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A Dessert

1814
oil on wood
Overall: 34 x 48.3 cm (13 3/8 x 19 in.) framed: 53 x 67 cm (20 7/8 x 26 3/8 in.)

National Gallery of Art

Washington, D.C.

 GAAnonymous
Catherine Douglas Dickson

ca. 1818
watercolor on ivory
2 5/8 x 2 1/4 in. (6.8 x 5.6 cm) oval

Smithsonian American Art Museum

Washington, D.C.

 GAAnonymous
George Fisher

ca. 1795
watercolor on ivory
sight 2 1/2 x 2 1/4 in. (6.2 x 5.7 cm) oval

Smithsonian American Art Museum

Washington, D.C.

notes
George Fisher’s father was a Quaker who founded the borough of Middletown in Dauphin County, Pennsylvania, in 1755. Located on the east bank of the Susquehanna River, the settlement lay nine miles below Harrisburg. Fisher passed the bar in 1787 and practiced law there until he retired to Peneford Farm, in Middletown. He died at the age of...
GAAnonymous
Jonathan Jones Wheeler

1812
watercolor on ivory
sight 2 1/4 x 1 3/4 in. (5.8 x 4.5 cm) oval

Smithsonian American Art Museum

Washington, D.C.

notes
Jonathan Jones Wheeler (1792-1846) was born in Philadelphia, the son of Samuel Wheeler and Elizabeth Jones. His miniature portrait shows a young man brimming with confidence. The frame, which has an inner band resembling a traditional locket, allows the painting to be hung on a wall rather than worn on the body, evidence of the changing role of...
GAAnonymous
Melons And Morning Glories

1813
oil on canvas
20 3/4 x 25 3/4 in. (52.6 x 65.4 cm.)

Smithsonian American Art Museum

Washington, D.C.

notes
Raphaelle Peale's father, Charles Willson Peale, urged his son to paint portraits instead of still lifes, which brought an artist less prestige and fewer commissions. But still lifes suited Raphaelle, who also worked as a taxidermist. He painted this melon as if it were a body opened up for examination, detailing its fluids and flesh so that the...
GAAnonymous
Mrs. John Montgomery (Sarah Diemer)

1800
Watercolor on ivory
3 7/16 x 2 3/4 in. (8.7 x 7 cm)

Metropolitan Museum of Art

New York, NY

 GAAnonymous
P. F. Ronbeau

1821
Watercolor on ivory in gilded metal locket
2 7/16 x 2 1/16 in. (6.2 x 5.2 cm)

Metropolitan Museum of Art

New York, NY

 GAAnonymous
Peter Gilman Odlin

ca. 1805
Watercolor on ivory in rose gold locket
2 3/16 x 1 25/32 in. (5.6 x 4.7 cm)

Metropolitan Museum of Art

New York, NY

 GAAnonymous
Portrait Of A Child

ca. 1800
watercolor on ivory
2 1/2 x 1 7/8 in. (6.2 x 4.9 cm) oval

Smithsonian American Art Museum

Washington, D.C.

notes
This is thought to be a painting of a child known only as “Miss Borrie.” The artist applied touches of red to the girl’s lips and cheeks in this otherwise subdued painting to emphasize her smiling expression.
GAAnonymous
Portrait Of A Gentleman

1799
Watercolor on ivory in gilded copper locket
2 3/8 x 1 7/8 in. (6.1 x 4.8 cm)

Metropolitan Museum of Art

New York, NY

 GAAnonymous
Portrait Of A Gentleman (1)

Watercolor on ivory gilded copper locket
2 5/8 x 2 1/16 in. (6.7 x 5.3 cm)

Metropolitan Museum of Art

New York, NY

 GAAnonymous
Portrait Of A Gentleman (2)

Watercolor on ivory in gilded copper locket
2 7/8 x 2 5/16 in. (7.3 x 5.9 cm)

Metropolitan Museum of Art

New York, NY

 GAAnonymous
Portrait Of A Gentleman (3)

ca. 1805
watercolor on ivory
sight 2 1/2 x 1 7/8 in. (6.2 x 4.7 cm) oval

Smithsonian American Art Museum

Washington, D.C.

notes
This man’s elegantly knotted tie clearly shows Raphaelle Peale’s deft brushwork. Although we do not know who the sitter was, he was a man “of means” who could afford fine clothes and the services of one of America’s leading miniaturists.
GAAnonymous
Portrait Of A Gentleman With Initials G. D.

ca. 1805
watercolor on ivory
sight 2 1/2 x 2 in. (6.4 x 5.2 cm) oval

Smithsonian American Art Museum

Washington, D.C.

notes
The intertwined initials “GD” on the back of this locket are the only clue to the gentleman’s identity. His hair reflects the change at the end of the eighteenth century, when many younger men rejected wigs in favor of natural hair. The short top and curled sides of this sitter’s hair were styled to accommodate a top hat.
GAAnonymous
Robert Oliphant

1799
watercolor on ivory
image: sight 3 x 2 3/8 in. (7.7 x 6.1 cm) oval

Smithsonian American Art Museum

Washington, D.C.

notes
Robert Oliphant was the oldest son of William Oliphant, a wealthy Philadelphia landowner. Robert’s sister had her miniature painted by James Peale in 1795. Some time after this miniature was painted, Robert moved to Norfolk, Virginia, but his whereabouts after that are unknown. Both miniatures descended in his sister Elizabeth’s family until they...
GAAnonymous
Still Life - Strawberries, Nuts, &c.

1822
Oil on wood panel
41.1 x 57.8 cm (16 3/8 x 22 3/4 in.)

Art Institute of Chicago

Chicago, IL

 GAAnonymous
Still Life With Cake

1818
Oil on wood
10 3/4 x 15 1/4 in. (27.3 x 38.7 cm)

Metropolitan Museum of Art

New York, NY

 GAAnonymous
Still Life With Cake (1)

1822
Oil on panel
9 1/2 x 11 5/16 in. (24.1 x 28.7 cm)

Brooklyn Museum

New York, NY

 GAAnonymous
Still Life With Peaches

1821
Oil on panel
12 13/16 x 19 5/16 in. (32.5 x 49 cm)

Brooklyn Museum

New York, NY

 GAAnonymous
Still Life With Wine Glass

1818
Oil on panel
10 1/4 x 13 5/8 in. (26.0 x 34.6 cm) Framed: 15 7/8 x 19 3/8 x 2 1/4 in.

Detroit Institute of Arts

Detroit, MI

 GAAnonymous
William E. Dickson

ca. 1815
watercolor on ivory
sight 2 1/8 x 1 3/4 in. (5.4 x 4.3 cm) oval

Smithsonian American Art Museum

Washington, D.C.

 GAAnonymous
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