Early Portraits

Here are some portraits, most from the first half of the 19th century. First, several by various members of the Peale family:

 Charles Willson Peale: The Peale Family (completed 1809)

(there's a YouTube video telling the story of this painting)

 James Peale: Anna Sophia Alexander Robertson (Mrs. William Heberton) (1816)

 Sarah Miriam Peale: Mrs. Charles Ridgely Carroll (Rebecca Ann Pue) (ca. 1822)

 Sarah Miriam Peale: Veiled Woman (1830)

Next, a few by Gilbert Stuart, early America's leading portraitist:

 Gilbert Stuart: George Washington (the Landsdowne portrait) (1796)

 Gilbert Stuart: Dolley Madison (1804)

Gilbert Stuart: Mrs. Harrison Gray Otis (1809)

 Henry Inman: Angelica Van Buren (1842)

 Jacob Eichholtz: Serena Mayer Franklin (1838)

David Martin: Portrait of Benjamin Franklin (1767)

George Healy: Euphemia White Van Rensselear (1842)

 Edward Savage: The Washington Family (1789-1796)

Lewis Thomas Ives: Frances Elizabeth Newbury Bagley (1872-1882)

Martin Johnson Heade

Martin Johnson Heade (1819-1904) specialized in landscape and nature painting, focusing particularly on marshes and hummingbirds. He has a clear connection with the Hudson River School. There's a site devoted to him with low-resolution images of his complete output.

 A Cloudy Day (1874)

 Dawn (1862)

 Duck Hunters in a Twilight Marsh (1866)

 Haystacks on the Newburyport Marshes (1862)

 Sailing off the Coast (1869)

 The Great Florida Marsh (1886)

 Thunderstorm on Narragansett Bay (1868)

 Twilight on the St. Johns River (ca. 1885)

White Mountain Landscape, Mount Washington (1871)

 Cattleya Orchid and Three Brazilian Hummingbirds (1871)

 Orchid with Two Hummingbirds (1871)

 Orchids and Hummingbird (date not known)

 Still Life with Apple Blossoms in a Nautilus Shell (1870)

Two Fighting Hummingbirds with Two Orchids (1875)

Francis William Edmonds

Francis William Edmonds (1806-1863) was a 19th century American genre painter. His scenes of daily life often focused on humorous aspects of courtship, as exemplified by the first painting.

 Barking Up the Wrong Tree (1850-55)

 The City and Country Beaux (1840)

 The Image Pedlar (1844)

Below is a timeless depiction of a father dismayed by the cost of his daughter's fashion consciousness.

 The New Bonnet (1858)

Concerning the following painting, The Speculator, the Smithsonian exhibit says: 

"A rural couple listens skeptically to a representative of the Building Association, identified by the paper in his coat pocket. The salesman—whose top hat, pointed shoes, and umbrella mark him as a city slicker—promises the couple a better life as he unrolls a listing of '1000 Valuable Lots on Rail Road Ave.' Francis William Edmonds's comic genre scenes captured the rough-and-tumble of America's frontiers."

The Speculator (1852)

 The Windmill (ca. 1858)

 Time to Go (1857)

The New Scholar, engraved by Alfred Jones  (1850)

Thomas Moran - Venice

To close of my exploration of the painting of Thomas Moran, here is a sampling of his paintings of Venice - a common subject for all worldly 19th century artists.

 Entrance to the Grand Canal, Venice (1906)

 Moonlight in Venice (1898)

 The Church of Santa Maria della Salute, Venice (1908)

 The Fisherman's Wedding Party, Venice (1892)

The Grand Canal, Venice (1903)

 The Grand Canal (1889)

 The Splendor of Venice (1904)

 Venice, from near San Giorgio (1899)

Venice (1887)

Thomas Moran, ctd

Still more from Thomas Moran.

An Indian Pueblo, Laguna, New Mexico (1908)

 Arizona Sunset Near the Grand Canyon (1898)

 Autumn (1893-97)

 Cliff Dwellers (1899)

 Dusk Wings (1860)

 Fiercely the Red Sun Descending, Burned His Way Across the Heavens (ca. 1875)

 Mexican Plaza, Market Day (1884)

 Salvator Rosa Sketching the Banditi (1860)

 Slave Hunt, Dismal Swamp, Virginia (1862)

Moran, with this painting, left no doubt as to where his sympathies lay in the American Civil War.

 Sunset in Mid-Ocean (1904)

 Sunset Near Land's End, Cornwall (1909)

 Sunset on the Moor (1880)

The Juniata, Evening (1864)