deem-data/ArtiFact huggingface dataset:
Design for a Chair Back Cover with a Squatting Half-Human Grotesque Figure Inside an Ornamental Frame Made of Two Cornucopias Holding Bundles of Leaves and Fruits and Scrolls of Leaves and Flowers
Object type: drawing ornament architecture
Date: 1870 – 1900
Materials: gouache, watercolor
Artist: anonymous, french, 19th century
Artist role: designer
Artist nationality: french
Artist dates: 1800 – 1900

Rectangular sheet of paper with a design for a chair back cover from the second half of the nineteenth, forming part of the Classical and Renaissance Revival that took place from about 1850, where the interest on the art and architecture from Ancient Rome and the 15th and 16th centuries was propelled by archaeological discoveries in Greece, Italy and Egypt. Through this style, Classical and Renaissance pieces of art and design were reinterpreted in a variety of forms and motifs, and classical figures, scrolling decorations, strapwork, and grotesques and moresques, became central element in design. This Revival was characterized by the use of design motifs that alluded to Classical Antiquity, including vases and trophies with pastoral attributes, classical figures and cameos, a mixture of real and fantastic figures, and swags and festoons. These swags and festoons comprised garlands of fabric and ribbon, as well as thin bundles and garlands of flowers and husks colored with pastels. The scale of this design is clearly not true to life and it is not unlikely that this drawing was made for a sample book of an upholsterer, to be shown to the customer as one of many different styles to choose from. This design is made up of a half-human grotesque figure, rendered with brownish-gray color to simulate possibly a copper finish, which squats over an ornamental frame with two cornucopias on the sides, and decorated by scrolls of various types, rendered with shades of yellow to imitate a golden finish. Each cornucopia holds a bundle of leaves of green color and fruits of yellor and red color, possibly apples or apricots, from which vegetal scrolls with leaves and flowers, colored with green, blue, carmine and pink, stem out to complete the upper part of the frame. From the outer end of each cornucopia hangs a piece of a pink textile, tied to the bottom scrolls of the frame. The background of the design is of green color inside a gray frame. The design is placed on the same paper as a similar chair seat cover (49.50.197(b)), possibly meant to be part of the same chair as this.
Bronze navicella-type fibula (safety pin)
Object type: fibula
Date: 800 – 701
Materials: bronze
Culture: etruscan

Navicella-type fibulae have arched bows with open undersides; incised decoration on the bow.
Tabel met beschrijvende tekst bij twintig prenten, mogelijk gebruikt als omslag
Object type: print
Date: 1783 – 1785
Materials: paper
Techniques: engraving
Location: paris
Subjects: letters, alphabet, script

Beschrijvende tekst bij een versie van de serie 'Conquêtes de l' Empereur de la Chine' met afbeeldingen van de veroveringen van keizer Qianlong van China, uitgegeven door Helman tussen 1783-1785.
Gesp met slangen en bloemranken
Object type: jewellery
Date: 1900 – 1900
Materials: silver
Techniques: gilding
Location: netherlands
Artist: Anonymous

Gesp van verguld zilver. Het uitgezaagde ornament bestaat uit twee slangen met om elkaar gedraaide staarten, en bloemranken. Aan de achterzijde een uitschuifbare pin.
Valentine
Object type: valentine
Date: 1850 – 1879
Materials: lace, paper
Techniques: chromolithography, cutting, embossing, open work
Artist: Anonymous
Artist role: artist
Subjects: flowers
Landweg buiten een stad met figuren en vee
Object type: print
Date: 1636 – 1696
Materials: paper
Techniques: engraving, etching
Location: france
Artist: nicolas de poilly (i)
Artist role: print maker, publisher
Artist dates: 1626 – 1696
Subjects: road, path, herd, flock, prospect of city, town panorama, silhouette of city

Prenten met het signatuur 'Perelle' kunnen zowel door vader Gabriel als door zonen Nicolas en Adam gemaakt zijn.
Portret van een vrouw met een baby op schoot
Object type: photograph
Date: 1895 – 1920
Materials: cardboard, photographic support
Techniques: matte daylight collodion silver print
Location: galveston
Subjects: historical persons - bb - woman, infant, baby ~ the ages of man
Inscriptions: dedication: ‘Den lieben [...]/ [...]/ [...] Hedwig.’, inscription: ‘Harper & Co./ 2215 MARKET ST./ CALVESTON, TEXAS/ 507 1-2 MAIN ST./ HOUSTON, TEXAS/ ENNIS, TEXAS’
Pieces (5)
Object type: piece
Date: 1801 – 1900
Materials: cotton
Subjects: flowers,leaves
Vrouw en een figuur met een werktuig
Object type: sketchbook leaf
Date: 1846 – 1851
Materials: paper, pencil
Artist: willem roelofs (i)
Artist role: draughtsman, painter, print maker
Artist dates: 1822 – 1897
Subjects: tools, aids, implements ~ crafts and industries, head (human)

Recto van een losse tekening tussen blad 19 en 20 uit een schetsboek met 25 bladen.
Inlay depicting enthroned god
Object type: inlay, god on throne, facing left
Date: 400 – 301
Materials: faience
Location: middle egypt

Shepsi, an ancient solar god associated with Hermopolis, is depicted here. The god is wrapped in a garment so that only his hands emerged. He originally held probably a flail, whose upper part is now broken away.
Snake bracelet
Object type: bracelet, snake
Materials: gold
Location: egypt
Subjects: snakes

Snake jewelry was not limited to Egypt in the Ptolemaic and Roman Periods, and, in fact, was not a traditional Egyptian sort of jewelry before the Ptolemaic Period. Bracelets with animals, including snakes, appeared in Western Asia from about the eighth century BC, and spread to Greece in the fifth century BC, and came to Egypt mainly with the Ptolemaic Dynasty. In Greek culture there were certainly healing associations with snakes, but there may have been other assocations, too.
Kris
Object type: kris
Date: 1501 – 1900
Materials: gold, steel, wood
Culture: balinese
Location: indonesia
Molenaar in de korenmolen van Wijk bij Duurstede knoopt een zak dicht
Object type: print
Date: 1908 – 1908
Materials: paper
Techniques: aquatint, etching
Artist: willem witsen
Artist role: draughtsman, painter, print maker
Artist dates: 1860 – 1923
Subjects: miller, windmill (+ men (labourers)), wijk bij duurstede
Inscriptions: annotation: ‘épreuve d'essai’
Christus aan het kruis en dobbelende soldaten
Object type: book illustration
Date: 1590 – 1622
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: soldiers throwing dice for christ's seamless garment ~ christ's death on the cross
Inscriptions: collector's mark: Lugt 240

Prent uit: Joannes Bourgois, Vitae passionis et mortis Jesu Christi Somini nostri mysteria, Antwerpen Hendrick Aertssens, 1622, afb. 64
Nakomeling lezend over de historie van de tegenwoordige tijd, 1796
Object type: drawing
Date: 1795 – 1845
Materials: paper
Techniques: pen
Location: netherlands
Subjects: reading, heraclitus, the weeping philosopher, and democritus, the laughing philosopher
Inscriptions: collector's mark: Lugt 2228, inscription: ‘gevonden in den boedel J. Kinker / of J.M. Willemsz.’

Spotprent van een man (onze nakomeling) die bij het lezen van de historie van de tegenwoordige tijd zowel moet huilen als lachen, 1796. Met handgeschreven onderschrift van acht regels.
S. Florien et Ses Compagnons (St. Florian and His Companions), December 17th, from "Les Images De Tous Les Saincts et Saintes de L'Année" (Images of All of the Saints and Religious Events of the Year)
Object type: print
Date: 1636 – 1636
Techniques: etching
Artist: jacques callot
Artist role: artist
Artist nationality: french
Artist dates: 1592 – 1635
Subjects: men,saints

This print is part of a series comprised of a title page, frontispiece, and 122 plates. Each of these 122 plates contains four oval scenes depicting Saints and Religious Events for each day of the year. This etching was originally one of four oval scenes on a plate in the series.
Sherd
Object type: sherd
Date: 3100 – 2700
Materials: ceramic, paint
Culture: iranian
Location: iran

This sherd is made of a pink-buff clay, with brown and red painted decoration. It is typical of Namazga III ceramics from Turkmenistan, dating to ca. 3100-2700 B.C. It was excavated in 1937 at a prehistoric site in the vicinity of Nishapur in northeastern Iran. While Nishapur itself was founded by the Sasanian king Shapur I (reigned ca. A.D. 241-272), this sherd shows that human habitation there goes back to the prehistoric period. Furthermore, the prehistoric pottery from Nishapur has close affinities with ceramic materials from Central Asia rather than with contemporary sites in Iran, meaning that in this period its inhabitants were likely culturally linked to their neighbors to the east. At the same time, Nishapur’s location on what later became known as the Great Khorasan Road suggests that it was part of the trade network that facilitated the import of precious stones such as lapis lazuli, carnelian and turquoise from Central Asia to Mesopotamia.
Design for Road Wagon, no. 3210
Object type: drawing
Date: 1876 – 1876
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
Christ and his Disciples
Object type: print
Date: 1601 – 1700
Techniques: engraving
Artist: grégoire huret
Artist role: artist
Artist nationality: french
Artist dates: 1606 – 1670
Subjects: jesus
Fragment of Wall Hanging with confronted cocks and running dogs
Object type: textile fragment
Date: 301 – 600
Materials: linen, wool
Culture: coptic
Location: egypt
Subjects: roosters,dogs

This elaborately woven band was probably originally part of a large wall hanging for a domestic setting covering a door or decorating a wall. All the motifs related to the pleasures of the elite on their country estates. The large cocks confront each other across a large cluster of grapes with grape leaves by their feet. The detailed spurs on their claws suggest they were used for sport. Above their backs are hunting dogs.
St. Mark's Square, Venice, with Loggetta
Object type: drawing
Date: 1840 – 1840
Materials: graphite, ink, watercolor
Techniques: pen
Artist: william wyld
Artist role: artist
Artist nationality: british
Artist dates: 1806 – 1889
Subjects: buildings,men,women,flags,venice

This lively watercolor unites several famous Venetian landmarks. Centered on the Campanile sitting over Sansovino's Loggetta, the view is framed at left and right by the Doge’s Palace and St. Mark’s Cathedral, and enlivened by strolling clerics and lounging peddlers. Born in London, Wyld became secretary to the British Consul in Calais around 1826, then decided to pursue art after taking watercolor lessons from Louis François Thomas Francia, and becoming friends with Richard Bonington. By 1831 he was exhibiting watercolors at the Salon, then traveled to Algeria via Italy in 1833 where he likely sketched this subject. Back in Paris, Wyld established a reputation with cityscapes in oil and watercolor and had particular success with his Venetian views. In 1855 he was awarded the Legion of Honor for encouraging the development of watercolor painting in France.
[The Wilderness Battlefield]
Object type: photograph
Date: 1866 – 1866
Techniques: albumen silver print, glass negative
Artist: g. o. brown
Artist role: artist
Artist nationality: american
Artist dates: 1860 – 1889
Subjects: american civil war,skulls,landscapes

There is still much to learn about the role of the camera during the Civil War. One day we may know more about some of the war’s most intriguing field photographs: the macabre studies of skulls and unburied bones discovered by an unknown photographer in the Wilderness battlefield where Generals Robert E. Lee and Ulysses S. Grant had fought to a bloody draw in May 1864. It seems likely that these photographs date from the immediate postwar period, during cleanup operations. Printed from negatives that were probably unintentionally solarized during development in the field, the photographs appear illuminated by an unearthly light and are, in part, tonally reversed: the black sky becoming an appropriate symbol for the terrible place called Wilderness, second only to Gettysburg in the number of Union killed, wounded, and missing.
Lord Wentworth
Object type: print
Materials: paper
Techniques: engraving
Location: italy
Artist: francesco bartolozzi
Artist role: artist
Artist nationality: italian
Artist dates: 1728 – 1815
Heilige Antonius van Padua aanbidt het Christuskind
Object type: print
Date: 1622 – 1648
Materials: paper
Techniques: etching
Location: italy
Artist: simone cantarini
Artist role: draughtsman, print maker
Artist dates: 1612 – 1648
Subjects: the franciscan monk antony of padua; possible attributes: ass, book, crucifix, flowered cross, flaming heart, infant christ (on book), lily
Inscriptions: collector's mark: Lugt 240

De Heilige Antonius van Padua zit geknield voor het Christuskind. Ze worden omringd door cherubijnen en putti.
Portret van een zittende vrouw met een boek in hand
Object type: carte de visite
Date: 1860 – 1890
Materials: cardboard, photographic support
Techniques: albumen print
Artist: Anonymous
Subjects: sitting figure - aa - female human figure, historical persons, book
Kous van licht turquoise zijden tricot met pijlen op de klinken en bovenaan twee meegebreide paarse strepen
Object type: stocking
Date: 1700 – 1800
Materials: silk
Techniques: knitting
Location: netherlands
Artist: Anonymous
Inscriptions: initials: ‘L.P.O’

Kous van licht turquoise zijden tricot met pijlen op de klinken. Naad middenachter. Bovenaan twee meegebreide paarse strepen, waartussen L.P.O.
Landschappen met boetvaardige heiligen
Object type: print
Date: 1643 – 1655
Materials: paper
Techniques: etching
Location: paris
Subjects: the penitent st. mary magdalene (often before a cave, possibly at la sainte-baume hill): her long hair covers her (naked) body, she reads, meditates or raises her tear-filled eyes towards heaven
Inscriptions: collector's mark: Lugt 2228

Maria Magdalena ligt voor een grot op een kleed. Naast haar zijn een schedel en een kruis te zien, haar attributen. Op een wolk boven haar knielen twee musicerende engelen. De linkerengel bespeelt een harp en de rechterengel een viool. Het omringende landschap is met veel boompartijen gestoffeerd.
Gezicht op de Oudezijds Voorburgwal bij het Oudekerksplein
Object type: drawing
Date: 1800 – 1899
Materials: ink, paper, pencil
Techniques: brush
Location: amsterdam
Artist: Anonymous
Subjects: sailing-ship, sailing-boat, city-view in general; 'veduta', canal, church (exterior), bridge in city across river, canal, etc.

Tekening binnen de Atlas Van Eck ingedeeld op wijknummer 9.
Jachtscènes (deel 7)
Object type: print
Date: 1608 – 1608
Materials: paper
Techniques: etching
Location: rome
Subjects: stag-hunting, boar-hunting, hunter, hunters hunting (n.b.: in 1988-1990 this notation denoted the concept of 43c11421 'hunters resting during the hunt')
Inscriptions: number: ‘20’, collector's mark: Lugt 11, collector's mark: ‘Hinloopen’

Deze prent maakt deel uit van een reeks van acht prenten (+ opdracht) met jachtscènes.
Drie mannen, fragment
Object type: sculpture
Date: 1475 – 1499
Materials: marble
Alice Tack, from the Actresses series (N245) issued by Kinney Brothers to promote Sweet Caporal Cigarettes
Object type: photograph
Date: 1890 – 1890
Techniques: albumen silver print
Artist: kinney brothers tobacco company
Artist role: publisher
Artist nationality: american
Artist dates: 1869 – 2011
Subjects: portraits,women,actresses

Trade cards from the set "Actors and Actresses" (N245), issued in 1890 by Kinney Brothers Tobacco to promote Sweet Caporal Cigarettes.
Sketch for The Revolt of Cairo
Object type: painting
Date: 1810 – 1810
Materials: canvas, ink, oil, paint, paper
Techniques: drawing, painting
Location: france
Artist: anne-louis girodet de roussy-trioson
Artist nationality: french
Artist dates: 1767 – 1824
Subjects: battles, blood, colonialism, death, egypt, fabric, france, guns, luxury, sketch, smoke, soldiers, swords, textile, violence

This is a preparatory sketch for a monumental painting depicting one of the bloodiest moments of Napoleon’s 1798 invasion of Egypt: the suppression of an uprising in Cairo. The conflict included a massacre in the Al-Azhar Mosque of Mamelukes, a military class of enslaved men who occupied much of the Middle East at that time. As there were no surviving eyewitness reports, Girodet was free to interpret the event as he wished, and, as a commission from Napoleon, the painting celebrates the French point of view. Throughout the work, Girodet perpetuates European fantasies of the Middle East as simultaneously opulent and brutal, lavishing attention on Arab and Ottoman turbans, luxurious fabrics, bare flesh, and gore.
Evening Cherries on Gotem Yama
Object type: print
Date: 1830 – 1830
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: utagawa hiroshige
Artist role: artist
Artist nationality: japanese
Artist dates: 1797 – 1858
Subjects: trees,boats
Pavilion for Prolonging Spring
Object type: ink tablet
Date: 1867 – 1933
Materials: gilt, wood
Techniques: bookbinding
Culture: chinese
Artist: jian guzhai
Artist role: artist
Artist nationality: chinese

This ink tablet is from a sixty-four-tablet set (30.76.216–.279) commissioned by the Jiaqing emperor from the Studio for Appreciating the Antique (Jiangu Zhai) manufactory of the Wang Jinsheng family in Huizhou, Anhui Province. Each ink tablet commemorates a hall or pavilion in one of the imperial gardens. Each site’s name is written in gilt characters on one side; a view of the site is presented on the other. Such inks were purely decorative and not intended for use.
Les Tuileries, Paris
Object type: tissue stereograph
Date: 1863 – 1875
Materials: cardboard, paper
Techniques: albumen print, cutting, hand coloring
Location: paris
Subjects: park, garden pond, public gardens, park
Inscriptions: inscription: ‘Déposé’
Coire (Suisse)
Object type: print
Date: 1847 – 1847
Materials: paper
Techniques: lithograph
Location: london
Subjects: mountains (+ landscape with figures, staffage), city-view in general; 'veduta' (+ city(-scape) with figures, staffage)
Inscriptions: check stamp: Lugt 4011, collector's mark: Lugt 2228a
Object type: drawing
Date: 1870 – 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
Difficult to restore it to be like new, from 'News of the day,' published in Le Charivari, February 22, 1869
Object type: print
Materials: paper
Techniques: lithograph
Artist: honoré daumier
Artist role: artist
Artist nationality: french
Artist dates: 1808 – 1879
Subjects: satire,women
Christus verschijnt aan Maria Magdalena
Object type: print
Date: 1766 – 1766
Materials: paper
Techniques: engraving, etching
Location: london
Subjects: mary magdalene kneeling before christ, who is usually represented as a gardener with a hoe and/or a spade; 'noli me tangere'
Inscriptions: collector's mark: Lugt 2228

Tekst in het Engels in de ondermarge. Genummerd: 12.
Gezicht op de Sint-Jan Baptist ten Begijnhofkerk, te Brussel
Object type: book illustration
Date: 1727 – 1734
Materials: paper
Techniques: engraving, etching
Artist: jacobus harrewijn
Artist role: print maker
Artist dates: 1660 – 1740
Subjects: alms-house (dutch: 'hofje'), church (exterior)

Prent ook gebruikt in: Sanderus, Antonius. Groot kerkelyk toneel des Hertogdoms van Brabant (...). Den Haag: Christiaan van Lom, 1727. En in: Sanderus, Antonius. Antonii Sanderi presbyteri Chorographia sacra Brabantiæ. 3 delen. Den Haag: Christiaan van Lom, 1726-1727, dl. 3 (1727). En in: Sanderus, Antonius. Le grand theatre sacré du duché de Brabant (...). 4 delen. Den Haag: Gerard Block, 1729-1734.
Favus corporis
Object type: photomechanical print
Date: 1870 – 1881
Materials: paper
Techniques: photograph, hand coloring
Location: new york city
Subjects: skin and venereal diseases, child