The engraving of Peyton Randolph (ca. 1723–75) by the Philadelphia firm of Charles Goodman & Robert Piggot was probably based on a 1774 portrait by Charles Willson Peale that was later destroyed in a fire. A similar painting, however, is now in the collection of Independence National Historical Park, Philadelphia, while a miniature made by Peale from the original portrait is owned by the Carnegie Museum of Art in Pittsburgh (Delaplaine’s Repository description begins Joseph Delaplaine, Delaplaine’s Repository of the Lives and Portraits of Distinguished Americans, Philadelphia, 1816–18, 2 vols.; Poor, Jefferson’s Library, 4 (no. 139) description ends , vol. 1, plate opp. p. 107; William S. Baker, American Engravers and Their Works [1875], 72–3, 135–7; Peale, Papers description begins Lillian B. Miller and others, eds., The Selected Papers of Charles Willson Peale and His Family, 1983– , 5 vols. in 6 description ends , 1:171; Charles Coleman Sellers, Portraits and Miniatures by Charles Willson Peale [1952], 177–8; Doris Devine Fanelli, History of the Portrait Collection, Independence National Historical Park [2001], 267).

The portrait of Dolley Madison by Bass otis is owned by the New-York Historical Society. Otis’s depiction of James Madison is known from an engraving by either James Neagle or John Neagle (Gordon Hendricks, “‘A Wish to Please, and a Willingness to be Pleased,’” American Art Journal 2 [1970]: 16–7, 23–5; Fielding, Dictionary description begins description ends , 254–5; Thomas Knoles, “The Notebook of Bass Otis, Philadelphia Portrait Painter,” American Antiquarian Society, Proceedings 103 [1993]: 236; Theodore Bolton, “The Life Portraits of James Madison,” WMQ description begins William and Mary Quarterly, 1892–  description ends , 3d ser., 8 [1951]: 32–3).