Four (4) framed silhouettes, including two Peale Museum Silhouettes. 1st item: Reverse painted glass or verre eglomise equestrian silhouette depicting a gentleman in a carriage meeting at a crossroads with a hunter on horseback. Giltwood and birdseye maple frame. Glass 11 1/2" x 14", frame 15 1/2" x 18". Probably English, mid to late 19th century. 2nd and 3rd items: 2 Charles Willson Peale Museum watercolor on paper silhouette portraits attributed to Moses Williams, depicting the busts of a man and woman, each in a giltwood frame with eglomise mat, both with banner embossed "Museum" below the busts. Oval openings: 2 1/4" x 3 1/2"; Sight 4 1/2" x 3 1/2"; Framed 6" x 5 1/4". American, circa 1800. 4th item: Watercolor on paper silhouette portrait of a woman in a giltwood frame with egomise mat decorated with stenciled acorns. Boston Mass. framing label en verso. 3 1/2" x 2 5/8" oval opening, 5 1/4" x 4 1/2" framed. American or English, early 19th century. Provenance: a Nashville, TN estate, by descent from an early Charlottesville, Virginia family. Note: Charles Willson Peale and his sons established museums in Philadelphia (1784), Baltimore (1814) and other cities in the late 1700s and early 1800s. By 1802, Peale had introduced British inventor John Hawkins’s (1772–1855) physiognotrace device at his Philadelphia museum to cut bust length silhouettes for museum visitors. While the operator traced the sitter’s head, the mechanism impressed the image onto a piece of paper. Former slave Moses Williams was hired as the initial operator; other sihouettists worked from the 1810s-1830s at both the Philadelphia and Baltimore museums. The "Museum" stamp was used in both locations. Source: Anne Verplank, "Peales Museum Silhouettes," Oct. 16, 2012 (https://www.incollect.com/articles/peales-museum-silhouettes ) . CONDITION: Overall good condition with light toning to paper silhouettes; wear and corner/edge losses to all frames.