deem-data/ArtiFact huggingface dataset:
Tizian: Madonna mit der weissgekleideten Frau
Object type: photograph
Date: 1870 – 1875
Materials: paper
Techniques: albumen print
Location: berlin
Subjects: madonna (i.e. mary with the christ-child) accompanied or surrounded by others
Presentiepenning van het Klein Binnenlandvaardersgilde te Amsterdam 1650
Object type: history medal
Date: 1650 – 1650
Materials: brass
Techniques: engraving
Inscriptions: inscription: ‘DIRCK / BVYS’

Ronde plaat messing gegraveerd op de voorzijde een zeilschip naar links, op de keerzijde twee regels tekst, op naam van Dirck Buys, met draaggat
Awabi duikster
Object type: print
Date: 1796 – 1796
Materials: paper
Techniques: woodcut
Location: japan
Artist: Anonymous
Subjects: pearl fishing, pearl diving; coral fishing

Een surimono is een luxe uitgevoerde prent waarop beeld met één of meerdere gedichten gecombineerd is. Bij het drukken van een surimono werd vaak gebruik gemaakt van dikker papier, blinddruk en metaal pigmenten, zoals koper- en zilverpoeder. De prenten werden vaak in opdracht van dichters gemaakt en als exclusief geschenk aan vrienden en relaties gegeven.

Een egoyomi is een kalender prent, waarop de aanduiding voor de maanden verstopt zit in het ontwerp. Vaak werden egoyomi net als surimono in eigen beheer uitgegeven en aan vrienden kado gedaan.
In Japan gebruikte men tot 1873 een maankalender, waarbij de volgorde van de lange en de korte maanden jaarlijks varieerde. Omdat er maar een klein aantal uitgevers kalenders mocht maken, waren particulier uitgeven kalender prenten tegen de regels van de overheid. Om deze regels te omzeilen werden de kalendergegevens verstopt in het prentontwerp.
Ornament met bloem
Object type: photomechanical print
Date: 1870 – 1937
Materials: paper
Techniques: printing block
Artist: Anonymous
Subjects: flowers ~ ornament
Inscriptions: number: ‘IV’
Design for a Wine Cooler
Object type: drawing collection ornament architecture
Date: 1770 – 1800
Materials: ink
Techniques: brush, pen, wash
Artist: henri auguste
Artist role: artist
Artist nationality: french
Artist dates: 1759 – 1816
Subjects: vessels
Jean Marc Nattier (1685–1766)
Object type: painting, sketch
Date: 1740 – 1740
Materials: canvas, oil
Artist: louis tocqué
Artist role: artist
Artist nationality: french
Artist dates: 1696 – 1772
Subjects: men,portraits,artists
Boetedoening en berouw in het Oude en Nieuwe Testament
Object type: print
Date: 1547 – 1612
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: the prodigal son kneels before his father who takes him in his arms, the parable of the prodigal son (luke 15:11-32)
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228, number: ‘43’

Het verhaal van de verloren zoon. Centraal wordt de verloren zoon, teruggekeerd van zijn reis, door zijn oude vader vergeven. De prent heeft een Latijns onderschrift en is deel van een serie over boetedoening en berouw in het Oude en Nieuwe Testament.
Ring with Quatrefoil-Shaped Bezel with Fish Motif
Object type: ring
Materials: gold
Culture: indonesian, javanese
Subjects: fish
Teach Yourself How to Dance (Odori hitori keiko) 踊独稽古;  酒宴即興踊独稽古(しゅえん そっきょう おどりひとりげいこ)
Object type: illustrated book
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: sanshōsai
Artist role: artist
Artist nationality: japanese
Subjects: musical instruments,men,women,dancing
Begrafenis van Johann Albrecht, graaf van Solms, 1623
Object type: print
Date: 1615 – 1615
Materials: paper
Techniques: etching
Location: northern netherlands
Subjects: the hague, cortege, funeral procession

De begrafenisstoet met de kist (plaat 8). De lijkkist gedragen door jonge edelen. Onderdeel van de serie prenten van de begrafenisoptocht van Johann Albrecht, graaf van Solms, op 25 mei 1623 te Den Haag.
Twee 'columnae caelatae', in de Korinthische en Composiete Orde
Object type: ornament print
Date: 1565 – 1565
Materials: paper
Techniques: etching
Location: antwerp
Subjects: composite order ~ architecture, column, pillar ~ architecture, corinthian order ~ architecture

Twee 'columnae caelatae in de Korintische en Composiete Orde, gedecoreerd met grotesken, guirlandes en bladranken. Op de linker zuil bevindt zich in het midden een ovaal met een bekranst mannenhoofd. Op de rechter zuil zit een vrouwelijke figuur gevangen in beslagwerk. Onderaan twee centauren. Achter de linker zuil is een deel van een gecanneleerde pilaster zichtbaar. Op de prent is twee maal een schaalverdeling aangegeven. De prent maakt deel uit van een album.
Kop van een hond
Object type: print
Date: 1884 – 1884
Materials: paper
Techniques: etching
Artist: h. berthier
Artist role: print maker
Subjects: dog
Inscriptions: collector's mark: Lugt 2228, inscription: ‘1e Epreuve’
Plate
Object type: plate
Date: 1701 – 1733
Materials: faience
Techniques: glazing
Subjects: coat of arms

Faience, or tin-glazed and enameled earthenware, first emerged in France during the sixteenth century, reaching widespread usage among elite patrons during the seventeenth and early eighteenth centuries, prior to the establishment of soft-paste porcelain factories. Although characterized as more provincial in style than porcelain, French faience was used at the court of Louis XIV as part of elaborate meals and displays, with large-scale vessels incorporated into the Baroque garden designs of Versailles. Earlier examples of French faience attest to the strong influence of maiolica artists from Italy. Later works demonstrate the ways in which cities such as Nevers, Rouen, Lyon, Moustiers, and Marseille developed innovative vessel shapes and decorative motifs prized among collectors throughout Europe. While faience can be created from a wide mixture of clays, it is foremost distinguished by the milky opaque white color achieved by the addition of tin oxide to the glaze. French faience is typically divided into two types. Grand feu (high fire) describes pieces that have been decorated with glaze and metallic oxides before being fired a single time at a high temperature of around 1650°F (900°C). Petit feu (low-fire) faience, developed in the second half of the eighteenth century, refers to a process whereby the clay body is fired before being glazed and decorated with metallic oxides and then fired again at a lower temperature; pieces can also go through a third firing. Grand feu pieces have a more limited color palette that consists of blue, yellow, brown-purple, and green. By contrast, the lower firing temperature of petit feu faience enabled both greater precision in painting techniques and variety in the range of colors.
Letters on Sweden and Norway
Object type: book
Date: 1887 – 1887
Materials: cardboard, linen, paper, photographic support
Techniques: albumen print, engraving, printing
Artist: robert anderson naylor
Artist role: schrijver
Provinces Unies des Païs-Bas connues sous le nom de Holande
Object type: print
Date: 1679 – 1679
Materials: paper
Techniques: engraving, etching
Location: paris
Subjects: coat of arms (as symbol of the state, etc.), maps of separate countries or regions, netherlands
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 195

Franse kaart van de Republiek. Linksboven cartouche met titel, daarboven het wapen van stadhouder Willem III. Onder titel een vrouwfiguur dat een cartouche draagt met plaats van uitgave, uitgever en privilege. Daaronder schaalstok: Quinze lieües de France chacune de 3000 pas geometriques. Links en rechts van cartouche een putto met een banderol waar de Nederlandse overzeese bezittingen in respectievelijk de West en de Oost op vermeld staan. Gradenverdeling langs de randen.
Portret van Georg Anton Stahl
Object type: print
Date: 1825 – 1899
Materials: paper
Techniques: etching
Location: würzburg
Subjects: liturgical vestments, canonicals, historical persons
Inscriptions: collector's mark: Lugt 2228
A Chinese Vase
Object type: drawing
Date: 1834 – 1866
Materials: graphite
Artist: jules-ferdinand jacquemart
Artist role: artist
Artist nationality: french
Artist dates: 1837 – 1880
Subjects: eyes,horses,vases
Design for Wagon, no. 887
Object type: drawing
Date: 1860 – 1860
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
Vase with dragon, phoenixes, and butterflies
Object type: vase
Date: 1701 – 1800
Materials: enamel, porcelain
Techniques: overglaze, painting, polychrome
Culture: chinese
Subjects: dragons
Ex libris van von Veltheim
Object type: bookplate
Date: 1600 – 1749
Materials: paper
Techniques: etching, hand coloring
Artist: Anonymous
Subjects: armorial bearing, heraldry
Inscriptions: collector's mark: Lugt 2166
Serie 8: Nederlandse Gebeurtenissen, 1577-1583
Object type: print
Date: 1588 – 1588
Materials: paper
Techniques: etching, hand coloring
Location: cologne
Artist: frans hogenberg
Artist role: print maker, publisher
Artist dates: 1538 – 1590
Subjects: venice, earl, imprisonment

De gevangenneming van de hertog van Aarschot en andere edelen in het Hof van S. Baeffs te Gent na een staatsgreep door calvinisten, 28 oktober 1577. Gedrukt met een cache over het onderschrift.
Studies of a Seated Woman from Behind
Object type: drawing
Date: 1811 – 1889
Materials: graphite
Location: germany
Artist: eduard julius friedrich bendemann
Artist role: artist
Artist nationality: german
Artist dates: 1811 – 1889
Subjects: female nudes
25 kopeken uit Rusland van tsaar Alexander II, 1858
Object type: coin
Date: 1858 – 1858
Materials: silver
Techniques: striking
Location: sint-petersburg

Zilveren munt. Voorzijde: dubbelkoppige gekroonde adelaar met gespreide vleugels en met op zijn vleugels kleine wapenschilden en op zijn borst een groot, met een ridderorde omhangen wapenschild en in zijn poten een scepter en een gekroonde bol. Boven de adelaar een kroon met lint. Keerzijde: tussen twee samengebonden takken een kroon, waaaronder in twee regels de waarde-aanduiding. Daaronder jaartal, waaronder in het Cyrillisch de letters S,P en B [=Sint Petersburg]. Kabelrand.
Pagina 151 van fotoboek van de Algemeene Vereeniging van Rubberplanters ter Oostkust van Sumatra (A.V.R.O.S.)
Object type: photograph
Date: 1924 – 1925
Materials: paper, photographic support
Techniques: printing
Location: sumatra
Artist: j.w. meyster
Artist role: fotograaf
Artist dates: 1887 – 1945
Subjects: harvest, plantation, (non-fruit) products of plants or trees: rubber, trees: coconut-tree, sumatra

Boekpagina met een foto van een Indische man die kokosnoten ontbolstert op een plantage te Soengei Rampah. Onderdeel van een fotoboek van de Algemeene Vereeniging van Rubberplanters ter Oostkust van Sumatra (A.V.R.O.S.).
Filips II, koning van Spanje, graaf van Henegouwen
Object type: jeton
Date: 1587 – 1587
Materials: silver
Techniques: striking
Location: belgium
Artist: Anonymous
Subjects: philip ii of spain

Zilveren penning. Voorzijde: borststuk man binnen omschrift. Keerzijde: kasteel met gekroond wapenschild boven poort binnen omschrift
Stone Bridge - Bull Run
Object type: photograph
Date: 1862 – 1862
Techniques: albumen silver print, glass negative
Artist: mathew b. brady
Artist role: artist
Artist nationality: american, born ireland
Artist dates: 1823 – 1896
Subjects: bridges,ruins,american civil war

In summer 1861 Mathew B. Brady began releasing oversize photographs on paper mounts with the series title "Brady’s Incidents of the War." These albumen silver prints with letterpress titles and series numbers were relatively expensive and conceived to appeal to a small but wealthy audience. They constitute the first intentionally produced collectible series of large-format photographs in American photography.
Tent Door Hanging
Object type: tent door hanging
Date: 1801 – 1850
Materials: cotton, wool
Techniques: pile
Location: afghanistan or turkmenistan
Shabti of Pinudjem II
Object type: funerary object
Materials: ceramic, faience
Culture: egyptian
Location: egypt
Reinaert de vos
Object type: print
Date: 1665 – 1675
Materials: paper
Techniques: etching
Location: netherlands
Artist: allaert van everdingen
Artist role: draughtsman, painter, print maker
Artist dates: 1621 – 1675
Subjects: fable of reynard the fox

Reinaert de vos kijkt in een waterput. Op de achtergrond een paard en wagen.
Fountain of Aqua Paola on the Janiculus
Object type: photograph
Date: 1860 – 1900
Materials: photographic support
Techniques: albumen print
Location: rome
Artist: Anonymous
Subjects: ornamental fountain (+ city(-scape) with figures, staffage), rome

Onderdeel van Fotoalbum met opnames van bezienswaardigheden en kunstwerken in Rome.
Kanaal en kade in Batavia
Object type: photograph
Date: 1880 – 1883
Materials: photographic support
Techniques: albumen print
Location: batavia
Artist: Anonymous
Subjects: canal, batavia

Onderdeel van Reisalbum met opnames van bezienswaardigheden in Egypte, Nederlands-Indië, Singapore en Ceylon.
Elegance
Object type: print
Techniques: etching
Artist: thomas rowlandson
Artist role: artist
Artist nationality: british
Artist dates: 1757 – 1827
Subjects: men,women
Richmond Park Entrance
Object type: print
Date: 1819 – 1819
Materials: paint, paper, watercolor
Techniques: aquatint, heightening
Location: england
Artist: thomas sutherland
Artist nationality: english
Artist dates: 1785 – 1827
Christus aan het volk getoond (Ecce Homo)
Object type: print
Date: 1630 – 1652
Materials: paper
Techniques: engraving
Subjects: carrying a child on the hip, astride, crowd, mob, pilate showing christ to the people, 'ostentatio christi', 'ecce homo' (john 19:4-6)
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760

De Amsterdamse uitgever Claes Jansz. Visscher (II) produceerde vanaf de jaren ’30 van de zeventiende eeuw grote Bijbelse prenten op zogenaamd royaal-formaat papier (ca. 480 x 580 mm). Na zijn dood in 1652 zette zijn zoon Nicolaes Visscher (I) het bedrijf voort en zo ook de uitgave van Royaalbijbelprenten. Toen Nicolaes in 1679 overleed nam zijn zoon Nicolaes Visscher (II) het bedrijf over en gaf kort hierna, omstreeks 1680, een fondslijst uit. Hierin worden 130 prenten met Bijbelse voorstellingen op royaalpapier beschreven (zie documentatie J. van der Waals). Complete prentbijbels op royaal-formaat werden door vader en zoon Nicolaes Visscher uitgegeven onder de titel Historiae Sacrae Veteris et Novi Testamenti. De bladen werden echter ook los verkocht en konden worden gecombineerd met Royaalbijbel-prenten van andere uitgevers. Verschillende Amsterdamse uitgevers brachten namelijk ook bijbelprenten op royaal-formaat uit, onder wie Clement de Jonghe en Cornelis Danckerts. De door de firma Visscher uitgegeven prenten zijn veelal vervaardigd door anonieme prentmakers naar voorbeeld van verschillende zestiende- en zeventiende-eeuwse Bijbelse prenten en prentreeksen. Veelal moesten de composities worden aangepast aan het grotere en langgerekte royaal-formaat. Daarnaast zijn er ook grote bladen van bekende prentmakers zoals Jan van Londerseel, Pieter Nolpe, Jacques de Gheyn (II) en Jan Harmensz. Muller opgenomen in de categorie ‘Bybelsche Figuren, op Royaal-bladen’ in de fondslijst van Visscher.

Prent mogelijk gebruikt in: Historiae Sacrae Veteris et Novi Testamenti (Royaalbijbel). Amsterdam: Nicolaes Visscher (I) en (II), [1652-1702].

In de fondslijst van Nicolaes Visscher II (ca. 1680) is het onderwerp van deze prent onder de titel 'Bybelsche Figuren, op Royaal-bladen. bestaande uyt de volgende historien.' als volgt genummerd: 113.
The Cardinal
Object type: print
Materials: paper
Techniques: woodcut
Location: germany
Artist: hans holbein the younger
Artist role: artist
Artist nationality: german
Artist dates: 1497 – 1543
United Nations corner-stone laid at organisation's permanent headquarters
Object type: photograph
Date: 1949 – 1949
Materials: paper
Techniques: gelatin silver print
Location: london
Artist: Anonymous
Subjects: politician, address, talk, lecture (~ meeting) - aa - in the open air
Inscriptions: inscription: ‘KEYSTONE/ 219 EAST 4th STREET,/ NEW YORK/ N.Y./ RED LION COURT,/ FLEET STREET,/ LONDON/ E.C.4.’, inscription: ‘About 10,000 people, including delegates to the/ United Nations, attended the dedication of the/ World organisation's permanent headquarters in the/ centre of New York. The corner-stone of the new/ building was laid by M. Lie, the Secretary-General/ and Mr. Truman was the principal speaker at the/ ceremony./ PHOTO SHOWS/ Secretary-General Trygve Lie making/ an address before laying the corner-/ stone. Inside the cavity of the Stone/ he placed a copy of the United Nations/ Charter./ 1/J. Keystone. 1/552792.’, copyright notice: ‘COPYRIGHT/ PHOTO PRESS BELGIUM S.A./ 108, Avenue de France, Anvers - Tél. 237.71/ 23, rue des Sables, Bruxelles - Tél. 18.33.27/ C. Ch. Postaux 96.49 - R.C.A. 166.717’
Card Number 132, Rose Temple, from the Actors and Actresses series (N145-2) 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" (N145-2), 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 second subset, N145-2. Note that actors' names are spelled differently on cards throughout set and are not dependable for accuracy.
Metamorfosen van Ovidius
Object type: print
Date: 1602 – 1607
Materials: paper
Techniques: engraving
Location: cologne
Subjects: coronis changed into a crow: to escape the love of neptune, coronis, daughter of coroneus, is changed into a crow by minerva (ovid, metamorphoses ii 569)
Inscriptions: collector's mark: Lugt 2228

Neptunus reikt naar Coronis, de dochter van Coroneus, die door hem werd begeerd. Om aan te ontkomen riep zij de hulp in van de goden, waarop Minerva haar in een kraai veranderde. In de marge een vierregelig onderschrift, in twee kolommen, in het Latijn.
Scaraboid
Object type: scaraboid
Date: 1492 – 1479
Materials: faience
Location: egypt
Subjects: scarabs
Hollandse duit, 1715
Object type: coin
Date: 1715 – 1715
Materials: copper
Techniques: engraving
Location: dordrecht

Koperen munt. Voorzijde: watervogel in water. Keerzijde: opschrift: provincienaam in drie regels, daaronder jaartal. oorspronkelijke voorzijde is vervangen door gegraveerde beeldenaar.
"Alhambra" vase with lid
Object type: lidded vase
Date: 1880 – 1889
Materials: enamel, porcelain
Techniques: gilding
Artist: crown derby
Artist role: maker
Artist nationality: british
Artist dates: 1750 – 9999

The history of the Derby porcelain manufactory can generally be divided into two periods. The old Derby porcelain was produced from 1750 to 1848, and was foremost distinguished by the ownership of William Duesbury I and II. When the original factory closed in 1848, a number of former workers established a separate smaller factory at King Street, Derby, using Crown Derby’s original molds and patterns and oftentimes incorporating the factory marks on its wares. Around 1876, a separate company established a factory at Osmaston Road under the name Derby Crown Porcelain Company (and eventually bought the King Street factory in 1935), although the firm did not being producing commercial pieces until two years later. In 1890, the factory was granted the privilege of using the title "Royal Crown Derby Porcelain Company." Although the new Crown Derby continued to produce the firm’s old eighteenth-century Japan patterns, it became known for making vessels lavishly decorated with raised and chased gold work and Persian-style decoration.
Nine-light candelabrum
Object type: candelabrum
Date: 1838 – 1839
Materials: silver
Artist: paul storr
Artist role: maker
Artist nationality: british
Artist dates: 1771 – 1844
Subjects: triton,neptune

This imposing centerpiece meant for the middle of a table has two tiers for candles, the upper with three arms, the lower with three double-arms, creating nine lights overall. The candle light served to emphasize the figure of Poseidon, the Greek sea god known to the Romans as Neptune. He sits in the midst of tall reeds. The ocean-Poseidon theme is continued in the seaweed and coral that wrap the candle arms and by the figures around the base—a triton blowing a conch shell with which he calms the waters, and a nereid, both with bodies dividing into double fish tails. Dolphins, sacred to Poseidon, sport around the lower tier of candle arms and support the mirrored stand. The figures stand as though in shallows with sharp rocks and cascades of water between them. The centerpiece gives its greatest effect when the candles are lit. Then the surface of the stand reflects the candle light, giving an impression of glittering sea foam and reflecting light back up to the central composition. On the back of Poseidon's rocky throne, a hand-inscribed date, "December 15th 1938," tells us that this was one of the last pieces made by Paul Storr. He was associated with John Mortimer as retailer and business partner since 1822. They had retail premises in New Bond Street, in the fashionable Mayfair district behind Piccadilly, and manufacturing workshops in Grey's Inn, near the commercial and business district of London. They were jewelers, goldsmiths, and silversmiths to Queen Victoria. The intrusion of a lotus plant with leaves and flowers that wraps the central shaft and the seaweeds and corals of the candle arms indicate the growing interest in naturalism, which became a major design resource throughout the middle third of the nineteenth century. Victoria's accession to the throne in 1837 inaugurated a change in the national consciousness toward greater propriety, which impacted many aspects of public life as well as domestic interiors and furnishings. A strong pictorialism was adopted early in her reign and had a long vogue. She had been queen for a year and a half when this candelabrum was made.