deem-data/ArtiFact huggingface dataset:
Corona delle Nobile et Virtuose Donne, Libro Terzo, page 19 (recto)
Object type: book print ornament architecture
Date: 1620 – 1620
Techniques: woodcut
Artist: cesare vecellio
Artist role: designer
Artist nationality: italian
Artist dates: 1521 – 1601
Subjects: ornament

Designed by Cesare Vecellio, Italian, Pieve di Cadore 1521-1601 Venice, Venice, published by Alessandro de' Vecchi, Italian, active 17th century, Venice. From top to bottom, and left to right: Design composed of 3 horizontal registers. Top register is decorated with a pattern of floral motifs that sit upon a rectangular base ornamented with other floral and foliage elements. Middle register is decorated with a pattern of triangles framing a flower in the center, which sit upon a rectangular base ornamented with other floral and foliage motifs. Bottom register is decorated with diverse floral motifs (2 of which also include figures) that sit upon a rectangular base ornamented with flowers, foliage, and a vase.
The Mass of St. Gregory
Object type: relief
Date: 1550 – 1560
Materials: gilt, wood
Techniques: polychrome, silvered
Subjects: altars,men,christ

Late medieval imagists formulated a vision popularly ascribed to Gregory the Great, in which Christ as the Man of Sorrows appears on the altar and shows his wounds to the pontiff as he elevates the host during Mass. The theme, often invoked to demonstrate the truth of substantiation, was later discredited and virtually disappeared by the seventeenth century. The format and leftward movement of this relief suggest that it came from the right-hand predella of a multipaneled retablo, the characteristic form of a Spanish altarpiece. The carving is by an uncommonly gifted member of the Castilian school. Although he was touched by the lessons of the great master sculptors Alonso Berruguete (1488-1561) and Juan de Juni (about 1507–1577), he shows his own flair for narrative and an independent physiognomical manner, as in the broad skulls of the celebrant and assisting clergy. He was also securely grounded in the techniques of estofado, in which paint is applied over gilding and then scratched away to create dramatically contrasting patterns. He employed silvering as well as gilding; the five wounds of Christ on the banner behind Gregory's head are picked out in sgraffito on a silvered ground. The palette has been altered by the application of a shiny varnish, but when this is removed in the course of conservation, the play of gold and silver upon the diagonal arrangement of forms should be dazzling
Finger Ring
Object type: ring
Date: 601 – 700
Materials: silver
Culture: frankish
Location: northern france
Plate
Object type: plate
Date: 1805 – 1825
Materials: earthenware
Techniques: transfer
Culture: british
Location: england
Subjects: flowers,landscapes
Ruiter die een schot lost met een pistool
Object type: print
Date: 1599 – 1599
Materials: paper
Techniques: engraving
Location: amsterdam
Subjects: warfare; military affairs (+ cavalry, horsemen), firearms: rifle
Inscriptions: collector's mark: Lugt 2228a

Een geharnaste man te paard, naar links rijdend, een schot vurend met het pistool in zijn rechterhand. Deze prent is onderdeel van een serie van 22 genummerde prenten: een titelprent, 20 prenten waarop één of enkele verschillende typen (meest geharnaste) ruiters zijn weergegeven, en een prent met een ruitergevecht.
Bowl with a Sphinx
Object type: bowl
Date: 1101 – 1200
Materials: glaze, stonepaste
Techniques: painting, underglaze
Location: syria
Subjects: sphinx
Nationale feestviering op 1 april 1872 van de 300-jarige inname van Den Briel
Object type: print
Date: 1872 – 1872
Materials: paper
Techniques: tone lithography
Location: the hague
Subjects: brielle, delft, william i (prince of orange), brussels, leiden, politician, filips van marnix van sint-aldegonde, capture of city (after the siege)
Inscriptions: collector's mark: Lugt 2228

Gedenkblad bij de nationale feestviering op 1 april 1872 van de 300-jarige inname van Den Briel door de watergeuzen op 1 april 1572. Blad met centraal de inname van Den Briel, hieromheen zeven voorstellingen van historische gebeurtenissen uit het begin van de Nederlandse Opstand en drie portretten, bovenaan Willem van Oranje. Tussen de scènes ranken, wapens en vaandels.
Column of Trajan, from "Speculum Romanae Magnificentiae"
Object type: print
Date: 1501 – 1600
Techniques: engraving
Artist: Anonymous
Artist role: artist
Subjects: columns,rome

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 1, plate 98 in the scrapbook.
Ornament
Object type: ornament
Date: 1801 – 1900
Materials: gilt bronze
Shoes
Object type: shoe
Date: 1650 – 1650
Materials: leather, metal, silk
Culture: british
Winter
Object type: drawing
Date: 1661 – 1693
Materials: chalk, paper
Techniques: brush
Artist: gerrit grasdorp
Artist role: draughtsman
Artist dates: 1659 – 1716
Subjects: winter, 'hyems'; 'inverno' (ripa), fisherman (+ trident)

Een oude staande visser met een bontmuts en een drietand.
Zeilschepen op het water
Object type: sketchbook leaf
Date: 1780 – 1848
Materials: paper, pencil
Artist: martinus schouman
Artist role: draughtsman, painter
Artist dates: 1770 – 1848
Subjects: sailing-ship, sailing-boat, landscapes with waters, waterscapes, seascapes (in the temperate zone)

Blad 20 verso en 21 recto uit een schetsboek met 53 bladen.
Beleg van Geldern, 1703
Object type: map
Date: 1703 – 1717
Materials: paper
Techniques: engraving, etching
Location: the hague
Subjects: siege, position war, maps of cities, bombardment
Inscriptions: collector's mark: Lugt 195

Kaart van Geldern en omgeving, tijdens het beleg door de Pruisische troepen onder generaal Lotthum op 20 april. Bovenaan het bombardement van de stad op 7 oktober 1703 gezien vanuit Hartenfeldt en Verth. Onderaan de verklaringen in het Frans.
Portrait Bust of Young Woman
Object type: drawing and watercolor
Materials: chalk, charcoal, fiber, paper
Techniques: drawing, heightening, stumping
Location: england
Artist: frances cotes
Artist nationality: english
Artist dates: 1726 – 1770
Weighing the deer
Object type: reproduction
Date: 1875 – 1875
Materials: photographic support
Techniques: albumen print
Artist: Anonymous
Subjects: weighing, hoofed animals: deer, hunter
Gezicht op de Eerste Muiderpoort
Object type: print
Date: 1760 – 1769
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: city-view in general; 'veduta', canal, windmill in landscape, city-gate, boat propelled by man or animal
Inscriptions: collector's mark: ‘9.176’ Lugt 1641b

Deze prent is ook gebruikt in de zogenaamde Atlas van Fouquet.* Pierre Fouquet gaf vanaf 1760 stadsgezichten van Amsterdam - naar tekeningen van verschillende kunstenaars, gemaakt door verschillende prentmakers - uit. Deze prenten werden aanvankelijk los of in series verkocht. Zoals toen gebruikelijk kon de koper de prenten zelf laten inbinden. Hiertoe gaf Fouquet tussen 1778 en 1783 een titelblad, plattegrond en inhoudsopgave van de tot dusver 100 uitgegeven prenten uit (1). Gezien de inhoud afhankelijk was van wat de koper had verzameld verschilt de inhoud van de verschillende bewaarde Fouquetatlassen onder deze titel sterk. Ook zijn er exemplaren bekend waar tevens andere prenten aan zijn toegevoegd. Omdat er behoefte bleek aan uitleg bij de platen werd in 1783 een nieuwe versie van de atlas uitgegeven, aangevuld met tekst en twee prenten. De aangegeven volgorde veranderde maar de platen van de al eerder uitgegeven prenten bleven ongewijzigd. Deze uitgave werd in opdracht van Fouquet gedrukt bij Daniël Jean Changuion en Petrus den Hengst (2). Een tiental platen werd bijgewerkt en verscheen, met nieuw impressum, in het vervolg van Wagenaars geschiedenis van Amsterdam, uitgeven door Petrus Conradi en Folkert van der Plaats (3). Een aantal jaar na het overlijden van Fouquet kwam Evert Maaskamp met een nieuwe uitgave van de atlas, met verbeterde tekst en toevoeging van twee prenten. Op alle platen verwijderde hij het oude en liet hij zijn eigen impressum zetten (4).

De huidige staat van de prent komt voor in exemplaren van de onder (1) en (2) genoemde werken.

* Onder de Atlas van Fouquet of Fouquetatlas verstaan we de hieronder vermelde publicaties (1), (2) en (4).
(1). Afbeeldingen van de wyd-vermaarde koopstad Amsterdam benevens des zelvs voornaamste gebouwen en gezigten alle naar het leeven getekend / Receuil des edifices les plus considerables et des plus belles vues, de la fameuse ville d'Amsterdam, dessinées d'après nature. Amsterdam: Pierre Fouquet, 1778-1783.
(2). Nieuwe atlas, van de voornaamste gebouwen en gezigten der stad Amsterdam, met derzelver beknopte beschryvingen. 2 delen. Amsterdam: Daniël Jean Changuion en Petrus den Hengst [in opdracht van Pierre Fouquet], 1783.
(3). Stijl, Simon. Amsterdam, in zyne geschiedenissen, voorregten, koophandel, gebouwen, kerkenstaat, schoolen, schutterye, gilden en regeeringe, beschreeven. Om te dienen ten vervolge op het werk van Jan Wagenaar (…). 10 delen. Amsterdam en Harlingen: Petrus Conradi en Folkert van der Plaats, 1788-1801.
(4). Nieuwe atlas, van de voornaamste gebouwen en gezigten der stad Amsterdam. Met derzelver beknopte beschryvingen. Amsterdam: Evert Maaskamp, 1805.

* Het aantal vermelde staten is gebaseerd op het aantal gevonden staten. Mogelijk zijn er meer staten van deze prent.
Card Number 212, Fanny Rice, 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.
Portret van Kwamina Baja
Object type: page
Date: 1883 – 1884
Materials: paper
Techniques: photograph
Location: amsterdam
Subjects: adult man, historical persons, amsterdam
Inscriptions: inscription: ‘Collection du Prince Roland Bonaparte/ Phototypie Roche’

Portret van Kwamina Baja, een Saramaccaner Marron uit Suriname, gefotografeerd op de Internationale Koloniale en Uitvoerhandel Tentoonstelling, Amsterdam 1883.
Glass bowl
Object type: bowl
Date: 34 – 33
Materials: glass
Culture: roman

Translucent golden brown. Rounded vertical rim; sides tapering downward, then curved in to almost flat bottom. On interior, three horizontal wheel-cut grooves: one below rim, the other two in a band around middle of body; on exterior, plain band and shallow groove below rim. Broken and repaired, with one hole in side near bottom and three small chips in rim; pinprick bubbles; dulling, pitting, and patches of brilliant iridescence and thick creamy weathering.
Witte omslagdoek afgezet met kant
Object type: omslagdoek
Date: 1850 – 1920
Materials: plastic, textile
Techniques: needle lace
Location: netherlands
Artist: Anonymous
Portret van Joseph Anton Gabaleon, Graf von Wackerbarth-Salmour
Object type: print
Date: 1720 – 1757
Materials: paper
Techniques: engraving
Location: leipzig
Subjects: armour, historical persons, armorial bearing, heraldry
Inscriptions: collector's mark: Lugt 2228
Lamp
Object type: lamp
Date: 201 – 300
Materials: earthenware
Techniques: molding
Location: egypt
Leopold I ingehuldigd als koning van Hongarije
Object type: history medal
Date: 1655 – 1655
Materials: silver
Techniques: striking
Artist: Anonymous
Subjects: leopold i (keizer van duitsland)

Zilveren penning. Voorzijde: opschrift onder kroon. Keerzijde: onder stralend oog twee handen met zwaarden en gekroond wapenschild binnen omschrift
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 500 – 480
Materials: terracotta
Culture: greek, attic

Exterior, legs of male to right; part of a second figure?
Zwevende figuur met twee roofvogels
Object type: illustration
Date: 1894 – 1894
Materials: paper
Techniques: woodcut
Artist: mathieu lauweriks
Artist role: designer, draughtsman, print maker
Artist dates: 1864 – 1932
Subjects: snakes, beard - aa - ~ women, woman (showing herself) undressed, quasi-nude, predatory birds
Inscriptions: collector's mark: Lugt 2228

Een androgyn figuur zweeft boven een kloof met twee smalle bruggen. Op de handen zitten twee roofvogels en om het middel zit een slang. Bovenaan het woord 'Eros'. Links op een van de bruggen staat een vrouw naar de figuur te kijken.
Vogel op een rietstengel
Object type: page
Date: 1896 – 1901
Materials: paper
Techniques: autotype
Subjects: birds, plants and herbs: reed
Inscriptions: monogram: ‘LEIPZIG/ S G’
The Invention of the Cross
Object type: high relief
Date: 1601 – 1700
Materials: wood
Subjects: men,cross,crucifixion
Portret van Andries Schoemaker
Object type: print
Date: 1828 – 1843
Materials: paper
Techniques: lithograph
Location: utrecht
Subjects: draughtsman, andries schoemaker, scholar, philosopher, historical persons, portrait, self-portrait of artist, armorial bearing, heraldry
Inscriptions: monogram: ‘H[...]’
The Bell Inn
Object type: painting
Materials: canvas, oil
Artist: george morland
Artist role: artist
Artist nationality: british
Artist dates: 1763 – 1804
Subjects: inns,men,women,dogs,pigs
Axe Blade
Object type: axe blade
Date: 500 – 300
Materials: bronze
Culture: dongson
Location: indonesia
Beker, veelkleurig beschilderd met een riviergezicht
Object type: cup
Date: 1725 – 1725
Materials: porcelain
Techniques: painted
Location: meissen
Inscriptions: factory mark

Beaker. Porcelain. Meissen, c. 1725.
Slippers
Object type: slipper
Date: 1867 – 1900
Materials: metal thread, silk
Techniques: embroidery
Culture: chinese
Subjects: animals
Omslag voor acht prentbriefkaarten van Venetië, Zuid-Tirol en Beieren
Object type: wrapper
Date: 1900 – 1950
Materials: paper
Techniques: letterpress printing
Location: italy
Subjects: city-view in general; 'veduta', ships (in general), venice
Inscriptions: stamp: ‘Alla Tavolozza di Tiziano. Requisiti per Pittori (...)’

De acht prentbriefkaarten die in het omslag zijn aangetroffen horen niet bij dit omslag.
Kaart van het graafschap Holland
Object type: map
Date: 1690 – 1700
Materials: paper
Techniques: engraving
Location: paris
Subjects: coat of arms (as symbol of the state, etc.), maps of separate countries or regions, satyr(s) (in general), holland
Inscriptions: watermark, collector's mark: Lugt 195, watermark: ‘Rozenkrans met in cirkel een Maltees kruis, aan het uiteinde hangt een Grieks kruis (Petit of Grand Chapelet?).’

Dit object is omwille van een betere presentatie virtueel samengevoegd maar bestaat fysiek uit losse onderdelen.

Deze kaart bestaat uit twee bladen die los van elkaar zijn uitgegeven en ieder als enkele kaart gebruikt konden worden of samen konden worden gevoegd tot een kaart van het graafschap Holland. Van beide kaarten zijn verschillende staten bekend. De combinatie van de staten van deze twee exemplaren komt voor in: Atlas françois contenant les cartes geographiques dans lesquelles sont tres exactement remarquez les empires, monarchies, royaumes et estats (…). Parijs: Alexis Hubert Jaillot, 1700.
Evacuation of Malta
Object type: print
Date: 1803 – 1803
Materials: paper
Techniques: etching, hand coloring
Location: england
Artist: james gillray
Artist role: artist
Artist nationality: british
Artist dates: 1756 – 1815
Canapé (Genre Anglais) / Fauteuil et chaise (Genre Anglais)
Object type: print
Date: 1895 – 1895
Materials: paper
Techniques: hand coloring, lithograph
Location: paris
Subjects: seating furniture

Een canapé, fauteuil en een stoel. Prent uit 311e nummer (livraison).
Wandbespanning
Object type: upholstered wall
Date: 1911 – 1915
Materials: linen
Techniques: damask
Location: eindhoven
Artist: chris lebeau
Artist role: draughtsman, print maker
Artist dates: 1878 – 1945

Donkerolijfgroene groene damasten wandbespanning met een dessin van vogelnesten.
The Actors Ichimura Kamezo I as Kanto Koroku and Arashi Tominosuke I as Hayasaki in the play "Hokazo Yunzei Hachinoki," performed at the Ichimura Theater in the eleventh month, 1748
Object type: print
Date: 1748 – 1748
Techniques: printmaking, woodblock print
Location: japan
Artist: torii kiyonobu ii
Artist nationality: japanese
Artist dates: 1725 – 1761
De Geest van Van Speyk Bezielt de Hollandsche land- en zeemagt ter verdediging en bescherming onzer Nederlandsche vlag
Object type: print
Date: 1831 – 1831
Materials: paper
Techniques: lithograph
Location: netherlands
Subjects: antwerp, jan van speyk, battle, fighting in general
Inscriptions: collector's mark: Lugt 2228

Verschillende militairen in een landschap. In de ruimte tussen de figuren is de verstopte gestalte van Jan van Speyk te ontwaren. In de verte het in de lucht springen van de kanonneerboot van Jan van Speyk op de Schelde voor Antwerpen op 5 februari 1831.
Panel
Object type: textile
Date: 1601 – 1700
Materials: gilt, metal, silk, velvet
Techniques: cutting, weave, voiding
Location: turkey
Terracotta fragment of a plate
Object type: plate fragment
Date: 490 – 480
Materials: terracotta
Culture: greek, attic

Interior, the outer tondo border is comprised of a dot net pattern; unidentified subject
Indian parrot (one of a pair)
Object type: figure
Date: 1741 – 1741
Materials: hard paste porcelain
Artist: meissen manufactory
Artist role: manufactory
Artist nationality: german
Artist dates: 1710 – 9999
Subjects: parrots,insects,leaves

Porcelain birds have their origins in the princely tradition of maintaining collections of living animals and birds in menageries and aviaries, which were viewed as microcosms of the universe, and emblems of royal power and enlightenment. These collections often included exotic birds such as parrots, admired for their rarity, as well as more familiar native species. In 1731 the Meissen manufactory began a new genre in European porcelain, producing several hundred life-size and near-life-size porcelain birds and animals, many destined for the Japanese Palace of Augustus the Strong, Elector of Saxony (1670–1733). To create them, factory modelers found inspiration in nature, looking both to living and stuffed specimens, as well as zoological illustrations and Asian porcelain precedents. The great Meissen modeler Johann Joachim Kändler is known to have copied from life the birds kept at the royal aviary at Schloss Moritzburg. Surviving prints and drawings of the period indicate that porcelain birds, animals, and vases were placed on gilt wood brackets arranged in decorative, symmetrical patterns. An eighteenth-century English visitor to the Japanese Palace, Jonas Hanway, described this manner of display: "The long gallery in the second story had already two marble chimney-pieces, each adorned with near 40 very large pieces of porcelain, of birds, beasts, and vases, ranged to the height of above 20 feet in a most superb taste…." [Elizabeth Sullivan, 2013]
Aurifries met borduurwerk van zijde en gouddraad op linnen
Object type: aurifries
Date: 1525 – 1530
Materials: gold thread, linen, silk
Techniques: embroidered
Location: southern netherlands

Aurifries met borduurwerk. Het borduurwerk heeft een afbeelding van Abraham's offer. Isaac knielt geblinddoekt op de brandstapel. Links staat Abraham met in zijn opgeheven arm een zwaard. Links is de ram in het braambos afgebeeld en linksboven de engel.
Evening shoes
Object type: evening shoe
Date: 1875 – 1885
Materials: glass, silk
Culture: french

The ankle-strap or ankle-tie shoe, as illustrated by this pair of evening shoes, was worn primarily in the late 1870s and 1880s. Slippers with comparatively high backs were a trend from the 1870s, and it seems that the feature of the peaked or raised quarter may have led naturally to the ankle-tie style. Although novel and fashionable at the time, the style does not appear to have been very widely worn. Satin boots were widely worn for evening in the 1860s and early 1870s, and this hybrid style can be seen as a compromise between the boot and the slipper.
Gezicht op Pike's Peak en de Tuin der goden
Object type: photomechanical print
Date: 1894 – 1899
Materials: paper
Techniques: lithograph
Artist: Anonymous
Subjects: mountains
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 480 – 470
Materials: terracotta
Culture: greek, attic

Exterior, back of head and right shoulder of youth to right
Water, represented by a naiad seated at the base of a tree and resting her arm on a supine urn from which water flows, behind her a triton and other inhabitants of the sea rise from the water surface, from "The Elements"
Object type: print
Date: 1640 – 1660
Techniques: etching
Artist: giulio carpioni
Artist role: artist
Artist nationality: italian
Artist dates: 1613 – 1678
Covered Jar (Hu)
Object type: covered jar
Date: 200 – 1
Materials: earthenware
Techniques: painting
Culture: chinese

This mortuary vessel is decorated with the animated drama of a blue beast with bared fangs lunging at a mounted archer. Roaming the other side of the hu is a long striding tiger. Executed with brilliant pigments and confident black brushstrokes, the decoration perfectly expresses the boldly assertive character of the Western Han dynasty and is, moreover, one of the finest known examples of Han painting. The iconography is celestial: the blue beast represents the star Sirius, known in China as the Heavenly Wolf, and the archer is a personification of the adjoining constellation, Bow, whose arrow always points directly at the Wolf. Their companion on the other side is the White Tiger, cosmological symbol of the West, whose domain in the nightly sky borders that of the Wolf and the Bow. The Wolf is a baleful star. He governs thievery and looting and represents the Xiongnu tribes (Huns) who warred with the Han people on the northwestern borders of China. It is said that when the twinklings of the Wolf star change color, banditry will curse the land; when the star shifts from its normal position, the Xiongnu will be on the warpath. Fortunately, there is the vigilant Bow, who "punishes rebels and knows those who are crafty and evil." Forever pointed at the Wolf, across whose body is an array of ill-boding meteors, the Bow was considered the protector of China. The mounted archer, the eternal image of the nomadic peoples of the Eurasian steppe, is shown hunting the symbolic representation of the Xiongnu.