Half-length portrait, subject facing forward. Wearing dark suit, white shirt, striped tie. Marked "Greenewalt" on lower right corner.

Portrait of figure, body turned to the right, head turned facing center. The subject has white hair, and wears a white shirt and cravat and a dark jacket.

Half-length seated figure, head turned right, leaning on left hand, elbow on table. Wearing black coat, gold waistcoat, white scarf with bow. Corner of table and part of book visible in lower right corner. After 1814 portrait by Thomas Sully.

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

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.

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.

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

Oval image of half-length figure. Figure faces forward, hands folded on book. Sky and clouds in background.

This miniature, watercolor-on-ivory portrait of Benjamin Franklin is a copy after Duplessis’ 1778 "fur collar" portrait of the diplomat. Contained within a small oval, Franklin faces the viewer’s right. He is presented as a bust-length portrait and wears a ruffled white shirt, a red waistcoat, and a red coat with a (fox?) fur collar and brass buttons. Franklin was in his seventies when he sat for Duplessis, and his advanced age is evident in this miniature: his gray hair recedes, his brow is wrinkled, his eyes appear tired and baggy, and he sports a prominent double chin. While the maker of this object is presently unidentified, the deftly rendered likeness (see especially Franklin’s mouth and eyes) and meticulous attention to detail may indicate that this object originated in Duplessis’s studio after 1780. The miniature is housed on an elaborate stand. The substructure of the stand appears to be wood; the stand itself is covered in leather with gold-leaf tooled decoration. The front surface of the stand (on which the miniature is mounted) is covered in crimson silk. On the reverse of the stand a wax seal with a wreath, stars, and monogram has been attached. Attached to the underside of the stand is a printed label, "Vu & certifié véritable par / nous Membres du Jury des Arts" with the inscribed signatures "Mellot J. Minot. C. Guillemes."

Franklin is presented as a bust-length portrait with his body turned slightly right. He wears a ruffled white shirt, a red waistcoat, and a red coat with a fur collar and brass buttons. After portrait by Joseph Siffred Duplessis or copy of original. Unsigned and undated.

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.

Shallow rectangular box comprised of colored woods. Hinged with lift-lid opening to expose an inset wood tray scooped with ten circular and oblong accessory receptacles. All compartments are empty but two, which hold inkwells. Labeled "Box of Yew." There is a 1795 portrait of Nicolas Copernicus by the Earl of Buchan on the outside of the lid, inscribed "R. D. Nicolo Copernico/Hanc Effigem Veram Nicolai Copernici/ D. S. Buchaniæ cames Posteritati Pinxit,/Ad Cænobium de Driburgh in Scotia." There is a 1792 portrait of John Napier by John Brown on the inside of the lid. Paper label: "Napier of Merchiston."