Half-length figure seated on a red upholstered chair, with body turned left and head facing forward. He wears a coat, waistcoat, and neckcloth. Brown background.

Subject sits at table covered with green cloth bearing APS seal. On table is a box with gavel and percussion piece. Charles Willson Peale's portrait of Benjamin Franklin after David Martin (58.P.1) is visible over subject's right shoulder. ENIAC logic board is in foreground. Scene appears to be set in the auditorium of the APS's Franklin Hall. Notations from Goldstine's notebooks are incised on the wide wooden frame.

Bust-length, oval portrait with body turned slightly to the left, in front of a gray background. The subject has powdered or gray hair, brown eyes, and a pale complexion. He wears a blue damask banyan, a waistcoat with gold, braided edges, and a white neckcloth. The miniature portrait is set in a gold locket with blue enamel backing surrounding a pearl oval which holds a glass covering for an arrangement of hair. Unsigned and undated.

Seated figure in a Chippendale-style chair is shown to below the waist, his body turned to the left. The subject's hands are crossed on the table in front of him and he holds a red pencil in his right hand, with which he gestures at notepaper with a diagram. His hair and eyes are gray and he has a rosy complexion. The subject wears a brocade banyan with rose lining, a white, buttoned waistcoat, and a white neckcloth, collar, and ruffle. The background is a shaded, greenish-gray. Unsigned and undated.

Rembrandt Peale painted this half-length portrait of Robert Patterson in 1830, copying his own original 1812 portrait. Seated sideways on a chair, the subject directs his gaze toward the viewer’s left in three-quarter profile. Patterson wears a double-breasted cordovan-colored overcoat, a charcoal-colored vest, and a translucent, pleated white cravat and bow-tie. His fleshy face is rendered in detail, with naturalistically figured cheeks, jowls, eyes, and nose. The background fades from dark to light brown behind the sitter. The surface of the canvas is unusually regular; this consistency is likely the result of conservation efforts from 1937. While this portrait has been assessed as "oil-on-canvas," Peale may have used an encaustic (wax-based) medium when the APS requested the commission in 1830.