A Space of Their Own

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a

Two children, both with light skin and very pink cheeks, dressed in dark clothing, stand close together. The boy on the left wears a very large hat folded up on one side along with a white scarf tied around his neck, and he looks up and away to his right. In one hand he holds an eel, while in the other arm he is holding a small cat to his torso. Net to him, a smaller girl wears a dark dress with a large white ruffle collar and a close-fitting white cap that covers all of her hair. She is holding up one hand with the index finger raised as she looks at someone away outside the scene, and with the other hand she is holding the end of the cat's tail.
A Boy and a Girl with a Cat and an Eel, Judith Leyster (1609–1660)
A young man or child with light skin, blonde hair, a feathered cap, and a blue coat is seated at a table and smiling while he plays a violin. On teh table before him is a book that appears to contain sheet music, an empty glass, and a human skull.
A Boy Musician, Judith Leyster (1609–1660)
A grouping of of flowers that includes many colors and varieties, including roses, irises, and chrysanthemums. The colors are brightest at the center and become darker and more shadowed toward the edges of the image.
A Bunch of Flowers, Mary Moser (1744–1819)
A woman with light skin and curly gray hair is shown from the chest up. She wears an outfit that includes a large dark gray hat with blue ribbons, bows, and feathers, along with a striped white shawl tied around her neck and decorated with a corsage of small flowers.
A Fashionable Noblewoman Wearing a Plumed Hat, Adélaïde Labille-Guiard (1749–1803)
A Lady, Maria Hadfield Cosway (1760–1838)
A rough-looking sculpture of a seated woman wearing a dress. She has shoulder-length hair, crossed arms with undetailed hands, and feet crossed at the ankles.
A Seated Woman, Anne Seymour Damer (1748–1828)
A floral still life set against a dark, neutral background, with the arrangement sitting on a ledge. The flowers are wild and not arranged carefully, but a certain harmony is achieved. The colors are varied but somewhat muted and some of the flowers are cast in shadow.
A Vase of Flowers, Rachel Ruysch (1664–1750)
A large grouping of flowers in a vase, with many white and off-white flowers at the center and darker colors like red, orange, and blue toward the edges.
A Vase of Flowers, Mary Moser (1744–1819)
An oval shaped portrait in profile view of a light-skinned woman with long, curled brown hair in an updo. She wears a yellow dress with slightly scalloped sleeves, and looks out at the viewer with a serious expression.
A Woman, presumably a Self-portrait, Susan Penelope Rosse (1652–1700)
Acacia lebbeck Willd, Madeleine-Françoise Basseporte (1701–1780)
A group of people in period clothing interact throughout a room. The central figures are a young man in a white coat and red trousers, who holds the arm of a young woman wearing a long white and blue dress, while a shorter woman leans on her other arm. Around the room, two young boys and three younger girls appear posed in play.
Adieux de Marie-Louise à sa famille le 13 mars 1810, Pauline Auzou (1775–1835)
A bust-length portrait of a man in profile, looking out to the right. It is modeled in relief with clay, with some color. He wears a blue jacket with elaborate epaulets and his long hair or wig is pulled back and tied with a ribbon. He appears to be middle aged and has a serious expression.
Admiral Richard How, Patience Lovell Wright (1725-1786)
A painting of the infant Jesus in the manger, surrounded by Mary and Joseph with two putti figures above him holding a banner. There are two other figures, a man and a woman, at left, attending to him. Joseph holds a candle while Mary holds her hands clasped in prayer, both looking down at the infant. The painted is arched at the top and surrounded with a gilded frame.
Adoration of the Shepherds, Josefa de Óbidos (1629/30 – 1684)
A plant specimen showing dark green, oval-shaped leaves and small white flowers with pink centers and long yellow stamens.
Aeschelus Hippocastanum, Mary Delany (1700–1788)
Agave virginica L. […], Madeleine-Françoise Basseporte (1701–1780)
Albuca alba […], Madeleine-Françoise Basseporte (1701–1780)
Aletris bifolia […], Madeleine-Françoise Basseporte (1701–1780)
Aletris capensis L […], Madeleine-Françoise Basseporte (1701–1780)
An oval-shaped portrait of a light-skinned man with a prominent pointed nose and gray hair curled over his ears and tied back with black ribbon is shown in a side profile view. He wears a brown coat with a white shirt and tall white collar..
Alexander Hamilton, Ellen Wallace Sharples (1769–1849)
A classicized portrait of a young woman, cropped at half-length, seated in front of a dreamy, cloud-like background. She holds a book in her lap and looks up towards the sky. She wears a laurel crown and diaphanous grown, with one breast bared.
Allegory of Poetry, Rosalba Carriera (1673–1757)
Aloe Africana humilis […], Madeleine-Françoise Basseporte (1701–1780)
Aloe rubescens […], Madeleine-Françoise Basseporte (1701–1780)
Aloe succotrinae angustifoliae […], Madeleine-Françoise Basseporte (1701–1780)
Aloe vera major Munting […], Madeleine-Françoise Basseporte (1701–1780)
Alstroemeria ligtu […], Madeleine-Françoise Basseporte (1701–1780)
Alstroemeria pelegrina L. […], Madeleine-Françoise Basseporte (1701–1780)
A large, carved wooden altarpiece with two doors swung open has thirteen small paintings inside. On the left door, a light-skinned nude man and nude woman stand in a garden, holding an apple between them. In the center, six images depict a group of light-skinned people kneeling over an infant child; a group of light-skinned people, mostly women, kneeling over the emaciated body of a brown-haired, light-skinned man, with a wooden cross in the background; a large central image of a light-skinned brown-haired man wearing only a loincloth suspended from a wooden cross by his hands and feet, with three women gathered at the bottom of the cross; an aged, light-skinned nude man with a bald head and gray beard kneeling on the ground with a blue cloth and red cloth, the man on the cross visible behind him; a light-skinned man with brown hair standing in a river with his hands clasped, while another man with similar features stands on the shore holding his hands over the man in the river's head; and a large group of people kneeling, raising their hands up, and looking toward the sky, where above their heads, a pair of feet is just visible in the air above them. Finally, on the right side door, a young boy with light skind and red hair kneels at the feet of an older man with light skin, a gray beard, and a red cap, who has his sword raised over his head to strike, while far above a golden-haired, light-skinned angel in white robes holds back the sword.
Altarpiece with Scenes from the Old and New Testaments (the Tendila Retablo), Caterina van Hemessen (1528–after 1565)
Amaranthus fruticosus erectus […], Madeleine-Françoise Basseporte (1701–1780)
Amaryllis formosissima L. […], Madeleine-Françoise Basseporte (1701–1780)
Amellus (Sychnitis) […], Madeleine-Françoise Basseporte (1701–1780)
Ammania foliis lanceolatis […], Madeleine-Françoise Basseporte (1701–1780)
Ammi lacinulis foliorum capillaribus, Madeleine-Françoise Basseporte (1701–1780)
A group of four light-skinned people are seated around a table looking out at the viewer. A young boy with reddish hair and a gray jacket stands next to a woman in a green striped dress with an ornate top hat on her white hair. On the other side of the table, a man with gray hair curled over his ears holds a pen in one hand and a young child with reddish hair on his lap with the other.
An Architect and his Family, Marguerite Gérard (1761–1837)
Anamenia coriacea Vent […], Madeleine-Françoise Basseporte (1701–1780)
Three overlapping drawings of a man, a woman, and a child shown in profile. The man is the topmost image and he has curly hair, a short beard, and a helmet pushed back on his head; the woman is the bottommost image and she wears a simple diadem on top of her head; the child is between the man and woman, and he has very chubby cheeks and curly hair.
Andromache, Astyanax, and Hector, Élisabeth Sophie Chéron (1648–1711)
Andromeda caliculata, Madeleine-Françoise Basseporte (1701–1780)
Andromeda paniculata L., Madeleine-Françoise Basseporte (1701–1780)
Androsace Alpina […], Madeleine-Françoise Basseporte (1701–1780)
A half-length portrait of a woman, wearing an orange gown that crosses at her bust with a white chemise beneath. Her brown curly hair is pulled back and rests on one shoulder. She looks out directly at the viewer with a neutral expression and a slight smile.
Anna Cuyler (Mrs. Anthony) Van Schaick, Henrietta Johnston (ca. 1674–1729)
A bust-length portrait of a young woman, whose curly hair is pulled back and around to one side. She wears a light blue gown and looks out serenely at the viewer.
Anne Du Bose (Mrs. Job Rothmahler, ca. 1700-1750) , Henrietta Johnston (ca. 1674–1729)
A rectangular portrait miniature of a young woman surrounded in a diaphanous swirl of fabric. Her curly hair is loose on our side and floats around as if there is wind. She looks up to the upper left corner of the composition with both her hands raised.
Anne, Countess of Charlemont (1780-1876), Anne Mee (1785–1851)
An angel bows their head to the Virgin Mary, who appears kneeling with a halo over her head. The angel carries a lily and holds their hand to their chest. Above these two central figures there is a dove and the faces of eight putti in the clouds that part where the dove flies above.
Annunciation, Josefa de Óbidos (1629/30 – 1684)
Annunciation, Plautilla Nelli (1524-1588)
Annunciation, Plautilla Nelli (1524-1588)
An image of God, the angel Gabriel, and a putto appearing to the Virgin Mary, who is kneeling in front of a book. The Virgin Mary wears pink and blue robes, while the angel Gabriel wears yellow and white and carries lilies. The three figures appear to Mary in a swirl of clouds.
Annunciation, Orsola Maddalena Caccia, born Theodora Caccia (1596–1676)
A long cloth, decorated with intricate floral and scroll designs. At the center there is an image of God in flowing robes. The floral decorations are very colorful, and the background is blue and white.
Antependium, Giovanna Garzoni (ca. 1600–1670)
A plant illustration of pale pink and white five-petal flowers on a stem with very dark green oval leaves.
Apple Blossom, Barbara Regina Dietzsch (1706–1783)
Arapabaca quadrifolia, fructu testiculato, Madeleine-Françoise Basseporte (1701–1780)
Aristolochia pistolochia, Madeleine-Françoise Basseporte (1701–1780)
A large group of young women and girls, all wearing white dresses and carrying flowers or wearing flowers in their hair, greet a tall woman in a long-sleeved red dress with a feathered headpiece. Next to the woman in red is a man wearing a blue and red jacket.
Arrivée de l'impératrice Marie-Louise à Compiègne le 28 mars 1810, Pauline Auzou (1775–1835)
Arum amplis foliis cordiformibus […], Madeleine-Françoise Basseporte (1701–1780)
Arum Canadense […], Madeleine-Françoise Basseporte (1701–1780)
A plant illustration showing a large, dark green heart-shaped leaf and three smaller stems with bulbous ends, two of which have yellow pointed growths. Alongside this image is a detail of one of the bulbs, which shows the yellow growth and the brush-like growth inside.
Arum Esculentum, Mary Delany (1700–1788)
Asclepias hirsuta Scammonii […], Madeleine-Françoise Basseporte (1701–1780)
A seated, light-skinned woman with dark hair and wearing a white dress with gold clasps at the shoulders is holding up a gold hand mirror to look into. She is wrapped in a long red cloth, and the shoulder of her dress has slipped down and exposed her breast. In one hand she holds a written document, and around the room behind her are flowers.
Aspasia, Marie-Geneviève Bouliar (1763–1825)
Aster Chenopodii folio annuus […], Madeleine-Françoise Basseporte (1701–1780)
Aureliana Canadensis, sinensibus […], Madeleine-Françoise Basseporte (1701–1780)
Azalea nudiflora L. Amer sept, Madeleine-Françoise Basseporte (1701–1780)

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Bacchus and Ariadne, Élisabeth Sophie Chéron (1648–1711)
An image of Christ being baptized as an adult, with Saint John the Baptist standing alongside him as Jesus kneels on a rock by a body of water. A dove and an image of God appear above the two men, with God appearing from the clouds, surrounded by angels. The composition is filled with other figures, most of whom are not looking at the two central figures.
Baptism of Christ, Elisabetta Sirani (1638–1665)
A shallow wicker basket with a handle is shown on a table. It has a large pile of grapes, some lighter in color and others dark purple, heaped inside, with several small flowers poking out .
Basket of Grapes, Anne Vallayer-Coster (1744–1818)
A woven basket filled with quinces rests on a table in this still life painting. There are plums and pears arranged on the simple wood table alongside the basket. The background is black and it is hard to distinguish the dark green leaves surrounding the quinces and the pears from the background.
Basket of Peaches, with Quinces and Plums, Louise Moilon (1610-December 21, 1696)
Beata Vergine di San Luca e Santi, Anna Maria Sirani (1645–1715)
Bignonia, foliis simplicibus, cordatis, Madeleine-Françoise Basseporte (1701–1780)
A printed image of a room, filled with people who are attending to various tasks. The primary figure group is at the bottom left of the image, where a group of five woman are bathing the infant Saint John the Baptist in a large vessel. The infant is nude and there is a halo at his head. The room is grand, with classical architecture, and a large window near the ceiling at center where God and two angels look down at the scene.
Birth of Saint John the Baptist, Diana Scultori (1547–1612)
Bocconia ramosa, sphondylii […], Madeleine-Françoise Basseporte (1701–1780)
Boerhaavia scandens […], Madeleine-Françoise Basseporte (1701–1780)
A silver dish with a square footed base and a half-oval body, which has a rich cobalt blue interior visible. The top of the dish is connected by a silver handle. The outside is etched with a decorative floral motif and in several places the design has punched through so the blue interior is visible.
Bonbon dish with glass liner, Hester Bateman (1708–1794)
Bontia daphnoides […], Madeleine-Françoise Basseporte (1701–1780)
A dark vase of flowers sits on a table. The arrangement includes large green leaves, red and white carnations, a sunflower, roses, and other white, orange, yellow, and pink flowers against a dark background.
Bouquet of Flowers in a Vase, Maria van Oosterwyck (1630–1693)
A black chalk drawing of a bowl of fruit, seen from slightly above. Some fruits and flowers are outside the bowl, as though they are resting on an unseen table. There are two butterflies, two beetles, and a dragonfly on or around the fruit.
Bowl with Fruits, Anna Maria van Schurman (1607-1678)
A rectangular portrait miniature of a young woman wearing a black dress with a white lace collar and a white veil attached to a black headband. She wears a pearl necklace with a jeweled pendant. The portrait is half-length, in front of a neutral brown background, and she looks off to the left.
Box with Miniature of Princess Amelia (1783-1810), Anne Mee (1785–1851)
A young boy with very light skin in a brown coat with a large white ruffled collar and red hat is seated in a chair playing a dark-colored flute. Behind him on teh wall hangs a violin and another musical instrument that resembles a white recorder.
Boy Playing the Flute, Judith Leyster (1609–1660)
A branch of a plant with a red stem, pointed medium-green leaves, and small red berries.
Branch of a Redcurrant, Alida Withoos (ca. 1661/62–1730)
Branche de fruit du fraisier de batte des Anglois, Madeleine-Françoise Basseporte (1701–1780)
A branch of plant with green stem, dark green ruffled leaves, and many small yellow flowers at the top.
Brassica, Alida Withoos (ca. 1661/62–1730)
Six men in eighteenth-century clothing are gathered in a group, with just one sitting and the others standing. They are engaged in two groups of conversation with all of the men gesturing to one another. The background includes Roman ruins and a blue sky with clouds.
British Gentlemen in Rome, Catherine Read (1723–1778)
Browallia, […], Madeleine-Françoise Basseporte (1701–1780)
A bird with a red face and chest, gray back, and black head and wings is perched on a tree branch with one foot. It has a small, curved black beak and a white stripe on its wing. It is looking back over its shoulder.
Bullfinch, Barbara Regina Dietzsch (1706–1783)
Buphthalmum abyssinicum […], Madeleine-Françoise Basseporte (1701–1780)
A greenish-blue bust of the head and shoulders of a man with a loose, open collar, receding hairline, and hair that curls just above his ears.
Bust of a Man, Julie Charpentier (1770–1843)
Bust of a Man, Julie Charpentier (1770–1843)
A greenish-blue bust of the head and shoulders of a woman with her hair swept away from her face, looking upward.
Bust of a Woman, Julie Charpentier (1770–1843)
Bust of a Young Woman, Plautilla Nelli (1524-1588)
Bust of Claude Marmet, Marie-Anne Collot (1748–1821)
Bust of the head and neck of a young man with short hair and a sharp widow's peak, a wide nose, and a knotted scarf below his open shirt collar.
Bust of Denis Diderot, Marie-Anne Collot (1748–1821)
Portrait bust of a man with very short or no hair, a lined forehead, and slightly furrowed brow.
Bust of Doctor Camper, Marie-Anne Collot (1748–1821)
Bust of Duc de Sully, Marie-Anne Collot (1748–1821)
Bust of Henry IV, Marie-Anne Collot (1748–1821)
A bust of the head and shoulders of a woman wearing a shawl, with her hair held away from her face by a small crown or diadem.
Bust of Princess Frederika Sophia Wilhelmina, Marie-Anne Collot (1748–1821)
A bust of the head and shoulders of a man, with a cloth wrapped across his chest like a toga, and short hair that is curled above his ears.
Bust of Stadholder William V, Marie-Anne Collot (1748–1821)
Bust portrait of Prince Henry Lubomirski in the character of Bacchus, Anne Seymour Damer (1748–1828)

c

Cabbage with nasturtium and caterpillar, Barbara Regina Dietzsch (1706–1783)
Cacalia atriplicifolia L. […], Madeleine-Françoise Basseporte (1701–1780)
One long dark green leaf is depicted behind a plant cutting with five flowers on the stem. Each flower has six thin, drooping white petals and six yellow stamens, making them resemble a firework.
Cactus Grandiflorus, Mary Delany (1700–1788)
Cactus parasiticus […], Madeleine-Françoise Basseporte (1701–1780)
Calceolaria foliis Scabiose vulgaris [...], Madeleine-Françoise Basseporte (1701–1780)
Calycanthus floridus L., Madeleine-Françoise Basseporte (1701–1780)
Camara spinosa flore variegate, Madeleine-Françoise Basseporte (1701–1780)
Campanula grandiflora L. […], Madeleine-Françoise Basseporte (1701–1780)
Campanule Alpina Teucrii […], Madeleine-Françoise Basseporte (1701–1780)
A bust-length, oval portrait of a man, wearing a cardinal’s robe, medals, and hat. He has chin length hair, a small beard, and a mustache. He appears to be in his fifties, and he looks directly at the viewer with a neutral expression.
Cardinal Richelieu, Giovanna Garzoni (ca. 1600–1670)
Carl Germain Pichelieu, Maria Elisabeth Ziesenis (1744–1796)
A bust-length portrait of a man wearing an elaborate gold and black costume with a large white ruff. He appears to be in his mid-thirties, with thick brown hair and a beard. His mustache is twirled at both ends. He looks out directly at the viewer with a neutral expression, his eyebrows slightly raised.
Carlo Emanuele I, Giovanna Garzoni (ca. 1600–1670)
A reddish-pink carved stone with the face of a woman. The carving is set on a cloth background in a similar color, which is in a black frame.
Caroline Conway, Lady Aylesbury, Anne Seymour Damer (1748–1828)
A man and a woman, both with light skin, dark hair, and rosy cheeks are seated together at a table, with the woman turned slightly to look at the man. The woman wears a white shawl and a white cap over her slicked-back hair, and she holds a wineglass in one hand and a silver-colored pot-belly wine jug in the other. The man wears a wide white collar and holds a violin up to his shoulder with one hand, the bow held to its strings with the other.
Carousing Couple, Judith Leyster (1609–1660)
Catherine the Great, Marie-Anne Collot (1748–1821)
A three-quarters length portrait of a young woman in a gold frame. She appears in a sheer, diaphanous dress, looking directly at the viewer. Her long hair is worn loose, and she holds locks of hair in her right hand. The background is blue and dreamy, but ambiguous.
Catherine, Lady Heathcote (c.1774-1825), Anne Mee (1785–1851)
A series of nineteen small wood sculptures representing the cavalcade of the three kings. Some figures ride on horses while others are standing. Each figure wears a different costume, representing the Biblical lands of Persia, Arabia, and India. The wood sculptures are painted in fairly muted colors, primarily greens, reds, and browns.
Cavalcade of the Three Kings, Luisa Roldán (1652-1706)
Cerastium aquaticum, Madeleine-Françoise Basseporte (1701–1780)
Cerato-Cephalus Virginiantus […], Madeleine-Françoise Basseporte (1701–1780)
Cerinthe foliis hirpidis, Madeleine-Françoise Basseporte (1701–1780)
Cerinthe foliis latis hirpidis, Madeleine-Françoise Basseporte (1701–1780)
Cestrum laurifolium […], Madeleine-Françoise Basseporte (1701–1780)
Chamaerododendros Canadensis […], Madeleine-Françoise Basseporte (1701–1780)
A light-skinned man with shoulder-length, wavy brown hair, a sparse mustache on his upper lip, and very rosy lips looks out and away from teh viewer. He is shown from the shoulders up.
Charles Beale the Elder, Mary Beale (1633–1699)
Charles Meynier, Marie-Gabrielle Capet (1761–1818)
Cheiranthus cheiri […], Madeleine-Françoise Basseporte (1701–1780)
Chelone pentstemon, Madeleine-Françoise Basseporte (1701–1780)
An image of Christ descending from the cross, being held by several figures. The setting is a landscape, with a tree directly behind the figure group. Christ’s body is pale, and the figures are closely grouped, looking at him.
Christ with the Symbols of the Passion, Lavinia Fontana (1552–1614)
Chrysocoma anthelmintica, Madeleine-Françoise Basseporte (1701–1780)
Cirsium horridum Mich. […], Madeleine-Françoise Basseporte (1701–1780)
Clematitis Balearica […], Madeleine-Françoise Basseporte (1701–1780)
Clinopodium menthaefolio incanum et odoratum, Madeleine-Françoise Basseporte (1701–1780)
Cloaked Figure and a Study for a Detail of the Cloak, Plautilla Nelli (1524-1588)
Clythie, Maria Hadfield Cosway (1760–1838)
A bright silver pot-belly coffee pot with a darker black or brown handle. It is decorated with small beads of silver around the edge of the lid and the side of the curved spout, and has an etching of a rearing lion. The pot rests on a tray with a small foot that ends in a silver ball.
Coffee Pot and Stand, Hester Bateman (1708–1794)
Collinsonia L., Madeleine-Françoise Basseporte (1701–1780)
Commelina hexandra […], Madeleine-Françoise Basseporte (1701–1780)
Commelina zazonia […], Madeleine-Françoise Basseporte (1701–1780)
A group of soldiers lead a woman toward a bare-chested soldier seated on a platform. He has his arm raised and looks away from the woman. Behind him, another man reaches out from behind a pillar, in the direction of the woman.
Continence of Scipio, Élisabeth Sophie Chéron (1648–1711)
Convolvulus batatas, Madeleine-Françoise Basseporte (1701–1780)
Conyza Africana foliis oblongis dentatis glutinosis […], Madeleine-Françoise Basseporte (1701–1780)
Conyza chinensis […], Madeleine-Françoise Basseporte (1701–1780)
Conyza dioscoridis […], Madeleine-Françoise Basseporte (1701–1780)
Conyza faetida Lamk […], Madeleine-Françoise Basseporte (1701–1780)
Conyza odorata L. […], Madeleine-Françoise Basseporte (1701–1780)
Cornus canadensis L., Madeleine-Françoise Basseporte (1701–1780)
Cornus florida L. […], Madeleine-Françoise Basseporte (1701–1780)
Cotyledon hispanica L., Madeleine-Françoise Basseporte (1701–1780)
Cotyledon portulacea Lamk […], Madeleine-Françoise Basseporte (1701–1780)
Two young people kneel in front of a pair of gravestones in a run-down churchyard. Two goats are grazing nearby, and the church just beyond appears to be partially collapsed and ruined.
Country Churchyard, Maria Katharina Prestel (1747–1794)
Crassula perfossa Lamk. […], Madeleine-Françoise Basseporte (1701–1780)
Crassula tetragona L., Madeleine-Françoise Basseporte (1701–1780)
Crucifix, Maria Faydherbe (1587–1643)
Crucifixion, Plautilla Nelli (1524-1588)
Crucifixion [attributed], Plautilla Nelli (1524-1588)
Cynanchum suberosum […], Madeleine-Françoise Basseporte (1701–1780)
Cynoglossum angusto glauco folio, Madeleine-Françoise Basseporte (1701–1780)
Cyrtanthus vittatus Desf. […], Madeleine-Françoise Basseporte (1701–1780)
Cytharexylum Americanum alterum, Madeleine-Françoise Basseporte (1701–1780)

d

A nude woman reclines on a bed made with white sheets and a red velvet cover. She has one arm up behind her head and the other resting on her thigh, with her eyes closed. Behind her, a woman in a blue dress with a white chemise and head covering lifts up her skirt to catch gold coins that fall from above onto Danaë.
Danaë, Artemisia Gentileschi (1593-ca. 1656)
A plant illustration showing medium-green irregularly-shaped leaves attached to a brownish stem. At the end of the stem is a fluffy, white, round ball made of individual dandelion seeds.
Dandelion, Barbara Regina Dietzsch (1706–1783)
Dandelion with a Tiger Moth, Butterfly, Snail and Beetle, Barbara Regina Dietzsch (1706–1783)
A young man sits on the head of the giant he has killed, with his ankle crossed over his knee. He wears an ambiguous classical costume and rests his right hand on a sword. He looks directly at the viewer with confidence.
David and the Head of Goliath, Artemisia Gentileschi (1593-ca. 1656)
Dead Christ, Élisabeth Sophie Chéron (1648–1711)
A brown ink drawing of a woman, cowering in fear as a skeleton representing Death walks behind her holding a scythe and a spear. She is dressed in a classicized costume and crosses her arms in front of her, turning away from the figure of Death. There is an inscription below the drawing.
Death Disarming Virtue, Barbara Sirani (1641-1692)
A sepia-toned image shows a shirtless young man draped over the lap of a woman, both seated at the base of a tree. In the branches, two cherubs lookdown from above. Outside the image on the sheet is the title of the work, Diane et Endimion.
Diana and Endymion, Madeleine-Françoise Basseporte (1701–1780)
Dianella nemorosa […], Madeleine-Françoise Basseporte (1701–1780)
An elderly man with a lined face, balding head, and loosely-draped tunic sits on the ground and leans on one elbow. The entire image has an aqua-blue tint to it.
Diogenes, Maria Katharina Prestel (1747–1794)
Dirca palustris L. Amer., Madeleine-Françoise Basseporte (1701–1780)
Domenico Zampieri, Julie Charpentier (1770–1843)
Dominic Receives the Rosary, Plautilla Nelli (1524-1588)
A woman with light skin and blonde curls and a man with light skin, dark hair, and a beard are shown from the shoulders up. They are turned slightly toward each other, but look outward to the viewer.
Dorothy, Lady Brown (née Mileham) and Sir Thomas Browne, Joan Carlile (ca. 1606–1679)
A round portrait of two children: a boy on the left in a red tunic, holding a book, and a girl on the right in a green dress with a white chemise. They are cropped at the waist against a black background. The girl has his arm around the boy and looks at him while the boy looks off into the distance.
Double Portrait of a Boy and Girl of the Attavanti Family, Sofonisba Anguissola (ca. 1532–November 16, 1625)
Dracaena draco […], Madeleine-Françoise Basseporte (1701–1780)
Dracena triangularis […], Madeleine-Françoise Basseporte (1701–1780)
Drapery, Plautilla Nelli (1524-1588)
Duchess of Devonshire as Diana, Maria Hadfield Cosway (1760–1838)
Duranta plumieri L. […], Madeleine-Françoise Basseporte (1701–1780)

e

An image of Christ with his wrists bound and crossed in front of him, wearing a crown of thorns. He holds a spear in one hand and looks off to the right with an anguished expression. He has a beard and brown curls that fall to his shoulder, with a faint halo behind his head. He wears a mauve, satin cloth draped around his otherwise nude body.
Ecce Homo, Elisabetta Sirani (1638–1665)
An image of Christ in a crown of thorns, with his wrists crossed and bound in front of him. Two figures appear behind him. He has a halo behind his head and looks out directly at the viewer with a pained, plaintive expression. The painting is set in a fairly elaborate frame.
Ecce Homo, Barbara Sirani (1641-1692)
A group of small, indistinct people are gathered in the foreground of the painting beneath two towering palm trees. In the distance, a walled city and three giant pyramids dominate the background of the scenery.
Egyptian City by an Oasis, Anna Waser (1678–1714)
A rocky and tree-covered landscape is shown in sepia tones. Many of the trees have fallen and exposed roots stand up in the lower right. In the distance are rocky cliffs, evergreen trees, and a small waterfall.
Elijiah Fed by Ravens, Magdalena van de Passe (1600–1638)
Elisabeth Sophie Le Hay (née Cheron), Élisabeth Sophie Chéron (1648–1711)
Elizabeth (née Farren), Countess of Derby, Anne Seymour Damer (1748–1828)
Elizabeth Murray, Countess of Dysart and Duchess of Lauderdale, Joan Carlile (ca. 1606–1679)
Elizabeth Murray, Countess of Dysart, with her First Husband, Sir Lionel Tollemache, and her Sister Margaret Murray, Joan Carlile (ca. 1606–1679)
A sepia-toned image depicts a group of mourners lowering an unclothed man's body into a stone tomb.
Entombment, Magdalena van de Passe (1600–1638)
Erigeron philadelphocum […], Madeleine-Françoise Basseporte (1701–1780)
Eryngium aquaticum L. […], Madeleine-Françoise Basseporte (1701–1780)
Erythronium dens-canis […], Madeleine-Françoise Basseporte (1701–1780)
Esther before Ahasuerus, Artemisia Gentileschi (1593-ca. 1656)
Eupatorium frutescens, foliis lanceolatis, Madeleine-Françoise Basseporte (1701–1780)
Euphrasia foliis oblongis obtuse serratis, Madeleine-Françoise Basseporte (1701–1780)

f

A portrait in relief of a woman’s face, surrounded by a blue head covering or veil. She looks out directly with a slight smile.
Face, Anna Morandi Manzolini (1714–1774)
A man and a woman stand at the center of a room, with the man holding the woman's arm. the man has gray hair, light skin with rosy cheeks, and a long green coat over a white waistcoat with a high collar, and he is looking down and away from the woman next to him. The woman has very light skin, dark curly hair pulled away from her face, and wears a short-sleeved black and pink dress. On the other side of the man, a young boy in a green coat is holding a white and brown spotted hunting dog by the leash.
Family Group, Marguerite Gérard (1761–1837)
A half-length portrait of a man in a black outfit with white lace at his collar and his sleeves. He is seated on a chair with red behind him. He is wearing a tall, black hat. He holds a rosary in his left hand and looks directly at the viewer.
Felipe II, Sofonisba Anguissola (ca. 1532–November 16, 1625)
Ficoidea Africana folio plantaginis undulato micis […], Madeleine-Françoise Basseporte (1701–1780)
Ficoides afra fruticosa caule lanugine argentea […], Madeleine-Françoise Basseporte (1701–1780)
Ficoides Africana folio terete in villos radiatos abeunte, Madeleine-Françoise Basseporte (1701–1780)
Ficoides Africana folio triangulari incurvo et dentato, Madeleine-Françoise Basseporte (1701–1780)
Ficoides Africana, erecta, teretifolia, floribus albis umbellatis […], Madeleine-Françoise Basseporte (1701–1780)
Ficoides seu ficus Aizoides Africana minor erecta folio […], Madeleine-Françoise Basseporte (1701–1780)
A medium brown-colored carving of a woman in a draping dress with a large crown on her veiled head, holding a nude infant with a halo who stands on a pedestal by her side. The child looks up at the woman, who gazes downward.
Figure of the Virgin and Child, Maria Faydherbe (1587–1643)
The main figure is a young woman, who sits with four other young women surrounding her. Another woman is kneeled in front of her, presenting a nude infant that is partially wrapped in a white cloth. The central figure points to the woman with her right hand. Alongside the infant, there is a tray with several flowers. Behind the woman holding the infant, there are two additional figures.
Finding of Moses, Elisabetta Sirani (1638–1665)
A painting showing a far-off fire in the distance, along with dark clouds of smoke. In the foreground of the painting, a winding road leads from the viewer's location past fields and a church to reach the town where the fire appears to be taking place.
Fire in a Village, Barbara Regina Dietzsch (1706–1783)
Five Men, Marie-Guillemine Benoist (1768–1826)
A floral still life with pots of flower on two levels, filling the vertical canvas. The flowers are mostly pink, white, and red, with some yellow and a blue ribbon accenting one of the bouquets.
Florero, Margherita Caffi (1650–1710)
Flower Bouquet with Insects, Barbara Regina Dietzsch (1706–1783)
A dark vase contains a small flower arrangement with red-and-white striped flowers, white and pink flowers with ruffled edges, a blue iris, and several small yellow flowers. A dragonfly and a butterfly rest on the flowers, while a second butterfly with orange stripes on its black wings has landed on the edge of the table.
Flower Still Life, Maria van Oosterwyck (1630–1693)
A floral still life of an arrangement on a table, set against a dark neutral background. The colors of the flowers are primarily reds, oranges, and purples, with some large white flowers at the center. The arrangement is wild, with flowers resting on the table and extending to the very top of the composition.
Flower Still Life, Rachel Ruysch (1664–1750)
A floral still life that is integrated into a landscape setting, with the arrangement of flowers seeming to emanate from a tree trunk. There are some flowers growing from the ground, as well. A snake and frog are visible at the bottom of the composition and in the background, there is a rocky formation, a tree, and a blue sky with clouds.
Flowers and Animals, Rachel Ruysch (1664–1750)
A floral still life with fairly muted colors. The arrangement is centered on a table or ledge and appears in front of a dark background. There are orange, pink, blue, and white flowers, as well as green foliage. The arrangement is tall and fills the top three quarters of the composition.
Flowers in a Vase, Rachel Ruysch (1664–1750)
A large flower arrangement sits on a table in a carved off-white vase with a lid resting nearby. The flowers are mostly red and orange, with one large sunflower and a few white flowers at teh center, and a lot of greenery at the back of the vase. The vase is carved with human figures, and the lid has a kneeling nude woman on the top.
Flowers in an Ornamental Vase, Maria van Oosterwyck (1630–1693)
A half-length portrait of a man, who wears eighteenth-century clothing consisting of a blue overcoat, a red vest, and a white shirt. His gray, curly hair falls loose to his shoulders. He looks out directly at the viewer with a slight smile. An inscription on the bottom edge of the portrait identifies the sitter.
François-Marie Arouet, dit Voltaire, Catherine Lusurier (1752–1781)
Frau mit Haube, Maria Elisabeth Ziesenis (1744–1796)
A light-skinned man with white hair curled above his ears, dark eyes, and a slight double chin stands with one hand at his waist. He is wearing a dark blue coat with bright blue lining and trim, large gold-colored hardware on teh front, and an orange sash across his chest. Beneath the coat and sash, he is wearing a shiny off-white shirt and trousers.
Friedrich Wilhelm II. von Preußen, Anna Dorthea Therbusch (1721–1782)
Frutex scandens petrofelini […], Madeleine-Françoise Basseporte (1701–1780)
Fucus parvus, atrovirens unifolium […], Madeleine-Françoise Basseporte (1701–1780)

g

Gardenia florida L., Madeleine-Françoise Basseporte (1701–1780)
George III, Anne Seymour Damer (1748–1828)
A silver teapot with a square-like body, a half-heart shaped handle, and a straight, narrow spout. It has small feet that end in rounded balls.
George III Teapot, Hester Bateman (1708–1794)
A portrait of a light-skinned man with gray hair, a hooked nose, and a slight double chin, shown in a side profile view. He wears a black coat and a tall white collar. The background of the portrait starts blue in the top-left corner and fades to a grayish-blue in the bottom-right.
George Washington, Ellen Wallace Sharples (1769–1849)
A light-skinned man with reddish cheeks, gray hair, and a double chin is shown from the chest up in a round portrait. He wears a blue coat with white lapels and shoulder tassels, and a white ruffled shirt and tall collar.
George Washington, Ellen Wallace Sharples (1769–1849)
A half-length portrait miniature of a young woman in a black dress, wearing a sheer black veil covering the back of her hair and her shoulders. She is seated holding papers, and she looks up to meet the viewer’s gaze directly. The background is gray and red, and there is a gold cloth on the table where she rests her forearms.
Georgiana, Duchess of Devonshire (1757-1806), Anne Mee (1785–1851)
Gladiolus, Madeleine-Françoise Basseporte (1701–1780)
Gladiolus polystachyus […], Madeleine-Françoise Basseporte (1701–1780)
Gladiolus tristis […], Madeleine-Françoise Basseporte (1701–1780)
An illustration of a plant with long, drooping, dark green leaves and pink and yellow flowers with wavy or curly petals and long yellow stamens.
Gloriosa Superba, Mary Delany (1700–1788)
A bright silver goblet with silver beading design around the edge of the foot. The interior is a bright yellow-gold color. The side of the goblet is etched with a coat of arms that includes three acorns, a dragon, and a laurel wreath.
Goblet, Hester Bateman (1708–1794)
A bright yellow bird with black spot all along its body, black wing tips, and a small curved black beak stands next to a brownish butterfly with an eye-like pattern on its wings. Above them both, a much smaller bright blue butterfly is in the air.
Golden Plover with Examples of Two Butterflies, Maria Sibylla Merian (1647–1717)
Goldfinch, Barbara Regina Dietzsch (1706–1783)
Grangea latifolia […], Madeleine-Françoise Basseporte (1701–1780)
Gratiola foliis latioribus serratis Banister […], Madeleine-Françoise Basseporte (1701–1780)
A greenish-yellow bird is perched on the branch of an evergreen tree, with its head turned skyward. Its body is more green on the head and back, but the stomach, wings, and tail have clear yellow patches. Its beak is small and pointed.
Greenfinch, Barbara Regina Dietzsch (1706–1783)
Guajabara alia racemose foliis […], Madeleine-Françoise Basseporte (1701–1780)
A half-length portrait of a man wearing a bright blue coat trimmed with fur and an elaborate black and white hat. He looks at the viewer with a slight smile.
Gustavus Hamilton (1710–1746), Second Viscount Boyne, in Masquerade Costume, Rosalba Carriera (1673–1757)

h

Two hands, modeled in relief and resting on top of one another. They are modeled in flesh-colored wax with blue sleeves visible below the wrists.
Hands, Anna Morandi Manzolini (1714–1774)
A young woman is depicted from the chest up, reclining against a blue background. She has very light skin, dark brown wavy hair with a blue ribbon tied in it, and blue eyes. She is wearing a white dress or shift, which has been pulled down to reveal her shoulders and both breasts. Her head is turned slightly away from the viewer, and she has a slight smile on her face.
Head of a Young Woman, Adélaïde Labille-Guiard (1749–1803)
Head of a Young Woman Crowned with Roses, Marie-Geneviève Bouliar (1763–1825)
Head of a Youth, Plautilla Nelli (1524-1588)
A young girl is pictured at half-length, standing in a church. She leans on a pedestal of some kind, with her arms crossed. She looks out at the viewer with a slight, serene smile. She wears a pink gown, and a veil partially covers her hair.
Helena Dering (1697–1704), Henrietta Johnston (ca. 1674–1729)
Helianthus mollis Lamk. […], Madeleine-Françoise Basseporte (1701–1780)
Helleborine radice arundinacea, Madeleine-Françoise Basseporte (1701–1780)
Helleborus trifolius […], Madeleine-Françoise Basseporte (1701–1780)
A black and white image shows a young woman in draping robes with a cone-shaped hat holds flowers to her chest and looks upward, where in the corner of the image clouds surround a seated man haloed in light.
Hellespontine Sibyl, Magdalena van de Passe (1600–1638)
A bust-length portrait of a young girl wearing a white chemise. She looks out with assured confidence. Her dark hair is piled on her head and tied back with a bright red ribbon, which brings out the blush in her cheeks.
Henriette Charlotte Chastaigner (Mrs. Nathaniel Broughton) , Henrietta Johnston (ca. 1674–1729)
Hesperis foliis laciniatis […], Madeleine-Françoise Basseporte (1701–1780)
Hieracium grandiflorum, Madeleine-Françoise Basseporte (1701–1780)
A small painting of the holy family in an ornate frame. The Infant Jesus is sleeping on his side while Mary and Joseph look down at him. The Infant Saint John the Baptist also looks down at him. The background is green drapery.
Holy Family with Infant St. John, Lavinia Fontana (1552–1614)
Homme en habit rayé, Marie-Gabrielle Capet (1761–1818)
Houdon Working on the Bust of Voltaire, Marie-Gabrielle Capet (1761–1818)
A black-and-white scene showing a ruined building with a tall arch, a forest with different types of trees, and two men with long rifles striding forward. the image is surrounded by a wide floral border on all sides.
Hunting Scene, Johanna Koerten (1650–1715)
Hura crepitans L., Madeleine-Françoise Basseporte (1701–1780)
A hyacinth flower, still attached to its bulb, fills most of the vertical canvas. The background is unresolved but includes a few other elements: four cherries, an artichoke, and a lizard. They are not arranged in a still-life format but instead appear as intense studies of four objects or groups of objects.
Hyacinth with Four Cherries, a Lizard and an Artichoke, Giovanna Garzoni (ca. 1600–1670)
Hydrastis canadensis L., Madeleine-Françoise Basseporte (1701–1780)
Hyoscyamus physalodes […], Madeleine-Françoise Basseporte (1701–1780)

i

Infant Saint John the Baptist, Luisa Roldán (1652-1706)
Initial A: Adoration of the Christ Child with the Virgin Mary, Joseph, and Two Nuns, Plautilla Nelli (1524-1588)
Initial A: The Presentation of Jesus in the Temple with Two Nuns, Plautilla Nelli (1524-1588)
Two young women are in an artist's studio. The woman at the center has light skin, brown curly hair with a white cloth tied in it, and wears a white dress with blue ribbons and red sash. She is holding a paint palette and a long stick of some kind, and looking at an unfinished painting of a girl that is on an easel. Nearby, the other young woman is seated hunched over a drawing board. She has light skin, dark hair tied with blue ribbon, and wears a brownish shiny dress with a white shawl.
Interior of an Atelier of a Woman Painter, Marie-Victoire Lemoine (1754–1820)
A drawing of a flower with three straight, narrow green leaves behind it. The flower has two drooping petals that are purple with white veins, while the rest of the petals are upright and white.
Iris Squalens, Mary Delany (1700–1788)
Isis, Anne Seymour Damer (1748–1828)
Ixia, Madeleine-Françoise Basseporte (1701–1780)
Ixia cepacea Red […], Madeleine-Françoise Basseporte (1701–1780)
Ixia miniate Jacq. […], Madeleine-Françoise Basseporte (1701–1780)

j

Jacques Dumont, dit Dumont de Romain, Marie-Suzanne Giroust (1734–1772)
A man lays sleeping on his side, his head rests in his arms. A young woman kneels over him, with a tent peg held to his temple with her left hand. In her right arm, she holds a hammer up high, poised to smash onto the peg and into his skull, killing him. They are dressed in classical costumes and an inscription on the column in the background identifies the artist. The woman seems unaware of the viewer and seems calm, at peace with the violence that is to follow.
Jael and Sisera, Artemisia Gentileschi (1593-ca. 1656)
An oval shaped portrait of a light-skinned man with long, curly gray hair past his shoulders, blue eyes, and a prominent nose. He wears silver armor with a blue sash, and has a large white collar under his chin.
James II, Susan Penelope Rosse (1652–1700)
A rectangular, three-quarters length portrait in a gold frame. The young woman is wearing a white gown with blue fabric draped across her. She is leaning on a pedestal or table, with one elbow propped up and her chin in her hand. Curls frame her face, and her waist-length hair is loose in the back. The background is a neutral brown-gray color, with a curtain tied back on the left side.
Jane, Countess of Galloway (1774-1842), Anne Mee (1785–1851)
A horizontal-format still life with a brown pot at the center overflowing with flowers of every color. The composition is set against a dark background.
Jarrón con flores, Margherita Caffi (1650–1710)
Jasminum aliud arborescens […], Madeleine-Françoise Basseporte (1701–1780)
Jatropha coccinea Vent, Madeleine-Françoise Basseporte (1701–1780)
A light skinned young woman wearing a long-sleeved white jacket and white bonnet with blue band is doing needlework in her lap.
Jeune femme à l'ouvrage, Françoise Duparc (1726–1778)
A carved, marble relief of a woman sitting on a bed in a gown with both breasts exposed. She is reaching out to grab the robes of a man who is walking away with his back turned to her. The marble is a warm, light brown color.
Joseph and Potiphar’s Wife, Properzia de’ Rossi (1490–1530)
A man with light skin, a hooked nose, and dark blonde hair curled above his ears stands in front of a clay sculpture of a nude man. He appears to be the artist, considering a detail of the sculpture with one hand raised toward it and the other holding a tool. He wears a brown coat and waistcoat.
Joseph Nollekens, Mary Moser (1744–1819)
A light-skinned man with thin lips, thin gray hair, and bright blue eyes is shown from the chest up. He wears a black coat with a tall white collar.
Joseph Priestley, Ellen Wallace Sharples (1769–1849)
Two winged figures, kneeling on clouds, look on with horrified expressions as a third figure, dressed in a simple robe with red, strides forward out of the clouds with arms raised and angry expression.
Judgement of Korah, Dathan, and Abiram, Maria Hadfield Cosway (1760–1838)
A half-length portrait of a young woman wearing an elaborate costume of satin white, blue, mauve, and orange. Her hair is tied back, and she wears earrings. She holds a sword in her right hand, crossed across her chest. She looks down and to the left of the canvas with a serene smile, seemingly unaware of the viewer.
Judith, Virginia Vezzi (1600-1638)
Two women look off past the right edge of the canvas. They appear in half-length, and one woman faces us, holding a sword over her shoulder. She grips the shoulder of the other woman with her left hand. That woman wears a yellow dress and white head covering has her back to us and holds a basket to the side. Inside the basket is the bloodied head of a man.
Judith and her Maidservant, Artemisia Gentileschi (1593-ca. 1656)
Two women appear in candlelight, their faces partially obscured. The younger woman, in yellow, hold a sword in one hand and holds the other hand up as thought to say “stop.” The older woman crouches down, wearing a purple dress and a white head covering. She uses a cloth to wrap the bloodied head of a man, which has been violently separated from its body. A red velvet cloth is draped behind them, heightening the drama of the moment.
Judith and her Maidservant with Head of Holofernes, Artemisia Gentileschi (1593-ca. 1656)
Three figures are centered on the canvas. A man on his back in a bed tries to fight back, kicking his legs and pushing a young woman in a blue dress and white head covering that is holding him down. Another woman in a yellow dress is cutting off his head with a sword. Blood is streaming down the bed and spraying from his neck. The man looks anguished and surprised while the woman in the yellow dress looks determined. Her sleeves are pushed up past her elbows as she completes her task.
Judith Beheading Holofernes, Artemisia Gentileschi (1593-ca. 1656)
A sepia-toned image of a nude, bearded manreclining on a throne. A large bird with spread wings sits at his feet, and one hand appears to be holding fire or flames.
Jupiter, Maria Katharina Prestel (1747–1794)

k

Kalankoe aegyptiaca DC, Madeleine-Françoise Basseporte (1701–1780)
A small bird with blue-green feathers on its head, back, and wings and pink feathers on its stomach is perched on an autumn or winter tree branch. The bird has a long, slightly curved, pointed beak and small red feet.
Kingfisher, Barbara Regina Dietzsch (1706–1783)
Kneeling Female Figure [front]/ Risen Christ [back], Plautilla Nelli (1524-1588)
Kneeling Male Figure, Plautilla Nelli (1524-1588)
Kneeling Male Figure, Plautilla Nelli (1524-1588)

l

A light-skinned man with whispy gray hair and a receding hairline looks out at the viewer, holding a sack over his shoulder with one hand. He wears a faded blue coat with brass-colored buttons.
L'homme à la besace, Françoise Duparc (1726–1778)
La Madonna con San Gerolamo [after Correggio], Maria Hadfield Cosway (1760–1838)
A light-skinned young woman with a long cloth cap and brown adn blue dress is looking out at the viewer. She is wearing some kind of rucksack or pack on her back with items inside it barely visible in the background.
La marchande de tisane, Françoise Duparc (1726–1778)
A light-skinned woman with a lined face and gray hair is seated with her arms crossed, looking out at the viewer. She wears a white dress, off-white apron, and white cap.
La vieille, Françoise Duparc (1726–1778)
Lactuca spinose L. […], Madeleine-Françoise Basseporte (1701–1780)
Lamentation with Saints, Plautilla Nelli (1524-1588)
Landscape with Horseman and Trees, Anne Seymour Damer (1748–1828)
A landscape showing a reddish-brown stone ruin with an arched doorway into it, alongside a blue stream or pond. The sky above is blue and purple, with a full moon that is reflected into the water..
Landscape with Ruin, Aleida Greve (1670–1742)
A landscape showing a sculpture of two stone angels in the foreground. In the distance, a brown stone building stands near some cliffs, and beyond that in the far distance are mountains.
Landscape with Sculpture, Aleida Greve (1670–1742)
A small brown and white dog sits smiling on a pink table, in front of a dark, neutral background. On the table there are two baked goods with some crumbs, as though the dog has been snacking on them. There is also a decorated ceramic cup. The dog wears a black color with three bells.
Lapdog with Biscotti and a Chinese Cup, Giovanna Garzoni (ca. 1600–1670)
Last Supper, Plautilla Nelli (1524-1588)
Laurus persea L. […], Madeleine-Françoise Basseporte (1701–1780)
Laurus sassafras […], Madeleine-Françoise Basseporte (1701–1780)
An image of Christ seated at a table with a gold goblet and a small gold plate in front of him. He is holding a piece of bread in his left hand, while his right hand is raised in blessing. He looks up towards the sky, while a halo of golden light frames his head.
Le Christ bénissant, dit aussi L'Institution de l'Eucharistie, Agnese Dolci (1635–1686)
Ledum palustre L. Alpes, Madeleine-Françoise Basseporte (1701–1780)
Leea crispa L. Asie, Madeleine-Françoise Basseporte (1701–1780)
Leonurus sibiricus L. […], Madeleine-Françoise Basseporte (1701–1780)
Lilio narcissus sive […], Madeleine-Françoise Basseporte (1701–1780)
Linnaea borealis L. […], Madeleine-Françoise Basseporte (1701–1780)
An oval, bust-length portrait of a young girl turned to the left but looks directly at the viewer. She wears a light blue dress embellished with white lace and a large blue bow. Her bonnet is made of lace and blue ribbon and covers most of her hair. The young girl has bangs and rosy cheeks; she has a sweet expression, with a slight smile.
Little Girl with a Bonnet, Catherine Read (1723–1778)
Lobelia longifolia L. […], Madeleine-Françoise Basseporte (1701–1780)
Lord Nelson, Anne Seymour Damer (1748–1828)
An all-white sculpture of a man standing with his weight on one leg, leaning one hand against a pillar. He wears a sash belt, a coat with a high collar and long tail, and may have a folded hat tucked into his arm.
Louis Antoine Ange Chicoilet de Corbigny, Julie Charpentier (1770–1843)
A round portrait of a young woman with very light skin, pink lips, and curly brown hair in an updo. She wears a yellow dress witha blue sleeve and looks directly out at the viewer.
Louise Renée de Penancoet de Keroualle, Duchess of Portsmouth, Susan Penelope Rosse (1652–1700)
A half-length image of a woman in a diaphanous gown with both breasts bared. Her hair is pulled back from her face and adorned with pearls. She holds a knife in her right hand and aims the blade at her chest, looking up at the sky.
Lucretia, Artemisia Gentileschi (1593-ca. 1656)
Ludwigia capsulis oblongis uncialibus, Madeleine-Françoise Basseporte (1701–1780)
Lunaria, foliis multifidis […], Madeleine-Françoise Basseporte (1701–1780)
A printed page from a book, divided into multiple rows and columns. Each row and column is filled with small illustrations. At the top, there is Latin text and larger symbols, like a key to interpret the rest of the page and its images. There is more small text at the bottom of the page.
Lunario, Diana Scultori (1547–1612)
A plant with a light green stem, many narrow oval leaves arranged in circles on smaller stalks, and small white and pink flowers at the top of the branch.
Lupine, Alida Withoos (ca. 1661/62–1730)
Lychnis grandiflora Jacq. […], Madeleine-Françoise Basseporte (1701–1780)
Lycoperdon alpinum maximum […], Madeleine-Françoise Basseporte (1701–1780)
Lysimachia floridana lutea minor […], Madeleine-Françoise Basseporte (1701–1780)

m

A young woman with light skin and dark curly hair is seated in a side profile, leaning slightly forward. She holds a young child with blonde curls against her with her arm around the child's shoulders. Both lok directly out at the viewer.
Madame Philippe Panon Desbassayns de Richemont (Jeanne Eglé Mourgue, 1778–1855) and Her Son, Eugène (1800–1859), Marie-Guillemine Benoist (1768–1826)
Madeline tenant un vase de parfums, Élisabeth Sophie Chéron (1648–1711)
Madonna Addolorata, Plautilla Nelli (1524-1588)
A black and white reproduction of an oil painting of the Virgin Mary holding the infant Jesus. The infant is nude, and Mary is holding him close to her, so that their cheeks touch. The infant is looking at the viewer and Mary is looking at him.
Madonna and Child, Lucia Anguissola (ca. 1536 or 1538–ca. 1565–1566)
A full-length portrait of a woman and a young girl, standing against a green background with a window open on a cloudy sky. The woman is dressed in black with white lace accents, while the young girl wears an elaborate green and yellow gown, holding three flowers. They both look out at the viewer with neutral expressions, although the woman looks irritated.
Madonna and Child, Sofonisba Anguissola (ca. 1532–November 16, 1625)
An image of the Virgin Mary and Infant Jesus, with the Infant Saint John the Baptist at her feet, enthroned in the clouds. Below them, Jesus and Saint John the Baptist appear as adults, with Jesus looking up at the clouds above. The painting is set in a frame between two columns, as part of a larger architectural decoration for a church.
Madonna con Bambino e Santi, Anna Maria Sirani (1645–1715)
A lunette painting of the Virgin Mary and the Infant Jesus, draped in pink, blue, white, green, and blue robes. Another figure sits alongside them. They are seated on a step in a building with classical architecture. The colors are bright, and the figures look off into the distance.
Madonna del Sacco, Irene Duclos (1754-1795)
Man with Staff, Maria Hadfield Cosway (1760–1838)
Margarethe Catarina Moll, Maria Elisabeth Ziesenis (1744–1796)
A three-quarters length portrait of a young woman, elaborately dressed in a white gown with a blue cape that is lined in ermine fur. Her brown hair is pulled back and crowned with a braid, and she wears two strands of pearls at her neck and two at her wrist. She looks out with a slight smile. The setting includes a column and red curtain swag behind her, and she leans back, resting her left elbow on the stone ledge.
Maria Constantia, née Hampden-Trevor, 12th Countess of Suffolk and 5th Countess of Berkshire,, Catherine Read (1723–1778)
A half-length portrait of a young woman with gray hair, wearing a white and pink gown with a blue shawl around her shoulders. Her cheeks are heavily rouged, and she has flowers in her hair. She looks at the viewer directly with a serious expression.
Marie Anne de Bourbon, Mademoiselle de Clermont, Rosalba Carriera (1673–1757)
A bust-length portrait of a young woman in a marigold gown, with a white chemise beneath. Her hair is pulled back from her face and falls around her shoulders. She looks out at the viewer with a neutral expression.
Marie Du Bose (Mrs. Samuel Wragg), Henrietta Johnston (ca. 1674–1729)
A sepia-toned drawing of two women from teh shoulders up. One is shown in side profile and has gray curly hair, while the other looks directly at the viewer and has lighter hair.
Marie Gabrielle Capet and Marie Marguerite Carreaux de Rosemond, Adélaïde Labille-Guiard (1749–1803)
Marie-Joseph Chenier, Marie-Gabrielle Capet (1761–1818)
A plant with a dark green stem, a few pointed oval leaves at the bottom, and downward-facing, dark purple flowers with long yellow stamens at the top of the stem.
Martagon Lily, Alida Withoos (ca. 1661/62–1730)
St. Maurizio appears on his knees at the bottom right corner of the canvas, looking up at a man whose back is turned and who is poised to strike him with a sword. Above the two pictures, the Virgin Mary is seated in the clouds holding the infant Jesus and looking down at his martyrdom. She is surrounded by four other putti.
Martyrdom of St. Maurizio, Orsola Maddalena Caccia, born Theodora Caccia (1596–1676)
A dark black bronze sculpture bust of a woman with her head tilted downward. She has wavy hair held back with two headbands.
Mary Berry, Anne Seymour Damer (1748–1828)
Melongena lauri […], Madeleine-Françoise Basseporte (1701–1780)
A young person with light skin, wavy blonde hair past their shoulders, and an outfit of bright yellow trimmed in bright blue stands at the center of an outdoor scene with a cane held loosely in one hand. On the ground nearby, a piece of metal chest armor, a helmet with a white feather, a small dog, a human skull, a large shell, and a snail are depicted. Behind the central figure, a snake with an open mouth is winding around the edge of some rocks toward the person's head.
Memorial Portrait of Moses ter Borch (1645-1667), Gesina ter Borch (1631–1690)
Menziezia poliifolia Juss, Madeleine-Françoise Basseporte (1701–1780)
Mercurialis spicata faemina Dioscoridis et Plinii, Madeleine-Françoise Basseporte (1701–1780)
The image shows three different views of frogs at the top, the largest and topmost one with spots, the second-biggest with a few stripes, and the smallest a lighter green with fewer spots. Below them, a long curving flower stem with small blue flowers along its length splits top of the page from the bottom. Below the flower border, illustrations show the physical changes of tadpoles into frogs.
Metamorphosis of a Frog and Blue Flower, Maria Sibylla Merian (1647–1717)
Mimosa leucocephala, Madeleine-Françoise Basseporte (1701–1780)
A nude woman has just removed her clothing and armor; she looks back at the viewer over her shoulder. The composition is full-scale, and the background is an ambiguous, classicized setting. A small putto sits behind her looking at her helmet.
Minerva Dressing, Lavinia Fontana (1552–1614)
Miniature, Mary Benwell (1739–after 1800)
A half-length, rectangular portrait miniature of a young woman looking directly out at the viewer. She holds her head in one hand, with her elbow propped on a table covered in blue cloth. She wears two pearl bracelets and a pink gown, with her hair parted down the middle and her curls pulled up around her face.
Miss Elliott, Anne Mee (1785–1851)
Mme Longrois, née Anne-Félicité Grésille, Marie-Gabrielle Capet (1761–1818)
A woman with light skin and gray hair in a tall updo is wearing a blue striped dress and a hair covering that ties in a large bow beneath her chin. In her lap she holds a long-haired lap dog and a basket of fruit that may be cherries. The woman has a slight smile on her face.
Mme. Louis-Suzanne-Clere Carterdon de Barmont, née Augustine-Suzanne Roslin, Marie-Suzanne Giroust (1734–1772)
Two women sit on opposite sides of a table draped with cloth. The woman on the nearer side of the table has light skin, light brown or blonde hair, and is wearing a long-sleeved white dress, and she is holding an infant in her arms as it reaches for her face. On the opposite side of the table, the other young woman leans forward with her arms crossed over her chest, elbows on the table. She has light skin, dark curly hair, and wears a light-colored short sleeved dress.
Motherhood, Marguerite Gérard (1761–1837)
Mrs. Freeman as Isis, Anne Seymour Damer (1748–1828)
An oval portrait of a light-skinned woman with pale blonde or gray hair in a large updo. Her clothing is white and pink, with a draped neckline.
Mrs. Pru Phillips, Susan Penelope Rosse (1652–1700)
A botanical illustration of a pink flower, still attached to its stem and roots. There is a single flower, not yet in bloom, and then other buds readying to flowers. There are also green leaves. The background is neutral, inscribed with identification of the plant.
Musa, Giovanna Garzoni (ca. 1600–1670)
An anatomical model of an arm and hand, from the elbow to the fingers. It is standing upright with the fingers pointing up, in a class case. It is a model of the bones, muscles, and ligaments, with no skin or nails.
Muscles of the Forearm, Anna Morandi Manzolini (1714–1774)
Music Company, Margaretha Wulfraet (1678–1760)

n

A floral still life of fewer than a dozen flowers resting on a table, with no vase. The background is a neutral, dark color. The flowers are orange, white, blue, and pink. The artist’s signature is quite large, visible in the bottom right corner of the composition.
Nosegay on a Marble Plinth, Rachel Ruysch (1664–1750)
Nursing Madonna, Plautilla Nelli (1524-1588)

o

A wax model figure of a newborn infant alongside the amniotic sac, just after birth. The infant’s abdomen is cut open to expose the organs inside and the connection of the umbilical cord to the sac.
Obstetrical Figure, Anna Morandi Manzolini (1714–1774)
Ocymum grandiflorum L’Her. […], Madeleine-Françoise Basseporte (1701–1780)
Ocymum, spica florum laxa et longa, Madeleine-Françoise Basseporte (1701–1780)
Olea fragrans, Madeleine-Françoise Basseporte (1701–1780)
Onagra angustifolia, flore luteo frutu tetragono, Madeleine-Françoise Basseporte (1701–1780)
Ornithogalum Africanum […], Madeleine-Françoise Basseporte (1701–1780)
Ornithogalum viride Juss, Madeleine-Françoise Basseporte (1701–1780)

p

Paeonia tenuifolia […], Madeleine-Françoise Basseporte (1701–1780)
Pained Madonna, Plautilla Nelli (1524-1588)
Palma humilis, radiata, latifolia, Madeleine-Françoise Basseporte (1701–1780)
Parthenium integrifolium […], Madeleine-Françoise Basseporte (1701–1780)
Peltaria alliacea […], Madeleine-Françoise Basseporte (1701–1780)
Penthorum Linn. Gen. Coroll. […], Madeleine-Françoise Basseporte (1701–1780)
A half-length portrait of the personification of autumn, who is pictured as a young woman with a bare chest and pink robes draped in her lap. A putto sits in her lap and looks up towards her holding grapes plucked from the basket of fruit the young woman is holding.
Personification of Autumn, Rosalba Carriera (1673–1757)
A half-length portrait of the personification of spring, who is pictured as a young woman looking down at a putto with a smile. The two figures hold a garland of flowers. The woman has flower in her hair and is draped in pink, yellow, and white fabric, with one breast bared.
Personification of Spring, Rosalba Carriera (1673–1757)
A half-length portrait of the personification of summer, who is pictured as a young woman holding a basket of fruit and flowers. She looks directly at the viewer with a slight smile. She wears a white, pink, and blue gown and large pearl earrings.
Personification of Summer, Rosalba Carriera (1673–1757)
A half-length portrait of the personification of winter, who is pictured as a young woman wrapping herself in a purple velvet cloak, trimmed with ermine fur. She wears large pearl earrings and ribbons in her hair. She turns her shoulder to the viewer, looking out directly with a slight smile.
Personification of Winter, Rosalba Carriera (1673–1757)
Peucedanum majus Italicum […], Madeleine-Françoise Basseporte (1701–1780)
Phalangium albucoides […], Madeleine-Françoise Basseporte (1701–1780)
Phalangium elatum […], Madeleine-Françoise Basseporte (1701–1780)
Phlomis tuberosa L. […], Madeleine-Françoise Basseporte (1701–1780)
Phyllanthus grandifolia L., Madeleine-Françoise Basseporte (1701–1780)
Phytolacca dioica L. […], Madeleine-Françoise Basseporte (1701–1780)
Phytolacca dodecandra L. […], Madeleine-Françoise Basseporte (1701–1780)
Pittonia, Madeleine-Françoise Basseporte (1701–1780)
Pittonia arborescens chamaedrifolia major, Madeleine-Françoise Basseporte (1701–1780)
Pittonia frutescens, Madeleine-Françoise Basseporte (1701–1780)
Plectranthus punctatus […], Madeleine-Françoise Basseporte (1701–1780)
Polemonium reptans L., Madeleine-Françoise Basseporte (1701–1780)
Polygala penea L. Antilles, Madeleine-Françoise Basseporte (1701–1780)
Polygonum sagittatum L. […], Madeleine-Françoise Basseporte (1701–1780)
Porophyllum foliis oblongis […], Madeleine-Françoise Basseporte (1701–1780)
Portesia ou Ehretia, Madeleine-Françoise Basseporte (1701–1780)
A young woman is seated in an elaborate red and gold dress, embellished with jewels. Her dress is pulled up to expose her right leg and she holds up right hand up. She is stabbing her thigh with a small blade, leaving bleeding wounds on her leg. Through the doorway behind her, we can see three women in the next room having a conversation. They seem unaware of what is happening with the young women in the red and gold dress.
Portia Wounding her Thigh, Elisabetta Sirani (1638–1665)
Portrait Bust of Elizabeth Lamb, Viscountess Melbourne, Anne Seymour Damer (1748–1828)
Portrait de dame, Pauline Auzou (1775–1835)
A woman with light skin, pink cheeks, and a large, curly gray updo is seated at a writing table. She wears an all-white outfit including a shiny dress with 3/4 sleeves, a slightly see-through polka-dot shawl around her neck, and a see-through polka-dot cap over the top of her hair. In one hand she holds a white quill pen to a sheet of paper, while the other hand holds a white handkerchief.
Portrait de femme, Adélaïde Labille-Guiard (1749–1803)
A near full-length portrait of a woman, seated in a red gown with a diaphanous white chemise. She rests her left elbow on the back of the chair behind her and looks out at the viewer with a neutral expression. Her hair is pulled back, and she wears an embellished chair across her forehead. A lyre sits upright on the table behind her.
Portrait de Madame Élise Voiart, Constance Mayer (1775–1821)
A man, a woman, and two very young children, all with light skin and hair, are seated together on a red velvet couch. The man wears a green coat and looks at the woman seated next to him, with one arm around the shoulder of a young child standing near his knee. The woman is wearing a white dress and a large white bow in her hair, and she is holding an infant in her lap as she looks out at the viewer.
Portrait de Monsieur Olive, trésorier des États de Bretagne, avec sa famille, Marie-Geneviève Bouliar (1763–1825)
A woman with very light skin and an dark hair swept into an updo looks directly out at the viewer. She wears pearl earrings and a long pearl necklace, along with a pale pink dress with an ivory-colored bow. The painting is an oval shape and at the top it has a loop for a chain to attach to the portrait.
Portrait miniature of Mrs. Bradney, Mary Benwell (1739–after 1800)
A full-length portrait of a boy wearing an elaborate costume that includes embroidered blue pantaloons with red stockings. He has lace on his collar and at his sleeves. He has long, curly hair past his shoulders. The background is dark and neutral, and the boy looks off to the left side of the canvas.
Portrait of a Boy, Chiara Varotari (1584–1663)
A man and a woman are shown together at a desk. The woman has light skin, dark hair, and wears a white dress and bow headpiece as she sits at the desk turning the page of a large book, with her head turned to look away from the desk. Behind her, a man with light skin, gray hair with a widow's peak, and a gray coat over a yellow waistcoat leans against the back of the chair on one arm, the other resting on his hip.
Portrait of a Couple, Marguerite Gérard (1761–1837)
Portrait of a Girl, Bust Length, Pauline Auzou (1775–1835)
A young woman with light skin, rosy cheeks, and dark curly hair is shown from the waist up, looking out at the viewer. She wears a rusty orange and blue gown that exposes the tops of her shoulders.
Portrait of a Lady, Mary Beale (1633–1699)
A woman with very light skin, pink cheeks, and dark brown curly hair stands with one arm across her chest and looking away to her right. She is wearing a pale blue dress that ties at the shoulders, and is gripping a yellow wrap or shawl that is draped over one shoulder and around her waist.
Portrait of a Lady, Marie-Guillemine Benoist (1768–1826)
A young woman with very light skin, very pink cheeks and lips, and a large updo of curly dark brown hair is shown from the waist up. She wears a dark orange-colored dress with long sleeves and a white ruffled neckline and wrists, as well as flowers that may be roses in her hair.
Portrait of a Lady, Marie-Victoire Lemoine (1754–1820)
A portrait of a woman facing the viewer but looking off to her right with a slight smile. She is elegantly dress and holds a swath of dark blue fabric embellished with a floral design to her chest with her left hand. There is lush greenery behind her, with a classical statue of a figure.
Portrait of a Lady, Aleida Wolfsen (1668–1692)
A full-length portrait of a young woman in an extraordinarily elaborate light gray gown with gold embellishments and jewels, as well as pink lace trim and an orange bow. She has a very high, oversized collar and a matching headpiece. She rests one hand on a column and looks directly at the view with a neutral, almost bored expression.
Portrait of a Lady, Chiara Varotari (1584–1663)
A half-length portrait of a woman dressing black, against a dark background. She has a small white lace collar and some strands of gold cord across her chest, fixed in place with a dark red bow. Her hair is pulled back, and she looks at the viewer with a neutral expression.
Portrait of a Lady, Chiara Varotari (1584–1663)
A round portrait of a seated, light-skinned woman with red hair that is going white or gray near the roots, and a young child with light skin and dark brown hair standing next to her. The woman wears a lacy cap with a bow, a transluscent white shawl, and a purple or red striped gown, while the child wears a yellow dress with a white collar and sleeves.
Portrait of a Lady and Child, Marie-Gabrielle Capet (1761–1818)
Portrait of a Lady Wearing an Oyster Satin Dress, Joan Carlile (ca. 1606–1679)
A half-length portrait of a woman in an elaborate dress with ornate details and lace at her collar and her sleeves. The colors of the background and her dress and whites and browns. She holds a small brown and white dog in her lap and looks directly at the viewer.
Portrait of a Lady with a Dog, Lavinia Fontana (1552–1614)
A portrait of a young woman looking directly at the viewer with a slight smile. The composition is cropped at her waist, and she is holding her necklace in her left hand. She is elegantly dressed in sixteenth-century clothing.
Portrait of a Lady, Bianca Ponzoni Anguissola (?),, Lucia Anguissola (ca. 1536 or 1538–ca. 1565–1566)
An oval-shaped portrait of a light-skinned woman with brown hair swept back from her face, with a yellow cloth or veil draped over the top and back of her head. She wears a bright blue dress with a wide neckline, and no jewelry.
Portrait of a Lady, called Sarah, Duchess of Marlborough, Susan Penelope Rosse (1652–1700)
A light-skinned man with light hair and a goatee and dark eyes stands with one hand on his waist, the other gripping the handle of a sword or walking-stick. He wears a black jacket with short cap sleeves and three diagonal slashes on each side of the chest, and a shiny white long-sleeved shirt underneath.
Portrait of a Man, Caterina van Hemessen (1528–after 1565)
An oval miniature portrait of a man, cropped just below his chest. He is wearing an elaborate eighteenth-century wig and an elaborate costume to match. He looks at the viewer directly.
Portrait of a Man, Rosalba Carriera (1673–1757)
Portrait of a Man in a Brown Coat and Light Yellow Vest, Marie-Gabrielle Capet (1761–1818)
A bust-length portrait of a man wearing eighteenth-century clothing consisting of a blue overcoat, a red vest, and a white shirt with a bit of lace. He wears a white wig and looks out directly at the viewer with a slight smile. The background is neutral, with no other attributes or adornments.
Portrait of a Man previously identified as Jean Le Rond d’Alembert, Catherine Lusurier (1752–1781)
Portrait of a Musician, Élisabeth Sophie Chéron (1648–1711)
A man with dark brown, slightly curly hair and light skin with rosy cheeks is seated at a desk with his hand to his chin. He wears a black jacket and a white shirt with a tallcollar that reaches his ears and chin, and a ring on his smallest finger. On the desk behind him, sheet music and a feather pen are positioned for writing.
Portrait of a Musician, Pauline Auzou (1775–1835)
A half-length portrait of a woman in an ornate sixteenth-century gown, embellished with jewels. The gown is red, gold, and white, with a high collar and she wears a matching headband in her hair. Her right hand rests on a small brown and white dog that is standing on a small table to the side with its two front paws on the skirt of her gown.
Portrait of a Noblewoman, Lavinia Fontana (1552–1614)
A light-skinned woman with light brown hair tied back with a lavender ribbon is seated in a chair. She wears a white dress trimmed with the same lavender ribbon as her hair. In her lap, she holds a violin upright with one hand and turns the page of a book of sheet music with the other, while the violin bow lays across her lap.
Portrait of a Violinist, Anne Vallayer-Coster (1744–1818)
Portrait of a Woman, Marie-Suzanne Giroust (1734–1772)
A woman wearing a black dress with a large, disc-shaped white ruff and a close-fitting white cap that covers nearly all of her hair looks directly at the viewer. She has medium-light skin, very rosy pink cheeks and nose, and in one hand she holds a small book with a dark cover.
Portrait of a Woman, Judith Leyster (1609–1660)
Portrait of a Woman Holding a Letter, Marie-Gabrielle Capet (1761–1818)
A bust-length portrait miniature of a woman looking off to her left. Her hair is curly, loosely piled on her hear, and she wears a simple choker necklace. She has a soft, neutral expression with large eyes.
Portrait of a Woman, Possibly Barbara (1768–1829), Marchioness of Donegall, Anne Mee (1785–1851)
A light-skinned woman with dark eyes and reddish hair beneath a white cap stands with her hands held together in front of her waist. She wears an outfit of black and gray, with a high collar that reaches her chin. Around her neck, a reddish necklace or chain is knotted and reaches almost to her waist.
Portrait of a Woman, Probably a Self-Portrait, Caterina van Hemessen (1528–after 1565)
A light-skinned woman with curled brown hair is seated leaning against a table on one elbow. She wears a dress with a black bodice, red skirt, and white sleeves, and has a pearl necklace and earrings. She is playing with of the many bracelets on her wrists and looking directly at the viewer.
Portrait of a Woman, Sitting at a Table with a Watch, Adriana Spilberg (1650–ca.1700)
A bust-length portrait of a young woman wearing an eighteenth-century white wig with blue bows. She is elegantly dressed, with a spray of flowers at her bust. She looks directly out at the viewer.
Portrait of a Young Girl, Rosalba Carriera (1673–1757)
A full-length portrait of a girl wearing a blue dress with a sheer detail at the bust and lace at her sleeves. She wears a pearl necklace and has her curly brown hair pulled back. She holds a closed fan in her right hand. The background behind her is dark and neutral.
Portrait of a Young Girl, Chiara Varotari (1584–1663)
A young girl is shown from a side profile. She has light skin, brown hair swept into an updo, and holds her hands just above her lap. She is wearing dark clothing with a white neckline, which is worn low and exposes her shoulders and upper chest.
Portrait of a Young Girl, Mary Beale (1633–1699)
A young girl is standing outdoors, holding a basket of cut flowers and looking directly at the viewer. She has very light skin, pink cheeks, and dark blonde curly hair that has a blue ribbon and small flowers in it. She wears a cream-colored dress with a ruffled lacy neckline and a purple sash that continues down the back of the skirt.
Portrait of a Young Girl, Marie-Victoire Lemoine (1754–1820)
A young woman with light skin, medium brown hair underneath a gold-colored cap, and dark eyes stands with her hands crossed in front of her waist. She wears a black dress with white lower sleeves, a row of gold buttons down teh front, three large gold chains around her neck, and a large gold chain around her waist.
Portrait of a Young Lady, Caterina van Hemessen (1528–after 1565)
A young man with light skin, a round face, and shoulder-length, curly brown hair is shown from the chest up. He wears a mustard-yellow shirt beneath a reddish-brown cloak or wrap. He looks down and away from the viewer with a serious expression.
Portrait of a Young Man, Michaelina Wautier (1604–1689)
Portrait of a Young Woman, Marie-Gabrielle Capet (1761–1818)
Portrait of a Young Woman, Madeleine-Françoise Basseporte (1701–1780)
A woman with very light skin, blonde curls, and a red dress with white sash is seated at an outdoor table that has fruit spread over it. She is holding a bunch of grapes in one hand, while a hawk is perched on her other hand. In the background are evergreen trees, a large hill, and a single brown house.
Portrait of a Young Woman with Bird, Aleida Greve (1670–1742)
Portrait of Abraham Scheurleer, Margaretha Wulfraet (1678–1760)
Portrait of Adelaide Binart, Marie-Geneviève Bouliar (1763–1825)
A light-skinned infant with pink cheeks and dark eyes is dressed in pink with white lace.
Portrait of Alexandre-Antoine Roslin, Marie-Suzanne Giroust (1734–1772)
Portrait of an Unidentified Man, Marie-Anne Collot (1748–1821)
A woman with light skin, dark shoulder-length curls, and a shiny silver gown stands in front of a dark landscape background with trees.
Portrait of an Unknown Lady, Joan Carlile (ca. 1606–1679)
A light-skinned man with shoulder-length curly brown hair and a long brown robe stands in front of sevveral outdoor sculptures. The sculptures take the form of a large pitcher-like shape on a square base, with cherubs wrestling decorating the side, and a white stone fountain that is also decorated with cherubs. In the far distance, a large house is visible.
Portrait of an Unknown Man, Aleida Greve (1670–1742)
Portrait of an Unknown Man, Margaretha Wulfraet (1678–1760)
A light-skinned woman with brown hair and a black dress stands in a landscaped garden. She is leaning with one arm on a planter that contains a miniature fruit tree bearing appples or oranges, with angels decorating teh bottom of the planter. Behind her, large sculptural shrubs are visible, as well as a fountain and a peacock.
Portrait of an Unknown Woman, Aleida Greve (1670–1742)
Portrait of Anne-Felicite Grielle, Marie-Gabrielle Capet (1761–1818)
A young person with light skin, gray hair curled over the ears, and dark eyes stands with one arm resting on a basket of flowers, the other holding a rake diagonally in front of their body. The person wears a bright red jacket and red pants, and the jack is open to expose the white shirt beneath. On their head is a straw-colored hat with a flower on the brim.
Portrait of Antoine-Vincent-Louis-Barbe Duplas, Marianne Loir (1715–1769)
Portrait of Assueer Jan Torck, Margaretha Wulfraet (1678–1760)
A young person with light skin and pale blonde hair is shown from the waist up. They wear a dark blue coat, brown gloves, a high white collar, and a black hat that may be of fur. Their arms are crossed at the wrist and in one hand the end of a cane is grasped and held up under the opposite armpit.
Portrait of Auguste Vestris, Adèle Romany (1769–1846)
An oval, half-length portrait of a cardinal in red robes with a red hat. He is seated and holds papers in his left hand. He appears to be middle aged and looks out directly at the viewer with a serious expression.
Portrait of Cardinal Domini Ginnasi, Caterina Ginnasi (1590–1660)
An oval portrait of a young girl, wearing a pink gown with embellished sleeves fixed with blue ribbon. A pink ribbon holds back her curls, tied in a bow. She is shown at half-length, next to a basket of flowers. She holds a small spray of flowers in her left hand, up towards her face, and looks out directly at the viewer with a soft, neutral expression.
Portrait of Charlotte-Francoise DeBure, Catherine Lusurier (1752–1781)
A grayish-white bust of the head and chest of a woman, set on a square base decorated with flowers. The woman wears a wrapped and draped cloth that covers her neck, head, and forehead, leaving only a small portion of her face from teh eyebrows to the chin visible. Part of her braided hair pokes out of the wrap at ear level.
Portrait of Clémence Isaure, Julie Charpentier (1770–1843)
A full-length portrait of a woman seated in a red velvet chair. She is elegantly dressed in an elaborate sixteenth-century gown with a lace collar and embroidered details. A small white and brown dog sits on her lap, and she places her right hand on him. The table next to her has a small glass vase with flowers and some gold jewelry.
Portrait of Costanza Alidosi, Lavinia Fontana (1552–1614)
Portrait of Countess of Coventry, Marie-Suzanne Giroust (1734–1772)
A printed bust-length portrait of a man in an oval, surrounded with a laurel. He is wearing seventeenth-century clothes and wears his curly hair loose to his shoulders. He looks out with a direct, neutral expression. Below him there is an inscription that identifies him.
Portrait of Dr. R. de Graaf, Anna Maria van Schurman (1607-1678)
A bust-length portrait of a middle-aged woman, looking down and to the left. She is wearing a gray dress with a green shawl draped around her shoulders and a sheer scarf in her hair. She is holding a quill in her right hand, and she rests that hand on a book.
Portrait of Elizabeth Carter, Catherine Read (1723–1778)
A dark bronze portrait bust of a man with short, receding hair, lines at the corners of his eyes, and a faint smile. He has a scarf tied around his neck and looks away to the viewer's right.
Portrait of Étienne-Maurice Falconet, Marie-Anne Collot (1748–1821)
A man with short, receding hair, laugh lines at the corners of his eyes, and a faint smile. He has a scarf tied high up around his neck.
Portrait of Étienne-Maurice Falconet, Marie-Anne Collot (1748–1821)
A round portrait of a young girl, maybe eleven or twelve years old, in a gold frame. The background of the portrait is green, and the girl is wearing sixteenth-century clothing, with a white collar and a pink bow in her hair. She looks directly out at the viewer.
Portrait of Europa Anguissola, Lucia Anguissola (ca. 1536 or 1538–ca. 1565–1566)
A half-length portrait of a woman looking up from her book to meet the viewer’s gaze directly. One hand holds the book while she rests her head in the other, her elbow propped on a table. She is wearing an orange and marigold gown, with a green shawl draper around her. Her hair is pulled back to show her rosy cheeks and her expression is a slight smile.
Portrait of Frances Brooke, Catherine Read (1723–1778)
A black and white image of a seated man with crossed legs, a dark coat, a tall white collar, and a receding hairline. He leans on one elbow against a table covered in papers and books as he gazes directly out toward the viewer.
Portrait of Franz Joseph Gall, Marie-Guillemine Benoist (1768–1826)
A woman with very light skin, very pink cheeks, and long dark hair that is gray at the roots is seated at a table, looking out at the viewer. She wears a royal blue dress with brown or black fur trim and white lace at the ends of the sleeves, a short choker-like necklace around her neck, and holds a flower in one hand. In her other hand, she holds what may be a pen or pencil.
Portrait of Gabrielle Emilie Le Tonnelier de Breteuil, Marquise du Chatelet, Marianne Loir (1715–1769)
A portrait of a woman facing the viewer but looking off to her right with a slight, skeptical smile. She leans on a rock with her right elbow and holds a wreath of flowers in both hands. She is elegantly dressed and wears a pearl necklace with matching pearl earrings.
Portrait of Geertruid Dorothea van Goltstein, Aleida Wolfsen (1668–1692)
A bust-length, oval portrait of a man in seventeenth-century clothing with an oversized white collar. He looks out directly with a serious expression. His hair is combed forward, and he has a beard and a thin mustache. There is an inscription around the oval and another at the bottom of the page.
Portrait of Gisbert Voet, the Artist's Teacher, Anna Maria van Schurman (1607-1678)
Portrait of Helena Fourment en Frans Rubens, Maria Hadfield Cosway (1760–1838)
Portrait of Henrik Vilhelm Peill, Marie-Suzanne Giroust (1734–1772)
Portrait of Houdon, Marie-Gabrielle Capet (1761–1818)
A bust-length portrait of a woman, elegantly dressed in an embellished lace ruff that fills the bottom half of the composition. Her hair is piled on his head and adorned with pearls and other jewels. She wears large pearl earrings and looks directly at the viewer with a neutral expression.
Portrait of Infanta Catalina Micaela, Duchess of Savoy, Giovanna Garzoni (ca. 1600–1670)
Portrait of Jacques Dumont, Marie-Suzanne Giroust (1734–1772)
An oval portrait of a young man, who looks directly out at the viewer with a slight smile. He wears a striped overcoat with a large collar and large buttons, and a soft black hat. He is holding a stack of papers and boards tied at the top with a blue ribbon and a pen, which he fixes to the paper as he either writes or draws.
Portrait of Jean Germain Drouais, Catherine Lusurier (1752–1781)
A portrait of a man seated at a desk, looking out directly at the viewer with a slight smile. He is finely dressed and sits in an nicely appointed eighteenth-century interior, with a globe on his desk as well as other gold ornaments. He holds a feathered quill and puts it to paper, as though he has just been caught in a moment of composition.
Portrait of Jean Le Rond d'Alembert, Catherine Lusurier (1752–1781)
Portrait of Jean-Dominique Larrey, Marie-Guillemine Benoist (1768–1826)
Portrait of Jeanne Marie de la Motte Guion, Élisabeth Sophie Chéron (1648–1711)
A smiling, light-skinned young man with thin, wavy brown hair that nearly reaches his shoulders. He is seated sideways on a chair with his arms crossed to rest on its back, and he looks away slightly to the right. He is wearing a brown coat, a red-and-black striped waistcoat, and a white shirt with a tall collar.
Portrait of Joachim Lebreton, Adélaïde Labille-Guiard (1749–1803)
A man with shoulder-length wavy hair, a pencil mustache, and a large hooked nose looks out at the viewer. He wears acoat or shirt with a wide, high collar that ends right below the chin.
Portrait of Johan de Witt, Johanna Koerten (1650–1715)
A portrait of a man, elaborately dressed in a seventeenth-century outfit. He is shown at three-quarters length, standing with his right elbow resting on a rock and he looks at the viewer directly with a neutral expression. He rests his left hand at his waist, jutting out his left elbow.
Portrait of Johs. Battista Bartolotti, Aleida Wolfsen (1668–1692)
An oval portrait drawn in red showing the profile of a young man with a prominent nose and short curly hair tied back with a string.
Portrait of Julius Caesar, Élisabeth Sophie Chéron (1648–1711)
A light-skinned woman with rosy cheeks and a large, elaborate updo of gray hair stands in front of an easel with an artwork on it. She is wearing a red dress with a white ruffled front and skirt, a white cap over the top of her hair, and holds a white cloth in one hand. The image on teh easel shows the faces of three men, overlapping and in profile. The entire painting is framed in an elaborate gold frame with a crest and laurels at the top.
Portrait of Madame Adélaïde, Adélaïde Labille-Guiard (1749–1803)
A woman with very light skin, gray hair with a few curls that has been pulled into an updo with roses, and a shiny blue dress is seated, the top of her dress pulled down to allow an infant in her arms to breastfeed. The woman is turned to face another young child with light skin and blonde hair, who stands alongside her looking into her face with one arm on the back of her chair.
Portrait of Madame Charles Mitoire with Her Children, Adélaïde Labille-Guiard (1749–1803)
A seated woman with light skin, pink cheeks, and gray curly hair looks out with a serious expression. She is wearing a blue dress, green gloves, a whie scarf and collar that reach her chin, and a white lace cap with ribbon bows on her hair, so that only her face and part of her hair is uncovered.In one hand, she holds a closed folding fan.
Portrait of Madame de Genlis, Adélaïde Labille-Guiard (1749–1803)
Portrait of Madame Deshoulières, Élisabeth Sophie Chéron (1648–1711)
Portrait of Madame Grassini, Marie-Guillemine Benoist (1768–1826)
A light-skinned woman with dark hair is wearing a white dress that is nearly the same color as her skin, and is seated on a chair in a room decorated with tapestries, rugs, and paintings. By her knee, a young child with light skin and curls leans against her knee and looks up at the woman. The woman looks out at the viewer and holds up the index finger of one hand, as if indicating that they should wait.
Portrait of Madame Marie-Alexandre Vincent and Her Son André, Marie-Gabrielle Capet (1761–1818)
Portrait of Madame Martin de Lesseps, Marie-Gabrielle Capet (1761–1818)
A young woman with light skin and dark curly hair stands next to a tree with one arm crossed over her stomach, the other crossed over her chest to rest near her opposite shoulder. She is wearing a draped white dress fastened at the shoulders, which has slipped off the shoulder nearest the viewer, and a white cloth wrapped around her hair.
Portrait of Madame Récamier, Eulalie Morin (1765–1837)
A young black woman with dark brown eyes is seated in a side profile, with her head turned to look out directly at the viewer with a serious expression. She wears a white cloth wrapped around her head and a loose white dress. The the arm facing the viewer has been taken out of its sleeve to rest on the woman's lap and the dress pulled down to reveal her bare breast.
Portrait of Madeleine, Marie-Guillemine Benoist (1768–1826)
Portrait of Mademoiselle Carnot, Marie-Guillemine Benoist (1768–1826)
Portrait of Maria Wetsteyn, Margaretha Wulfraet (1678–1760)
Portrait of Marianne Elisa Bonaparte, Marie-Guillemine Benoist (1768–1826)
A three-quarters portrait of a young woman sitting at a table, turned away from the viewer but looking back directly over her right shoulder. Her hair is tied with a blue ribbon and on the other side of the table is an elaborate gold and black harp. She holds papers–perhaps sheet music– in her right hand.
Portrait of Marie Thérèse Diane Andrault (née Maignard de la Vaupalière, 1768–1790), Comtesse de Langeron, Rose-Adélaïde Ducreux (1761–1802)
A man with light skin, pink cheeks and nose, blue eyes, and gray hair is shown seated from the waist up. He wears a bright blue coat that has elaborate silver trim around the edges and cuffs. He is leaning against the back of the chair with one arm, the index of that hand slightly extended and pointing downward.
Portrait of Marie-Joseph Peyre, Marie-Suzanne Giroust (1734–1772)
An all-white portrait bust of the head of a young woman who gazes downard. She wears a scarf over her hair, holding it back away from her face.
Portrait of Mary Cathcart, Marie-Anne Collot (1748–1821)
A full-length portrait of a boy standing at a column, with his elbow resting on it. A dog sleeps at his feet. He is wearing all black with white lace accents at his collar and sleeves and he looks out directly at the viewer. His left hand rests on the sword attached to his hip.
Portrait of Massimiliano Stampa, Sofonisba Anguissola (ca. 1532–November 16, 1625)
A portrait of a young woman, probably a teenager. She looks out directly at the viewer with bright eyes and a slight smile. She is dressed in sixteenth-century clothing with a white collar around her neck and her hair is crowned with a braid.
Portrait of Minerva Anguissola, Lucia Anguissola (ca. 1536 or 1538–ca. 1565–1566)
An image of five figures, with the Virgin Mary seated at the center. The infant Jesus stands between her knees and leans into her, and she looks down at him. The infant Saint John the Baptist stands to their left, looking over at them with a lit candle on a table in front of him.
Portrait of Minerva Anguissola, Sofonisba Anguissola (ca. 1532–November 16, 1625)
Portrait of Napoleone-Elisa Bacciochi, Countess Camerata, Marie-Guillemine Benoist (1768–1826)
An oval portrait of a man wearing seventeenth-century clothes, including an elaborate lace collar. He wears his curly hair loose to his shoulders, with bangs, and he has a mustache twirled up at either end. An inscription runs around the oval to identify the sitter and the date.
Portrait of Paul Fleming, Poet and Doctor, Anna Maria van Schurman (1607-1678)
Portrait of Pauline Bonaparte, Princess Borghese, Marie-Guillemine Benoist (1768–1826)
A dark bronze portrait bust of a man with short hair curled above his ears and a serious expression.
Portrait of Pierre-Étienne Falconet, Marie-Anne Collot (1748–1821)
Portrait bust of a man with a serious expression and short hair curled above his ears. He is looking away to the right of the viewer.
Portrait of Pierre-Étienne Falconet, Marie-Anne Collot (1748–1821)
A portrait of an older man, seated at a desk with several books. He holds a staff with a serpent in his left hand. He is dressed in black robes with brown fur trim, and he looks directly at the viewer with one eyebrow slightly raised.
Portrait of Pietro Manna, Physician from Cremona, Lucia Anguissola (ca. 1536 or 1538–ca. 1565–1566)
A half-length portrait of a women wearing a black dress with a lace shawl and lace at her sleeves and high collar. She is wearing a red beaded necklace and she holds it with her right hand. She looks out directly at the viewer with a confident, neutral expression.
Portrait of Pietro Manna, Physician from Cremona, Sofonisba Anguissola (ca. 1532–November 16, 1625)
A half-length portrait of a young woman, seated on a blue chair and turned to meet the viewer’s gaze directly. She wears a cream dress with white lace and blue ribbons at her elbows, holding a sprig of white flowers in one hand. She wears a hat adorned with blue ribbons and bows, with more lace. Her expression is sweet, with a slight smile.
Portrait of Polly Jones, Catherine Read (1723–1778)
A portrait of a young man against a dark background, cropped at the thighs. He is extravagantly dressed in a brocade cap lined with ermine fir and a black, embellished hat. His left hand is gloved and rests on the sword he has at his hip. He looks at the viewer directly, with confidence.
Portrait of Prince Alessandro Farnese, Sofonisba Anguissola (ca. 1532–November 16, 1625)
An oval portrait miniature of a man who looks out directly at the viewer. He wears black, with a white ruff at his collage. His hair is cut short above his pronounced ear, and he has a mustache and a beard that covers just his chin. The portrait is set in a simple black frame.
Portrait of Prof. Carolus Dematius, 1597-1651, Anna Maria van Schurman (1607-1678)
Portrait of Sculptor Jean-Baptiste Pigalle, Marie-Suzanne Giroust (1734–1772)
Portrait of Simon Charles Miger, Marie-Gabrielle Capet (1761–1818)
A half-length portrait of a young girl in a white and pink dress, sitting on a green chair. She has one elbow slung over the back of the chair, as she turns slightly. She wears a crown of flowers in her hair. She looks directly at the viewer with a closed mouth smile.
Portrait of Sophie Fanny Lordon, Constance Mayer (1775–1821)
A full-length portrait of an artist in a classical costume, holding an oval canvas and making a pastel portrait of a young woman. The artist looks out at the viewer with a smile, her curls spilling out from two blue ribbons. The setting features eighteenth-century furniture and an elaborate marble floor.
Portrait of the Artist, Rose-Adélaïde Ducreux (1761–1802)
Portrait of the artist's daughter Alexandrine-Élisabeth Roslin, Marie-Suzanne Giroust (1734–1772)
Portrait of the Empress Marie-Louise, Marie-Guillemine Benoist (1768–1826)
An oval, portrait miniature of a Black man, set against a bright blue background. He wears a red jacket embellished with gold braids and a lace color. He has a faint mustache and wears his curly hair grown out around his head. He looks out just past the viewer with a neutral expression.
Portrait of Zaga Christ, Giovanna Garzoni (ca. 1600–1670)
Portrait Study of Peter the Great, Marie-Anne Collot (1748–1821)
Portulacaria afra Jacq. Cap., Madeleine-Françoise Basseporte (1701–1780)
Pothos faetida Mich […], Madeleine-Françoise Basseporte (1701–1780)
Presumed portrait of Etienne Noël Damilaville, Marie-Anne Collot (1748–1821)
Presumed Portrait of Madame Elisabeth, Marie-Gabrielle Capet (1761–1818)
Presumed Portrait of Mademoiselle Mars, Marie-Gabrielle Capet (1761–1818)
Princess Caroline of Wales, Anne Seymour Damer (1748–1828)
An oval portrait miniature of a young woman looking directly at the viewer with a slight smile. Her curly bangs are parted in the middle, and she has bright blue eyes. She is wearing a cream-colored dress with a long beaded necklace. The portrait is set in a simple gold frame.
Princess Sophia (1777-1848), Anne Mee (1785–1851)
A bust-length portrait of a man in profile, modeled in relief with wax. The man looks to the left and wears a coat and an elaborate eighteenth-century wig. He appears to be middle aged.
Profile Bust of Benjamin Franklin, Patience Lovell Wright (1725-1786)
Prunus caroliniana Wild, Madeleine-Françoise Basseporte (1701–1780)

q

Quamoclit pennatum erectum floribus in Thrsum digestis, Madeleine-Françoise Basseporte (1701–1780)
Queen Charlotte when Princess of Mecklenburg-Strelitz, Maria Elisabeth Ziesenis (1744–1796)
An oval-shaped portrait of a woman with very light skin and very light blonde hair, who has her head turned away to the left. She wears a double necklace of pearls, a pale pink dress with puffy white sleeves, and a hat that is the same pale pink with large white feathers.
Queen Marie-Antoinette, Anne Vallayer-Coster (1744–1818)

r

A portrait of the artist sitting at an easel, with flowers, books, and papers in front of her. She holds a palette and brushes in one hand and a flower in the other. She looks out directly at the viewer with a confident, neutral expression. She wears a blue dress trimmed with brown fabric and white lace. The brown color is echoed in a large, satin curtain swag on the right side of the composition. The image is set in a painted, architectural frame, as though we are observing her through an open window.
Rachel Ruysch (1664–1750), Rachel Ruysch (1664–1750)
Rajania hastata […], Madeleine-Françoise Basseporte (1701–1780)
Randia foliis subrotundis Lucidis, Madeleine-Françoise Basseporte (1701–1780)
Randia mitis, L. […], Madeleine-Françoise Basseporte (1701–1780)
Ranunculus hirsutus, fructu oblongo, Madeleine-Françoise Basseporte (1701–1780)
Rauvolfia tetraphylla latifolia […], Madeleine-Françoise Basseporte (1701–1780)
Rauwolfia nitida […], Madeleine-Françoise Basseporte (1701–1780)
Rheum palmatum, Madeleine-Françoise Basseporte (1701–1780)
Rhexia mariana L., Madeleine-Françoise Basseporte (1701–1780)
Rhododendron maximum L., Madeleine-Françoise Basseporte (1701–1780)
A glass goblet with glass spikes protruding from the short stem. The bowl of the glass is etched with a dragonfly and flower.
Roemer, Anna Roemer Visscher (1583–1651)
A glass goblet with raspberry-like glass shapes affixed all around the short stem of the glass. The bowl has an ornate, swirling script etched all around it.
Roemer, Anna Roemer Visscher (1583–1651)
A glass goblet with spike-like glass projectections from the short stem. The bowl of the glass is etched with words in an ornate, swirling script.
Roemer with a poem to Constantijn Huygens, Anna Roemer Visscher (1583–1651)
Roioc humifusum fructu cupressino […], Madeleine-Françoise Basseporte (1701–1780)
A floral still life with white and pink roses filling the entire composition. A smaller assortment of flowers in a vase is included on the left side of the canvas.
Rosal en flor, Margherita Caffi (1650–1710)
A small bunch of roses tied with a blue ribbon are laid down on a table. A white butterfly has landed on the petals of the rose.
Roses and Butterfly, Maria van Oosterwyck (1630–1693)
Royena lucida L. Cap., Madeleine-Françoise Basseporte (1701–1780)
Rubia tinctorum sativa, Madeleine-Françoise Basseporte (1701–1780)
Rudbeckia purpurea […], Madeleine-Françoise Basseporte (1701–1780)
Ruellia pedunculis multifloris dichotomis folio, Madeleine-Françoise Basseporte (1701–1780)

s

A black and white image of a man wearing a long robe, the top of his head shaved, holding an infant child in a woodland scene. Both he and the child are crowned with halos and several cherubs surround them. Evenly spaced in the floral border around the image are image of eight angels or saints whose faces are turned toward the man and child at the center.
Saint Anthony of Padua, Johanna Koerten (1650–1715)
Saint Catherine in Prayer, Plautilla Nelli (1524-1588)
Saint Catherine of Siena, Plautilla Nelli (1524-1588)
Saint Catherine of Siena/de’Ricci, Plautilla Nelli (1524-1588)
Saint Catherine of Siena/de’Ricci, Plautilla Nelli (1524-1588)
Saint Catherine of Siena/de’Ricci, Plautilla Nelli (1524-1588)
Saint Catherine of Siena/de’Ricci, Plautilla Nelli (1524-1588)
Saint Catherine of Siena/de’Ricci, Plautilla Nelli (1524-1588)
Saint Catherine of Siena/de’Ricci, Plautilla Nelli (1524-1588)
Saint Cecilia surrounded by Mary Magdalene, Saint John, Saint Paul, and Saint Augustine, Élisabeth Sophie Chéron (1648–1711)
A polychrome wood sculpture of an older man standing, wearing a long gold embellished robe with a hood. He has white hair and a long white beard and he holds out his hands as though he is speaking. His lips are parted and his eyebrows are raised. Despite his elaborate robe, he is barefoot.
Saint Ginés de la Jara, Luisa Roldán (1652-1706)
An oval painting in an elaborate marble frame, part of an architectural decoration. In the painting, a man in a long black robe hands bread to one of the many people gathered around him. Behind the group is a cloudy sky.
Saint John of God Gives Bread to the Poor, Violante Ferroni (1720–ca. 1780?)
An oval painting in an elaborate marble frame, part of an architectural decoration. A man in a long black robe places his hand on the forehead of a sick child, who is being held by their mother. The mother and the other figures gathered around them look at the man with desperation.
Saint John of God Heals Plague Victims, Violante Ferroni (1720–ca. 1780?)
A man wearing red robes is seated outdoors, writing in a book. He looks up at the angel who floats above him, pointing at the page. Behind the two figures, a large bird of prey holds an ink pot on a red cord in its mouth.
Saint John the Evangelist on Patmos, Josefa de Óbidos (1629/30 – 1684)
A man and a woman are in conversation. The woman holds a silver platter with the decapitated head of a bearded man on it. The man next to her grabs the head by the hair, lifting it for her to see. He holds a sword pointed down in the other hand. There is no sense of setting.
Salome with the Head of Saint John the Baptist, Artemisia Gentileschi (1593-ca. 1656)
A round, slightly tarnished silver plate or flat dish with a silver beading decoration around teh edge. A coat of arms is etched in the center of the dish. In the tarnish, six circles are visible where something rested on the dish.
Salver, Hester Bateman (1708–1794)
Salvia foliis cordatis serratis flore parvo violaceo et albo, Madeleine-Françoise Basseporte (1701–1780)
Salvia frutescens, floribus coccineis, Madeleine-Françoise Basseporte (1701–1780)
Salvia labio corollae superiori breviore fauce patente, Madeleine-Françoise Basseporte (1701–1780)
Salvia nilotica, Madeleine-Françoise Basseporte (1701–1780)
An image of a saint, who appears as an old man in elaborate ecclesiastical robes, holding a staff. He looks up to the clouds above him, where two God the Father and the Son appear, each with a hand on a globe. There is a hat on the table behind the saint, and red curtains on either side of the composition.
San Martino, Anna Maria Sirani (1645–1715)
An image of a saint on her knees, looking up at a figure who holds an open book in front of her. Above the figures, in the clouds, the Virgin Mary appears holding the Infant Jesus. Behind the saint, there are two figures: an angel and another figure. The painting is set in an architectural frame as part of a church decoration.
Santa Francesa Romana, Sant’Apollonia e Beata Caterina de’Vigri con la Madonna di San Lucca, Barbara Sirani (1641-1692)
A rectangular portrait miniature of a nun, shown at half length. She holds open a book with a feathered quill poised above the page. She looks up and to her right, where a dove is flying overhead. The portrait miniature is set in simple frame with a cabled edge.
Santa Teresa de Avilaverso, Josefa de Óbidos (1629/30 – 1684)
A woman in a draping dress is seated beneath a tree playing a lyre. At her feet, two winged cherubs hold instruments and gaze up at her adoringly.
Sappho, Maria Hadfield Cosway (1760–1838)
A light-skinned woman with pale brown or dark blonde hair is shown in a side profile view. She wears a grayish bow with small flowers in her hair, a light-colored dress with a shawl tied over her shoulders, and a choker-style necklace worn high on her neck.
Sarah Lloyd Hillhouse, Ellen Wallace Sharples (1769–1849)
Satureia Americana frutescens foliis linearibus dentatis, Madeleine-Françoise Basseporte (1701–1780)
Saxifraga crassifolia L., Madeleine-Françoise Basseporte (1701–1780)
Saxifraga pensylvanica L., Madeleine-Françoise Basseporte (1701–1780)
A bright red bird with red legs and feet, a long, curved black beak, and black tips on its wings is shown from a side profile view. Behind it, a large white egg is also shown.
Scarlet Ibis with an Egg, Maria Sibylla Merian (1647–1717)
A sepia-toned image depicting two boats, one larger with multiple masts and one smaller with a single mast and two oars, in the foreground. In teh distance, several more boats with tall masts and sails are visible without much detail.
Seascape, Maria Katharina Prestel (1747–1794)
Sebestena domestica, Madeleine-Françoise Basseporte (1701–1780)
Sedum aïzoon L., Madeleine-Françoise Basseporte (1701–1780)
A light-skinned woman with curly reddish-blonde hair, red lips, and a large pearl earring stands in front of a blue drape and looks directly at the viewer. She wears a black dress with a high white lace neck and puffy sleeves, and in one hand she holds a folding fan. Below the image are nine lines of handwritten text, which are not in English.
Self-Portrait, Gesina ter Borch (1631–1690)
A woman with light skin, rosy cheeks, and curly gray hair is shown from teh chest up. She is wearing a bright pink or red dress which has slipped to expose one shoulder, along with a black hat trimmed with feathers the same color as her dress.
Self-Portrait, Anna Dorthea Therbusch (1721–1782)
A woman with light skin, gray hair, and a lined face is seated, leaning forward with a book in her hand. She is turned to look at the viewer, and has a monocle affixed to her head in front of one eye. She is wearing a pale blue skirt with an off-white or gray shirt or shawl and a veil over her hair.
Self-Portrait, Anna Dorthea Therbusch (1721–1782)
A woman with very light skin, rosy cheeks, and light brown curly hair sits at an easel holding a palette and brushes. She wears a black dress with white skirts and a white collar or shawl over her shoulders, and she gazes out at the viewer with a serious expression.
Self-Portrait, Michaelina Wautier (1604–1689)
A portrait of a young man seated with a book in her lap. She is holding her right hand at her chest. She is dressed in sixteenth-century clothing, with a white collar around her face and her hair is pulled back, crowned with a braid.
Self-Portrait, Lucia Anguissola (ca. 1536 or 1538–ca. 1565–1566)
A self-portrait of the artist at the easel, painting an image of the Virgin Mary and infant Jesus. She is holding a brush in one hand and a Mahl stick in the other. She looks up from her work and directly at the viewer with a bright, neutral expression.
Self-Portrait, Sofonisba Anguissola (ca. 1532–November 16, 1625)
An oval self-portrait miniature of the artist at half-length, standing in front of a green background. She looks directly at the viewer with a slight smile. She is holding a round plaque that identifies her.
Self-Portrait, Sofonisba Anguissola (ca. 1532–November 16, 1625)
A half-length portrait of the artist, holding a palette, brushes, Mahl stick, and a portrait of a man. She looks directly at the viewer with flowers in her hair and at her bust. She is elegantly dressed in a blue velvet gown with diaphanous white fabric at the collar and sleeve.
Self-Portrait, Violante Beatrice Siries Cerroti (1709-1783)
A bust-length portrait of the artist as a middle-aged woman, seated in front of a gray background. She is elegantly dressed in eighteenth-century clothing, including a coat trimmed with fur, large earrings, and bows in her hair. She looks out, away from the viewer, with a slight smile.
Self-Portrait, Rosalba Carriera (1673–1757)
A portrait of the artist wearing an ambiguous costume with Eastern influences, standing in front of an easel holding paintbrushes and a palette. A young artist sits behind her, looking at the easel and drawing with a brush on a piece of paper.
Self-Portrait, Irene Duclos (1754-1795)
A bust-length portrait of the artists dressed in black, with classicized embellishments. She holds a brush and Mahl stick in her right hand. Her hair is piled high on her head and adorned with strings of pearls. She looks out at the viewer with a slight smile, her head tilted to the left.
Self-Portrait, Irene Duclos (1754-1795)
Self-portrait, Mary Benwell (1739–after 1800)
A woman with light skin and dark blonde or light brown hair is shown from the chest up. She wears a white shawl tied around her shoulders, and looks slightly away from the viewer.
Self-Portrait, Marie-Geneviève Bouliar (1763–1825)
Self-Portrait, Marie-Geneviève Bouliar (1763–1825)
Self-Portrait, Marie-Gabrielle Capet (1761–1818)
Self-Portrait, Marie-Gabrielle Capet (1761–1818)
Self-Portrait, Élisabeth Sophie Chéron (1648–1711)
Self-Portrait, Élisabeth Sophie Chéron (1648–1711)
Self-Portrait, Maria Hadfield Cosway (1760–1838)
Self-Portrait, Anne Seymour Damer (1748–1828)
Self-Portrait, Marie-Suzanne Giroust (1734–1772)
A woman with light skin and dark hair is seated before an easel, turned to look out at the viewer while leaning back on her chair with one elbow and the hand with her paint palette resting in her lap. She has a dark dress with a large, disc-shaped collar with lace trim around the edge, and she is holding a paintbrush loosely in her hand. On the easel before her, an incomplete painting of a young man dressed in blue with a violin is visible.
Self-Portrait, Judith Leyster (1609–1660)
A self-portrait of the artist, seated at an easel and holding a palette in one hand and a brush in the other. She is looking directly at the viewer, with her brush touching the canvas as though she is painting the viewer. She is wearing an elaborate costume made of lush blue, gold, and red fabric and she wears a laurel crown in her hair. On the table behind her there is an ink well with a quill, several books, and a sculptural model of a figure.
Self-Portrait, Elisabetta Sirani (1638–1665)
An oval portrait of the artist against a blue background, with her right hand lifting as though she is pointing. Her elbow and sleeve extend beyond the frame of the portrait. She wears a white dress with a sheer cream scarf covering part of her hair and draped around her shoulder. She looks directly at the viewer with a faint smile, her lips slightly parted.
Self-Portrait, Catherine Read (1723–1778)
An oval portrait miniature of the artist wearing a white dress with a white scarf tied in her hair. Curls frame her face and fall around her shoulders. She looks out directly at the viewer with a confident, neutral expression. She has intense blue eyes and coral cheeks and lips.
Self-Portrait, Anne Mee (1785–1851)
A printed, oval bust-length self-portrait of the artist wearing seventeenth-century clothes, including an oversized, lace-trimmed collar. Her hair is pulled back and tied into a bun, embellished with beads. She looks out directly at the viewer with a neutral expression. She is identified by an inscription around the oval and another at the bottom of the sheet.
Self-Portrait, Anna Maria van Schurman (1607-1678)
A bust-length, printed self-portrait of the artist wearing an elaborate dress with a lace collar. She wears her curly hair cut short in a bob with bangs. She looks at the viewer directly with a sidewards glance and a slight smile. Below her there is a scroll with an inscription.
Self-Portrait, Anna Maria van Schurman (1607-1678)
A half-length wax sculpture portrait of the artist wearing an elaborate gown and jewels. She is looking straight ahead and at the table in front of her, there is human skull with the top part removed to show the folds of the brain inside. She has a slight smile and looks out at the viewer with the confidence of a skilled anatomist.
Self-Portrait, Anna Morandi Manzolini (1714–1774)
Self-Portrait as a Lute Player, Artemisia Gentileschi (1593-ca. 1656)
A bust-length portrait of a man wearing a laurel crown and holding a stringed instrument, of which just the head and pegs are visible. The boy wears a blue robe draped across his shoulders and he looks out at the viewer directly, with a neutral expression. His curly brown hair wraps around the back of his head and down on one shoulder.
Self-Portrait as Apollo, Giovanna Garzoni (ca. 1600–1670)
The artist presents herself as Saint Catherine of Alexandria, wearing a red gown with gold embellishments and an ornate gold crown. She appears in half-length, slightly turned and looking away from the viewer. In one hand she holds the martyr’s palm frond and in the other, a broken spiked wheel that symbolizes her martyrdom.
Self-Portrait as Saint Catherine of Alexandria, Artemisia Gentileschi (1593-ca. 1656)
A half-length image of a woman, holding a palette in one hand and a brush in another. She turns half away from the viewer, reaching to touch her brush to unseen canvas. She wears a dress with green sleeves and a pendant on a long gold chain around her neck. Her dark hair is pulled back away from her face, and she appears to be unaware of the viewer. The background is neutral, with no clear sense of setting.
Self-Portrait as the Allegory of Painting, Artemisia Gentileschi (1593-ca. 1656)
A young girl with light skin and a very close-fitting black cap over her hair is shown holding paintbrushes and palette as she stands at an easel with a painting of a man in a hat. The girl wears a white dress with geometric pattern in blue and white on the front chest, a red overskirt, and a large black and gold collar. She looks directly out at the viewer.
Self-Portrait at Age Twelve, Anna Waser (1678–1714)
The artist sits at a clavichord, shown at half-length and turned so her right side is visible. She looks out directly at the viewer. Behind her, another woman brings her sheet music. In the background, the room is furnished with a bench, a window, and an empty easel. An inscription at the top left corner of the painting identifies the artist.
Self-Portrait at the Clavichord with a Servant, Lavinia Fontana (1552–1614)
A young woman with very light skin, large dark eyes, reddish-brown hair, and a serious expression sits at an easel with paintbrushes and palette in her hands. She wears a white cap over her hair and a black dress with red sleeves. She looks directly out at the viewer.
Self-Portrait at the Easel, Caterina van Hemessen (1528–after 1565)
In this round self-portrait, the artist is shown seated, at half-length, looking directly at the viewer. She wears a sixteenth-century gown with a large lace collar and an embellished cross necklace. She is holding a pen in her right hand, poised over a blank sheet of paper. There are sculptural models on shelves behind her and she is identified by a gold inscription.
Self-Portrait in the Studio, Lavinia Fontana (1552–1614)
Self-Portrait of Marie Guilhelmine, Marie-Guillemine Benoist (1768–1826)
A full-length portrait of a young woman standing at a harp, with the fingers of her left hand resting on the strings and her right hand resting on the frame. She is wearing an elaborate eighteenth-century gown and a gray wig. Behind the harp there is sheet music and a Greek vase arranged on a table draped in red cloth.
Self-Portrait with a Harp, Rose-Adélaïde Ducreux (1761–1802)
A light-skinned woman with gray hair is seated at an easel and painting table, looking back over her shoulder at the viewer. On teh easel, there is a light sketch of a man in a turban or hat; on a second easel, a finished painating shows a completed picture with the same man, who has a broad nose, bald head, and hat perched on his head at an odd angle. The woman appears to be sharpening a pencil with a knife as she looks back.
Self-Portrait with Her Teacher, Maurice Quentin de La Tour, Marie-Suzanne Giroust (1734–1772)
A young woman stands in a white gown alongside an older man who is seated and points at a marble bust on a pedestal. She is reaching into a portfolio to pull out a sheet or sheets of paper. There is a blank canvas on the easel behind them as well as other marble or plaster models.
Self-Portrait with the Artist’s Father, Constance Mayer (1775–1821)
A young woman with light skin and pale blonde hair looks out at the viewer. She has a white cloth wrapped around the top part of her updo, and she wears a red dress with a white shawl.
Self-Portrait with Turban, Maria Hadfield Cosway (1760–1838)
A light-skinned woman in a blue dress with a large feathered hat is seated at an easel, holding a paint palette and looking directly at the viewer. Behind her, two younger women, both with light skin and dressed in muted colors, look over the back of her chair at what the seated woman is painting.
Self-Portrait with Two Pupils, Marie Gabrielle Capet and Marie Marguerite Carreaux de Rosemond, Adélaïde Labille-Guiard (1749–1803)
Sempervivum canariense L., Madeleine-Françoise Basseporte (1701–1780)
Serratula foliis lanceolato oblongis serratis […], Madeleine-Françoise Basseporte (1701–1780)
Serratula squarrosa L. […], Madeleine-Françoise Basseporte (1701–1780)
Sesuvium portulacastrum L. […], Madeleine-Françoise Basseporte (1701–1780)
An off-white sculpture of a dog seated on its hind legs, looking back over its shoulder. It has a short snout and long, slightly curled hair all over its body, with longer hair around the head and ears.
Shock Dog, Anne Seymour Damer (1748–1828)
Sibthorpia parisiana Hort. Paris […], Madeleine-Françoise Basseporte (1701–1780)
Sideritis orientalis scordioides, Madeleine-Françoise Basseporte (1701–1780)
Sideroxylon atrovirens Lamk […], Madeleine-Françoise Basseporte (1701–1780)
Sideroxylon lycioides L. Amer sept, Madeleine-Françoise Basseporte (1701–1780)
Sideroxylon melanophleum L. […], Madeleine-Françoise Basseporte (1701–1780)
Sideroxylon spinosum L. Afrique sept, Madeleine-Françoise Basseporte (1701–1780)
Silphium laciniatum […], Madeleine-Françoise Basseporte (1701–1780)
A young-looking man with shoulder-length blonde hair and dark eyes wears a puffy red shirt with gold decoration. He is shown from the chest up in a round portrait.
Sir Basil Dixwell, Mary Beale (1633–1699)
A bust of a man with short hair brushed away from his face, and a serious, intent expression. He has a jacket with a high collar and a flower on the left chest.
Sir Joseph Banks, Anne Seymour Damer (1748–1828)
Sir Joseph Banks, Wearing Star of Order of the Bath, Anne Seymour Damer (1748–1828)
Sketch of Group of Figures, Maria Hadfield Cosway (1760–1838)
A young boy with light skin, pale blonde curls, and blue eyes is shown looking out and slightly away from the viewer. He is shown from the shoulders up.
Sketch of the Artist’s Son, Bartholomew Beale, facing left, Mary Beale (1633–1699)
A small bird with a white head and rear and an orange and black midsection and wings is on a tree branch with leaves. The mdisection of its body is mostly orange underneath, with areas of black speckles or bands on the back and wings. The bird looks like it has just landed or is just taking off from the branch because its wings are half-open.
Snowbunting, Barbara Regina Dietzsch (1706–1783)
Solanum marginatum […], Madeleine-Françoise Basseporte (1701–1780)
Solanum tomentosum […], Madeleine-Françoise Basseporte (1701–1780)
Songbirds under a Tree, Barbara Regina Dietzsch (1706–1783)
Sphaerantos folio oblongo minor […], Madeleine-Françoise Basseporte (1701–1780)
Spilanthus oleracea fusca […], Madeleine-Françoise Basseporte (1701–1780)
A vase of flowers, including daffodils and irises, is shown. The flowers are different shapes and sizes, and their colors are reds, yellows, and whites.
Spring, Mary Moser (1744–1819)
A black and white image shows two figures, one man and one woman, outdoors together. The man looks upward toward a tree with a bird and a small cage in it, while the woman kneels and grips a plant by the stalk. Near their feet are a small dog and a grazing sheep.
Spring, Magdalena van de Passe (1600–1638)
A printed image of a Saint George in a full suit of armor, standing over the dragon that he has just slayed. He holds a large staff in one hand and a sword in the other. He looks off to the right triumphantly. The artist has inscribed her name at the bottom of the print.
St. George and the Dragon, Diana Scultori (1547–1612)
St. Luke sits at a table, carving a wood statute of the Virgin Mary and the infant Jesus. Another religious painting rests on the easel next to the table, with an ox between the table and easel. St. Luke is surrounded by religious texts on a shelf behind him, and three putti appear in clouds above him, at the top of the canvas. There are flowers on the ground around the table.
St. Luke Carving the Virgin, Orsola Maddalena Caccia, born Theodora Caccia (1596–1676)
A light-skinned woman with curly gray hair, a white dress with a draped front and very high collar, and a straw hat with ribbons is shown from the waist up, looking directly out at the viewer from a round portrait.
Stéphanie Félicité Ducrest de St-Aubin, countess de Genlis, Marie-Gabrielle Capet (1761–1818)
Three dead birds are shown. One small bird with a red mark on its head and black wingtips is laid on its side on top of a brown wooden table. The other two birds are suspended by their legs from a pole above the table with tied string. One of the birds is small and mostly brown, with a white belly. The other bird is much larger than the other two, with a red face, grayish-brown neck and body, and golden-brown wings. It has a large spot of blood on its stomach.
Still Life, Aleida Greve (1670–1742)
Eleven birds against a brown background, engaged in various activities: eating, flying, perching, and seemingly dead. The birds are different sizes and types. There are also two slugs, a bee, and some flowers pictured.
Still Life of Birds, Orsola Maddalena Caccia, born Theodora Caccia (1596–1676)
A floral still life in a gold frame. The colors are fairly muted, and the arrangement is wild, overflowing with flowers and leaves resting on the table. In the background, a small classical sculpture of a woman is visible on the right edge of the canvas.
Still Life of Exotic Flowers on a Marble Ledge, Rachel Ruysch (1664–1750)
A still-life painting of a bowl of fruit on a table, with a large bunch of asparagus tied with a brown cord on the right hand side. The bowl of fruit is lush, filled with peaches, plums, grapes, cherries, and nectarines, as well as some green foliage. It rests on a simple wood table, set against a black background.
Still Life with a Basket of Fruit and a Bunch of Asparagus, Louise Moilon (1610-December 21, 1696)
A still-life painting of a bowl of oranges on a table. The bowl is blue and white porcelain, with an intricate design, but the table is quite simple and the background is black. The oranges are arranged with stems and leaves and a single lemon in the center. One half of a cut orange rests on the table. The oranges are misshapen by our modern standards, and do not appear perfectly round.
Still Life with a Bowl of Curacao Oranges, Louise Moilon (1610-December 21, 1696)
A table is laid out with a variety of deceased birds, including a duck with a green head and a quail, both in a basket, and a chicken alongside it. A hawk is alive and perched on the edge of the basket. Next to the birds is a stack fo white bowls and some seashells in different shapes and colors.
Still Life with a Sparrow Hawk, Fowl, Porcelain and Shells, Clara Peeters (ca. 1587–after 1636)
A still life painting of lemons in a white ceramic bowls. Two of the lemons are still green and there are blossoms still attached to the stem and branches. A bee is sitting on one lemon at the center of the composition. The bowl is positioned on a brown table with a dark, neutral background.
Still Life with Bowl of Citrons, Giovanna Garzoni (ca. 1600–1670)
An arrangement of produce is shown on a table. On the left is a glass dish with a reddish or orange colored food inside; next to it is a piece of round bread and a pile of pale orange fruit that may be peaches; and piled up on the far right is a bunch of long, skinny radishes.
Still Life with Brioche, Fruit, and Vegetables, Anne Vallayer-Coster (1744–1818)
A table has a large half wheel of cheese on a platter, with another smaller chunk of cheese next to it and stacked above, with a smaller plate stacked on top of the cheese pile. In front of the platter, several pretzels lay on the table and almonds are in a blue porcelain dish. Behind all of this, bread, a liquor decanter, and a wine jug are nearby.
Still Life with Cheeses, Almonds, and Pretzels, Clara Peeters (ca. 1587–after 1636)
A table is stacked with food on two silver platters. On the smaller platter, a halved artichoke is sitting up next to a few bright red cherries. On the larger platter, half a wheel of cheese sits with a a smaller wedge next to it, a third wedge on top, and a small plate on top of the cheese pile. A metal jar or canister is nearby. In front of the platters, a round loaf and three cherries sit directly on the table.
Still Life with Cheeses, Artichoke, and Cherries, Clara Peeters (ca. 1587–after 1636)
A still life painting of three bowls on a table: one is woven shallow bowl filled with gooseberries resting on a bed of leaves; another is blue and white porcelain bowl filled with strawberries; and the third is a blue and white porcelain platter filled with cherries. On the table, there are a couple loose berries and a few drops of water. The table is quite simple and the background is black.
Still Life with Cherries, Strawberries, and Gooseberries, Louise Moilon (1610-December 21, 1696)
A table with a silver tablecloth is spread with food. The largest platters contain one crab, at the left, many shrimps, in the center, and one large lobster, on the right. In front of the seafood platters, three different kinds of baked breads or loaves are arranged, along with a bowl of eggs. Behind the seafood, a large stack of half-wheels of cheese is displayed, along with a glass wine vessel and a metal wine jug.
Still Life with Crab, Shrimps, and Lobster, Clara Peeters (ca. 1587–after 1636)
A table is spread with two platters of whole fish, some big and some small, with a few shrimps on the table in front of the platters and five or six small crabs off to one side. Behind teh seafood, a whole artichoke is in a metal colander next to an unlit candle and a jug.
Still Life with Fish, a Candle, Artichokes, Crab and Prawns, Clara Peeters (ca. 1587–after 1636)
A plate with one large shrimp and one small shrimp sits on a table. In front of this plate, several seashells, five shrimps, and two oysters on a silver platter also sit on the table.
Still Life with Fish, Oysters, and Shrimps, Clara Peeters (ca. 1587–after 1636)
A floral still life set against a dark background. The arrangement is sitting on a brown ledge. The flowers are colorful: pink, red, blue, white, and orange, as well as lush green leaves.
Still Life with Flowers, Rachel Ruysch (1664–1750)
A floral still life, with the arrangement placed on a marble table or ledge. The colors are bright and varied, with the flowers spilling out of the vase and extending beyond the edges of the table. The background is a dark, neutral color that fades to lighter gray on the right edge of the canvas.
Still Life with Flowers on a Mable Tabletop, Rachel Ruysch (1664–1750)
A table is set with food and flowers. On the left, a vase contains roses, daffodils, tulips, and other colorful flowers. Next to it, in the center of the image, a large white bowl contains dried fruit and nuts, with a gold-colored goblet in front of the bowl near the edge of the table. To the right of the bowl and goblet, a silver platter has several breadsticks and pretzels on it. Behind these, a glass containing red wine and a dark gray pitcher with a long spout are also shown.
Still Life with Flowers, a Silver-Gilt Goblet, Almonds, Dried Fruit, Sweetmeats, Bread Sticks, Wine, and a Pewter Pitcher, Clara Peeters (ca. 1587–after 1636)
Fruits and vegetables are arranged on a simple table against a black background. On a slab of rock, there is a basket of plums, peaches, and other small fruits. To its left, there is a smaller white and blue porcelain bowl of strawberries. Just behind that bowl, there are bunches of asparagus tied with brown cord and artichokes. It is a lush scene, with green foliage adorning the various arrangements.
Still Life with Fruit, Louise Moilon (1610-December 21, 1696)
A table with a silvery-blue tablecloth is set with a roast bird, green olives, a pie with a geometric pattern on the top, a bread roll, and an orange. Behind the food, a silver cylinder with salt on top is next to a gold-colored drinking vessel with a very wide, very shallow bowl. On the other side, a wine glass with liquid and a cream-colored pitcher.
Still life with Tazza, Jug, Saltcellar, Clara Peeters (ca. 1587–after 1636)
An arrangement of white, pink, red, orange, and yellow flowers in an elaborate vase on the right side of the horizontal canvas. Another cluster of flowers appears on the left, both set against a dark background.
Still-Life with a Vase of Flowers, Margherita Caffi (1650–1710)
A plant with a curving, medium-green stem, pointed light green leaves, and fuzzy-looking, trumpet shaped flowers at the end of the stem.
Study of a Hanekam (Celosia argentea), Alida Withoos (ca. 1661/62–1730)
A sepia-toned drawing of a seated woman, shown from the waist up in a side profile view. Her dress or shirt has slipped down, revealing her bare upper arm and back, and her dark wavy hair is partially wrapped in a light-colored turban. She has a dangling earring in her ear, and she her head is turned so that she can look out the corner of her eye to the right.
Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet), Adélaïde Labille-Guiard (1749–1803)
Two different plants are shown side by side. On the right is a green stem with yellow, slightly wavy flowers and three thin green leaves. On the left is a brown stem with rounder green leaves and two white flowers. A red beetle has landed on one of the leaves near the flowers.
Study of Capers, Gorse, and a Beetle, Maria Sibylla Merian (1647–1717)
A pencil sketch of the figures of two women wearing dresses, one with her head turned to look over her right shoulder, and the other looking forward while leaning to the right. Both figures are sketchy and have overlapping lines where parts of the figure were redrawn.
Study of Two Women, Maria Hadfield Cosway (1760–1838)
A vase of flowers that includes mostly white and pink flowers with a few red and blue ones mixed in.
Summer, Mary Moser (1744–1819)
A nude woman sits on a bench, with just a white cloth draped around one thigh. Behind the bench, two men lean over the edge to spy on and harass her. One man whispers into the others ear as though they are conspiring. The young woman recoils, her body twisted in distress with both of her hands up as though she is trying to get away from them.
Susanna and the Elders, Artemisia Gentileschi (1593-ca. 1656)
An elaborate floral still life with multiple arrangements of flowers in every color filling the entire composition. The background is dark and there are clusters of delicate, white flowers sitting on the table in the bottom right corner of the composition.
Swathes of Flowers in Urns on a Ledge, Margherita Caffi (1650–1710)

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Talinum patens Wild [..], Madeleine-Françoise Basseporte (1701–1780)
Teucrium canadense, Madeleine-Françoise Basseporte (1701–1780)
Teucrium massiliense, Madeleine-Françoise Basseporte (1701–1780)
Thalictroides / Saraceni, Madeleine-Françoise Basseporte (1701–1780)
Thame, Anne Seymour Damer (1748–1828)
The atelier of Madame Vincent, Marie-Gabrielle Capet (1761–1818)
An infant child with pale skin and blonde curls is seated in a small red sled or cart with gold trim, filled with cushions, blankets, and pink cut flowers. A young woman with very light skin, medium brown curly hair, and a long white dress looks back over her shoulder and holds a pink or red cloth to pull the cart along. Behind the cart, another light-skinned woman wearing white appears to be pushing the cart from behind. Two white dogs run alongside.
The Beloved Child, Marguerite Gérard (1761–1837)
The Carlile Family with Sir Justinian Isham in Richmond Park, Joan Carlile (ca. 1606–1679)
A full-length portrait of three children, two girls and a boy. The boy is wearing a bronze-colored outfit with lace trim and the girls are wearing gray dresses with lace trim and other embellishments. The older girl has her curls pulled half-back while the young girl wears a lace cap. There are two white and brown dogs seated on either side of the group and the younger girl is holding the hand and arm of the boy.
The Children of Charles I (after Anthony van Dyck), Catherine Read (1723–1778)
Five figures are on a boat. The figure on the left rows the boat, with an angel helping pull the oars. On the right side of the boat, a woman in a white gown sleeps, leaning back into a robed figure. A baby or angel is tucked next to her, also sleeping. The light is low, as though it is evening or early morning.
The Dream of Happiness, Constance Mayer (1775–1821)
A polychrome terracotta sculpture of Mary Magdalene in ecstasy, being held by two angels. The angels are women with long brown hair and there are two putti included as part of the figural group. The sculpture also includes landscape elements, such as grass and flowers along the base.
The Ecstasy of Saint Mary Magdalene, Luisa Roldán (1652-1706)
A polychrome wood sculpture of a woman seated in a red and gold throne, wearing classical or Biblical robes, with a book open in her lap. Beside her, a young girl who is also dresses in robes stands and points to the book, looking intently at the page. The woman also gestures at the page, engaged in conversation with the young girl. The crown is adorned with the face of a child at the top.
The Education of the Virgin, Luisa Roldán (1652-1706)
A polychrome terracotta sculpture of the entombment of Christ, who is being laid in a stone tomb by several figures. Two men hold the tomb’s cover while a third figure kisses his feet. A woman rests her face on his hand, in anguish. Two other men lift him by the shoulders. Christ is nude except for a draped cloth, which leaves the wounds of his crucifixion visible.
The Entombment of Christ, Luisa Roldán (1652-1706)
Two young women are playing chess, while a young girl stands next to them and smiles at the younger of the players. The older player looks directly at the viewer, with her hand on a chess piece. There is a tree and a city in the background and an older man looks over at the group and their game from the right side of the canvas.
The Game of Chess, Sofonisba Anguissola (ca. 1532–November 16, 1625)
An oval image of the Holy Family, with the Virgin Mary holding the Infant Jesus close to her, while the Infant Saint John the Baptist reaches out to hold her hand and arm. Joseph appears behind them, reading a book. Both infants are nude, and Mary wears a white and pink dress, with a blue cloth wrapped around her and a white scarf in her hair.
The Holy Family with Saint John the Baptist, Barbara Sirani (1641-1692)
A young woman with light skin, blonde curly hair under a white cap, and a shiny blue dress is seated next to a table holding a guitar-like instrument and looking at the young man standing near her. He has light skin, brown curly hair, and a red fur-trimmed cloak over his blue jacket, and looks back at the seated woman. Another young woman with blonde hair stands behind the table looking on, and a young child in a white dress wiht a blue sash looks down toward her own feet.
The Hussar and his Family, Marguerite Gérard (1761–1837)
An image of the Virgin Mary holding the infant Jesus and lilies, crowned with a dove flying over her. There are three other figures, including God above her and two other figures praying to her. Other symbols surround her and there is a serpent at her feet.
The Immacolata between Saint Charles Borromeo and Saint Jerome, Orsola Maddalena Caccia, born Theodora Caccia (1596–1676)
A nude Infant Saint John the Baptist fills the composition, sitting on a rock alongside a lamb. He holds a small dish that he is filling with water. He has large, expressive eyes and brown curls. He looks intently at the dish, seemingly unaware of the viewer. He rests one hand on the lamb’s head.
The Infant Saint John the Baptist in the Wilderness, Elisabetta Sirani (1638–1665)
A man with medium-light skin, red cheeks and nose, and short hair is seated at a small table, looking over his shoulder at the viewer.. He is wearing a gray coat and a black cap with a large read feather. In his hands, he holds up an empty jug.
The Jolly Drinker, Judith Leyster (1609–1660)
Two young men and a skeleton are in a shadowy room. One of the men wears a bright red coat and pants, and in one hand he holds a flask of drink while the other raised hand holds a long cigarette of some kind. He has undone his waistcoat and his undershirt, exposing part of his chest. His companion wears blue pants and a dark coat, and is leaning back drinking from a large flask. Behind him, the skeleton holds a second human skull and leans forward as if carefully watching what the two young men are doing.
The Last Drop, Judith Leyster (1609–1660)
A printed image of a building with two levels, open over a courtyard. Both levels are filled with figures. At the bottom level center, Saint Lawrence appears nude, sitting on a bed of hot coals. He is nude with a halo around his head, and he reaches up towards the seated Roman Emperor with one outstretched hand.
The Martyrdom of Saint Lawrence, Diana Scultori (1547–1612)
A strange painting, with a man who is very large compared to the settling. He is standing in a mountain range and the viewer only sees his top half. On the ground in front of him are various items, including apples, a watermelon, baskets, ham, cherries, and a lemon. There is a gray dog in the left side of the composition, looking at the man. The man wears a tall tan hat and holds two chickens.
The Old Man of Artimino, Giovanna Garzoni (ca. 1600–1670)
The Pentecost Altarpiece, Plautilla Nelli (1524-1588)
A black and white image shows a large stepped pyramid with a carved obelisk next to it. Below, small figures carry and chisel blocks of stone. In the foreground, a barefoot and bare-chested man with a crown sits holding a scepter and looking skyward.
The Pyramids of Egypt from the Seven Wonders of the Ancient World, Magdalena van de Passe (1600–1638)
A polychrome terracotta sculpture of the Virgin Mary seated in a tree, holding the infant Jesus in her lap. Joseph kneels beside her, holding Jesus’s hand. An angel kneels to her right holding flowers, while three putti figures are seated in the tree behind Mary. Her expression is neutral and serene, and she looks away from the viewer.
The Repose in Egypt, Luisa Roldán (1652-1706)
A lamb is presented on a stone slab, laying on its stomach with its legs bound and to the side. The lamb’s eyes are open and its head is crowned with a halo. There are a few flowers on the stone slab and an inscription beneath the lamb reads “OCCISUS AB ORIGINE MUNDI,” slain from the creation of the world.
The Sacrificial Lamb, Josefa de Óbidos (1629/30 – 1684)
A man with medium-light skin and dark hair is playing a lute and looking upward and away from the viewer out of the corners of his eyes, his mouth slightly open. He is wearing a green shirt with black and white vertical stripes and white lacy collar and cuffs, and red pants with wide black vertical stripes. He appears to also wear a large hat with a dark feather or fur trim.
The Serenade, Judith Leyster (1609–1660)
A nude young woman lies sleeping, with a marigold cloth wrapped around her legs. She cradles a sleeping putto in her left arm while no fewer than seven putti surround the two sleeping figures.
The Sleep of Venus and Cupid, Constance Mayer (1775–1821)
The Vintage, Élisabeth Sophie Chéron (1648–1711)
An off-white carving shows a woman in a long, loose dress holding a very young child against her with one arm. She holds a length of cloth draped over her other arm, while the child appears to be holding a ball in one hand. Both gaze downward.
The Virgin and Child, Maria Faydherbe (1587–1643)
A bust-length, printed image of the Virgin Mary. She is draped in a shawl and crosses her arms at the wrist across her chest. She looks down with her eyes closed, as though lost in thought or prayer. Behind her, the rough illusion of clouds fills the background.
The Virgin Mary, Elisabetta Sirani (1638–1665)
An image of the Virgin Mary holding the infant Jesus, surrounded by angels and other figures. Mary is dressed in blue and pink robes and is crowned with a glowing halo. Another robed, haloed figure is kneeled at her feet, looking up at her and Jesus with arms outstretched. The setting is astral and infused with golden light.
The Virgin Mary Presents the Baby Jesus to Santa Maria Maddalena de' Pazzi, Violante Beatrice Siries Cerroti (1709-1783)
The primary figure group in this printed image consists of five figures, with two women embracing at the center. An older man is seated holding a book, while an angel in a suit of armor stands next to the women, looking over his shoulder directly at the viewer. Other man reaches towards the two women with one hand. Behind them, there are three figures on a staircase who are crying and comforting one another.
The Visitation, Diana Scultori (1547–1612)
Thevetia, Linn, Hort […], Madeleine-Françoise Basseporte (1701–1780)
Thistle with Insects, Barbara Regina Dietzsch (1706–1783)
Thlaspi saxatile […], Madeleine-Françoise Basseporte (1701–1780)
Tithonia tagetiflora Desf. […], Madeleine-Françoise Basseporte (1701–1780)
Tithymalus Aegyptius, Madeleine-Françoise Basseporte (1701–1780)
Two young boys with light skin, one with dark curly hair and one with straight blonde hair, are positioned near each other. The blonde child wears dark clothing and holds a hat, and is looking up at a soap bubble that is just above and to one side of his head. The dark-haired boy is seated, with a red cloth draped over one shoulder, holding a straw to his mouth and soap in the other hand. Nearby, a candle has gone out and a book fallen askew off the table.
Two Boys Blowing Bubbles, Michaelina Wautier (1604–1689)
Two young girls, both with light skin and blonde hair, stand next to a table with a basket of apples and roses. One girl holds a large leaf and wears a green dress with white sleeves, while the other wears a pink dress with a large yellow cloak wrapped around her, resting her hand on the head of a lamb.
Two Girls as Saints Agnes and Dorothea, Michaelina Wautier (1604–1689)
Two Sleeping Dogs, Anne Seymour Damer (1748–1828)
Two Studies of Mother Holding Child, Maria Hadfield Cosway (1760–1838)

u

A group of five people are gathered outside near a piano. At the center, a light-skinned young woman with a red necklace, white dress, and dark hair in an updo leans one arm on a stack of books on the piano, a sheet of paper in the other hand. Next to her, a light-skinned and dark-haired boy behind the piano points at the sheet music. On the woman's other side, two women are seated on benches, one an older light-skinned woman with slightly hunched posture and a cream-colored shawl and the other a light-skinned woman with dark hair, a white bonnet, and a bright red dress. Behind the two seated women, a man with light skin, white hair, and a dark coat stands holding a print or drawing.
Une jeune personne hesitant a toucher du piano devant sa famille, Adèle Romany (1769–1846)
An oval portrait of a light-skinned man with long, dark-blonde curly hair past his shoulders and a round face. He is wearing silver armor and a large white lacy collar, and is looking to his right out of the corners of his eyes.
Unknown Man, Susan Penelope Rosse (1652–1700)

v

Valeriana sibirica L., Madeleine-Françoise Basseporte (1701–1780)
A blue vase of flowers is shown with a small flower arrangement. The central flowers are pale pinks and white, with other flowers that are yellow, light blue, or purple.
Vase of Flowers, Anne Vallayer-Coster (1744–1818)
Vase of Flowers with a Yellow Sunflower, Orsola Maddalena Caccia, born Theodora Caccia (1596–1676)
A vibrant, unstructured floral still life set against a dark background. The arrangement is resting on a ledge and the flowers include tulips and roses, as well as others. There is an insect, perhaps a grasshopper, sitting on the table alongside the arrangement.
Vase with Flowers, Rachel Ruysch (1664–1750)
A glass vase on a table, overflowing with an extravagant floral arrangement. The flowers are colorful and fill the whole top half of the composition. There are some insects in and around the flowers and a piece of fruit, perhaps a lemon, on the table.
Vase with Flowers, a Peach and a Butterfly, Giovanna Garzoni (ca. 1600–1670)
A still life painting of five vases on a table, filled with different flowers. Two of the vases are painted with intricate designs and two are glass; the one at the center is plain white ceramic. There is one light purple flower on the table, next to the glass vase on the left side of the canvas.
Vases of Flowers on a Table, Orsola Maddalena Caccia, born Theodora Caccia (1596–1676)
Veltheimia abyssina, Madeleine-Françoise Basseporte (1701–1780)
Verbena Americana […], Madeleine-Françoise Basseporte (1701–1780)
The Virgin Mary, dressed in blue and red robes and crowned with a halo, is seated holding the infant Jesus, who is wrapped in white cloth. The Infant is pulling the robes away to expose Mary’s bare breast, while she looks down at him. They are seated in a park in a fifteenth-century Dutch city.
Virgin and Child, Cornelia Cnoop (Born after 1460)
A brown ink drawing on terracotta colored paper with white heightening, the image of the Virgin Mary and Jesus, who appears to be two years old. He stands on a rock to reach up to her, showing her something in his right hand. She embraces him with both arms and looks down at him with motherly love and devotion.
Virgin and Child, Elisabetta Sirani (1638–1665)
A half-length image of the Virgin Mary, dressed in a cream and red dress, with a blue shawl around her shoulder. She holds the Infant Jesus in her lap, seated on a pink pillow. The Infant holds a crown of flowers in his right hand and lifts it up to place on her head. They look at each other with love and devotion.
Virgin and Child, Elisabetta Sirani (1638–1665)
Virgin and Child, Maria Faydherbe (1587–1643)
Vitis trifolia uva corymbosax […], Madeleine-Françoise Basseporte (1701–1780)
Volkameria L., Madeleine-Françoise Basseporte (1701–1780)
A printed image of a scroll, which is elaborately decorated with floral motifs. In the bottom right corner of the image, there is a lengthy inscription that includes the artist’s name.
Volute of a Composite Capital, Diana Scultori (1547–1612)

w

A green striped squash plant with its curling vines and leaves takes up most of the image, with a slice cut out of the length of the squash to show the seeds and flesh inside. A large caterpillar that is blue on either end and green in the middle, with red and yellow tufts at both ends, is one side of the squash. A large brownish-gray moth is on one of the squash vines.
Watermelon with Caterpillar and Moth, Maria Sibylla Merian (1647–1717)
A black and white image shows three de-fleshed views of a human head, which expose the muscles, veins, and brain below. There is a front view, where the head looks out to the viewer; a back view, which shows the rear of the skull and back of the brain; and a side view, which shows the ear and side view of brain. There are also two illustrations of the human brain.
Wax models of the head and neck and of the right hemisphere of the brain, Madeleine-Françoise Basseporte (1701–1780)
A young woman with light skin, pink cheeks, and curled gray hair is shown reclining outdoors with a small dog hanging over her arm. The woman is wearing a bright pink skirt and jacket outfit with stripes, and the jacket has been pulled slightly to expose one breast. She also wears a white scarf, a large black hat with white feather plumes, and one yellow glove with the other glove in hand.
Wilhelmine Encke, Countess Lichtenau, Anna Dorthea Therbusch (1721–1782)
A three-quarters length portrait of a woman holding a stringed instrument, like a small guitar. She is wearing a very elaborate blue dress with white lace trim and a spray of flowers at her bust. She wears a large string of pearls at her neck and another string of pearls adorns her hair, as does a blue bow. She looks directly at the viewer with a slight smile.
Willielma Campbell (1741–1786, née Maxwell), Lady Glenorchy, Catherine Read (1723–1778)
A winter scene of a frozen river running through a small town depicts numerous people walking and skating on the surface. Along either bank are small buildings, and in the distance a low mountain range is visible.
Winter View with Ice Games, Barbara Regina Dietzsch (1706–1783)
A small road leading toward a wooded area is depicted in sepia tones. Along one side of the road is a small rocky rise, and two of the nearest trees appear to be standing dead with no leaves and stripped bark.
Wooded Landscape, Maria Katharina Prestel (1747–1794)

y

A plant drawing with one stem that has two medium green leaves and five yellow flowers emerging from it. The flowers have six pointed oval petals, and in the center of each flower is a darker yellow or orange cup-shaped part.
Yellow Narcissus, Barbara Regina Dietzsch (1706–1783)
Young Boy, in Purple Gray Dress, and Striped Vest, Sitting at a Table and Reading, Marie-Gabrielle Capet (1761–1818)
Young Woman, Marie-Gabrielle Capet (1761–1818)
A woman with light skin, dark curly hair, and a serious expression is seated on a red couch holding a piece of white cloth. She is wearing a pale blue dress with white sleeves and a large hat decorated with a bow and a feather.
Young Woman Embroidering, Marguerite Gérard (1761–1837)
A woman with light skin, very pink cheeks, and long dark-blonde hair is seated at a small table with one elbow resting on it, gazing directly out at the viewer. She is wearing a silvery-white gown that is pulled below her breasts, along with a sheer white scarf tied around her neck and bracelets on both wrists. She holds a small bouquet of flowers in one hand.
Young Woman in Negligé, Anna Dorthea Therbusch (1721–1782)
A very sketchy drawing of a young woman holding a box in her lap. The outline of her skirts, hair, and figure are present but there is very little detail in the image.
Young Woman with a Box, Maria Hadfield Cosway (1760–1838)