deem-data/ArtiFact huggingface dataset:
A galley embarking at center, seen from behind, the stern of another galley to right under a fire, eight men in a rowboat to left, from "Varie Figure"
Object type: print
Date: 1645 – 1645
Techniques: etching
Artist: stefano della bella
Artist role: artist
Artist nationality: italian
Artist dates: 1610 – 1664
Subjects: boats,ships
Der verdwaelde Boeleerders vrolick wagen-liedt
Object type: album leaf
Date: 1641 – 1641
Materials: paper
Techniques: letterpress printing
Location: amsterdam
Inscriptions: date

Wagenlied op zeven pagina's: pagina 3. Vier kwatrijnen in het Nederlands. Het blad maakt deel uit van een album.
Terracotta column-krater (vase for mixing wine and water)
Object type: column krater
Date: 460 – 460
Materials: terracotta
Culture: greek, attic
Artist: boreas painter
Artist role: artist
Subjects: women,zeus

Obverse, Zeus pursuing Aegina Reverse, man with staff and three women The myth of Zeus and Aegina is rarely represented. Aegina was a nymph whom Zeus carried off to the island that came to bear her name. With economical means, the painter successfully characterizes each of the figures in the scene.
De rouwende Maria
Object type: print
Date: 1918 – 1918
Materials: paper
Techniques: drypoint, etching
Artist: emil orlik
Artist role: painter, print maker
Artist dates: 1870 – 1932
Subjects: 'mater dolorosa' - ff - 'mater dolorosa', head or bust
Inscriptions: name: ‘Emil Orlik 1918’, collector's mark: Lugt 2228, name
View Along Stream and Wooded Banks
Object type: drawing and watercolor
Date: 1820 – 1820
Materials: graphite, paper
Techniques: brush, wash
Location: united kingdom
Artist: style of sir george howland beaumont
Ragini Todi, Page from a Jaipur Ragamala Set
Object type: painting
Date: 1750 – 1770
Materials: paper, watercolor
Location: rajasthan
Subjects: music, musicians
Portret van Nicolaes Cornelisz. Witsen
Object type: print
Date: 1701 – 1701
Materials: paper
Techniques: engraving
Location: amsterdam
Artist: pieter schenk (i)
Artist role: print maker
Artist dates: 1660 – 1711
Subjects: amsterdam, print maker, mayor, nicolaes cornelisz. witsen, wig, armorial bearing, heraldry
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760

De prentmaker, cartograaf en burgemeester van Amsterdam, Nicolaes Cornelisz. Witsen op 60-jarige leeftijd. Voor de omlijsting zijn familiewapen en twee fasces.
Wild Irish, or Paddy from Cork with his Coat Buttoned Behind
Object type: print
Date: 1818 – 1818
Techniques: etching
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: satire,men,women,dancing,musicians
Riviergezicht met zeilschepen en een roeiboot met zeven personen
Object type: print
Date: 1798 – 1817
Materials: paper
Techniques: etching
Location: netherlands
Artist: ernst willem jan bagelaar
Artist role: draughtsman, print maker
Artist dates: 1775 – 1837
Subjects: sailing-ship, sailing-boat, rowing-boat, canoe, etc.
Inscriptions: collector's mark: Lugt 2228
Lausanne. Pont de Chauderon
Object type: ansichtkaart, prentbriefkaart
Date: 1905 – 1918
Materials: cardboard, photographic process
Location: lausanne
Artist: Anonymous
Subjects: bridge, city-view, and landscape with man-made constructions (+ city(-scape) with figures, staffage)
God verschijnt aan Noach na de zondvloed
Object type: print
Date: 1513 – 1565
Materials: paper
Techniques: engraving
Artist: Anonymous
Subjects: god orders noah to disembark and opens the ark

Kopie in spiegelbeeld naar prent van Marcantonio Raimondi. Met name de figuren in de compositie baseerde Raimondi op een fresco van Raphael in de Stanza d'Eliodoro te Rome (Shoemaker 1981, p. 104).
Sheet in two sections with pink and green scenic pattern
Object type: print
Date: 1701 – 1800
Techniques: relief print
Artist: Anonymous
Artist role: artist
Keman (Decorative Pendant Disk)
Object type: temple hanger
Date: 1201 – 1300
Materials: gilt bronze, silver
Culture: japanese
Subjects: birds,flowers

Pendant disks known as keman, thought to have originated as floral wreaths placed before Buddhist altars as votive offerings, are an integral part of the interior decor of the Buddhist temple. They are generally suspended from columns or from the outer edges of the canopy above the altar platform. This exceptionally well-crafted example features a pair of facing birds modeled in relief, their wings outstretched as if caught in midflight.
Acht landschappen naar Lucas van Uden
Object type: print
Date: 1637 – 1679
Materials: paper
Techniques: engraving, etching
Subjects: trees, couple of lovers
Inscriptions: collector's mark: Lugt 2228

Derde uit een serie van acht. Landschap met een grote boom op een heuvel en een wandelend paar.
Charles Augustin Sainte-Beuve (1804–1869), French man-of-letters and Academician
Object type: medallion
Date: 1828 – 1828
Materials: bronze
Techniques: casting
Artist: pierre jean david d'angers
Artist role: artist
Artist nationality: french
Artist dates: 1788 – 1856
Subjects: men,profiles

Pierre-Jean David d’Angers was the most prolific and one of the most important French sculptors of the first half of the nineteenth century. Throughout his almost fifty-year career (1819–1856) David remained true to his conviction that sculptural monuments dedicated to the achievements of great men and women most permanently and vividly express the greatness of a people. He continuously sought commissions for monuments portraying historical and contemporary figures whom he admired in order to commit their contributions to posterity. His most famous public commission, the figurative pediment of the Pantheon in Paris (1830–1837), which commemorates great men and was dedicated by a grateful nation, exemplifies these life-long principles. David d’Angers extended his definition of public monuments to include portrait medallions. In the 1820s he dedicated himself to a personal campaign of creating contemporary and retrospective medallic portraits of illustrious sitters. By the end of his life David had executed almost five-hundred portrait medallions, frequently travelling great distances to model his sitters from life. The medallions most often were not commissioned. David himself chose whom he deemed worthy of inclusion into his medallic pantheon. David also did not profit from the portraits. He generally delivered his wax models to professional founders for casting and dissemination through sale.
Arrenslede
Object type: envelope
Date: 1840 – 1880
Materials: paper, pencil
Artist: johannes tavenraat
Artist role: draughtsman, painter, print maker
Artist dates: 1809 – 1881
Subjects: horse-sleigh, skates (winter sports)
Inscriptions: collector's mark: Lugt 2228
Relief from the North Wall of a Chapel of Ramesses I
Object type: relief, ramesses i chapel, south wall
Date: 1295 – 1294
Materials: limestone
Location: egypt
Subjects: food,kings,hieroglyphs,gods

Displayed in Gallery 129 are reliefs from three walls of the chapel of Ramesses I at Abydos. This monarch came to the throne as an elderly man; this chapel was completed by his son and successor, Seti I. On the north wall, Ramesses I is depicted as a deceased king who has become divinized and identified with the god Osiris, ruler of the dead. The king is seated, with one hand stretched out toward a small offering table, with piles of food and drink to the right. Above is a list of offerings, now partially lost. This is followed by a long series of spells, originally from the Pyramid Texts (Old Kingdom, ca. 2400 B.C.), designed to ensure that "the mouth of the Son of Re, Ramesses, shall not thirst, nor shall it hunger." The small figures to the lower right perform offering rituals. There would once have been a figure of Seti I leading these rituals; this is now lost. The king's chair rests on a platform whose central support takes the shape of the hieroglyph for "unite," around which two Nile gods tie the symbols of Upper and Lower Egypt (the papyrus and lotus plants). Additional Nile gods bring vases of fresh water symbolizing "life, all happiness, all food, all provisions."
Coin (Denier) of Henry I of Cyprus (1218–1253)
Object type: coin denier
Date: 1218 – 1253
Materials: silver
Culture: cypriote
Location: israel
Subjects: coins

Increased interaction between Byzantium and the West had a great impact on coins minted across the Mediterranean region from the 1100s on.
Kasteel Hillenrade bij Zwalmen
Object type: ansichtkaart, prentbriefkaart
Date: 1905 – 1930
Materials: cardboard
Techniques: collotype process
Location: swalmen
Subjects: castle
Great Mormon Tabernacle, Salt Lake City
Object type: photograph
Date: 1868 – 1869
Techniques: albumen print
Location: united states
Artist: andrew j. russell
Artist nationality: american
Artist dates: 1830 – 1902
Subjects: collected by hugh edwards
Adjustable reading and writing table (pupitre à crémaillère, servant de table)
Object type: reading and writing table
Date: 1760 – 1765
Materials: brass, gilt bronze, steel, wood
Artist: martin carlin
Artist role: maker
Artist nationality: french
Artist dates: 1725 – 1785

The tulipwood-veneered reading-and-writing lectern of this accommodating piece of furniture can be tilted forward and backward by pressing a button in the brass housing of the lectern, the sleeve of which fits over the top of the notched steel rod. A brass ratchet mounted to the underside of the tray engages the notches of the rod and allows the height of the lectern to be adjused for use from either a seated or standing position. With the lectern fully extended, the piece becomes quite top-heavy, and the spreading, double-pronged feet of its beautifully ornamented tripod base are intended to prevent it from tipping. Several variants of this stand exist; the closest of these belonged in the eighteenth century to a noted collector of decorative arts of his time, Louis-Marie-Augustin, duc d'Aumont (1709–1782). At the sale of his effects in 1782, a stand was catalogued under lot number 367. The description of the lot, beginning with the words "Un Pupître à cremaillere, servant de table...," has enabled the duke's stand, which is very similar to the Museum's newly acquired example, to be identified in a French private collection. Though without a signature, this piece has been attributed to the ébéniste Martin Carlin, who was permitted to sign workshop products only after his election as master cabinetmaker in 1766. The distribution of gilt-bronze ornament over the base is reminiscent of the dispositions of mounts that appear on later tripod stands, signed by him, in the Louis XVI style. Carlin may have produced the Museum's reading stand in the early 1760s while working under the influence of his brilliantly inventive brother-in-law, Jean-François Oeben, a practicing cabinetmaker from 1754 until his death in 1763.
Portret van een vrouw
Object type: photograph
Date: 1890 – 1910
Materials: cardboard, photographic support
Techniques: collodion silver print
Location: senftenberg
Artist: hermann meyer
Artist role: fotograaf
Subjects: historical persons - bb - woman
Inscriptions: inscription: ‘Herm. Meyer/ Senftenberg, N/L.’
Slagorde van de Geallieerden voor de slag bij Höchstädt, 1704
Object type: print
Date: 1704 – 1704
Materials: paper
Techniques: etching, hand coloring
Location: the hague
Subjects: frederik i (koning van zweden), paris, vienna, eugenius van savoye, john churchill (1e hertog van marlborough), battle arrays

Slagorde van de Geallieerden voor de slag bij Höchstädt (slag bij Blenheim) tegen de Fransen, 13 augustus 1704. Behoort bij de kaart van de veldslag.
Fotoreproductie van een geschilderd portret van Maria Schaep
Object type: reproduction
Date: 1880 – 1910
Materials: paper, cardboard
Techniques: collodion silver print
Subjects: historical persons - bb - woman
Portret van een onbekend kind
Object type: photograph
Date: 1870 – 1880
Materials: paper
Techniques: albumen print
Artist: Anonymous
Subjects: historical persons, infant, baby
Dienstbode
Object type: print
Date: 1840 – 1903
Materials: paper
Techniques: lithograph
Location: netherlands
Subjects: door-knocker, doorbell, maid ~ house personnel
Inscriptions: collector's mark: Lugt 1641, collector's mark

Dienstbode met een mand trekt aan de deurbel. Onderwerpsrubrieken binnen de Atlas Zeden en Gewoonten: Beroep en bedrijf. Vrouwelijk beroep en bedrijf. Dienstboden.
Miniature kettle and stand
Object type: kettle with stand
Date: 1740 – 1740
Materials: silver, wood
Artist: john le sage
Artist role: maker
Artist nationality: british
Artist dates: 1718 – 1743
Contes des fées
Object type: popular print
Date: 1893 – 1894
Materials: paper
Techniques: colour, letterpress printing, lithograph
Location: epinal
Artist: Anonymous
Subjects: fool, simpleton, numskull, stupidity, poverty of intellect; 'stupidità overo stolidità' (ripa)

Blad met zestien voorstellingen over de stommiteiten van Calino. Onder elke voorstelling een onderschrift in het Engels. Deze prent maakt deel uit van een album.
Prins Willem III verzoent Michiel Adriaenszoon de Ruyter en Cornelis Tromp, 1673
Object type: print
Date: 1877 – 1891
Materials: paper
Techniques: lithograph
Location: the hague
Subjects: michiel adriaenszoon de ruyter, rotterdam, amsterdam, cornelis tromp, william iii (prince of orange and king of england, scotland, and ireland), reconciliation, audition; ruler giving audience

Prins Willem III verzoent de admiraals Michiel Adriaenszoon de Ruyter en Cornelis Tromp met elkaar, april 1673. Interieur van een studeerkamer met schilderij met jachtscène en buste van Willem van Oranje.
Soldaat die zijn spies met beide handen horizontaal op schouderhoogte draagt, zijn rechterhand bij de voet van het wapen
Object type: print
Date: 1597 – 1607
Materials: paper
Techniques: engraving, hand coloring
Location: the hague
Artist: jacques de gheyn (ii)
Artist role: painter, print maker
Artist dates: 1565 – 1629
Subjects: handling of weapons ~ military training, helved weapons, polearms (for striking, hacking, thrusting): lance

Een soldaat, ten voeten uit, die een spies (lans) met beide handen horizontaal op schouderhoogte draagt, zijn rechterhand bij de voet van het wapen. Deze prent is onderdeel van de reeks van 32 met de hand genummerde prenten van spiesdragers in de Wapenhandelinghe.
Blad, vierzijdig, met afgeronde zijden en hoeken, gescheiden door rechte hoeken
Object type: salver
Date: 1726 – 1726
Materials: silver
Location: amsterdam
Artist: gerrit boldijn
Artist role: silversmith
Artist dates: 1694 – 1742
Inscriptions: maker's mark, town mark, alloy mark, : ‘T’, date letter: ‘Q’
Brief aan Ab Bogtman
Object type: letter
Date: 1934 – 1934
Materials: cardboard, ink
Techniques: pen, writing
Location: zundert
Artist: richard nicolaüs roland holst
Artist dates: 1868 – 1938
Subjects: ab bogtman, photography, cinematography
Portret van Louis-Gabriel Suchet
Object type: print
Date: 1820 – 1868
Materials: paper
Techniques: engraving
Location: nuremberg
Artist: carl mayer
Artist role: print maker
Artist dates: 1798 – 1868
Subjects: lyon, marseille, commander-in-chief, general, marshal, historical persons, medals and other marks of military honour, (military) uniforms
Inscriptions: collector's mark: Lugt 2228
Vuilnis-Karmans Kermis-wensch
Object type: print
Date: 1839 – 1839
Materials: paper
Techniques: letterpress printing, engraving
Location: amsterdam
Artist: Anonymous
Subjects: street, garbage collection, amsterdam
Inscriptions: watermark

Kermisprent van de Amsterdamse vuilnismannen voor het jaar 1839. Gezicht bij de Sint-Antoniesbreestraat en het poortje naar de Zuiderkerkhof bij de Zuiderkerk te Amsterdam, waar een man een vuilnisemmer in de kar omkeert en een andere man met de ratel draait. Een andere man haalt bij een huis geld op. Met gedicht in twee kolommen. Van de vuilniskarman in de wijk no. 30: Dirk Koppenburg. Onderwerpsrubrieken binnen de Atlas Zeden en Gewoonten: Zeden en gewoonten in engeren zin, Volksleven, Volksbladen, Nieuwjaars- en Kerstwenschen, Amsterdam.
Cup
Object type: cup
Materials: quartz, silver gilt

This rock crystal cup was possibly used to hold incense.
Standbeeld van een zittende consul of filosoof
Object type: album leaf
Date: 1636 – 1647
Materials: paper
Techniques: engraving
Location: rome
Subjects: piece of sculpture, reproduction of a piece of sculpture, male persons from classical history

Standbeeld van een zittende man, in klassiek gewaad, met een rol papier in de hand. Mogelijk een consul of een filosoof. Op de basis het wapenschild van Vincenzo Giustiniani. Prent maakt deel uit van een album met een serie prenten naar de sculpturen in de verzameling in de Galleria Giustiniani te Rome.
Jérusalem, Tombeau des Juges, Détails
Object type: photograph
Date: 1854 – 1854
Techniques: paper negative, salted paper print
Artist: auguste salzmann
Artist role: artist
Artist nationality: french
Artist dates: 1824 – 1872
Subjects: tombs

Beyond this evocative void lie sixty-three rock-cut tombs. The inky interior speaks to the camera’s technological limitations—no reliable flash technology existed yet and Salzmann’s paper negatives were not sensitive enough to be exposed in low light. Visual markers such as the pointed pediment and piles of rocks at the entrance link this eerie image with the preceding one in the album (on view at right), rooting it firmly in the environs of Jerusalem. Salzmann’s strategy of progressing from far to near plate by plate established trust, or "good faith," in his photographs.
Design for a Caleche or Vis-a-vis, no. 3154
Object type: drawing
Date: 1875 – 1875
Materials: gouache, 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
Eere Poort op de Vismarkt te Vere
Object type: print
Date: 1766 – 1767
Materials: paper
Techniques: engraving, etching
Location: northern netherlands
Subjects: the hague, william v (prince of orange), merman, merman - aa - mermaid, siren, triumphal arch
Inscriptions: collector's mark: Lugt 2228

De erepoort opgericht op de Vismarkt te Veere. Bovenin een vers met aan weerszijden een zeemeermin en een zeemeerman. Onderdeel van een groep van 10 platen van de decoraties te Veere ter gelegenheid van de inhuldiging van stadhouder Willem V als Markgraaf van Veere, 28 mei 1766. Genummerd rechtsboven: No. V.
Gezicht op de Olijfberg te Jeruzalem
Object type: page
Date: 1883 – 1888
Materials: photographic support
Techniques: albumen print
Artist: Anonymous
Subjects: mountains
Vrouw achter leestafel
Object type: photograph
Date: 1907 – 1916
Materials: glass
Techniques: autochrome process
Artist: johannes hendrikus antonius maria lutz
Artist role: fotograaf
Artist dates:  – 1916
Subjects: reading

Jonge vrouw zittend achter een leestafel.
Full-length portrait of two actresses, from the Actors and Actresses series (N145-1) issued by Duke Sons & Co. to promote Cross Cut Cigarettes
Object type: print
Date: 1880 – 1889
Techniques: albumen silver print
Artist: w. duke, sons & co.
Artist role: publisher
Artist nationality: american
Artist dates: 1870 – 1920
Subjects: portraits,women,actresses

Trade cards from the set "Actors and Actresses" (N145-1), issued in the 1880s by W. Duke Sons & Co. to promote Cross Cut Cigarettes. There are eight subsets of the N145 series. Various subsets sport different card designs and also promote different tobacco brands represented by W. Duke Sons & Company. This card is from the first subset, N145-1. Note that actors' names are spelled differently on cards throughout set and are not dependable for accuracy.
Teapot (part of a set)
Object type: teapot
Date: 1726 – 1750
Materials: earthenware, silver
Subjects: birds,men,carriages
Tar
Object type: tar
Date: 1867 – 1900
Materials: metal, skin, wood
Culture: moroccan
Location: morocco
Pair of lappets
Object type: lappet
Date: 1734 – 1766
Materials: lace, linen
Techniques: lace
Subjects: flowers

The Metropolitan Museum's great lace collection was started when the Museum became the first among American museums to organize a permanent collection of lace with the acceptance of the McCallum Collection in 1879 and the bequests of Mrs. John Jacob Astor, Mrs. Robert L. Stuart, Mrs. Augustus Cleveland, and Mrs. A. W. Winters shortly thereafter. In 1893 a loan collection of antique laces shown at the World's Columbian Exposition in Chicago was assembled by a committee of New York women headed by Catharine Augusta Newbold. About 1900 Miss Newbold arranged and labeled an exhibition of laces and linenworks lent to the Metropolitan Museum by Mrs. James Boorman Johnstone and the Misses Johnstone. "Her scholarly knowledge of lace technique enabled the Museum for the first time to offer a comprehensive display of lace illustrating its historical development," wrote Miss Frances Morris, then curator of the textile department. Miss Newbold's name occurs again in connection with a group of thirty-eight laces recently given to the Museum by her nieces, Mrs. Donald P. Spence and The Lady Reigate, in memory of her sister, their mother, Mrs. William Redmond Cross. These represent a selection of the finest of Miss Newbold's personal lace collection, a collection probably made at the time she was active in lace circles in New York about the last decade of the nineteenth and early part of the twentieth century, under the guidance of Marian Hague, a distinguished connoisseur and collector herself. This period witnessed the last peak of appreciation of and connoisseurship in an art form that had been in tremendous vogue from its beginnings in the fifteenth century. And it was the last period in which fine laces were available in any number. Among choice examples of the great lace types represented in Miss Newbold's small collection are: early Italian pieces combining cut-work, pulled work, reticella, embroidery on linen ground; Sicilian polychrome silk filet; seventeenthcentury Venetian points (point de Venise à reseau and the widely known rose point de Venise); famous French needlepoints (Point de Paris, Argentan, Alençon); French and Flemish bobbin laces (Binche, Valenciennes, Brussels, Point d'Angleterre, and Point de Gaz); and a beautiful cap crown of Argentella (1979.310.9), a rare eighteenth-century European lace whose place of origin has never been surely determined.