| Preview | Description
  | Artist | Notes |
|---|---|---|---|
 | Polly Ouldfield Of Winyah by Jeremiah Theus ca. 1761 Smithsonian American Art Museum Washington, D.C. | Theus, Jeremiah |  Polly Ouldfield was born into a life of privilege. Her father was a member of the Commons House of Assembly in London, and records indicate that he owned land in Georgetown in 1752. Polly's husband was a landowner from Charleston, South Carolina, who served as Commissary of Militia in the Georgetown District during the Revolutionary War. (Middleton,... |
 | Pompeii by Robert Scott Duncanson 1855 Smithsonian American Art Museum Washington, D.C. | Duncanson, Robert Scott | were popular among nineteenth-century American patrons, who made the ancient city at the foot of Vesuvius a stop on their grand tours. |
 | Ponte Vecchio, Florence by George Elbert Burr 1900 Smithsonian American Art Museum Washington, D.C. | Burr, George Elbert | |
 | Porth Dinlleyn, North Wales by George Elbert Burr 1899 Smithsonian American Art Museum Washington, D.C. | Burr, George Elbert | |
 | Portrait Of A Child by Raphaelle Peale ca. 1800 Smithsonian American Art Museum Washington, D.C. | Peale, Raphaelle | 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. |
 | Portrait Of A Connecticut Clockmaker by Ralph Earl ca. 1800 Smithsonian American Art Museum Washington, D.C. | Earl, Ralph | Ralph Earl was born into a prominent family of craftsmen, and his portraits are painted with sharp attention to detail. In this painting the subject sits in a Sheraton “fancy” armchair, a type that was especially popular in the Connecticut Valley, where Earl worked. The wooden clock on the tea table might be a kind of clock that was developed in... |
 | Portrait Of A Connecticut Clockmaker's Wife by Ralph Earl ca. 1800 Smithsonian American Art Museum Washington, D.C. | Earl, Ralph | This painting of a Connecticut clockmaker’s wife was meant to hang to the right of her husband’s portrait, preserving their images and values for subsequent generations. Ralph Earl showed her holding a book, possibly a Bible, as a sign of piety and literacy. The drapery in the background was a compositional device that the artist learned when he... |
 | Portrait Of A Gentleman by Hugh Bridport ca. 1835 Smithsonian American Art Museum Washington, D.C. | Bridport, Hugh | |
 | Portrait Of A Gentleman by George Freeman 1824 Smithsonian American Art Museum Washington, D.C. | Freeman, George | |
 | Portrait of a Gentleman by Alvan Clark 1836-1844 Smithsonian American Art Museum Washington, D.C. | Clark, Alvan |
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