deem-data/ArtiFact huggingface dataset:
Wagonette Omnibus (unnumbered)
Object type: drawing
Date: 1850 – 1870
Materials: gouache, gum arabic, ink, watercolor
Techniques: pen
Artist: brewster & co.
Artist role: manufacturer
Artist nationality: american
Subjects: carriages

Brewster & Company History Established in 1810 by James Brewster (1788–1866) in New Haven, Connecticut, Brewster & Company, specialized in the manufacture of fine carriages. The founder opened a New York showroom in 1827 at 53-54 Broad Street, and the company flourished under generations of family leadership. Expansion necessitated moves around lower Manhattan, with name changes reflecting shifts of management–James Brewster & Sons operated at 25 Canal Street, James Brewster Sons at 396 Broadway, and Brewster of Broome Street was based at 372 & 374 Broome Street with a repository (showroom) on 14th Street & Fifth Avenue. By 1874, Brewster & Company had 400 employees and combined warehouse and factory facilities at 47th & 48th Streets and Broadway. Brewster successfully branched out to produce their own automobiles, as well as supplying bodies for Rolls Royce at their Long Island City location. Notable clientele included Alfred Gwynne Vanderbilt, August Belmont, J.P. Morgan, John Jacob Astor, Andrew J. Cassatt (brother of artist Mary Cassatt), William Rockefeller, Henry Clay Frick and Pierre Lorillard. Talented draftsmen employed by the firm included Paul Steinbeck, Herman Stahmer and John Gribbon, the latter teaching at the Carriage Builders and Designers Technical School, which opened in 1880 and was housed initially at the Metropolitan Museum of Art. When the company finally dissolved in 1923, its last owner William Brewster (1866–1949) donated its archive of design and presentation drawings to the Museum where he served as benefactor and trustee. Of all American carriage manufacturers, none was as highly regarded for design, finish and quality as Brewster & Company. They won many awards for outstanding workmanship, including the Legion d’Honneur (Legion of Honor) at the 1878 Paris Exposition (3rd World’s Fair). In appreciation for this achievement the Carriage Builders’ National Association presented them with a gold enameled Tiffany & Company plaque and autograph book signed by leading American carriage builders, both now at the Metropolitan Museum of Art. Merri Ferrell, 2016
Helmet (Kabuto)
Object type: helmet kabuto
Date: 1701 – 1800
Materials: gilt bronze, iron, lacquer, textile
Techniques: gilding
Culture: japanese
Location: japan
Flagon
Object type: toy
Date: 1765 – 1765
Materials: soft paste porcelain
Artist: chelsea porcelain manufactory
Artist role: factory
Artist nationality: british
Artist dates: 1744 – 1784
Subjects: women,trees
Ring, scarab
Object type: ring with scarab
Date: 1550 – 1295
Materials: gold, lapis lazuli
Location: egypt
Subjects: scarabs
Globi coelestis in tabulas planas redacti pars V, in qua longitudines (...)
Object type: print
Date: 1742 – 1742
Materials: paper
Techniques: engraving, etching, hand coloring
Location: nuremberg
Subjects: zodiac; the twelve zodiacal signs together, star-chart, star map
Satire on the Papacy
Object type: print
Date: 1555 – 1555
Techniques: etching
Artist: melchior lorck
Artist role: artist
Artist nationality: danish
Artist dates: 1526 – 1588
Subjects: satire,popes

This etching is one of a large group of harshly satirical depictions of the pope produced during the immediate aftermath of the Reformation. The caricatured pope is represented with three heads: the one in the middle bears the papal tiara, the one at left a turban, while the one at right is represented as that of an infant. Other features serve to underscore the covert, demonic nature that some Protestants attributed to representatives of the Catholic Church: one of his hands and one of his feet are depicted in a grotesque, nonhuman state, and a large lizardlike tail extends from beneath the papal robe. Affixed to the front of the robe is a broach with the insignia of a frog, a common symbol of false religion. The pope is shown handing a number of coins to a figure represented as a soldier, who holds a halberd that emits flames. Implied together with the hybrid character of the pope is that the church bribes for the benefit of military protection, and that its actions are driven by a devious, animalistic nature. This image, by an anonymous German artist, is representative of a genre of popular print critical of the Catholic Church, disseminated well into the seventeenth century in Germany and the Netherlands.
Portret van George en Augusta van Cambridge als kinderen
Object type: print
Date: 1827 – 1864
Materials: paper
Techniques: lithograph
Location: hamburg
Subjects: london, curtains, child, historical persons
Inscriptions: collector's mark: Lugt 2228
Groepsportret van vier vrouwen en een man
Object type: photograph
Date: 1908 – 1939
Materials: paper
Techniques: gelatin silver print
Location: herisau
Artist: a. wolffenspercher
Artist role: fotograaf
Subjects: hannie holtzscher, arm in arm (friends), historical persons
Inscriptions: inscription: ‘Aug. '39/ Tuin v. Heinrichsbad/ Hannie Holtzscher/ G. Manson/ Dr. Weststrate/ Gr. v. Geelen[?]/ Annie Weststrate/ Photo A. Wolffensperger’
Cover
Object type: cover
Date: 1801 – 1900
Materials: metal
Patch
Object type: textile
Materials: textile
Techniques: slit, tapestry
Location: peru
Paardenkoets en figuren op een straat
Object type: sketchbook leaf
Date: 1874 – 1875
Materials: paper, pencil
Artist: willem cornelis rip
Artist role: draughtsman, painter
Artist dates: 1856 – 1922
Subjects: four-wheeled vehicle drawn by two animals, street (+ city(-scape) with figures, staffage)

Blad 12 verso uit een schetsboek met 46 bladen.
Shoes
Object type: shoe
Date: 1880 – 1885
Materials: leather
Culture: american
Henoch bidt met zijn gezin
Object type: print
Date: 1560 – 1600
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: story of enoch, son of jared, who invented letters and was the first to divide the year into seasons and into twelve months, 'enoch ... was taken up' ~ enoch's translation, prayer at table, saying grace
Inscriptions: collector's mark: Lugt 240

Henoch zit met zijn gezin aan tafel voor zijn huis. Het gezin bidt voor het eten tot God. In de deuropening van het huis een vrouw en een kind. Op de achtergrond een glooiend rivierlandschap met rechtsachter de hemelvaart van Henoch. De prent heeft een Latijns onderschrift.
Graftombe van Absalom in Dal van Josafat te Jeruzalem
Object type: photograph
Date: 1854 – 1854
Materials: cardboard, photographic support
Techniques: salted paper print
Location: france
Subjects: grave-building, monumental tomb
Inscriptions: date

plaat uit boek Auguste Salzmann, Jérusalem. Époques judaïque, romaine, chrétienne, arabe...
Giafar
Object type: painting
Date: 1850 – 1859
Materials: oil, panel, wood
Techniques: painting
Location: france
Artist: attributed to alfred dedreux
Artist nationality: french
Artist dates: 1810 – 1860
Subjects: horse, french, france, african, clouds, trees, man, men, animals, landscape, horses
La Trève de Dieu (God's Truce) (Furnishing Fabric)
Object type: textile
Date: 1820 – 1820
Materials: cotton
Techniques: engraving, weave, printing
Location: munster
Portret van een onbekende vrouw, staand
Object type: sketchbook leaf
Date: 1919 – 1919
Materials: paper, pencil
Subjects: anonymous historical person portrayed alone - bb - woman, adult woman (+ standing), picture, painting

Mogelijk naar een schilderij dat zich in een Deense of Zweedse collectie bevindt. Pagina 11 uit schetsboek XXXV met 36 pagina's.
Snuff Bottle
Object type: snuff bottle
Date: 1736 – 1795
Materials: coral, crystal
Culture: chinese
Vase
Object type: vase
Date: 1500 – 1600
Materials: limestone
Location: china
Artist: Anonymous

This exceptional and rare vase was once part of a set from the grave of a highly placed person. Daoist motifs are carved in relief on both the lid and the vase itself. The lid features flying cranes and clouds. Also depicted are the Eight Daoist Immortals crossing the sea. Together they symbolize happiness, good fortune, and eternal life.
Design for Game Wagon/Dos-à-dos Phaeton
Object type: drawing
Date: 1850 – 1870
Materials: gouache, gum arabic, ink, watercolor
Techniques: pen
Artist: brewster & co.
Artist role: manufacturer
Artist nationality: american
Subjects: carriages

Brewster & Company History Established in 1810 by James Brewster (1788–1866) in New Haven, Connecticut, Brewster & Company, specialized in the manufacture of fine carriages. The founder opened a New York showroom in 1827 at 53-54 Broad Street, and the company flourished under generations of family leadership. Expansion necessitated moves around lower Manhattan, with name changes reflecting shifts of management–James Brewster & Sons operated at 25 Canal Street, James Brewster Sons at 396 Broadway, and Brewster of Broome Street was based at 372 & 374 Broome Street with a repository (showroom) on 14th Street & Fifth Avenue. By 1874, Brewster & Company had 400 employees and combined warehouse and factory facilities at 47th & 48th Streets and Broadway. Brewster successfully branched out to produce their own automobiles, as well as supplying bodies for Rolls Royce at their Long Island City location. Notable clientele included Alfred Gwynne Vanderbilt, August Belmont, J.P. Morgan, John Jacob Astor, Andrew J. Cassatt (brother of artist Mary Cassatt), William Rockefeller, Henry Clay Frick and Pierre Lorillard. Talented draftsmen employed by the firm included Paul Steinbeck, Herman Stahmer and John Gribbon, the latter teaching at the Carriage Builders and Designers Technical School, which opened in 1880 and was housed initially at the Metropolitan Museum of Art. When the company finally dissolved in 1923, its last owner William Brewster (1866–1949) donated its archive of design and presentation drawings to the Museum where he served as benefactor and trustee. Of all American carriage manufacturers, none was as highly regarded for design, finish and quality as Brewster & Company. They won many awards for outstanding workmanship, including the Legion d’Honneur (Legion of Honor) at the 1878 Paris Exposition (3rd World’s Fair). In appreciation for this achievement the Carriage Builders’ National Association presented them with a gold enameled Tiffany & Company plaque and autograph book signed by leading American carriage builders, both now at the Metropolitan Museum of Art. Merri Ferrell, 2016
Martavaan uit V.O.C.-schip de 'Witte Leeuw'
Object type: vessel
Date: 1613 – 1613
Materials: porcelain, stoneware
Location: southeast asia
Artist: Anonymous
Subjects: verenigde oostindische compagnie, sint-helena

A jar. This jar has probably had a lip neck and ears identical to inv nr. 12196. The upper half of the body is thicker. The base is slightly concave. The grey stoneware body has black and white and brownish impurities. The outside of the shoulder is covered with a grey and cream coloured glaze. Underneath this is a brown-greyish slip which covers the inside lower half and bottom, from which drippings run out to the shoulder.
Design for Landau, No. 3599
Object type: drawing
Date: 1880 – 1880
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
Netting the Fish
Object type: drawing and watercolor
Date: 1889 – 1889
Materials: gouache, graphite, paper, watercolor
Techniques: aquarelle, heightening, scraping, wash
Location: united states
Artist: winslow homer
Artist role: artist
Artist nationality: american
Artist dates: 1836 – 1910
Subjects: boats, animals, people, fishing, wilderness
Inscriptions: Signed recto, lower right, in pen and brown ink: "Winslow Homer 1890, Copyright 1889"

An avid angler and sportsman, Homer often depicted fishing and hunting scenes in his artwork. Many of his watercolors that explore these subjects were painted on frequent trips to the Adirondack Mountains. Netting the Fish is unusual in its focus on a gentleman sportsman. Young, well groomed, and neatly attired, the fisherman in this watercolor stands in contrast to the rustic guides featured in many of the artist’s other Adirondacks works. Homer’s fluid brushstrokes describe the smooth surface of the water, and his background washes evoke the wooded shoreline seen at a distance. Netting the Fish is one of Homer’s few grisaille, or monochrome, watercolors, painted as a study of values in preparation for the etching Fly Fishing, Saranac Lake.
Nouuelles Inuentions pour faire les bancs des choeur
Object type: print
Date: 1657 – 1665
Materials: paper
Techniques: etching
Location: france

Aan weerskanten staan pijlers bekroond met vlammende balusters. Uit tweede editie.
Herdsman and Cattle at Ford
Object type: print
Date: 1850 – 1850
Techniques: engraving
Artist: charles émile jacque
Artist role: artist
Artist nationality: french
Artist dates: 1813 – 1894
Gazette du Bon Ton. Art – Modes & Frivolités: Advertising Material
Object type: fashion print
Date: 1920 – 1920
Materials: paper
Techniques: hand coloring, letterpress printing, lithograph
Location: new york city
Artist: lucien vogel
Artist role: publisher
Subjects: styles of hairdress - aa - ~ women, fashion plates
Inscriptions: date

The Gazette du Bon Ton also included advertisements: for shops selling fashions and fabrics, jewellers, hairdressers and beauticians. These ads were also well designed; many were drawn by the same artists who supplied the fashion plates. Even the smallest ads were presented with flair and in a style that was befitting of the whole.
Rooster
Object type: figure
Date: 1701 – 1800
Materials: brass
Culture: edo period
Location: nigeria
Subjects: roosters
Gezicht op het Columbus Monument op de kruising van Broadway en 59th Street, New York
Object type: album leaf
Date: 1902 – 1902
Materials: paper
Techniques: photograph
Location: new york city
Subjects: city-view in general; 'veduta', monument, statue, avenue, boulevard, promenade, esplanade

Deze prent maakt deel uit van een album.
Vertrek van Willem III vanuit Hellevoetsluis
Object type: print
Date: 1688 – 1690
Materials: paper
Techniques: etching
Location: amsterdam
Subjects: the hague, william iii (prince of orange and king of england, scotland, and ireland), hellevoetsluis
Inscriptions: collector's mark: Lugt 2228

Gezicht op de vloot van Willem III voor Hellevoetsluis. Willem III staat op de kade op het punt om in een boot te stappen die hem naar zijn schip zal brengen. Met een legenda van vier kolomen van elk vier regels in het Nederlands.
Man in oud huis, naar buiten kijkend over de deur
Object type: print
Date: 1778 – 1838
Materials: paper
Techniques: etching
Location: netherlands
Artist: anthonie van den bos
Artist role: draughtsman, print maker
Artist dates: 1763 – 1838
Subjects: ruin of a dwelling, house, castle, etc.
Inscriptions: collector's mark: Lugt 2228
Drumsticks
Object type: element of musical instrument
Date: 1850 – 1900
Materials: bone, wood
Location: netherlands
Artist: Anonymous

- Tromstok van hout met knop van been voor tamboer leger of schutterij, Nederland, ca. 1850-1900.
- Tromstok vml. voor tamboer leger of schutterij, ca. 1850-1900, Nederland.
Bessarion
Object type: drawing and watercolor
Date: 1560 – 1560
Materials: chalk, paper
Location: italy
Artist: attributed to federico zuccaro
Artist dates: 1540 – 1609
Tetradrachm (Coin) Depicting the Goddess Athena
Object type: coin
Date: 490 – 322
Materials: metal, silver
Culture: greek
Location: athens

The use of coins as a form of money was invented in western Asia Minor in the early 7th century BCE. At the time when the coins in this case were struck, Greece was made up of separate city-states that issued their own currency. Made of gold, silver, bronze, and electrum (a gold-silver alloy), coins were literally worth their weight, but their value varied according to the percentage of their precious metal content. Occasionally a city needed more money than it had in reserves. By reducing the amount of precious metal and substituting a base metal, a coin could be produced of the same weight but no longer of the same value. Some currency was only honored within its own city walls, but trustworthy money encouraged trade. Athens had the biggest economy, and its coin became the standard in the Greek world.The population was largely illiterate, but it could identify the place of origin of a coin by its imagery. Many of these images referred to myths that were associated with the history of the community and thus were well known to the populace from religious ceremonies and theatrical entertainment. The story of a city’s founding, a local hero, the city’s guardian deity, and even the reason for the city’s wealth were subjects for a coin’s insignia.

The emblems chosen to represent an ancient city often related to its patron god or goddess. For instance, the deity might be associated with a new community’s origins or involved in a notable story connected to the city.

The most famous of all civic badges was the profile of Athena, the tutelary goddess of Athens, stamped on the city’s coinage. While other cities modernized the looks of their coins, Athens retained this design, first used in about 520 BCE, to emphasize the dependability of its currency. With silver extracted from local mines, the city had a constant source of revenue for financing civic projects such as building a navy or rebuilding after the city was destroyed by the Persians in 480 BCE. The purity and stability of Athens’s coinage made it the standard throughout the Mediterranean for centuries.
Panel
Object type: panel
Date: 1777 – 1777
Artist: georg henner
Artist role: artist
Artist dates: 1727 – 1827
Subjects: men,camels
Ceramium strictum
Object type: photogram
Date: 1853 – 1853
Techniques: cyanotype
Artist: anna atkins
Artist role: artist
Artist nationality: british
Artist dates: 1799 – 1871
Edging
Object type: edging
Date: 1801 – 1900
Techniques: lace
Subjects: flowers
Nr. 11 De plantjes nr. 11 en 12 staan op hetzelfde bed (...)
Object type: photograph
Date: 1912 – 1913
Materials: paper, photographic support
Techniques: gelatin silver print
Location: curacao
Artist: Anonymous
Subjects: plantation, (non-fruit) products of plants or trees: sisal

Aanplant van sisal op Plantage Mount Pleasant op Curaçao. Onderdeel van het fotoalbum uit ca. 1912-1913 met 92 foto's van de plantages Peperpot en Dordrecht in Suriname en Mount Pleasant op Curaçao.
Man Playing Guitar (from Sketchbook)
Object type: drawing
Date: 1854 – 1855
Materials: ink, paper
Culture: american
Artist: james mcneill whistler
Artist role: artist
Artist nationality: american
Artist dates: 1834 – 1903
Subjects: men,guitars
Portret van een meisje, mogelijk Johanna Troost
Object type: print
Date: 1734 – 1734
Materials: paper
Techniques: mezzotint
Location: amsterdam
Artist: cornelis troost
Artist role: draughtsman, painter, print maker
Artist dates: 1696 – 1750
Subjects: handwriting, writing as activity, head-gear, pearl; pearl necklace
Inscriptions: collector's mark: Lugt 2228

Een meisje, mogelijk Johanna Troost (de dochter van de kunstenaar) zit te schrijven. Ze draagt een hoedje en een parel in haar oor.
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 490 – 470
Materials: terracotta
Culture: greek, attic

Exterior, end of helmet crest and drapery of a warrior to left; spear; start of handle root
Voorgevel van het oude Gildehuis der Beenhouwers te Mechelen
Object type: print
Date: 1800 – 1899
Materials: paper
Techniques: lithograph
Location: liège
Artist: Anonymous
Subjects: guildhall, front façade, mechelen
Poppy and Stone
Object type: print
Date: 1701 – 1800
Materials: ink, paper
Techniques: polychrome, woodblock print
Culture: chinese
Uitgifte van wapens in Zuid-Afrika
Object type: photograph
Date: 1896 – 1896
Materials: paper, photographic support
Techniques: gelatin silver print
Location: south africa
Artist: Anonymous
Subjects: street (+ city(-scape) with figures, staffage)
Inscriptions: inscription: ‘Giving out rifles at [...] Office 9’

Onderdeel van Album met 191 foto's van een reis naar en door Zuid-Afrika.
Funerary Cone Pedy-Amun-neb-nesut-towy
Object type: cone, round, padiamunnebnesuttawy, chancellor, amun, lector, priest beniuutehhor
Date: 712 – 525
Materials: pottery
Location: egypt
Four Generations of the Princes of Orange: William I, Maurice and Frederick Henry, William II and William III
Object type: painting
Date: 1660 – 1662
Materials: canvas, oil
Artist: pieter nason
Artist role: painter
Artist dates: 1612 – 1690
Subjects: the hague, william iii (prince of orange and king of england, scotland, and ireland), frederick henry (prince of orange), william ii (prince of orange), delft, william i (prince of orange), maurice (prince of orange), historical persons, ruler, sovereign, netherlands
Inscriptions: inscription, lower left on the base of the column: ‘Wilhelmus V Nas.e Pr. V. Orangie’

Vier generaties van de prinsen van Oranje. Van links naar rechts: Willem I (zittend), Maurits, Willem II, Frederik Hendrik en Willem III. Links een zuil en een afgebroken zuil. Allen in wapenrusting, behalve Willem III.
Brief aan anoniem
Object type: letter
Date: 1845 – 1845
Materials: ink, paper
Techniques: pen, writing
Location: heemse
Artist: george anne christiaan willem markies de thouars
Artist role: dichter, luitenant
Artist dates: 1807 – 1850
Subjects: literature ~ arts, money, printed matter
Inscriptions: collector's mark: Lugt 2233
Gand. Panorama du Quai aux Herbes
Object type: ansichtkaart, prentbriefkaart
Date: 1913 – 1930
Materials: cardboard
Techniques: photograph
Location: ghent
Subjects: church (exterior), prospect of city, town panorama, silhouette of city, quay, ghent
Imagerie Artistique / Série 14
Object type: popular print
Date: 1876 – 1890
Materials: paper
Techniques: lithograph, letterpress printing
Location: paris
Subjects: escape, escape attempts, circus animals, tales and fairy tales
Inscriptions: : ‘marque de fabrique / deposée’, collector's mark: Lugt 2760

Blad met 4 rijen met voorstellingen van een jaloerse worstelaar die de dieren van de heer Vogelbek stiekem los laat. Onder elke afbeelding een onderschrift. Genummerd linksboven: Série 14. - No. 8.