deem-data/ArtiFact huggingface dataset:
Allegory of Africa, from "The Four Continents"
Object type: print ornament architecture
Date: 1590 – 1600
Techniques: engraving
Artist: marcus gheeraerts the elder
Artist role: artist
Artist nationality: flemish
Artist dates: 1510 – 1600
Subjects: men,female nudes,elephants,lions,snakes

Marcus Gheeraerts likely trained with the Brussels painter Bernard van Orley; and, after his death, in Antwerp with the prolific printmaker and publisher Hieronymus Cock. Gheeraerts produced his own etchings as well as hundreds of drawings for engravings, which were executed by some of the most well-known Flemish artists of the time. His connections to these printers and publishing houses—Cock, Sadeler, Galle, de Jode—remained strong even while he was in exile in London between approximately 1567-77. This Allegory of Africa is part of a series of engravings of the four continents after drawings by Gheeraerts. European artists from the Renaissance onwards represented the known world through allegorical figures derived from antiquity. They often took the form of clothed or naked women and were used in ephemeral works made for triumphal entries and pageants, in maps, coins, prints, and the decorative arts. The representations were eventually standardized in the Iconologia by the Italian Cesare Ripa (1593; illustrated in 1603), and supplemented by contemporary travel accounts. In his representations of the Continents, Gheeraerts surrounded the allegories -- sexualized young women -- with the symbols and attributes that the artists and the viewers associated with each continent—in some cases the commodities to be traded and resources to be exploited. These images, steeped in a white Christian and male Eurocentrism, reinforced ideas of the self and the other that characterized the era. In this engraving, Africa is shown as a naked woman wearing a feather headdress and carrying a bundle of branches. She is surrounded by horns of plenty and palm trees that together signify the continent’s agrarian riches. The figure of Africa is flanked by a lion and an elephant, while above her sits a chameleon that alludes to the Africa’s tropical climate. This same chameleon is found in Gheeraerts depiction of A Giraffe, Chameleon, Civet and Antelope, from the engraved series Quadrupeds (Animalium Quadrupedum, ca. 1597). In the four corners are male and female warriors shown in feathered attire carrying bows and arrows—deemed less civilized weaponry than Europe’s swords and muskets. For the clothing and accoutrements of these individuals, Gheeraerts likely relied on contemporary costume books such as those by the Fleming Abraham de Bruyn, whose Costumes of the Various Nations of Europe, Asia, Africa and America (1580; acc. no. 21.44) claims to show the dress and customs of the inhabitants of the known world.
Le Grand Châtelet (Grand Châtelet, Paris circa 1780)
Object type: print
Date: 1861 – 1861
Techniques: drypoint, etching
Artist: charles meryon
Artist role: artist
Artist nationality: french
Artist dates: 1821 – 1868
Subjects: buildings,paris
Zelfportret van Johann Friedrich Bolt (?)
Object type: print
Date: 1780 – 1800
Materials: ink, paper
Techniques: mezzotint
Location: germany
Artist: johann friedrich bolt
Artist role: print maker
Artist dates: 1769 – 1836
Subjects: berlin, johann friedrich bolt, historical persons, portrait, self-portrait of artist, graphic artist
Inscriptions: collector's mark: Lugt 2228, collector's mark: Lugt 2656, collector's mark: Lugt 2760

Portretbuste. Vermoedelijk een zelfportret van de prentmaker Johann Friedrich Bolt.
Marble portrait bust of a woman
Object type: portrait bust of a woman
Date: 100 – 120
Materials: marble
Culture: roman
Subjects: portraits,women

This portrait of a stern Trajanic matriarch has much in common with images of Trajan’s wife, the empress Plotina. Two ancient points of attachment in the front once held a marble addition representing the high crescent-shaped hairpiece fashionable during that period.
Ministère d’état. Motif de l'Imposte
Object type: photomechanical print
Date: 1865 – 1870
Materials: paper
Techniques: photoaquatint
Location: france
Artist: édouard denis baldus
Artist role: fotograaf
Artist dates: 1813 – 1889
Subjects: ornaments ~ art
Inscriptions: number: ‘Int. 32’
Sleeve Band
Object type: sleeve band
Date: 1801 – 1900
Materials: silk
Culture: chinese
Subjects: butterflies,leaves
Cape
Object type: cape
Date: 1890 – 1899
Materials: leather
Culture: american
Landschap met sater en putti
Object type: drawing
Date: 1622 – 1650
Materials: ink, paper
Techniques: pen
Artist: pietro testa
Artist role: draughtsman, painter, print maker
Artist dates: 1611 – 1650
Subjects: landscapes in the temperate zone, satyr(s) (in general), cupids: 'amores', 'amoretti', 'putti'
Twee mannen aan tafel, een vrouw draagt worst en drank aan
Object type: print
Date: 1760 – 1798
Materials: paper
Techniques: etching
Artist: carl august grossmann
Artist role: print maker
Artist dates: 1741 – 1798
Subjects: giving food, inn, coffee-house, public house, etc., drinking
Inscriptions: collector's mark: Lugt 240
Portret van koning Berengarius
Object type: print
Date: 1755 – 1756
Materials: paper
Techniques: engraving, etching
Location: paris
Subjects: historical persons, king
Inscriptions: collector's mark: Lugt 2228

Prent uit: Dreux du Radier, Jean-François. L'Europe illustré, contenant l'histoire abregée des souverains, des princes, des prélats, des ministres, (...) en Europe: dans le XVe. siècle compris, jusqu'à présent. Parijs: Michel Odieuvre en André-François Le Breton, 1755-1765.
Vajra with Angry Heads and Makara Prongs
Object type: vajra
Date: 618 – 907
Materials: gilt bronze
Culture: chinese
Portrait of Armand Jean du Plessis, Duke and Cardinal de Richelieu
Object type: print
Date: 1633 – 1667
Materials: paper
Techniques: engraving
Artist: michel lasne
Artist role: print maker
Artist dates: 1590 – 1667
Subjects: paris, armand-jean du plessis hertog van richelieu, cardinal, historical persons, armorial bearing, heraldry
Inscriptions: collector's mark: Lugt 2228

The printmaker Michel Lasne trained in the workshop of Rubens. However, the master did not find Lasne’s interplay of lines sufficiently dynamic for translating his paintings into prints. His taut style, however, did appeal to the French king Louis XIII and he was even appointed court engraver. In this capacity, Lasne engraved numerous portraits of members of the French court.
Panel
Object type: textile
Date: 1720 – 1720
Materials: silk
Techniques: bookbinding, satin weave, weave
Location: netherlands
Plan van de kust bij Katwijk met de fundamenten van Brittenburg
Object type: print
Date: 1783 – 1783
Materials: linen, paper
Techniques: engraving, etching, hand coloring
Location: paris
Subjects: maps of separate countries or regions
Inscriptions: collector's mark: Lugt 2228

Plan van de kust bij Katwijk aan Zee met de fundamenten van Brittenburg (Huis te Britten). Linksboven een cartouche met een beschrijving van de overblijfselen in het Frans. Rechts en onderaan een overzicht van ter plekke gevonden oudheden. Vervaardigd naar een oude anonieme tekening uit 1572 waarvan de juistheid wordt gecertificeerd door landmeter Dirk van der Boon.
J. van den Berg, stoker op het schip Cerberus, penning ontvangen wegens het redden van een drenkeling, vereerd in opdracht van Willem II, koning der Nederlanden
Object type: honorary medal
Date: 1843 – 1843
Materials: silver
Techniques: striking
Location: utrecht
Artist: johannis petrus schouberg
Artist role: die cutter, draughtsman, print maker
Artist dates: 1798 – 1864
Subjects: the hague, william ii of the netherlands

Zilveren penning. Voorzijde: borststuk man binnen omschrift. Keerzijde: opschrift binnen krans van myrte-loof
Interieur van de lichtdrukstudio van Joseph Albert te München
Object type: page
Date: 1867 – 1877
Materials: paper
Techniques: photograph
Location: dresden
Subjects: printing, printing office, interior ~ representation of a building
Inscriptions: number: ‘Taf. II.’
Pair of Flower Style Doors
Object type: pair of door
Date: 1651 – 1700
Materials: paint, wood
Techniques: carving
Location: northern india
Subjects: flowers

The flower style associated with the height of Mughal aesthetics and refinement finds expression in this pair of carved wood doors. The depiction of complete flowering plants, carved in low relief and placed in a symmetrical arrangement, is the hallmark of this style, which had its genesis in the reign of the Mughal emperor Jahangir (1605–27). In accordance with their patrons' interests, artists of this period studied European herbals, borrowing the techniques of combining front and side views and infusing the petals and leaves of the plants with a sense of movement. During the reign of Jahangir's son Shah Jahan (1627–58), and especially from the 1630s on, the plant studies were transformed into decorative motifs, arranged in rows to cover textiles, objects, and architectural spaces. As they were incorporated into stylized, symmetrically balanced compositions like those on the carved dadoes and inlaid panels at the Taj Mahal, the plants lost their botanical specificity. The use of wood was limited in Mughal architecture, and little of it remains. These doors are thus rare survivals of a tradition known through only a few other examples, including a pair of similar doors in the David Collection, Copenhagen.
Cherry Stone from a Tomb
Object type: cherry stone
Date: 500 – 600
Materials: stone
Culture: frankish
Location: germany
Portret van een onbekend meisje, staande naast een tafel
Object type: carte de visite
Date: 1864 – 1864
Materials: cardboard, paper
Techniques: albumen print
Location: amsterdam
Artist: johannes frederik hulk
Artist role: draughtsman, painter
Artist dates: 1829 – 1911
Subjects: historical persons, girl (child between toddler and youth), table
Inscriptions: number: ‘6435’, stamp: ‘ATELIER REMBRANDT/ H./ J. F. HULK/ AMSTERDAM/ ROKIN E 167.’
Garlic-Head Vase
Object type: vessel
Materials: glaze, porcelain
Location: china
Portrait of an unknown lady, to left
Object type: print
Date: 1781 – 1811
Techniques: aquatint, hand coloring
Artist: gilles louis chrétien
Artist role: engraver
Artist nationality: french
Artist dates: 1754 – 1811
Subjects: portraits,profiles,women
Daden en handelingen van paus Innocentius XI
Object type: print
Date: 1676 – 1689
Materials: paper
Techniques: engraving, etching
Location: rome
Subjects: rome, clergyman, innocentius xi, ceremonial procession, parade, pageant ~ pope, interior of church, pope
Inscriptions: collector's mark: Lugt 2228

Van deze prent zijn verschillende staten bekend, van verschillende pausen. De plaat werd telkens aangepast:

Eerste bekende staat: paus Alexander VII, gedateerd 1655.
Tweede bekende staat: paus Clemens IX, gedateerd 1667.
Derde bekende staat: paus Clemens X, gedateerd 1670.
Vierde (huidige) bekende staat: paus Innocentius XI, datering is hier niet aangepast waardoor er nog de datering van de vorige staat op staat (1670), die dus niet klopt. Moet uitgegeven zijn in de periode waarin hij paus was (1676-1689).
Vijfde bekende staat: paus Alexander VIII, gedateerd 1689.
The Bath
Object type: drawing and watercolor
Date: 1892 – 1895
Materials: charcoal, paper, pastel
Location: france
Artist: edgar degas
Artist role: artist
Artist nationality: french
Artist dates: 1834 – 1917
Inscriptions: Inscribed verso, center, in blue pencil: "1238"
Portret van een onbekende man
Object type: carte de visite
Date: 1861 – 1890
Materials: cardboard, paper
Techniques: albumen print
Location: amsterdam
Artist: albert greiner
Artist role: fotograaf, fotostudio
Artist dates: 1833 – 1890
Subjects: adult man, historical persons
Inscriptions: inscription: ‘A. GREINER/ AMSTERDAM’
Portret van Georg III von Anhalt-Plötzkau
Object type: print
Date: 1599 – 1699
Materials: paper
Techniques: letterpress printing
Artist: Anonymous
Subjects: historical persons, politician, e.g. party leader
Houten kruis op de ruïne van het kasteel te Kessenich
Object type: photograph
Date: 1890 – 1898
Materials: cardboard, photographic support
Techniques: gelatin silver print
Location: kessenich
Subjects: (public) prayer, castle, ruin of a building ~ architecture, other kinds of grave-markers, e.g. cross
Inscriptions: annotation: ‘Kessenich Belgie. Overblijfselen van het oude kasteel/ A.J.M. Mulder (toegeschreven)’, annotation: ‘Kessenich’
The Death of the First Born
Object type: painting
Date: 1865 – 1880
Materials: canvas, oil
Culture: american
Artist: erastus salisbury field
Artist role: artist
Artist nationality: american
Artist dates: 1805 – 1900
Subjects: men,women,death
Haring pakken en roken bij de Haringpakkerstoren, ca. 1600
Object type: print
Date: 1608 – 1608
Materials: paper
Techniques: etching
Artist: claes jansz. visscher (ii)
Artist role: draughtsman, print maker, publisher
Artist dates: 1586 – 1652
Subjects: salt, storing, conserving, preserving (of products), herring fishery, fish; still life of fishes, amsterdam
Inscriptions: collector's mark: Lugt 1641, collector's mark: Lugt 963, stamp:, stamp:

Haring pakken en roken bij de Haringpakkerstoren, ca. 1600. Het kaken, roken en pakken van haring. Op de voorgrond rechts wordt de haring gekaakt. Links een haringrokerij met uithangbord met de naam Souterij. In het midden wordt de haring in tonnen gepakt. Een andere staat is No. 3 uit serie beroepen in Noord-Holland. Onderwerpsrubrieken binnen de Atlas Zeden en Gewoonten: Handel, nijverheid en verkeer, Marktwezen, Amsterdam.
Caricature of the Laocoön scuptural group, excavated in Rome in 1506
Object type: print
Date: 1540 – 1545
Techniques: woodcut
Artist: nicolò boldrini
Artist role: artist
Artist nationality: italian
Artist dates: 1500 – 1566
Subjects: monkeys,serpents,caricature

The cutting of this print has long been attributed to Boldrini, whose only definite link with Titian is the signed chiaroscuro of Venus and Cupid (Bartsch, XII, p. 126, no. 29) that bears the date of 1566 and names Titian as the inventor. Oberhuber (1976, pp. 523-528) has challenged the attribution to Boldrini of a group of woodcuts after Titian's design, proposing Giovanni Britto instead, and these arguments have been accepted by David Landau (1983, pp. 333-335) and W. R. Rearick (in Paris 1993, pp. 619-620), although none of these scholars have discussed the Caricature of the Laocoon. This print is from a scrapbook (album) containing woodcuts and chiaroscuro prints. It was presumably taken apart when it was acquired by The Met in 1922. On the front page of the volume there appeared a statement that this collection was made by the poet Samuel Rogers (1763-1855) and then bought by Angela Coutts (1816-1906) in memory of him at the sale of the collection at his house (28 April – 20 May, 1856). #1615a Rogers Sale. #146 Burdett Coutts Sale (Sotheby’s, May 1922). The prints from the original album have the range 22.73.3-1–22.73.3-161.
Geweigerde brief
Object type: print
Date: 1668 – 1668
Materials: paper
Techniques: mezzotint
Location: amsterdam
Artist: wallerant vaillant
Artist role: draughtsman, painter, print maker
Artist dates: 1623 – 1677
Subjects: letter, envelope, dog
Inscriptions: collector's mark: Lugt 11, collector's mark: Lugt 10

Een boodschapper, met op zijn rug een bazuin, reikt een vrouw een brief aan. Zij lijkt de brief niet aan te willen nemen, ze heeft haar armen over elkaar geslagen.
The Whale Fishery: Attacking a "Right Whale" --and "Cutting In"
Object type: print
Date: 1860 – 1860
Techniques: hand coloring, lithograph
Artist: currier & ives
Artist role: publisher
Artist nationality: american
Artist dates: 1857 – 1907
Subjects: whales,boats

Whale oil, used for lamps and making candles, was a major source of artificial lighting in the United States in the mid-nineteenth century. Consumer demand for this important resource prompted a thriving whale hunting (or whaling) industry. Yankee whalers departed from ports in New England and New York's Long Island to sail around the world searching for whales to hunt. The 1851 publication of Herman Melville's novel Moby-Dick increased the public's interest in whaling. Nathaniel Currier capitalized on this popular fascination by publishing his first whaling print the following year; the Currier and Ives firm later went on to create at least fifteen lithographs on whaling. This print depicts an vigorous attack on a Right whale, a species of large baleen whales found in the North Atlantic, the North Pacific, or in the south seas near Australia. They can grow up to more than 18 meters (59 feet) long and weigh up to 100 tons. Such whales were a frequent target because they were easy to spot as they swam close to shore and slowly skimmed the surface when feeding. After they were killed, their high blubber content made them float (thus easier to attach to a whaling ship and transport); subsequently, the high blubber content yielded large quantities of whale oil. Although the number of American whaling ships drastically declined after the Civil War, whales were still hunted until shortly after 1900 by American ships. Today, the North Atlantic and North Pacific Right whales are the most endangered whales. Nathaniel Currier, whose successful New York-based lithography firm began in 1835, produced thousands of hand-colored prints in various sizes that together create a vivid panorama of mid-to-late nineteenth century American life and its history. People eagerly acquired such lithographs featuring picturesque scenery, rural and city views, ships, railroads, portraits, hunting and fishing scenes, domestic life and numerous other subjects, as an inexpensive way to decorate their homes or business establishments. As the firm expanded, Nathaniel included his younger brother Charles in the business. In 1857, James Merritt Ives (the firm's accountant since 1852 and Charles's brother-in-law) was made a business partner; subsequently renamed Currier & Ives, the firm continued until 1907.
Terracotta fragment of an oinochoe (jug)
Object type: oinochoe fragment
Date: 475 – 451
Materials: terracotta
Culture: greek, attic
Krant bij de maaltijd
Object type: book illustration
Date: 1836 – 1839
Materials: paper
Techniques: etching
Location: england
Artist: george cruikshank
Artist role: painter, print maker
Artist dates: 1792 – 1878
Subjects: reading, restaurant, newspaper, news-sheet, political caricatures and satires

Een klerk leest de krant terwijl hij zijn maaltijd tot zich neemt in een eethuis. Illustratie voor een uitgave van Sketches by 'Boz' van Charles Dickens, 1836-1839.
Huwelijk van een man en zijn tweede vrouw terwijl zijn eerste vrouw wordt begraven
Object type: print
Date: 1514 – 1532
Materials: paper
Techniques: letterpress printing
Location: augsburg
Subjects: second marriage (of widow or widower), marriage, married couple, 'matrimonium'

Deze prent is gebruikt in: Petrarca, Francesco. Von der Artzney bayder Glück, des guten und widerwertigen: unnd weß sich ain yeder inn Gelück und Unglück halten sol (...). Augsburg: Heinrich Steiner, 1532. Deze uitgave is ook bekend onder de titel 'Trostspiegel in Glück und Unglück'.

Deze prent is ook gebruikt in: Cicero, Marcus Tulius. Officia M.T.C. Ein Buch so Marcus Tullius Cicero der Römer zu seynem (...). [Vertaald uit het Latijn door] Johann von Schwarzenberg. Augsburg: Heinrich Steiner, 1531.
Narcissus
Object type: print
Date: 1953 – 1954
Materials: paper
Techniques: woodcut
Location: japan
Artist: fujio yoshida
Artist role: painter
Artist dates: 1887 – 1987

Fujio Yoshida worked in a figurative style for a long time, but after the death of her husband felt free to create more abstract work. These prints feature organic forms based on flowers and plants. Yoshida was also committed to the Shuyokai, the first association for women painters in Japan, which provided training and opportunities for exhibiting their paintings.
Portret van Norbert van den Berg
Object type: photograph
Date: 1855 – 1910
Materials: cardboard, photographic support
Techniques: albumen print
Subjects: rotterdam, amsterdam, norbertus petrus van den berg (1831-1917)
Inscriptions: name: ‘KINSBERGEN BATAVIA, JAVA’, inscription: ‘Norbertus Petrus van den Berg / geb. R'dam 5/11 1831 / overl. A'dam 8/1 1917 / 86 jaar oud geworden / man van / Carolina Fredrika Holle / geb. Koblenz 4/7 1840 / overl. Amsterdam 28/7 1909’

Portret van Norbert van den Berg in ovaal.
Widemouthed Oil Jar (Kame) with Wave Pattern
Object type: jar
Date: 1701 – 1800
Materials: wood, glaze, stoneware
Culture: japanese
Blad met het familiewapen Clifford
Object type: salver
Date: 1805 – 1805
Materials: silver
Location: amsterdam
Artist: diederik willem rethmeyer
Artist role: silversmith
Artist dates: 1756 – 1821
Inscriptions: alloy mark, town mark, maker's mark, date letter: ‘W’

Het ronde blad rust op drie zich naar beneden toe verjongende, gebogen pootjes en worden aan de bovenzijde omgeven door een filetrand. In het plat van beide is het wapen Clifford met het helmteken en schildhouders gegraveerd.
Terracotta fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 520 – 500
Materials: terracotta
Culture: greek, attic

Interior, part of foot of figure to right?
Obelisk
Object type: ceramic
Date: 1800 – 1800
Materials: stone, ceramic, stoneware
Location: burslem
Artist: wedgwood manufactory
Artist nationality: england
Artist dates: 1759 –
Zittende man met hond
Object type: drawing
Date: 1834 – 1911
Materials: ink, paper, pencil
Techniques: pen
Artist: jozef israëls
Artist role: draughtsman, painter, print maker
Artist dates: 1824 – 1911
Subjects: communal rooms, dog

'Entretien silencieux' (Twee kameraden / De goede kameraden).
Jonge vrouw met sprokkelhout onder de arm in een bos
Object type: sketchbook leaf
Date: 1854 – 1914
Materials: charcoal, paint, paper
Techniques: brush
Artist: albert neuhuys (1844-1914)
Artist role: draughtsman, painter, print maker
Artist dates: 1844 – 1914
Subjects: adult woman, forest, wood

Blad 17 verso uit een schetsboek met 53 bladen.
Sample (Dress Trimming)
Object type: textile
Date: 1815 – 1835
Materials: silk
Techniques: treatment, weave
Location: france
Reproductie van De Franse republiek door Henri Gervex
Object type: photomechanical print
Date: 1885 – 1901
Materials: paper
Techniques: autotype
Artist: Anonymous
Subjects: newspaper, news-sheet
Ibex, from Quadrupeds series (N41) for Allen & Ginter Cigarettes
Object type: print
Date: 1890 – 1890
Techniques: color lithograph
Artist: allen & ginter
Artist role: publisher
Artist nationality: american
Subjects: men,ibex

Large trade cards from the "Quadrupeds" series (N41), issued in 1890 in a set of 50 cards to promote Allen & Ginter brand cigarettes. Series N41 reproduces the cards from N21 in a larger size.
Terracotta rim fragment of a kylix (drinking cup)
Object type: kylix fragment
Date: 467 – 435
Materials: terracotta
Culture: greek, attic

Exterior, head of woman with sakkos
Fragment of a Letter in Pahlavi Script
Object type: non illustrated single work
Date: 618 – 629
Materials: ink, papyrus
Location: egypt

These fragments are remains of a Pahlavi letter. Pahlavi script was used in Egypt only during the Sassanian occupation (618–629). This period produced many private letter to give up a glimpse on this rich pre-Islamic period in Egypt.
Tafereelen uit het leven der Makkabeesche vorsten
Object type: print
Date: 1850 – 1850
Materials: paper
Techniques: letterpress printing, engraving
Location: purmerend
Subjects: (books of the) maccabees, old testament
Inscriptions: collector's mark: Lugt 2760

Na voltooiing van de acht jaargangen van de reeks 'Prenten-magazijn voor de jeugd' in 1850 heeft Jan Schuitemaker al deze prenten heruitgegeven en omgenummerd als nr. 1 t/m 192. De oorspronkelijke jaargang wordt telkens nog vermeld rechtsonder op de prent. Binnen de jaargangen zijn prenten van hetzelfde thema in clusters van vier achter elkaar gezet.
Scherven steengoed en aardewerk uit het wrak van de Oost-Indiëvaarder Hollandia
Object type: sherd
Date: 1700 – 1743
Materials: earthenware, glaze, stoneware
Artist: Anonymous
Subjects: verenigde oostindische compagnie, hollandia (schip), annet

Scherven steengoed en roodbakkend aardewerk met glazuur.