Seated three-quarter length figure, head and body turned right. Right hand holds book, and left hand holds gown. Background at left includes wooden table with books, papers, and microscope. Figures wears academic gown, black suit, tie, white shirt. Signed "H. R. Butler/ 33" on lower right corner.

Depicts head and shoulders of figure, turned left, showing right profile. Brown hair and eyes, ruddy complexion. The coat is blue with silver buttons, the neckcloth and ruffle white. The background is white with a very fine black line around the oval. Inscribed "J. Jay" on front, bottom.

Three-quarter length seated figure, body turned slightly right, head forward. Hands on arm of chair. Figure wears academic robe, blue suit, waistcoat, white shirt, and blue and brown tie. Signed "Grace Dahl" in lower right corner.

This oil-on-canvas was executed by Swiss landscape painter George Lehman (d. 1870) c. 1829. This view was taken from the western bank of the Schuylkill River, just south of the Fairmount Water Works. In the foreground are two men in a keelboat (a shallow-draft riverboat that is usually rowed, poled, or towed and commonly used for freight) loaded with cargo; in the left midground is a male figure, fishing and seated, on the shore; in the background are structures including a dam and several neoclassical buildings (formally known as the Fairmount Water Works). These structures include (left to right): a dam completed in 1821; the mill house / eight arched openings which return water to the river; a building (with tall chimneys, above a willow tree) constructed to house the original steam engines for the pumping system; and a promenade extending along the eastern bank, above which sat the original reservoir for the city’s pumping system.

An abbreviated view of a cluster of building rooftops. In the foreground is a wooden fence, with articles of clothing hanging over the top. A dark brown roof with clerestory windows and a red chimney dominates the middle ground. To the right is a triangular-shaped, architectural protrusion with a skylight. Behind the dark brown roof is a red building with one clerestory window and a chimney. To the left of the building is a brown, bowed roof, and the top of a tree is visible to the right. The background is a pale blue color. Unsigned and undated.

Small still-life portrait of fruit on wooden table. Previously attributed to Rubens or Raphaelle Peale.

Oval, half-length portrait with body turned slightly to the right, in front of a gray background. Subject has blonde, graying hair, brown eyes, and a rosy complexion. He wears his hair loose around his shoulders. The subject wears a green, fur-trimmed cloak and a white, satin waistcoat, neckcloth, and lace jabot.

Three-quarter length portrait of figure seated at a cloth-covered table, facing left. The subject holds papers in his left hand, and his right hand is raised to his face, where he rests his chin on his thumb. He wears spectacles and a powdered wig, as well as a blue coat with gold buttons and ribbon and a white shirt with ruffled sleeves. Additional books and papers are scattered on the table in the left background. Along the left side of the canvas, facing the sitter, is a large, bronze bust of Isaac Newton. Behind the bust is red drapery. Unsigned and undated.

Three-quarter length standing figure, body turned left, head facing forward. Left arm extended and resting on ledge, right hand on hip. Wearing maroon coat, blue waistcoat, white neckcloth and shirt. Blue curtain behind figure and at the right of canvas is blue clouded sky.

Oval, bust-length portrait with body turned slightly to the right. Subject has shoulder-length, gray hair, gray eyes, and is wearing a green coat with a fur collar, a white collar and neckcloth, and silver spectacles. Unsigned and undated.

Rural landscape portrait. Figure off-center, in foreground, faces away from canvas. Kennedy Galleries, New York label on reverse.

Waist-length portrait with body turned to the right, in front of a gray background. The subject has brown hair and brown eyes. She wears a dress of changeant mauve silk, with a ruffle of filmy, white material along the low-cut neckline. A scarf of blue silk is draped over her shoulders. She wears a jeweled ornament in her hair above her forehead, as well as a pendant pearl earring and pearl ornament on the sleeve closest to the viewer. Unsigned and undated.

This miniature was painted after Mason Chamberlin’s 1762 portrait of Benjamin Franklin (located at the Philadelphia Museum of Art). The small rectangular composition is executed in opaque watercolor on ivory. The overall brown tones and coloring of this miniature are essentially the same as Chamberlin’s original. Franklin is seated in an armchair in his study during an evening thunderstorm, listening to the ringing of two bells at his left. An iron lightning rod is attached to a chimney outside the window. The painting also shows two small cork balls (to the left of Franklin’s shoulder), which are electrified (and thus repelled) by the storm outside. Franklin wears a white shirt with a ruffled cravat and ruffled cuffs, brown trousers, a brown waistcoat, and a brown coat. He holds a notebook in his left hand, and grasps a writing quill in his right. Franklin appears young (he would have been in his mid-fifties when Chamberlin painted the original canvas) and wears a powdered wig. The background consists of a green baize-colored curtain and a window providing a glimpse to the storm (and Franklin’s scientific experiments) outside. It is not clear whether the 19th-century frame that houses the miniature is original to the work, or if it was added at a later date. The frame is backed by a pine panel, held in place with seven brass pins (there are spaces for four additional pins, which are not present). A printed paper label glued to the back of the frame reads: "BENJAMIN FRANKLIN: MINIATURE ON IVORY / American School, Late XVIII Century".

This portrait depicts a bust-length, three-quarter profile portrait of Franklin, facing left, wearing a brown overcoat with cloth-covered buttons, a white neckcloth, round wire spectacles, and a close-fitting brown (beaver?) fur cap. In the lower left corner of the painting "Franklin" has been inscribed in ochre-colored, cursive lettering. The background of the composition is uniformly brown. This painting is virtually identical to Augustin de Saint Aubin’s 1777 engraving of Benjamin Franklin. Saint Aubin’s engraving was taken from a drawing by Charles Nicolas Cochin (the Younger).

This miniature watercolor-on-ivory portrait of Benjamin Franklin is a copy after a 1778 pastel by Joseph Siffred Duplessis. Set against a mottled red background within a small oval, Franklin faces the viewer’s right. The bust-length sitter wears a ruffled white shirt, a gray waistcoat, and a gray coat with cloth-covered buttons. Franklin was in his 70s when he sat for Duplessis, and his advanced age is evident: his gray hair recedes, his brow is wrinkled, the flesh surrounding his alert blue eyes appears baggy, and he sports a prominent double chin. The miniature is housed within an oval frame. The main section of the frame appears to be constructed from rolled and tooled metal; atop the frame is a cast bow and an attached loop for hanging. The reverse of the frame is open, and a black, mottled backing board has been clipped (via six metal prongs) into place to keep the object intact. While the maker of this object is presently unidentified, the deftly rendered likeness and attention to detail may indicate that this object originated in Duplessis’s studio after 1778.

Half-length portrait of front-facing figure, with head turned slightly to the left, in front of a sienna background. The subject has graying, brown hair, a gray beard and brown eyes. He is wearing a black coat and waistcoat, a high white collar and a black cravat. Pinned on his left lapel is the red, white, and blue rosette of the Loyal Legion. Unsigned and undated.

Case opens like book, with clasp. Portrait painted on ivory is on right side when opened, set into gold-toned metal frame. Franklin wears fur coat. Opposite side is padded velvet.

Half-length figure seated in armchair, head and body leaning forward, both hands showing; head bald with white hair at back, white moustache; blue eyes and rosy complexion. Suit and waistcoat are dull blue, waistcoat piped in white. Collar and shirt are white and cravat is red.

Three-quarter seated figure, left hand on knee, left arm leaning against upholstered chair arm. Sitter wears dark blue suit, maroon tie, and white shirt. Brown background with table; papers suggested at his right arm.

Near half-length seated figure, body and face approximately forward. Wearing dark blue coat, waistcoat and tie, white wing-collared shirt. Rosette in buttonhole of lapel. Background of books, files, containers, painting, clock, candlestick. Signed "Conrad/ F. Haeseler" in lower left corner.