deem-data/ArtiFact huggingface dataset:
Zittende figuren en een kameel bij de Citadel van Caïro
Object type: sketchbook leaf
Date: 1904 – 1904
Materials: paper, pencil
Location: cairo
Artist: marius bauer
Artist role: draughtsman, print maker
Artist dates: 1867 – 1932
Subjects: hoofed animals: camel, sitting figure, fortifications, military engineering, dome ~ architecture
Inscriptions: kleurnotitie, handgeschreven

Op de achtergrond zijn mogelijk de koepels van de moskee van Mamluk te zien. Pagina 20 uit een schetsboek met 56 bladen.
Cased Pair of Flintlock Pistols with Accessories
Object type: flintlock pistol with case and accessory
Date: 1810 – 1810
Materials: gold, silver, steel, shell, velvet, wood
Culture: french
Location: france
Artist: françois pirmet
Artist role: gunsmith
Artist nationality: french
Artist dates: 1779 – 1854

The locks bear Pirmet's name, but the silver mounts are hallmarked by his contemporary Nicolas Noël Boutet.
Kerk te Zandvoort
Object type: fotomechanisch procedé
Date: 1900 – 1950
Materials: paper
Techniques: photochemical processes
Subjects: church (exterior)
Inscriptions: collector's mark: Lugt 1641, collector's mark

De Nederlands Hervormde dorpskerk te Zandvoort. Reproductie naar een tekening. Onderwerpsrubrieken binnen de Atlas Zeden en Gewoonten: Kerk en kerkwezen & Armwezen en liefdadige instellingen; Kerkgebouwen elders. V-Z.
Rüdesheim
Object type: print
Date: 1642 – 1644
Techniques: etching
Artist: wenceslaus hollar
Artist role: artist
Artist nationality: bohemian
Artist dates: 1607 – 1677
Subjects: rivers,ships

View from the river Rhine, with boat in foreground at left and Rüdesheim on the bank behind. One of a set of 12 views in Germany, formerly in an album, now disbound. According to Vertue, these prints based on drawings made in 1632 when Hollar made a Rhine journey from Cologne.
Floorplan and Side View of an Altar, Plate a (2) from 'Unterschiedliche Neu Inventierte Altäre mit darzu gehörigen Profillen u. Grundrißen.'
Object type: album print ornament architecture
Techniques: etching
Artist: johann michael leüchte
Artist role: artist
Artist nationality: german
Subjects: architecture,altars

Ornament print with the floorplan and side view of the altar presented in the previous print (altar in a late Baroque style with statues of Catherine of Siena and Saint Dominicus). This print is bound in an album containing 27 series with a total of 122 ornament prints from the fund of the prominent Augsburg publisher Martin Engelbrecht.
Gezicht op de Noordermarkt in Amsterdam
Object type: print
Date: 1938 – 1938
Materials: paper
Techniques: drypoint, etching, intaglio
Location: amsterdam
Artist: frans everbag
Artist role: draughtsman, print maker
Artist dates: 1877 – 1947
Subjects: city-view, and landscape with man-made constructions, trees, housing
Inscriptions: watermark, inscription: ‘aw voor [...]p’, collector's mark: Lugt 2228

Links onder de voorstelling staat gedrukt: Vereeniging tot bevordering van beeldende kunsten 1938.
Apothecary jar (albarello)
Object type: albarello
Techniques: maiolica, glazing
Culture: italian
Subjects: coat of arms
Portret van Juliana, koningin der Nederlanden, Bernhard van Lippe-Biesterfeld en Beatrix, koningin der Nederlanden
Object type: photograph
Date: 1938 – 1938
Materials: photographic support
Techniques: photography
Location: netherlands
Artist: Anonymous
Subjects: utrecht, bernhard (prins der nederlanden), beatrix (koningin der nederlanden), the hague, juliana of the netherlands

De hier vermelde titel verwijst naar de hoogst verkregen titel van de geportretteerde, niet per se naar de titel die de geportretteerde op deze voorstelling draagt.
Apricots, from the Fruits series (N12) for Allen & Ginter Cigarettes Brands
Object type: print
Date: 1891 – 1891
Techniques: color lithograph
Artist: allen & ginter
Artist role: publisher
Artist nationality: american
Subjects: fruit,girls

Trade cards from the "Fruits" series (N12), issued in 1891 in a set of 50 cards to promote Allen & Ginter brand cigarettes.
Visitekaart van meubelmaker C. Neumann
Object type: print
Date: 1800 – 1899
Materials: paper
Techniques: letterpress printing
Artist: Anonymous
Subjects: visiting-card, calling-card
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2760

De tekst 'Meubel-Polierer C. Neumann, wohnhaft Wallstrasse Nr. 37' in een kader.
Gezichten op Italiaanse steden
Object type: album leaf
Date: 1631 – 1691
Materials: paper
Techniques: colour, etching
Location: paris
Subjects: parts of church exterior and annexes: campanile, city-view, and landscape with man-made constructions, church (exterior)

Gezicht op de achterzijde van de Dom van Florence. De Campanile staat aan de verkeerde zijde naast de kerk. Titel in het Frans in de ondermarge. Prent maakt deel uit van een album.
Print
Object type: print
Date: 1801 – 1900
Materials: ink, paper
Techniques: woodblock print
Culture: japanese
Artist: utagawa kuniyoshi
Artist role: artist
Artist nationality: japanese
Artist dates: 1797 – 1861
Subjects: human figures
Pan en Syrinx
Object type: print
Date: 1786 – 1808
Materials: paper
Techniques: engraving, etching, hand coloring
Location: paris
Subjects: armorial bearing, heraldry, syrinx changed into a reed: while fleeing from pan, the nymph syrinx is changed into reed by her sisters, the naiads (ovid, metamorphoses i 705)
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228

Onderdeel van een serie van 354 prenten naar schilderijen uit de collectie van de Hertog van Orléans, getiteld: La Galerie du Palais Royal, uitgebracht tussen 1786 en 1808. De serie werd uitgegeven door Jacques Couché die het project samen met Jacques Bouillard leidde.
Ezra drinkt de beker van kennis en wijsheid
Object type: print
Date: 1585 – 1585
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: other scenes from ezra and esdras
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228

Ezra is met vijf mannen naar het veld gegaan en krijgt daar van God een vurige beker aangeboden waaruit hij drinkt. Dit is de beker van kennis en wijsheid. De vijf mannen schrijven de woorden op die Ezra hierna zegt. Onder de voorstelling een verwijzing in het Latijn naar de apocriefe Bijbeltekst in 4 Ezra 14.
Clarence #894
Object type: drawing
Date: 1850 – 1870
Materials: gouache, gum arabic, ink, watercolor
Techniques: pen
Artist: brewster & co.
Artist role: manufacturer
Artist nationality: american
Subjects: carriages

Brewster & Company History Established in 1810 by James Brewster (1788–1866) in New Haven, Connecticut, Brewster & Company, specialized in the manufacture of fine carriages. The founder opened a New York showroom in 1827 at 53-54 Broad Street, and the company flourished under generations of family leadership. Expansion necessitated moves around lower Manhattan, with name changes reflecting shifts of management–James Brewster & Sons operated at 25 Canal Street, James Brewster Sons at 396 Broadway, and Brewster of Broome Street was based at 372 & 374 Broome Street with a repository (showroom) on 14th Street & Fifth Avenue. By 1874, Brewster & Company had 400 employees and combined warehouse and factory facilities at 47th & 48th Streets and Broadway. Brewster successfully branched out to produce their own automobiles, as well as supplying bodies for Rolls Royce at their Long Island City location. Notable clientele included Alfred Gwynne Vanderbilt, August Belmont, J.P. Morgan, John Jacob Astor, Andrew J. Cassatt (brother of artist Mary Cassatt), William Rockefeller, Henry Clay Frick and Pierre Lorillard. Talented draftsmen employed by the firm included Paul Steinbeck, Herman Stahmer and John Gribbon, the latter teaching at the Carriage Builders and Designers Technical School, which opened in 1880 and was housed initially at the Metropolitan Museum of Art. When the company finally dissolved in 1923, its last owner William Brewster (1866–1949) donated its archive of design and presentation drawings to the Museum where he served as benefactor and trustee. Of all American carriage manufacturers, none was as highly regarded for design, finish and quality as Brewster & Company. They won many awards for outstanding workmanship, including the Legion d’Honneur (Legion of Honor) at the 1878 Paris Exposition (3rd World’s Fair). In appreciation for this achievement the Carriage Builders’ National Association presented them with a gold enameled Tiffany & Company plaque and autograph book signed by leading American carriage builders, both now at the Metropolitan Museum of Art. Merri Ferrell, 2016
Fotoreproductie van een prent van de dood van Horatio Nelson
Object type: page
Date: 1877 – 1887
Materials: paper
Techniques: woodburytype
Artist: Anonymous
Subjects: horatio nelson (hertog van bronte), death of human being
Ceramic Fragment
Object type: fragment
Date: 801 – 1000
Materials: earthenware, glaze
Techniques: molding
Location: iran

This ceramic fragment was excavated at the site of Tepe Madrasa in 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 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. The recovered artifacts were divided in half between the two countries, resulting in over four thousand objects in the Met’s collection today. As part of the larger "Persian Expedition" project at Nishapur, American archaeologists and hundreds of Iranian workers excavated a mound named Tepe Madrasa. There, they uncovered an architectural complex which they tentatively associated with a palace or governmental center because of the solidity of the built structures and the extent and variety of wall decorations (including carved and painted brickwork, glazed tiles, wall paintings, and carved and painted stuccoes). This, together with the ceramic and metal finds, aided in attributing the site to the ninth or tenth century onwards. A mosque, refurbished multiple times up to the late eleventh century, was also unearthed, yielding the remains of a monumental entrance with a large terracotta inscription bearing the titles of a sultan (39.40.58, .60–64). Several twelfth century tombstones were also unearthed, showing the shift in purpose of what was earlier a residential area.
Apollo en Daphne (rechter deel)
Object type: print
Date: 1685 – 1728
Materials: paper
Techniques: engraving, etching
Location: rome
Subjects: apollo pursuing the nymph daphne (as yet not metamorphosed), daphne changed into a laurel-tree: while fleeing from apollo, daphne is changed into a laurel-tree by her father peneus (ovid, metamorphoses i 548)
Inscriptions: collector's mark: Lugt 240

Apollo, door een van Amors pijlen getroffen, achtervolgd de nimf Daphne. Die roept haar vader om hulp en vervolgens veranderd ze in een laurierboom. Uit haar vingers sprieten al de bladeren. Een riviergod en een nimf die aan de oever van een rivier liggen zien het geheel gebeuren.
Boer met een pijp, naar rechts
Object type: drawing
Date: 1874 – 1925
Materials: chalk, paper
Techniques: drawing
Artist: jan veth
Artist role: designer, draughtsman, painter, print maker
Artist dates: 1864 – 1925
Subjects: anonymous historical person portrayed alone, farmers
Egoyomi met paddestoelen als falli
Object type: print
Date: 1861 – 1861
Materials: paper
Techniques: woodcut
Location: japan
Artist: Anonymous
Subjects: fungi, penis, phallus

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.
Isabel Wachenheimer met medewerkers van KLM, 1954, Israël
Object type: album leaf
Date: 1904 – 1954
Materials: cardboard, photographic support
Techniques: gelatin silver print
Location: tel aviv
Subjects: isabel wachenheimer-elon, historical persons - bb - woman, anonymous historical persons portrayed in a group, in a group-portrait
Inscriptions: copyright notice: ‘Copyright by Photo-Attar (at the yard). 16. Mendele St. Tel-Aviv, Israel.’

Blad bevat drie foto's van Isabel Wachenheimer (in KLM-uniform) en onbekende collega's, bij de opening van het nieuwe kantoor, april 1954. Uit album half formaat, kunstlederen omslag met koordbinding.
Perfume case
Object type: perfume case
Date: 1651 – 1675
Materials: metal thread, silk

Whether or not the resemblance to a fish's iridescent scales and fine fins is intentional or fortuitous, this is a delightful example of a tiny perfume case, small enough to fit comfortably inside the palm of a hand. The three-dimensional patterning is achieved with buttonhole couching, worked in silver thread with purple, blue, pink and green silks.
Hoofd van een vrouw, mogelijk An Overtoom
Object type: drawing
Date: 1891 – 1941
Materials: paper, pencil
Artist: leo gestel
Artist role: draughtsman, print maker
Artist dates: 1881 – 1941
Subjects: painter, gerritje gestel-overtoom, historical persons - bb - woman
Inscriptions: collector's mark: Lugt 2228
La Vera Perfettione del Disegno di varie sorti di recami, page 27 (recto)
Object type: book print ornament architecture
Date: 1567 – 1567
Techniques: woodcut
Artist: giovanni ostaus
Artist role: publisher
Artist nationality: italian
Artist dates: 1507 – 1607
Subjects: sphinx

Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice. From top to bottom, and left to right: Design is decorated in the center with a statue upon a 3-tiered base. Flanking each side of the base is a sphinx. Surrounding this central element are other decorative objects and foliage.
Recueil de portraits (...)
Object type: print
Date: 1726 – 1726
Materials: paper
Techniques: engraving
Location: paris
Artist: étienne desrochers
Artist role: print maker, publisher
Artist dates: 1668 – 1741
Subjects: paris, historical persons
Inscriptions: collector's mark: Lugt 2228

Behoort waarschijnlijk tot een serie portretten, grotendeels door Etienne Desrochers, getiteld: 'Recueil de portraits de personnes qui se sont distinguées tant dans les Armes que dans Belles-Lettres et les Arts, comme aussi la famille royale de France et autres cours étrangères'. De serie werd initieel uitgegeven door Desrochers en aangekondigd in 'Mercure' in mei 1726, p. 985. Echter was Desrochers reeds enkele jaren eerder begonnen met het uitgeven van de serie. Na de dood van Desrochers werd de serie voortgezet door Gilles Edme Petit. Een latere staat werd uitgegeven door Jean François Daumont in Parijs.
Kop van een oude vrouw
Object type: print
Date: 1825 – 1825
Materials: paper
Techniques: engraving
Location: netherlands
Subjects: old woman
Inscriptions: inscription: ‘Ge Graveert naar C. Bloemaert / 1825’, inscription: ‘N4 J:F: Schmetterling’
Moorish attendant
Object type: crèche figure
Date: 1751 – 1800
Materials: linen, silk, terracotta, fiber, metal
Techniques: polychrome
Subjects: men

In 1964, Loretta Hines Howard generously presented to the Museum over 140 Neapolitan crèche figures, dating from the second half of the eighteenth century. The varied assortment includes figures from the three traditional scenes of a complete Neapolitan presepio: the Nativity, with angels, shepherds, and sheep; the procession of the three Magi, with their colorful retinue of attendants; and the varied and gay crowd of country and town people thronging the tavern, or inn, of Bethlehem — the diversorium mentioned by St. Luke, where on the Holy Night there was no place for Mary and Joseph. Averaging between twelve and fifteen inches in height, according to the position they were to take in perspective in the stage set, the figures are pliable and can be given poses at will, according to their facial expressions. Their bodies are made of tow and wire, their arms and legs are finely carved of wood, and their heads and shoulders are modeled of terracotta and accurately finished. Their attire, often enriched by accessories, jewels, and embroideries, is a sheer joy for the lover of folklore and eighteenth-century costumes. According to a tradition that seems to be supported by stylistic comparisons with figures in the collections of Naples and in the vast holdings of the Bavarian National Museum in Munich, some of the winsome heads of the Howard angels are to be credited to the best eighteenth-century masters: Giuseppe Sammartino (1720–1793), well known for his monumental sculptures in marble and in stucco, his pupils Salvatore di Franco, Giuseppe Gori, and Angelo Viva, and one Lorenza Mosca (d. 1789), who was employed at the Royal Porcelain Factory at Capodimonte and stage director of the Royal Christmas Crib. Since Mrs. Howard's gift, the Museum has recreated the Neapolitan Christmas crib scene, much to the delight of visitors during the holiday season.
Variarum protractionum quas vulgo maurusias vocant (...)
Object type: print
Date: 1550 – 1580
Materials: paper
Techniques: engraving
Location: netherlands

Midden in het bovenste fries zit een medaillon met het hoofd van een vrouw, aan elk uiteinde een medaillon met het hoofd van een man met een krans op. Een van 15 bladen afkomstig uit een serie van 23 met titelblad.
Slab
Object type: slab
Date: 1902 – 1902
Materials: jade
Culture: burmese
Woven Tapestry
Object type: woven tapestry
Date: 1901 – 2000
Materials: fiber, gold, thread
Techniques: lacquer
Culture: japanese
Upper Portion of a Blue-painted Hathor Jar
Object type: jar, wide mouth, hathor emblem, blue painted ware
Date: 1390 – 1352
Materials: paint, pottery
Location: egypt
Subjects: hathor

This is the upper part of a jar that would have been over twice the height. A complete jar would have a complex profile, somewhat similar to a figure 8, with this beaker shaped upper section joined at the waist to a wide slightly shouldered jar. The piece has an overall white slip, and then is painted mainly with vegetal motifs in blue, with touches of black and red, characteristic of Egyptian "blue-painted ware" of this period. The preserved neck has a relief Hathor emblem on opposite sides. The goddess face was probably formed by pressing the clay into a mold formed for the purpose – the pressure of fingers can be seen on the interior of the jar. The Hathor face wears a blue straight wig, bound at intervals by red ribbon. On the other sides are bound papyrus motifs between animal-headed scepters known as was scepters. This jar was found in Amenhotep III’s festival city of Malqata. Hathor’s own drunkenness, which saved mankind from her wrath, along with her role as a goddess of pleasure, connects her with drink: it is tempting to think such vessels could have been used to serve wine or beer.
Twee puntschulpen van kloskant met spitse blaadjes
Object type: fragment
Date: 1925 – 1925
Materials: linen
Techniques: lace
Location: netherlands
Artist: Anonymous

Twee puntschulpen van naturelkleurige kloskant, Cluny-kant. Twee scherpe driehoekige puntschulpen zijn alleen aan de rechte bovenzijde op één punt aan elkaar verbonden. In elke driehoek hangt vanaf de bovenzijde een kleinere driehoek naar beneden. De omtrekken van de driehoeken worden gevormd door een smal bandje in linnenslag. De ruimtes in de driehoeken zijn gevuld met een vlechtengrond en spitse blaadjes gemaakt in vormslag.
½ stuiver van Nederlands Indië, 1823
Object type: coin
Date: 1823 – 1823
Materials: copper
Techniques: striking
Location: utrecht
Artist: william i of the netherlands
Artist role: koning
Artist dates: 1772 – 1843

Koperen munt. Voorzijde: tussen waarde-aanduiding ½ St. gekroond rijkswapenschild. Keerzijde: tweeregelig opschrift, waarboven muntteken en waaronder jaartal. Daaronder muntmeesterteken S [=Suermondt]. Gladde rand.
Gezicht op Loch Achray
Object type: page
Date: 1855 – 1865
Materials: photographic support
Techniques: albumen print
Location: loch achray
Artist: george washington wilson
Artist role: publisher
Artist dates: 1823 – 1893
Subjects: lake
Inscriptions: number: ‘Page 137.’, inscription: ‘“Along the margin of Achray,“Alas thou lovely lake.”’
Kreeft met houtskool
Object type: surimono
Date: 1830 – 1839
Materials: paper
Techniques: blind stamped, woodcut, polish
Location: japan
Subjects: crustaceans
Inscriptions: collector's mark, passe-partout, bottom left, printed: JABdH with a rooster., collector's mark, verso, stamped: Lugt 2228

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.
Portret van Atahualpa, keizer van het Incarijk
Object type: print
Date: 1660 – 1660
Materials: paper
Techniques: engraving, etching
Location: amsterdam
Subjects: historical persons

Prent uit: Bos, Lambert van den. Het vorstelick treur-toonneel, of op- en onder-gangh der grooten (...). Amsterdam: Abraham Wolfgang, 1660, p. 390.
Insertion
Object type: insertion
Date: 1701 – 1800
Techniques: lace, embroidery
The Fair Store: Block with Central Shell Shape from Facade
Object type: architectural fragment
Location: chicago
Artist: william lebaron jenney
Artist role: designer
Artist nationality: american
Artist dates: 1832 – 1907
Subjects: chicago
Europeaan poserend in een laan in 's Lands Plantentuin te Buitenzorg
Object type: album leaf
Date: 1900 – 1920
Materials: paper, photographic support
Techniques: gelatin silver print
Location: s lands plantentuin
Artist: Anonymous
Subjects: forest path or lane, botanic garden, 'hortus botanicus'

Onderdeel van reisalbum met foto's van bedrijvigheid en bezienswaardigheden op Sumatra en Java en van de reis naar en van Nederlands-Indië.
Berlin. Dom u. Friedrichs-Brücke
Object type: photomechanical print
Date: 1905 – 1930
Materials: cardboard, photographic process
Location: berlin
Artist: Anonymous
Subjects: city-view, and landscape with man-made constructions, church (exterior), bridge in city across river, canal, etc.