This pair of pendant portraits (painted as a set, typically of husband and wife) illustrates the skill of Sarah Miriam Peale. In what are probably their wedding portraits, both figures are depicted in a pose made popular by French neoclassical painters such as Jacques-Louis David and adopted by Rembrandt Peale by 1810. The Averys both have stiff, formal postures, sitting with their bodies turned slightly to one side and their gazes directed toward the viewer. Their neoclassical-style chairs and rich attire are indications of their elevated socioeconomic status. Particularly noteworthy in this regard is Susan's jewelry-earrings and a heart-shaped pendant-plus the large tortoise-shell comb worn at the back of her head and complemented by a pair of smaller combs that hold back the dark curls framing her face. Research suggests that Isaac Avery was probably a manufacturer of such combs, which were expensive luxury items of the time, as were cashmere shawls of the kind seen draped around Susan Avery's left arm.

Peale's affinity for painting details is further demonstrated in the highlights on Isaac's stick pin, watch chain, and the double row of gold buttons on his jacket-the second button from the top, on the viewer's right, is actually painted as though it were twisted at an angle, to make it catch the light. Even more remarkable than Peale's ability to convey such decorative elements is the balance she achieves between this kind of specificity and the broad, plain background in both paintings. Most important, through her depiction of the Averys' postures and facial expressions, Peale has created a visually and emotionally satisfying image of this proud and prosperous Philadelphia couple.