Extended bust-length, frontal portrait with head turned slightly to the left, in front of a brown-gray background. The subject has graying, red-blonde hair, gray eyes, and a pale complexion. He wears a red-brown coat with a black collar, black stock, and a white shirt collar. Unsigned and undated on canvas front. Inscribed on reverse: "Thomas Sully Painted. / by Order of the, / Musical Fund. / Society. / TS 1867."

Bust-length portrait with body turned to the right and head turned slightly to the left. The subject has gray hair and a fair complexion. He wears a blue coat and waistcoat, white collar, neckcloth, and ruffle. In his right hand, he holds a book with the initials "APS" in the center of the cover. This volume rests on another book on a table, entitled "Library Catalogue" on the spine. A large red curtain and tassel is visible in the background, behind the figure. Signed "TS 1823" on the book cover in the lower left of the canvas.

Half-length figure, turned slightly right. Wearing black coat, waistcoat, bow cravat, and white shirt. Gray-brown background. Inscribed: "General I. J. Wistar at age of 59/B. Uhle pinxt." on back. Unsigned/undated on front.

Three-quarter length seated figure, left hand on knee, right hand holding a book. Table with three books on top in front of right hand. Figure wears academic robes, white shirt, maroon tie, dark blue suit. Signed "Cameron Burnside 1941" on lower right corner.

Three-quarter length seated figure, legs crossed, hands in lap. Wearing black coat, waistcoat, bow tie, white collared shirt. Arms rest on armchair. Gray background with architecture suggested. Signed: "M. W. Lesley" lower right corner.

Three-quarter length seated figure, body turned left, head facing forward. Wearing white summer suit, striped vest, white shirt, black four-in-hand tie. Seated on wooden chair with upholstered arms. Background of trees. Signed "M. Lesley Bush-Brown" on lower left corner.

Three-quarter length portrait of figure turned slightly right, standing behind desk, with fingers of left hand on desk, right hand holding glasses. Large book on desk, column at left background. Marked "C. H. Cecil" on front lower left 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.

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

Half-length figure turned slightly left. Wearing black coat, waistcoat, cravat, and white collared shirt. Brown background. Inscribed on re-backed canvas: "Dr. Robert M. Patterson/ Nat. 1787/Ob. 1854/Painted by Samuel F. DuBois/Jan. 1855.

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.