deem-data/ArtiFact huggingface dataset:
Portret van Eugenius Albertus d' Allamont
Object type: print
Date: 1666 – 1666
Materials: paper
Techniques: engraving
Location: southern netherlands
Subjects: madrid, bisschop, eugenius albertus d' allamont
Inscriptions: collector's mark: Lugt 2228

Portret van Eugenius Albertus d' Allamont, bisschop te Gent, gekleed in bisschoppelijke mantel. Buste naar rechts in een ovale lijst versierd met een lauwerkrans. Onderaan in de marge zijn wapen en een vierregelige tekst in het Latijn.
Twee spelende kinderen aan zee
Object type: sketchbook leaf
Date: 1922 – 1922
Materials: chalk, paper
Artist: otto verhagen (i)
Artist role: draughtsman, print maker
Artist dates: 1885 – 1951
Subjects: children's games and plays, child, beach
Inscriptions: date: ‘1922’

De kinderen spelen met een emmer aan een touw. Pagina 9 uit een schetsboek met 34 bladen.
Isis and Horus
Object type: statuette, isi, horus
Date: 664 – 630
Materials: metal
Location: egypt
Subjects: horus,isis,nursing

Isis’ name is first attested in the fifth dynasty in the Pyramid texts. She was the wife of Osiris and the mother of Horus, and thus was symbolically mother to the pharaoh. In the Late Period, the popularity of this important goddess dramatically increased. She is nearly always depicted in anthropomorphic form, standing or seated on a throne. This statuette shows the goddess in her most beloved pose, nursing her son Horus (known also as the lactans pose). Other goddesses sometimes nurse Horus or other child gods, but Isis is preeminent among them in this role. She wears the horned crown that by the Late Period she had adopted from the goddess Hathor, as well as the vulture headdress that emphasized the role of goddesses as royal mothers; the markings of the headdress are particularly clear on the back of the head. Armlets and bracelets complete her adornment. Horus is large in proportion to Isis, and somewhat more prominent than in many comparable images, an impression reinforced by his headgear. He wears the double crown, common for Horus the child (Harpokrates) as a standalone figure, but not as common when he is shown in small scale with Isis. This royal crown symbolizes the union of Lower and Upper Egypt, and highlights Horus’ role as the legitimate ruler of the entire land and his direct association with the king. He also wears an amulet on his chest, an attribute common to child gods but not adult gods. The large number of Isis statuettes in this particular pose demonstrate some of the qualities for which Isis was most valued in the first millennium BC: her role as a life-giver and protector. These types of statuettes were very common, dedicated not just to Isis cults, but seemingly to many temples and shrines, usually in association with Osiris and the child god Horus.
Les cinq sens
Object type: print
Date: 1747 – 1801
Materials: paper
Techniques: etching
Location: ghent
Subjects: the (five) senses, banquet of elegant company
Inscriptions: collector's mark: Lugt 2228

Allegorische voorstelling van de vijf zintuigen. In een interieur zit een feestvierend gezelschap. De page, die de wijn inschenkt, verbeeldt de smaak. De luitspeler en de zingende jongen verwijzen naar het gehoor, terwijl de dame die aan een citroen ruikt de reuk symboliseert. Het elkaar aanrakende paar links verbeeldt het zintuig van gevoel. Het gezicht wordt verbeeld door de starende aap en het schilderij aan de muur. Rechtsboven genummerd: N. 16.
Weg in een berglandschap
Object type: print
Date: 1637 – 1683
Materials: paper
Techniques: etching
Subjects: animal traction, animal-drawn vehicle (carriage etc.), public road, dog, mountains
Inscriptions: collector's mark: Lugt 2228a

Gezicht op een weg in een berglandschap. Over de weg vervoeren figuren goederen per ezel en per kar. Prent uit een serie van acht prenten met Tiroolse landschappen.
Figure with Removable Head
Object type: figure
Date: 206 – 220
Materials: pottery
Culture: chinese
Subjects: human figures
Begraeffenisse van syne hoogheyt Frederick Henrick. Luxe ingekleurde uitgave van de prenten van de begrafenisstoet van Frederik Hendrik in 1647
Object type: book
Date: 1651 – 1651
Materials: paint, paper
Techniques: letterpress printing
Location: amsterdam
Subjects: delft, the hague, frederick henry (prince of orange)
Inscriptions: date

Pagina16 van de beschrijving van de begrafenis van Frederik Hendrik. Blad uitgeknipt, versierd met goud en ingeplakt in de luxe editie uit ca. 1755 van het boek 'Begraeffenisse van syne hoogheyt Frederick Henrick' van Pieter Post, uitgegeven te Amsterdam in 1651.
Solitudo Sive Vitae Patrum Eremicolarum
Object type: print
Date: 1583 – 1588
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: saints, anchorite, hermit
Inscriptions: collector's mark: Lugt 240

Eulogius de kluizenaar in de wildernis. Hij leest een bijbel. Een landschap met een dorp met kluizenaars op de achtergrond.
Servet van linnen met pellenpatroon
Object type: napkin
Date: 1775 – 1816
Materials: linen
Techniques: peeled fabric
Location: netherlands

wit linnen servet met een pellen patroon en randen rondom, merk WS 72 WH 2oonl
Yoke-form vessel
Object type: vessel with lid
Date: 350 – 450
Materials: ceramic, pigment
Culture: maya
Location: guatemala
Artist: maya artist(s)
Artist role: artist
Subjects: faces,men
Portret van Anton Gottlieb Böhl
Object type: print
Date: 1797 – 1821
Materials: paper
Techniques: engraving
Subjects: historical persons
Inscriptions: collector's mark: Lugt 2228
Detail van het koor van de Grote of Onze-Lieve-Vrouwenkerk te Dordrecht
Object type: photograph
Date: 1880 – 1910
Materials: cardboard, photographic support
Techniques: albumen print
Location: dordrecht
Subjects: church (exterior)
Inscriptions: annotation: ‘Dordrecht/ Zuidzijde koor/ Bouw 1457-1471’, annotation: ‘N.H. Groote Kerk/ Zuidzijde Koor/ Bouw 1457-1471/ Dordrecht’
Portrait of a Young Man
Object type: drawing
Date: 1810 – 1820
Materials: chalk
Techniques: heightening, stumping
Artist: pierre narcisse guérin
Artist role: artist
Artist nationality: french
Artist dates: 1774 – 1833
Subjects: men,portraits

This portrait drawing of a young man in classical dress is a rarity in Guérin's oeuvre. The subject was likely one of his students, rendered here in a soft, diffuse light, with his eyes uplifted and curls of dark hair framing his face. After Guérin's death, the drawings remaining in his studio were divided between nine of his students, with instructions that they share them with other students, not named in the will. In this case, we know from the inscription on the mount that the drawing went first to Alphonse-Henri Périn (1798-1874), who then presented it to Stéphane Vignes. Other drawings from Guérin's studio are mounted on similar blue mounts and feature similar inscriptions.
Ontwerp voor een decoratief paneel met uitzicht op een tuin tussen standbeelden door
Object type: drawing
Date: 1702 – 1731
Materials: ink, paper, pencil
Techniques: brush, pen
Artist: daniël marot (ii)
Artist role: draughtsman
Artist dates: 1695 – 1769
Subjects: piece of sculpture, reproduction of a piece of sculpture, wall-covering

Ontwerp voor een decoratief paneel (wanddecoratie?) met uitzicht op een ornamentale tuin tussen twee standbeelden door.
The Lilliputan Satirists
Object type: print
Techniques: etching
Artist: isaac cruikshank
Artist role: artist
Artist nationality: british, scottish
Artist dates: 1764 – 1811
Subjects: satire,men,women,parasols

Isaac Cruikshank came to London from Scotland and helped launch the golden age of British satire. Here he shows two ladies in the fashionable resort of Bath, strolling together and wittily commenting on people they encounter. Both wear semi-transparent chemiselike dresses which reveal the contours of their legs and tops of their stockings. One wears a bonnet with a single erect feather, carries a closed fan in her right hand and loops up her skirt, increasing her lack of decorum. The other lady wears no hat, but holds up a small parasol on a hinged stick. Raising his hat at left, as he walks away is the satirical writer John Wolcot (1738-1819, who used the pen name Peter Pindar), plainly dressed, stout and holding a cane. The verse below touches upon the power that women wield through their beauty and verbal wit. The use of the word Lilliput in the title indicates that their humor in this case is small-minded, while the addition of the letters "PP" inside Wolcot's raised hat indicates that this print is a later state. George suggests that the ladies may be intended for the Gubbins sisters and notes that the image imitates Gillray's satires on dress (see the latter's " Parasols for 1795" for another satire featuring a parasol with a hinged handle).
Plateau
Object type: plateau
Date: 1601 – 1700
Materials: earthenware
Techniques: luster painting, glazing

Tin-glazed earthenware, of which lusterware is one type, was developed in the Middle East in the ninth and tenth centuries to imitate the porcelains produced in China. The opaque white glaze concealed the clay body, which could range from pale buff to brick red, allowing for brilliant effects created by painting the white surface with metal oxides that fired to a range of colors. This technique, as well as the use of metallic luster—an iridescent, coppery painted glaze—spread throughout the Muslim world, arriving among the potters of Valencia in the thirteenth century. The so-called Hispano-Moresque lusterware, with its fusion of Islamic and Gothic styles and motifs, often in shaped imitating those of metal vessels, was treasured by the elite in Spain during the fifteenth century and exported to the courts of Europe. The Valencian industry declined in the late sixteenth century, as colorful Italian Renaissance maiolica gained in popularity among the fashionable and as Spanish centers were founded to produce versions of its pictorial forms. Adding to this decline was the expulsion from Valencia in 1609 of all the remaining Moriscos (Muslims converted to Christianity), though Christian potters reestablished the industry shortly thereafter.
“The Second Knot”. Interlaced Roundel with an Amazon Shield in its Center
Object type: collection ornament architecture
Techniques: woodcut
Artist: albrecht dürer
Artist role: artist
Artist nationality: german
Artist dates: 1471 – 1528
Subjects: shields

Embroidery pattern made up out of so-called knot work. The main pattern has a circular shape and is presented in white on a dark ground. The knotted ropes or straps form two main tiers with different patterns surrounding the central motif which is a blank Amazon shield with curled up edges. On all four corners another, leaf-shaped ornament has been added which sticks out of the circle. The leaves are filled with more knot work in white on the dark ground, and are surrounded by more leaf-shaped forms, combined with swirling straps in black.
Kwitantie voor Arti et Amicitiae
Object type: ontvangstbewijs, kwitantie
Date: 1867 – 1867
Materials: ink, paper
Techniques: pen, printing, writing
Location: amsterdam
Artist: petrus franciscus greive
Artist role: draughtsman, print maker
Artist dates: 1811 – 1872
Subjects: amsterdam, painter, print maker, draughtsman, hendrik jacobus scholten, money
Inscriptions: collector's mark: Lugt 2233
Gezicht op daken en torens, waarschijnlijk Praag
Object type: print
Date: 1841 – 1841
Materials: paper
Techniques: lithograph
Artist: swostowiez
Artist role: print maker
Subjects: city-view, and landscape with man-made constructions, roof (of house or building), prague
Inscriptions: collector's mark: Lugt 2228, inscription: ‘[...] [Swostowiez 41]’
Rijtuig in een landschap
Object type: sketchbook leaf
Date: 1886 – 1903
Materials: chalk, paper
Location: amsterdam
Artist: george hendrik breitner
Artist role: draughtsman, painter, print maker
Artist dates: 1857 – 1923
Subjects: landscapes, four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach
Inscriptions: signature: ‘G.H Breitner.’

Pagina 3 uit een schetsboek met 16 bladen.
Euphemia White Van Rensselaer
Object type: painting
Date: 1842 – 1842
Materials: canvas, oil
Culture: american
Artist: george p. a. healy
Artist role: artist
Artist nationality: american
Artist dates: 1813 – 1894
Subjects: portraits,women

Euphemia Van Rensselaer (1816–1888) was the daughter of Stephen Van Rensselaer (see 54.51) and the sister of Alexander Van Rensselaer (see 61.70). She was born on the family manor, Rensselaerswyck, near Albany, New York, and inherited a portion of her father's vast estate in 1839. This picture was painted in 1842, the year before her marriage to John Church Cruger, a prominent lawyer with whom she settled on Cruger's Island near Barrytown, New York. Healy painted the portrait in Paris, where he executed works for visiting Americans as well as for the French king, Louis Philippe. He blends both lavish detail and texture with a sensitive portrayal of character before a setting suggestive of the Roman campagna from which the sitter had just returned. The portrait, which shows the influence of the German-born painter Franz Xavier Winterhalter, demonstrates a stunning simplicity, grace, and vivacity rarely equalled in Healy's oeuvre.
Logic (one of a pair)
Object type: panel
Date: 1767 – 1866
Materials: glass
Subjects: women
Blad 35 uit Stamboek van de leerlingen der Koloniale School voor Meisjes en Vrouwen te 's-Gravenhage deel I (1921-1929)
Object type: album leaf
Materials: paper
Techniques: printing, writing
Location: the hague
Artist: Anonymous
Subjects: further education (+ pupil), further education, the hague

Twee pagina's met gegevens van de deelnemers aan de 13e driemaandelijkse cursus van 21 september tot en met 18 december 1925, stamboeknummers 160 tot en met 164. Onderdeel van Stamboek van de leerlingen der Koloniale School voor Meisjes en Vrouwen te 's-Gravenhage deel I (1921-1929).
Bronze jug with handle attachment showing running youth
Object type: jug
Date: 450 – 400
Materials: bronze
Culture: etruscan
Subjects: human figures

With a beaked, trefoil mouth and body of angular outline. The attatchment at the base of the handle is in the form of a running youth.
Man Leading a Horse (recto); Study of a Man (verso)
Object type: drawing
Date: 1910 – 1910
Materials: graphite, paper
Artist: umberto boccioni
Artist role: artist
Artist nationality: italian
Artist dates: 1882 – 1916
Subjects: men,horses
Newhaven Fishwives
Object type: page
Date: 1844 – 1844
Materials: paper
Techniques: autotype
Subjects: adult woman, fisherman
Portret van Jakob Böhme
Object type: print
Date: 1700 – 1710
Materials: paper
Techniques: engraving
Artist: Anonymous
Subjects: theologian, historical persons

Prent mogelijk uit: Theobald, Zacharias. Der Alten und Neuen Schwärmer Widertäufferischer Geist (...). Köthen: Wilhelm Andreas, 1701.
Disk with Figure
Object type: disk
Date: 501 – 700
Materials: gilt copper, shell, metal
Culture: moche
Location: peru
Subjects: spears,men
Johannes de Doper
Object type: print
Materials: paper
Techniques: engraving
Location: antwerp
Subjects: john the baptist; possible attributes: book, reed cross, baptismal cup, honeycomb, lamb, staff, ihs ('iesus hominum salvator') ~ symbol of christ
Inscriptions: collector's mark: Lugt 2228

Landschap met Johannes de Doper, gekleed in een kamelenhuid, in zijn hand houdt hij een Bijbel waar het Lam op ligt. In de lucht het symbool van de jezuïeten. In de marge een tweeregelig Bijbelcitaat uit Joh. 1 in het Latijn.
Tylecodon cacalioides (L.f.) Toelkenken
Object type: album leaf
Materials: chalk, ink, paper, pencil, watercolor
Techniques: brush, pen
Artist: robert jacob gordon
Artist role: draughtsman
Artist dates: 1743 – 1795
Subjects: plants; vegetation
Inscriptions: annotation: ‘Cotyledon’

De tekening is gemaakt voor of tijdens een van Gordon's vier expedities door de Kaapprovincie, van oktober 1777 tot maart 1786.
Sommige (soort)namen kunnen zijn gewijzigd, gezien reorganisatie in plantentaxonomie gedurende de afgelopen jaren.
Tromba Marina
Object type: tromba marina
Date: 1801 – 1900
Materials: wood
Culture: german or swiss
Location: germany
Gevelsteen met het wapen van Jan Frans de Famars
Object type: gable stone
Date: 1735 – 1735
Materials: stone
Location: netherlands
Artist: Anonymous
Subjects: jan frans de famars, leprozenhuis

Gevelsteen met het wapen van Jan Frans de Famart. Afkomstig van het Leprozenhuis te Amsterdam.
Gezicht op een Seinekade met de serres van het Palais de l'Horticulture tijdens de Wereldtentoonstelling van 1900 in Parijs
Object type: album leaf
Date: 1900 – 1900
Materials: paper, photographic support
Techniques: daylight paper print
Location: paris
Artist: paul lucena
Subjects: world fair, world exhibition, palace, greenhouse, orangery, quay (+ city(-scape) with figures, staffage), paris

Onderdeel van Album van een Franse amateur met foto's van Frankrijk, Algerije, Palmyra, de Wereldtentoonstelling van 1900 en van bekende Fransen.
Schilderingen in de Loggia van Rafaël
Object type: print
Date: 1675 – 1675
Materials: paper
Techniques: etching
Location: vatican city
Subjects: samuel anointing david in the presence of his father jesse and his brothers
Inscriptions: number: ‘162’

Zicht in een vertrek waar Samuel David zalft. Achter Samuel staan vier figuren en achter David staan nog eens vier figuren. Op de voorgrond links een altaar. Bijbelvers onder de voorstelling. Prent maakt deel uit van een album.
Beleg van Landau, 1702
Object type: map
Date: 1714 – 1716
Materials: paper
Techniques: etching
Location: northern netherlands
Subjects: johan willem friso (prins van oranje-nassau), siege, position war, maps of cities

Kaart met het beleg van Landau, veroverd op de Fransen door keizerlijke troepen onder Lodewijk Willem I, markgraaf van Baden-Baden, 10 september 1702. Illustratie in de Nederlandse vertaling uit 1716 van J. Lamigue, Het leven van Zyne Hoogheit Johan Willem Friso, dl. I, p. 134/135.
Tast
Object type: print
Date: 1632 – 1670
Materials: paper
Techniques: engraving, etching
Location: utrecht
Artist: frederick bloemaert
Artist role: print maker
Artist dates: 1614 – 1669
Subjects: two bears come out of the woods and tear the children who were mocking elisha to pieces, feeling (one of the five senses)
Inscriptions: collector's mark: Lugt 240, number: ‘5’, inscription: ‘Tactus’

De profeet Elisa, links op de achtergrond, vervloekt de kinderen die hem bespotten. Als straf worden deze door beren verslonden. Voorstelling van de Tast, uit een serie met vijf prenten die de zintuigen afbeelden.
Nude statue, seen from behind
Object type: print
Date: 1902 – 1902
Techniques: printing, woodcut
Artist: auguste-louis lepère
Artist role: artist
Artist nationality: french
Artist dates: 1849 – 1918
Subjects: human figures
Drie reproducties van geschilderde portretten van naakte vrouwen, waarvan één door Claire Maliquet
Object type: ansichtkaart, prentbriefkaart
Date: 1900 – 1930
Materials: cardboard
Techniques: three-color autotype, four-color autotype
Subjects: historical persons - bb - woman, woman (showing herself) undressed, quasi-nude

Deze prenten maken deel uit van een album.
Misbruiken van de katholieke geestelijkheid
Object type: print
Date: 1724 – 1724
Materials: paper
Techniques: etching
Location: amsterdam
Artist: jacob gole
Artist role: print maker
Artist dates: 1660 – 1724
Subjects: monk(s), friar(s), (aspects of) christian religion or the church (as institution) ridiculed, criticized, or caricaturized, indulgence ~ confession
Inscriptions: collector's mark: Lugt 2760, collector's mark: Lugt 2228

Monnik met een standaard waaraan aflaatbrieven hangen. In zijn rechterhand eveneens aflaatbrieven. De prent is deel van een 50-delige serie met als onderwerp de misbruiken van de katholieke geestelijkheid.
Conseils d'une amie
Object type: print
Date: 1832 – 1832
Materials: paper
Techniques: lithograph
Location: paris
Subjects: friends
Inscriptions: collector's mark: Lugt 2228
Vase fragment
Object type: vase fragment
Date: 700 – 650
Materials: terracotta
Culture: greek or lydian

Part of handle of a vase with basket pattern.
Herdruk van de satire op de aansporing tot deelneming in de (zogenaamde) vrijwillige 3% geldlening van 1844 (blad 10)
Object type: print
Date: 1844 – 1844
Materials: paper
Techniques: letterpress printing, engraving
Location: the hague
Subjects: the hague, floris adriaan van hall, organization of trade and finance, taxes and financial administration

Bladzijde 10 met artikels 42-46 van het 'Vermeerderd, Verbeterd en de Volmaaktheid Overtreffend Nieuw Ontwerp van Wet van Behoud, Liefde en Redding'. Een enigszins aaangepaste herdruk van satire in zestien bladzijden op de aansporing tot deelneming in de (zogenaamde) vrijwillige 3% geldlening uitgeschreven in maart 1844 door minister F.A. van Hall. Binnenzijde van een dubbelgevouwen blad bedrukt op alle zijden.
Design for Rumble Sleigh, no. 3410
Object type: drawing
Date: 1878 – 1878
Materials: gouache, gum arabic, ink, watercolor
Techniques: pen
Artist: brewster & co.
Artist role: manufacturer
Artist nationality: american
Subjects: sleighs

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
A Path Through the Woods
Object type: print
Date: 1601 – 1700
Techniques: etching
Artist: anthonie waterloo
Artist role: artist
Artist nationality: dutch
Artist dates: 1609 – 1690
Subjects: roads,trees
Ewer
Object type: ewer
Date: 1001 – 1100
Materials: earthenware
Location: iran
Munchener platen
Object type: popular print
Date: 1859 – 1859
Materials: paper
Techniques: letterpress printing, engraving
Location: munich
Subjects: cat, sleeping in bed
Inscriptions: collector's mark: Lugt 2760

Blad met 6 voorstellingen over de heer des huizes wordt door kattengejank uit zijn slaap gehouden. In zijn woede richt hij een ravage aan. Onder elke afbeelding een onderschrift. Genummerd midden onder: Nro. 115. Genummerd rechtsboven: 115.