Watercolor miniature portrait of Louis XVI, on ivory. Housed under glass in a simple oval case. Reverse bears the monogram of the king. The case has a hanging loop on its top edge. The portrait and metal case are accompanied by a hinged oval box. Silver frame accompanies, but is not attached to, the miniature and case, and provides sockets for 46 stones. There may have existed another rim of diamonds, along with a crown atop the rim, but it does not survive.

Head and shoulders of subject, slightly turned right. Wears robe, dark coat, and cravat with stickpin. Dark brown background. After ca. 1899 portrait by artist, who copied a 1897 photograph.

View of Fairmount Waterworks from the west bank of the Schuylkill River. The Works extend from the center middle ground to the right, and include a three-story Federal-style brick building with four chimneys, and the long neoclassical Mill House decorated with sculpture. A hill with steps rises in the right background, leading to a gazebo. Lemon Hill Mansion is visible in the left background, above the riverbank and behind the dam. On the river, below the dam, are three boats with passengers. A portion of the west riverbank is visible in the lower left corner. Signed "From Nature by Wild" in the lower left corner.

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.

3/4 figure, standing facing left, wearing white medical coat open at front, with hands in pockets, white background. Inscribed "Albert Murray 1966" at front lower left corner.

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.

Three-quarter-length seated figure, body turned right with three-quarter view of face. Left hand placed on arm of chair; right hand holds edge of page from a book on table next to the sitter. Bald head, white hair at back; beard and moustache. Black suit, waistcoat and cravat, white collar. Also on table are three glass containers with quill pens. Inscribed at top: "Lazar Raditz / 1917".

Three-quarter length-view of seated figure, facing left, holding book in right hand, wearing academic robes and cord of Doctor of Medicine at the University of Pennsylvania.

Half-length seated figure, with right arm leaning against a suggested table. The subject wears a coat, waistcoat, collared shirt, and cravat. Brown background. Signed: "T. Henry Smith/ after/ John Neagle" in lower left corner.

Bust-length portrait with body turned slightly to the left, in front of gray-tan shaded background. Subject has white hair, blue eyes, and a ruddy complexion. He is wearing a black coat and waistcoat and a white neckcloth with an embroidered ruffle. Unsigned and undated on front.

Half-length portrait with body turned slightly to the right, and head turned to the left, in front of a light tan background. Subject has blonde, graying hair, gray eyes, and a rosy complexion. He is wearing a brown overcoat with a fur collar, a dark blue coat and waistcoat, a vermilion inner waistcoat, and a white collar and neckcloth. The original canvas was signed on the back with Thomas Sully's monogram, and the inscription, "From Jefferson 1821. Finished in 1830." Unsigned and undated on canvas front.

Bust-length portrait with body turned slightly to the right. Wrapped around the subject's shoulders is a black cloak with a fur collar, which he holds in his right hand. The subject has graying, dark brown hair, and gray eyes. Visible underneath the fur cloak is a black coat, and a white shirt and collar. A large red curtain is in the background, behind the figure. Unsigned and undated; originally signed "TS 1840" on reverse of canvas.

Three-quarter length portrait. Figure seated, both hands holding large book in lap. Body turned right, facing forward. Figure wears coat and waistcoat, shirt, cravat, and red academic robe. Inscribed "Copy after S. G. Putnam" in upper right corner.

This three-quarter length portrait of Isaac Lea (1792-1886) was painted in 1911 by Thomas Anshutz (after an original 1879 portrait by Albrecht Bernhard Uhle). The sitter lounges in an oversized upholstered armchair, his body and gaze directed toward the viewer’s right in three-quarter profile. Lea wears a dark coat atop a white, collared shirt. His face is rendered in fleshy detail, with long, silver hair and a matching beard, a large nose, and strong brows. He holds a magnifying glass in his right hand and a small bivalve in his left hand. To the right of the sitter is a table covered by an embroidered cloth; on this table are papers and books. The background is filled with bookcases holding bound volumes. The portrait is largely executed in various shades of brown paint, and the brushy, painterly style leaves portions of the portrait (especially the legs and the upper right corner of the canvas) with an unfinished aspect. Through APS documents we know that this portrait is a copy after an original 1879 painting by Uhle. The Uhle portrait has not been located and may be in a private collection.

Half-length figure, body turned slightly right. Sitter wears black coat, waistcoat, and bow tie, and a white shirt. Tan-gray background. Signed: "S. B. Waugh 1868" in lower right corner.

Three-quarter view of head and shoulders of Paine, facing left. After portrait by George Romney. Inscription reads "Winkler, Paris/1865."

Three-quarter length standing figure, head turned left, hands at side. Wearing black suit and tie, white collared shirt; gold set glass on a gold chain hangs from waistcoat button. Gray-blue-to-pink background. Possibly after photograph.