deem-data/ArtiFact huggingface dataset:
Beggar seated warming his hands at a chafing dish
Object type: print
Date: 1719 – 1780
Materials: paper
Techniques: etching
Subjects: beggar
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760

Spiegelbeeldige kopie naar de gelijknamige prent van Rembrandt.
Shaving Basin
Object type: shaving basin
Date: 1750 – 1780
Materials: earthenware, glaze
Techniques: painted
Location: delft
Artist: Anonymous
Subjects: woodgathering, woodgatherer

Scheerbekken van blauw beschilderde faïence met voorstelling van twee houthakkers; langs de rand een lambrequinmotief in reliëf.
Glass Panel
Object type: glass panel
Date: 1763 – 1774
Techniques: glassblowing
Culture: american
Location: united states
Artist: stiegel's elizabeth furnace
Artist role: maker
Artist nationality: american
Artist dates: 1763 – 1774
Des dames d'un demi-monde, mais n'ayant pas de demi-jupes, from Actualités, published in Le Charivari, May 11, 1855
Object type: print
Techniques: lithograph
Artist: honoré daumier
Artist role: artist
Artist nationality: french
Artist dates: 1808 – 1879
Subjects: women,fashion,caricature
Gezicht op Slot Crayestein, 1743
Object type: book illustration
Date: 1754 – 1792
Materials: paper
Techniques: etching
Location: haarlem
Subjects: castle

Prent ook gebruikt in: Het verheerlykt Nederland of kabinet van hedendaagsche gezigten van steden, dorpen (…). 9 delen. Amsterdam: Isaak Tirion en weduwe Isaak Tirion, 1745-1774, dl. 5 (1754), ill. 80. Of in: Nederlandsche tafereelen; of eene keurige verzameling van negen honderd fraaije gezigten van steden, dorpen, sloten, oudheden [….]. 9 delen. Amsterdam: Jan de Groot, 1792, dl. 5, ill. 80.
Fragment
Object type: textile
Date: 1567 – 1600
Materials: velvet
Techniques: weave, voiding
Location: italy
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 600 – 401
Materials: terracotta
Culture: greek, attic

Exterior, black glazed rim fragment with part of the handle patch and a complete handle
Ex libris van T. Bedlán
Object type: bookplate
Date: 1957 – 1957
Materials: paper
Techniques: printing block
Location: czech republic
Subjects: stamp (~ postal matter), magnifying glass, book
Inscriptions: workshop stamp: ‘kresba Štetcem J. Keler - 1957’
Tile
Object type: tile
Date: 1600 – 1600
Materials: earthenware
Techniques: glazing
Subjects: flowers
Dance of Fauns and Bacchants, from "Speculum Romanae Magnificentiae"
Object type: print
Date: 1501 – 1533
Techniques: engraving
Artist: Anonymous
Artist role: artist
Subjects: dancing,flutes,bacchantes,fauns

This print comes from the museum’s copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae’ first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum’s copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place). Originally volume 2, plate 140 in the scrapbook.
Piece from a Kosode with Decorated Rice Sheaves
Object type: piece from a kosode
Date: 1615 – 1868
Materials: metal thread, silk
Techniques: damask, dyeing, embroidery, painting, resist
Culture: japanese
Seal
Object type: seal
Date: 2000 – 1450
Materials: jasper, quartz
Culture: minoan, crete
Tankard
Object type: tankard
Date: 1765 – 1765
Materials: silver
Culture: american
Location: united states
Artist: benjamin burt
Artist role: maker
Artist nationality: american
Artist dates: 1729 – 1805
Subjects: coat of arms
Portret van Noach Smaltius
Object type: print
Date: 1668 – 1668
Materials: paper
Techniques: engraving
Location: haarlem
Subjects: barber; surgeon
Inscriptions: date

Portret van Noach Smaltius, chirurg in Haarlem, op 39-jarige leeftijd. Onder het portret zijn naam, functie en twee vierregelige verzen in het Nederlands.
Familie over een onderdeur naar buiten ziend
Object type: drawing
Date: 1770 – 1825
Materials: paper
Techniques: brush
Artist: simon andreas krausz
Artist role: draughtsman, print maker
Artist dates: 1760 – 1825
Portret van Lodewijk XIII van Frankrijk
Object type: print
Date: 1610 – 1637
Materials: paper
Techniques: engraving
Artist: crispijn van de passe (i)
Artist role: draughtsman, print maker
Artist dates: 1564 – 1637
Subjects: lodewijk xiii (koning van frankrijk), historical persons, throne, knighthood order of the holy spirit, king, armorial bearing, heraldry, royal mantle (symbol of sovereignty)

Portret van Lodewijk XIII, koning van Frankrijk. Hij zit op een troon en draagt een Ordeketting van de Orde van de Heilige Geest. In de marge een vierregelig onderschrift in het Latijn en een tienregelig onderschrift in het Frans over het leven van de prins tot aan het moment dat hij op 15 mei 1610 tot koning werd benoemd. Pendant van een portret van Maria de' Medici.
Effigies Lvdovici Gallorvm Delphini Nvper in Patris Svccessorem Proclamati.
Object type: print
Date: 1610 – 1637
Materials: paper
Techniques: engraving
Location: unknown
Artist: crispijn van de passe (i)
Artist role: draughtsman, print maker
Artist dates: 1564 – 1637
Subjects: lodewijk xiii (koning van frankrijk), throne, knighthood order of the holy spirit
Inscriptions: collector's mark: Lugt 2228

Portret van Lodewijk XIII, koning van Frankrijk. Hij zit op een troon en draagt een Ordeketting van de Orde van de Heilige Geest. Linksboven het wapenschild van de geportretteerde. In de marge een vierregelig onderschrift in het Latijn en een tienregelig onderschrift in het Frans over het leven van de prins tot aan het moment dat hij op 15 mei 1610, na de moord op zijn vader, tot koning werd benoemd. Pendant van een portret van Maria de' Medici.
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 500 – 451
Materials: terracotta
Culture: greek, attic

Interior, part of a draped figure; one letter of an inscription?
Terracotta fragment of a squat lekythos (oil flask)?
Object type: lekythos fragment
Date: 425 – 401
Materials: terracotta
Culture: greek, attic

Lower drapery and feet of a woman to left; below, an egg pattern
Ogura Imitation of the One Hundred Poems
Object type: print
Date: 1846 – 1846
Materials: paper
Techniques: woodcut
Location: japan
Subjects: container made of plant material other than wood: basket, hiding, hiding oneself, guard duty, keeping sentry

De verbannen Sugawara no Michizane, met achter zich zijn bewaker Terukuni, kijkt om naar de mand waarover een rode kimono ligt. In de mand zit zijn dochter verstopt, die op deze manier nog een laatste keer haar vader kan zien. Scene uit een kabukitoneelstuk. Gedicht door Sei Shônagon.
Boten in de haven van Volendam
Object type: stereograph
Date: 1900 – 1910
Materials: cardboard, photographic support
Techniques: gelatin silver print
Location: volendam
Subjects: harbour, ships (in general)
Inscriptions: number: ‘2’, inscription: ‘NPG’
Gipsmodel voor beeldhouwwerk op het Palais du Louvre: "L'Abondance et la Paix" door Théodore Gruyère
Object type: album leaf
Date: 1855 – 1857
Materials: paper, photographic support
Techniques: salted paper print
Location: paris
Artist: édouard denis baldus
Artist role: fotograaf
Artist dates: 1813 – 1889
Subjects: piece of sculpture, reproduction of a piece of sculpture, permanent exhibition, museum, paris, tuileries palace
Inscriptions: number: ‘862’

Onderdeel van Réunion des Tuileries au Louvre 1852-1857, album 4.
Cupido en Psyche
Object type: print
Date: 1670 – 1713
Materials: paper
Techniques: mezzotint
Artist: pieter schenk (i)
Artist role: print maker
Artist dates: 1660 – 1711
Subjects: bed, venus and cupid (cupid not being mere attribute)
Inscriptions: collector's mark: Lugt 2228
Clawed Arm Defense
Object type: armor
Materials: silver, steel, velvet, wood
Techniques: weave
Location: italy
Artist: attributed to antonio cortelazzo
Embroidered darning sampler
Object type: sampler
Date: 1747 – 1747
Materials: cotton, linen, silk
Front in Korea
Object type: color slide
Date: 1952 – 1952
Techniques: slide
Location: korea
Artist: david ketel
Artist role: diplomaat, sinoloog
Artist dates: 1913 – 2008
Subjects: united nations
Kneeling Nude Woman with Drapery
Object type: drawing and watercolor
Materials: crayon, ink, paper
Techniques: pen
Location: france
Artist: jean baptiste carpeaux
Artist role: draughtsman, print maker, sculptor
Artist nationality: french
Artist dates: 1827 – 1875
Door Ornament
Object type: door ornament
Date: 1401 – 1500
Materials: iron
Culture: german
Prins Bernhard wordt onderscheiden met de Zilveren Vlaamse Gaai voor de Nederlandse Scouting
Object type: photograph
Date: 1943 – 1943
Materials: paper, photographic support
Techniques: gelatin silver print
Location: netherlands
Subjects: utrecht, bernhard (prins der nederlanden)
Inscriptions: stamp: ‘Copyright ANEFO Kerkstraat 310 Amsterdam - C no 165262-16’
Human-headed bison
Object type: sculpture
Date: 2080 – 2080
Materials: stone
Culture: neo-sumerian
Location: mesopotamia
Heilige Hiltrude van Liessies
Object type: print
Date: 1581 – 1633
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: boar-hunting, female saints (with name)
Inscriptions: collector's mark: Lugt 2228

De heilige Hiltrude staande, met in de rechterhand een brandende olielamp. In de achtergrond een landschap met een kasteel en een klooster (Liessies), waar men jaagt op een zwijn. De prent heeft een Latijns onderschrift.
The Birth of Saint John the Baptist
Object type: drawing
Date: 1501 – 1600
Materials: ink, paper
Techniques: brush, highlighting, pen, wash
Artist: andrea del sarto (andrea d'agnolo)
Artist role: artist
Artist nationality: italian
Artist dates: 1486 – 1530
Subjects: men,women,saint john the baptist,beds
Voordeur
Object type: sketchbook leaf
Materials: paper, pencil, watercolor
Techniques: brush
Artist: hendrik valkenburg
Artist role: draughtsman, painter
Artist dates: 1826 – 1896
Subjects: open door, front steps
Inscriptions: annotation: ‘AN/ 2’

Blad 73 verso uit een schetsboek met 77 bladen.
Portret van Adelbert von Chamisso
Object type: print
Date: 1833 – 1909
Materials: paper
Techniques: engraving
Location: nuremberg
Artist: albrecht schultheiss
Artist role: print maker
Artist dates: 1823 – 1909
Subjects: adelbert von chamisso, historical persons
Inscriptions: collector's mark: Lugt 2228
A Lock on the Stour
Object type: print
Date: 1831 – 1831
Techniques: mezzotint
Artist: david lucas
Artist role: artist
Artist nationality: british
Artist dates: 1802 – 1881
Subjects: human figures,bridges,rivers,landscapes,trees

In 1827, Constable began work on the project that would occupy his attention until his death seven years later: the publication of a series of prints based on his paintings that would stand as a summary of his achievements. The painter collaborated closely with the engraver David Lucas to create prints that would illustrate Constable's didactic intention—to illustrate the "chiaroscuro of nature." The medium of mezzotint, in which the design is developed from dark to light using a wide range of velvety tones, was eminently suited to the project.
Terracotta lekanis (dish) with lid
Object type: lekanis
Date: 350 – 301
Materials: terracotta
Culture: greek, south italian, apulian

The primary decoration on this miniature lekanis, a woman’s head, was a widespread motif in South Italian vase painting during 4th century B.C. South Italian vases decorated with isolated heads have been found overwhelmingly in funerary contexts, either within or above tombs. The significance of these female representations is not known, and likely varied from region to region.
Fragment of Inkwell
Object type: fragment
Date: 901 – 1000
Materials: glass
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.
Ontwerp voor een met edelstenen bezette boekband
Object type: design drawing
Date: 1845 – 1860
Materials: cardboard, gold, ink, paper
Techniques: brush, pen
Location: paris
Artist: frédéric-jules rudolphi

In het midden Madonna met kind, in het midden van iedere zijde een gekroond wapen (dezelfde als op RP-T-2018-812-2 en op de rug van RP-T-2018-812-1), vier keer het monogram MA, en banderoles met de opschriften in goud: SANCTA DEI GENITRIX / SANCTA VIRGO VIRGINUI[S] / CLEMENS / VENERENDA / MATER INVIOLATA / VIRGO / POTENS / MATER PURISSIMA / MATER AMABILIS / VIRGO / FIDELIS / MATER CASTISSIMA / VIRGO / VIRGO / ROSA MYSTICA / JANUA COELI. De klampen zijn afgesneden.
Hat Finial
Object type: hat finial
Date: 1901 – 1933
Materials: crystal
Culture: chinese
Bowl
Object type: bowl
Date: 850 – 1050
Materials: ceramic
Culture: mimbres
Location: united states
The actor Otani Hiroji III as Hata no Taizan Taketora
Object type: print
Date: 1794 – 1794
Techniques: woodblock print
Location: japan
Artist: toshusai sharaku 東洲斎 写楽
Artist role: artist
Artist nationality: japanese
Artist dates: 1794 – 1795
Bottle with Applied Decoration on the Neck
Object type: bottle
Date: 1001 – 1300
Materials: glass
Techniques: glassblowing
Location: iran

This gracious bottle was executed using the technique of blowing glass in a mold, widely exploited in the regions of the eastern Mediterranean since the first century B.C. The thin spiral that embellishes its tapered neck adds another ornamental detail to the decorative effect of its fluted body.
Venus en Apollo
Object type: titelblad, titelpagina
Date: 1712 – 1712
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: pegasus, the winged horse, (story of) apollo (phoebus), owls, (story of) venus (aphrodite), cupids: 'amores', 'amoretti', 'putti'
Inscriptions: date

In het midden Venus op een troon. In haar hand een stenen plaat met de titel van het boekwerk. Naast haar troon twee putti met een lier. Apollo staat links en vertrapt een uil onder zijn rechtervoet. Venus schrijft met een veer in een boek dat Apollo haar aanreikt. Achter de troon een pegasus.
Stand
Object type: stand
Date: 1701 – 1800
Materials: quartz
Culture: chinese
Design for Brougham/D'Orsay
Object type: print
Date: 1880 – 1880
Materials: gouache, gum arabic, ink, watercolor
Techniques: pen
Artist: anonymous, french, 19th century
Artist role: artist
Artist nationality: french
Artist dates: 1800 – 1900
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
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 490 – 480
Materials: terracotta
Culture: greek, attic

Interior, hand of a youth playing kottabos; Exterior, drapery
Uitzicht vanuit het raam in Trafalgar Tavern te Greenwich
Object type: print
Date: 1878 – 1878
Materials: paper
Techniques: drypoint, etching, intaglio
Location: london
Artist: james tissot
Artist role: draughtsman, print maker
Artist dates: 1836 – 1902
Subjects: balcony, restaurant, laid table: table-ware, table-decoration, etc., beach
Inscriptions: collector's mark: Lugt 2228, inscription: ‘I q[...] fecit at Par{...} 14/2/13 JN. ME 479’, number: ‘370’, collector's mark: Lugt 2760, inscription: ‘J. Tissot. Trafalger Tavern Greenwich. Finished state with the sky.’

Een gedekte tafel aan een raam met uitzicht op een strand met drie kinderen, een balkon met vier deftig geklede heren en op de achtergrond een boulevard.
Wall painting on black ground: supports with entrablature, from the imperial villa at Boscotrecase
Object type: wall painting on black ground support with entablature
Techniques: fresco
Culture: roman, pompeian

Many private summer villas were located along the coast near Naples. One of the most sumptuous must have been the villa built by Agrippa, friend of the emperor Augustus and husband of his daughter, Julia. It stood overlooking the Bay of Naples from a spot near the modern town of Boscotrecase. The villa was partially excavated between 1903 and 1905 after its accidental discovery during work on a railway. Wall decorations that still survived in four bedrooms were removed. The Metropolitan Museum acquired sections from three rooms and the Archaeological Museum at Naples received the rest. Agrippa died in 12 B.C. and his son, Agrippa Postumus became the villa's proprietor in 11 B.C. as inscriptions found there indicate. The frescoes must have been painted during renovations begun at the time. Painted by artists working for the imperial household, they are among the finest existing examples of Roman wall painting. The so-called Black Room was one of a sequence of bedrooms facing south toward the downward slope of the mountain and the sea. The source of light was a wide doorway giving onto a terrace or promenade. This ambiguous and sophisticated decoration is a masterpiece of the so-called third style of Roman wall painting, which flourished during the reign of Augustus. The theme is a playful rendition of architectural motif. A low red dado serves as the base from which a skeleton of thin white columns appears to rise against a black background. There almost weightless columns support pavilions, candelabra, tripods, and a narrow cornice that runs around the room. They were embellished with jewel-like decorations. On the back wall tiny swans, the bird of Apollo, patron god of Augustus, perch improbably on threadlike spirals, and yellow panels with Egyptianizing motifs must have brought to mind the recent annexation of Egypt after the death of Cleopatra in 30 B.C. This architectural scheme creates almost no sense of depth or volume. The black walls behind appear at once to be flat and to dissolve into limitless space. Tiny landscape vignettes float like islands in the middle of this blackness. Burnished to a high polish, these walls must have appeared magical indeed when illuminated by lamps at night.
Earrings
Object type: earring
Date: 1804 – 1809
Materials: gold
Culture: french
Subjects: men,profiles,women
Netsuke
Object type: netsuke
Date: 1701 – 1800
Materials: ivory, wood
Culture: japanese
Subjects: human figures,animals
Textile Fragment
Object type: textile fragment
Date: 1601 – 1700
Materials: metal thread, silk
Techniques: brocade
Location: iran
Bes Amulet
Object type: amulet, be
Date: 1390 – 1352
Materials: faience
Location: egypt
Subjects: bes
Fluted Vessel, Possibly in the Form of a Gourd
Object type: vessel
Date: 200 – 200
Materials: ceramic, pigment
Location: colima
Literati Painting the Plum Flowers
Object type: print
Techniques: woodblock print, surimono
Location: japan
Artist: ryuryukyo shinsai
Artist role: draughtsman, print maker
Artist nationality: japanese
Artist dates: 1764 – 1820
Cuneiform tablet: fragment of a text containing incantations
Object type: cuneiform tablet
Date: 333 – 1
Materials: clay
Location: mesopotamia
Fragment van twee aan elkaar genaaide delen
Object type: fragment
Date: 1720 – 1730
Materials: silk
Techniques: lampas
Location: france
Artist: Anonymous

Fragment van twee aan elkaar genaaide delen, overwegend rood, met patroon van grote bloem in ruitvormige kantrand omgeven door bloem- en bladslingers.