Printing block with eight columns of Chinese script, nine rows. Handwritten notes on back (some illegible): "For [?] Dunglison/Specimen of Chinese block cutting From W.B. Driver MD Macao July 1840" and "Presented to Am Philos Soc by S. Dunglison" and "5 March 18--"

Press of wood construction, with worm and rack of brass. Faintly inked "American Philosophical Society. Given by Francis Dacosta, May 21, 1819."

Truncated pyramid of mahogany, consisting of two identical interlocking halves. There is an oval aperture on the top, and holes at the bottom on all four sides. (Robert P. Multhauf, "Catalogue of Instruments and Models," 1961).

Seated frontally, with his gaze directed toward the viewer, the subject leans on his elbow, his right hand and extended index finger raised to his right cheek. His face is rendered flatly with a thin-lipped mouth, rosy cheeks, and blue eyes beneath a broad brow. The fifth finger of his hand is adorned with a gold (and possibly ruby or seal) ring. His clothes include a black coat atop a waistcoat and a white cravat. To his right is a table covered with a red cloth; on the table are several bound volumes and sheaves of papers. The background consists of an off-white studio drape.

Simple wooden model of a press, hand operated through a toggle. Ratchet on side

Dark wooden cane with metal tip and staghorn or bone handle. Wood is knobby throughout length. Top of cane has shaped plaque inscribed "M. Burrough."

Life-sized, painted plaster bust of elderly, balding, thin man; figure is not draped. Bust is adhered to a plaster, cylindrical, columnar base. Plate on base: "John Vaughan/ 1755-1841." Cut in back: "John Vaughan/ original bust/ F Pettrick Aug. 1842."

Smaller than life-sized terra cotta bust of a man wearing a wig and a jacket and ruffled-front shirt. Bust is painted black and mounted on a short wooden base. Tentatively identified as James Madison, serving as Giuseppe Franzoni's model for the Madison Indian peace medals. Previously identified as Benjamin Rush (1896), and Charles Thomas by William Rush (1961).

3/4 figure, standing, left hand on tabletop with books, inkstand, and feather quill. Figure wears shirt, cravat, short jacket, breeches, and holds rolled paper in right hand. Column and wall of paintings in rear. Under engraving: "Drawn on Stone by MED Brown from the original picture by John Neagle/Wm. P. Dewees M.D./ &c &c &c &c/ Printed by Childs & Lehman/Entered according to Act of Congress 1833 by John Neagle at the clerk's office of the District Court of the Eastern District of PA."

3/4 figure, standing, right hand holding large book on standing upright, left hand pointed to open book on tapestry-covered table.Background with classical columns, arch, and large upholstered chair. Under image: "Engraved by T. Kelly, from the original picture painted by J. Neagle for the Hall of the Medical Institute of Philadelphia./ N. Chapman, M.D./ Professor of the Institutes & Practice of Physical & Clinical Practice in the University of Pennsylvania &c. &c. &c./ Entered according to the Act of Congress, in the year one thousand eight hundred and thirty one by John Neagle, in the Clerk's offfice of the District Court of the United States in & for the Eastern District of Pennsylvania."

Full-length figure in profile, right side visible, with cane in hand and hat on head. At bottom left of lithograph: "On stone by A. Newsom." At bottom right: "P.S. Duval Lith. Philada." Under image: "Rt. Revd. William White, D. D./ Entered according to Act of Congress, in the yr. 1838, by Thomas Latimer, in the Clerk's office of the District Court of the Eastern District of Pennsylva."

Head of Rubens Peale, rendered in high relief in white plaster, in deep walnut frame with gilded liner. Head turned slightly to the left. Inscribed: "R. Wylie" & "To Anna Peale" on front below relief. "Rubens Peale son of C W Peale by Robert Wylie" on paper label on back of frame.

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

Ship housed in glass and wooden display case. Model of the merchant ship "Alice," of Wareham.

Empire mahogany upholstered reclining chair of Roman curule form with rounded X-form profile of opposing scrolls which flair backward slightly along tall back. Arms roll downward into comma-shaped open scrolls which contrast with scroll of seat. X-shaped, curved legs are of square section and end in casters. Medallion is separate from chair, but rests on top. (Murphy D. Smith, "Due Reverence," 1992).

Spanish-style armchair. Rectangular back of leather which is elaborately embossed with heart and tulip devices above an embossed leather seat; all mounted with rosetted-headed tacks. The straight arms are raised on square stiles which pass through the seat and are conjoined by a pierced strecher of chain form. Below is a plain stretcher of square section which is flanked by deeply scalloped lateral stretchers. Possibly from Spanish colonial revival, 1860-1890. (Murphy D. Smith, "Due Reverence," 1992).

Federal Philadelphia Windsor armchair. Slender crest rail raised on seven slender bamboo-turned spindles which are flanked by conforming bold stiles, fitted with conforming arms and supports. They all terminate in a grooved and scooped saddle-shaped seat which is raised on raked bamboo-turned legs and stretchers. The underside of the seat is inscribed: "Mary's seat/ Sept. 4 1865."

Mahogany and glass bookcase, lacking original base. The upper section has a plain cornice molding above a set of four eight-panel glazed doors with Gothic arch top panels, enclosing wooden shelves above a shallow bracket foot of a later date.

Philadelphia-made marble top mahogany sideboard. The slightly overhanging marble top is above a protruding frieze, fitted with a handleless drawer in book-matched veneer of boldly figured crotch mahogany beneath a molded top edge continued along the sides of the case. Raised on freestanding pilasters in the form of Ionic columns, above a conforming veneered platform on massive paw-feet at the front, round legs behind. The columns stand before the recessed back which is hinged with a pair of mirrored doors. The doors were possibly added at a later date, converting what was a probably a pier table to a sideboard. (Murphy D. Smith, "Due Reverence," 1992).

Each chair has a curved and backward-scrolled crest rail inlaid with a plain reserve of highly figured mahogany veneer and raised above a slender slat of opposed S-scrolls, terminating in rosettes and leafage upon a reeded crossbar. The tapered rounded stiles continue along the upholstered slip-seat and slender rail and are raised on plain sabre legs. (Murphy D. Smith, "Due Reverence," 1992).