan Museum of Art bookplate
Date: 1895 – 1895
Artist: edwin davis french
Artist role: engraver
Artist nationality: american
Artist dates: 1851 – 1906

Engraved bookplate with view of the Metropolitan Museum of Art in Central Park with a curved road shaded in stipple (could be a variant with a darker impression); beneath the view is the the word "Purchased" in a panel. Bookplate signed in bottom left corner "E.D. French sc. 1895".
Portret van een onbekend meisje, aangeduid als Mimi
Object type: photograph
Date: 1909 – 1909
Materials: cardboard, photographic support
Techniques: gelatin silver print
Location: utrecht
Artist: anton cornelis thomann
Artist role: fotograaf
Artist dates: 1873 – 1946
Subjects: historical persons, girl (child between toddler and youth)
Inscriptions: inscription: ‘ANTON/ C THOMANN/ Fotograaf/ UTRECHT/ TELF. 893./ ONDERSCHEIDINGEN IN BINNEN/ EN BUITENLAND/ Prager & Loida Berlin 27608’, inscription: ‘Mimi oud 2 jaar/ [...]/ 1909’
Wine Glass
Object type: wine glass
Date: 1850 – 1880
Materials: glass
Techniques: glassblowing
Culture: american
Location: united states
Artist: new england glass company
Artist role: maker
Artist nationality: american
Artist dates: 1818 – 1888
Verwoesting op het Steenschuur na de Leidse buskruitramp, 1807
Object type: print
Date: 1807 – 1807
Materials: paper
Techniques: engraving, etching
Location: netherlands
Subjects: gunpowder disaster
Inscriptions: collector's mark: Lugt 2228

Gezicht vanaf de Groenebrug op de opruimwerkzaamheden bij de verwoeste gebouwen aan het Steenschuur te Leiden na de buskruitramp op 12 januari 1807. Rechts op de voorgrond de Saaihal.
Onbekende man, jongen en kind voor een huis
Object type: photomechanical print
Date: 1905 – 1910
Materials: paper
Techniques: photograph
Location: north holland
Artist: Anonymous
Subjects: boy (child between toddler and youth), adult man, child
Tobacco box
Object type: tobacco box
Date: 1760 – 1765
Materials: brass, copper
Artist: johann heinrich giese
Artist role: maker
Artist dates: 1716 – 1761
Subjects: men,horses
Pastry Shop
Object type: print
Date: 1632 – 1633
Techniques: etching
Artist: abraham bosse
Artist role: artist
Artist nationality: french
Artist dates: 1602 – 1676
Subjects: food,kitchens,men,women,bakers,cooking
Eagle Holding Small Bird
Object type: album leaf
Date: 1887 – 1887
Materials: ink, silk
Culture: japanese
Artist: kawanabe kyōsai 河鍋暁斎
Artist role: artist
Artist nationality: japanese
Artist dates: 1831 – 1889
Subjects: birds,eagles
Cover of a chocolate pot with a landscape and garlands
Object type: chocolate pot
Date: 1770 – 1775
Materials: glaze, gold, paint, porcelain
Techniques: firing, forming, gilding, relief, vitrification
Location: ludwigsburg

Deksel van een kan of pot (chocoladekan) van porselein met een gat in het midden, waaromheen drie kleinere gaten. Beschilderd op het glazuur in emailkleuren en goud. Versierd met een gouden lijn, een band van rocailles en in reliëf een bloemslinger.
Kandelaber
Object type: ornament print
Materials: paper
Techniques: etching
Location: italy
Artist: Anonymous
Subjects: ornament ~ candelabrum
Inscriptions: collector's mark: Lugt 2228

Deze prent maakt deel uit van een reeks kopieën naar prenten van Agostino Mitelli. Mitelli maakte zijn prenten naar tekeningen van marmeren pilasterdecoraties van de poort van de S. Bartolomeo di Porta Ravegnana in Bologna.
Collar
Object type: collar
Materials: linen
Culture: irish
Drie ontwerpen voor muurornamenten
Object type: ornament print
Date: 1725 – 1750
Materials: paper
Techniques: etching
Location: paris
Subjects: ornaments ~ art, herms (garden ornaments), ornament ~ medallion, cupids: 'amores', 'amoretti', 'putti', father time, man with wings and scythe
Inscriptions: collector's mark: Lugt 2228a

Links een man met op zijn schouder een putto met een vaandel. In het midden Vader Tijd met een medaillon. Rechts een herm met daarboven een putto met een vaandel en ander wapentuig. Deze prent maakt deel uit van een album.
Korenlichtermansgilde van Amsterdam, gildepenning van Willem van de Water
Object type: medal
Date: 1773 – 1773
Materials: brass
Techniques: engraving
Location: amsterdam
Artist: Anonymous
Subjects: amsterdam

Messing penning. Voorzijde: gekroonde korenlichter onder opschrift. Keerzijde: opschrift
Gezicht op de oostzijde en de koepel van het Capitool in Washington D.C.
Object type: photograph
Date: 1880 – 1900
Materials: cardboard, paper, photographic support
Techniques: albumen print
Location: washington d.c.
Artist: Anonymous
Subjects: dome ~ architecture
La Ville de Derbendt, en Perse
Object type: print
Date: 1726 – 1726
Materials: paper
Techniques: engraving, etching
Location: leiden
Subjects: cortege, funeral procession

Gezicht op Derbent in Perzië, op de voorgrond begrafenisoptocht onderweg naar een begraafplaats. Plaat nr. 469 in deel XIX van het prentwerk: Les Forces de l'Europe, Asie, Afrique et Amerique ... Comme aussi les Cartes des Côtes de France et d'Espagne uit 1726, dit tweede deel met 271 met de hand genummerde platen van vermaarde sterke steden en vestingen in het kader van de Spaanse Successieoorlog 1701-1713. Voor het merendeel zijn deze platen gekopieerd naar de anonieme Franse platen van vermaarde sterke steden en vestingen: in Les forces de l'Europe en in: Le theatre de la guerre, dans les Pays-Bas, beide oorspronkelijk uitgegeven door Nicolas de Fer te Parijs (1693-1697) in het kader van de Negenjarige Oorlog. Titel in het Frans.
Girl Standing
Object type: print
Date: 1875 – 1875
Materials: ink, paper
Techniques: drypoint
Location: united states
Artist: james mcneill whistler
Artist role: artist
Artist nationality: american
Artist dates: 1834 – 1903
Portret van Elisabeth van Valois
Object type: print
Date: 1559 – 1559
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: fontainebleau, madrid, koningin, elisabeth van valois (koningin van spanje)
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 1490

Portret van Elisabeth van Valois, koningin van Spanje, ten halven lijve naar links in een ovale lijst met randschrift in het Latijn. Zij houdt een bloem in haar rechterhand en een paar handschoenen in haar linkerhand.
Piece
Object type: piece
Date: 1501 – 1700
Materials: silk
Subjects: animals,birds
Seal of Frederick William, Duke of Saxony
Object type: seal
Date: 1586 – 1586
Materials: lead
Culture: german
Location: germany
Subjects: men,horses
Wooded Landscape with Figures
Object type: drawing and watercolor
Date: 1601 – 1700
Materials: chalk, paper
Techniques: brush, wash
Location: italy
Artist: Anonymous
Artist nationality: italian
Artist dates: 1600 – 1699