In Young, A. Madame Young's Guide to health; her experience and practice for nearly forty years; a true family herbal (Rochester, N.Y., 1858), frontispiece., Young was a practicing physician who authored Madame Young's Guide to health, a manual intended to instruct women in the use of herbal and family medicine., "Of all men, the physician should be a liberal-minded man-- ever anxious to learn all that will enable him to be of benefit to his suffering fellow-creatures. He should never conclude that he has nothing more to know, or that he can find all knowledge in any one system, or theory, of practice; he should ever be ready to learn, from every body. He who expects to find out all that can be known, in one train of reasoning, or round of study, is like a man traveling upon a circle"--P.146-147., Bust-length portrait of Madame Young, wearing a bonnet, eyeglasses, and a cross necklace.
In Medbery, R.B. Memoir of Mrs. Sarah Emily York (Boston, 1853), frontispiece., Facsimile signature: Yours ever Emmy W. York., Three-quarter length portrait of the woman missionary, seated, with a shawl draped over her shoulders.
Shoulder-length portrait of the writer wearing a bonnet and eyeglasses., In Wyatt, Sophia. The autobiography of a landlady of the old school, with personal sketches of eminent characters, places, and miscellaneous items (Boston, 1854), frontispiece., Mrs. Wyatt operated a hotel with her husband in New Hampshire and traveled extensively throughout the country in the early 19th century. As a young woman she worked as a schoolteacher.
In Gilbert, A. Memoir of Frances Wright (Cincinnati, 1855), frontispiece., Facsimile signature: Frances Wright., Three-quarter length portrait of the writer, seated at a table, holding a rolled document; a book and pens nearby., Another portrait appears in Illustrated news, vol. 1, no. 3 (Jan. 15, 1853), p. 45.
Full-length portrait of Mrs. Woods in the foreground, seemingly unaware of an Indian man entering the house behind her., In Frost, John. Daring and heroic deeds of American women (Philadelphia, 1860), plate following p. 120., “Early one morning, sometime in the year 1784, Mr. Woods being absent from home, and Mrs. Woods being a short distance from the cabin, she discovered several Indians advancing towards it. She ran towards the cabin, and reached the door before all the Indians but one, who pursued so closely, that before she could secure the door, he entered. A lame negro in the cabin instantly seized the savage, and, after a short scuffle, they both fell – the negro underneath. The resolute black fellow held his antagonist so tightly that he could not use his knife. Mrs. Woods then seized an axe from under the bed, and, at the request of the negro, struck the savage upon the head.”--P. 120.
Five separate shoulder-length portraits on a plate illustrating the location of various ipseals, or self-regarding organs., In Grimes, J. Stanley. A new system of phrenology (Buffalo, 1839), plate preceding p. 213., It is likely that the Mrs. Rapp featured in the plate is the wife of George Rapp, founder and leader of the Harmony Society, a utopian religious group., Red Jacket, a Seneca Indian orator and chief, married twice. Featured is either Aanjedek, whom he divorced, or Awaogoh, whom he went on to remarry.
In The lovely sisters, Margaret and Henrietta (Hartford, 1846), frontispiece., Waist-length portraits of Margaret Flower in bed, with her sister Henrietta and their parents Ebenezer and Anne Granger Flower at her bedside.
In The life and adventures of James P. Beckwourth (New York, 1856), p. [203]., The Native American woman was taken captive and adopted by the Crows when she was about ten. After excelling as a warrior, she became a chief, and was known as Bíawacheeitchish, or Woman Chief. She married four women in her lodge. In his autobiography, James Pierson Beckwourth, calling her Pine Leaf or Bar-chee-am-pe, claims to have had a romantic relationship with her., Full-length portrait of the woman warrior astride a horse.
In Agnes C. Wirt (New York, 1842), title page vignette., Another portrait, on the first page of text, depicts the young woman seated across from her father, U.S. Attorney General William Wirt., Full-length portrait of the young woman seated in a chair.
In Griswold, R.W.The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate preceding p. 433., Waist-length portrait of Mrs. Winthrop, standing.
In Jones, A.D. The illustrated American biography (New York, 1853), v. 1, p. [31]., In 1657, Penelope Winslow married Josiah Winslow (1629-1680), the Governor of Plymouth Colony., Another portrait appears in Jones, A.D. The American portrait gallery (New York, 1855), p. [31]., Bust-length portrait of the English colonist.
In Winslow, M. Memoir of Mrs. Harriet L. Winslow (New York, 1840), frontispiece., Facsimile signature: Very affec. Your Harriet., Waist-length portrait of the woman missionary, with arabesque decoration on sleeve of garment., Another portrait appears in: American missionary memorial (New York, 1853), p. 184.
In Ellet, E. F. The women of the American revolution (New York, 1848), v.2, frontispiece., Facsimile signature: "I pray God to bless you / Martha Wilson"., Bust-length portrait of Mrs. Wilson
In The Pennsylvania hermit (New York, 1838), title page vignette., Elizabeth Wilson (also known as Harriot Wilson), an unmarried woman, was tried and publicly executed for the murder of her twin infants in Pennsylvania in 1786. According to legend, her brother Amos Wilson arrived with a pardon from the governor immediately after the execution., Full-length portrait of the the convicted woman, hanging from a gallows, with a figure on horseback in the background.
In Aunt Sally; or, the cross the way of freedom. / A narrative of the slave-life and purchase of the mother of Rev. Isaac Williams, of Detroit, Michigan (Cincinnati, 1858), frontispiece., Sally Williams's son Isaac purchased her freedom. The publishers envisioned the narrative of her life, in which the portrait appears, as a text that would inspire readers "to labor for that oppressed and unhappy race which "Aunt Sally" represents, so, at length, this unfortunate people shall be slaves no longer, but shall find that, to them all, the Cross has been the Way of Freedom."--P.v., "And this is the mother and this is the son, who, through such peril and labor, have escaped from bondage into freedom. The facts need no comments. They are eloquent enough of themselves. But when we remember that these are not isolated cases, but that every day there is this suffering and strife for liberty, with only now and then one fortunate enough to obtain it, they become "trumpet-tongued," and plead with us to rest not till all over the land liberty shall no longer be a name only, but the right and blessing of every creature."--P.213., Another illustration picturing Williams appears in: Aunt Sally; or, the cross the way of freedom, plate opposite p. 214., Waist-length portrait of Williams, wearing a bonnet and eyeglasses.
In Jones, A.D. Illustrated American biography (New York, 1855), v. 3, p. 463., Other portraits appear in: Hale, S.J. Woman's record (New York, 1855), p. 816; Jones, A.D. The American portrait gallery (New York, 1855), p. [719]., Bust-length portrait of the educator.
In The Ladies' Repository (November, 1859), plate preceding p. 641. "Engraved expressly for the Ladies Repository.", Waist-length portrait of Mrs. Wilkins seated in front of a window with a Liberian village visible in the background.
In Wiley, I.W. The mission cemetery and the fallen missionaries of Fuh Chau, China (New York, 1858), p. 166., Mrs. Wiley and her husband were both members of the Methodist Episcopal Mission. They traveled to China in 1851., Waist-length portrait of the missionary.
In Hale, S.J. Woman's record (New York, 1853), p. 872. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of Mrs. Whittelsey.
In Badger, C.N. The teacher's last lesson: memoir of Martha Whiting (Boston, 1855), frontispiece., Facsimile signature: Your affectionate friend M. Whiting., Whiting, a pious woman who was devoted to making her life useful, taught at the Charlestown Female Seminary in Boston, Massachusetts., Bust-length portrait of Whiting, wearing eyeglasses and a bonnet.
In Ten years in Oregon (Ithaca, 1848), frontispiece., Born in Tioga County, New York, Sarepta (or Serepta) White accompanied her husband Elijah White to Oregon in 1836, after the Board of Missions of the New England Conference of the Methodist Church appointed him the physician to the Willamette Valley, Oregon. During their time in Oregon, both their son and their adopted son drowned. Later in life she practiced medicine in San Francisco., Waist-length of the wife of physician-missionary, next to her husband.
In Wiley, I.W. The mission cemetery and the fallen missionaries of Fuh Chau, China (New York, 1858), p. 54., Mrs. White and her husband were both members of the Missionary Society of the Methodist Episcopal Church. They arrived in Fuh Chau, China, in September 1847., Another portrait appears in: American missionary memorial (New York, 1853), p. 416., Waist-length portrait of the missionary.
Shoulder-length portrait of the educator in profile, with hair braided around crown of head., In The American phrenological journal, vol. 31 (Jan., 1860), p. 1., “She has been a ‘substitute,’ an efficient teacher to thousands, among whom not a few are known to honor and fame. She has achieved what no other woman in America has done, viz., been elected teacher of elocution in several literary and scientific institutions of note in our country.”--P. 2.
In Wheeler, J.H. Trial of Rev. Issachar Grosscup (Candaigua, N.Y., 1848), title vignette., Three-quarter length portrait of the young woman, wearing a bonnet.
In Wheatley, P. Poems on various subjects, religious and moral (London, 1773), frontispiece., Possibly based on a drawing by Scipio Moorhead., Three-quarter length portrait of writer, seated at a table, with pen in hand; inkwell and book nearby.
In Wiley, I.W. The mission cemetery and the fallen missionaries of Fuh Chau, China (New York, 1858), p. 200., Mrs. Wentworth was the daughter of J.J. Lewis, Esq., and the wife of Rev. Dr. Wentworth. She and her husband were both members of the Methodist Episcopal Mission. They arrived in China in May 1855., Waist-length portrait of the missionary.
Waist-length portrait of Mrs. Wells wearing bonnet., In Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 171., Mrs. Wells was the fifth daughter of physician Richard Hill and of prominent Quaker lineage, belonging to the Hill, Lloyd, Moore, and Partridge families of Philadelphia., “Rachel married in Philadelphia Richard Wells, an English gentleman, and had two sons and three daughters, of whom many descendants are known to us.”--P. xviii.
In Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), frontispiece., Three-quarter length portrait of Mrs. Washington, standing outdoors, surrounded by foliage.
Three-quarter length portrait of Miss Washburn holding a rifle and glancing back at a wounded Indian., In Frost, John. Daring and heroic deeds of American women (Philadelphia, 1860), plate following p. 268., After being held captive for ten years by a group of Indians, Miss Washburn encountered several pioneers. She persuaded them to provide her with a rifle, which she then used to kill two of her captors as they launched an attack on the pioneers.
Waist-length portrait of Harriet Ware, wearing a bonnet and a dress with lace collar, knitting., In Wayland, Francis. A memoir of Harriet Ware (Providence, 1850), frontispiece., Harriet Ware was an educator and philanthropist who founded the Providence Children’s Friend Society after retiring as a teacher at Indian Point, a suburb of Providence., “She seldom allowed herself to sit many minutes without work of some kind in her hands. While entertaining callers and friends, knitting was her most common employment, and, even while intensely interested in conversation, her needles would be flying, as if impelled by some unseen power. Knitting work came at length to be called her ‘coat of arms;’ and in the daguerreotype portrait, a copy of which was taken only at the urgent request of her friends, which I believe is to accompany the memoir of her, her knitting work has its appropriate place, and may serve as a fit emblem of the homely virtues which she honored and practiced.”--P. 129-30.
In Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 120., Bust-length portrait of Mrs. Coventry Wardell, with flowers in her hair., Based on a drawing by Charles Martin.
In Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 144., Bust-length portrait of Mrs. S. Ward., Based on drawing by Charles Martin.
In Memoir of Margaret Ann Walton (New York, 1842), title page vignette., Another portrait, on the first page of text, depicts the girl seated with her mother., Full-length portrait of the young girl, kneeling in prayer with a black girl, with an open book on a stool between them.
Full-length portrait of Miss Anna Walters in a tutu dancing en pointe., In Alexander’s express messenger (Apr. 17, 1844), p. [1]., “Miss Walters, one of Philadelphia’s favorite ballerinas, had made her debut at the Walnut a few days earlier, in a solo called Il Pirule Vetteramo, ‘never dancing in this city before’ -- and never again, insofar as we have been able to discover! According to Charles Durang, ‘Miss Walters really displayed infinite grace and immense agility. Her style was the French operatic (i.e., the classical ballet). She had great natural powers for the art but we should judge had never been regularly taught and trained in that graceful school. Her performances were crude at times and quite unfinished, showing that her acquirements were through aptness and tact for imitation. Miss Walters, however, pleased, and that nowadays is quite enough.’” -- Moore, Lillian. George Washington Smith (1945)., “As she appeared in the trial dance from the Bayadere, on her benefit night, at the Walnut Street Theatre, on Tuesday evening, April 9 1844”.
In Life and confession of Ann Walters, the female murderess!! (Boston, 1850), front wrapper., Full-length portrait of the murderer, possibly a fictitious character; cf. McDade 1036.
In Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 132., Shoulder-length portrait of Mrs. James Wadsworth, with lace bonnet., Based on drawing by Charles Martin.
In Frank Leslie’s ladies gazette of fashions & the beau monde, vol. 4, no. 6 (Dec. 1855), p. 113., Mrs. Vernon was a popular actress, who first came to the United States from England in 1827., Three-quarter length portrait of Mrs. Vernon wearing a lace-trimmed bonnet.
In The national portrait gallery of distinguished Americans (Philadelphia, 1840), v.2, plate opposite entry. Also appears in other editions. Note that by the 1852-53 Peterson edition fewer portraits of women are included. This portrait is not included., Facsimile signature: Marcia Van Ness., Mrs. Van Ness devoted considerable time and wealth to the Washington City Orphan Asylum in Washington, D.C., which is now the Hillcrest Children's Center., Waist-length portrait of the philanthropist wearing a bonnet., Other portraits appear in Jones, A.D. The illustrated American biography (New York, 1853), v. 1, p. [125]; Jones, A.D. The American portrait gallery (New York, 1855), p. [125].
In Hawes, L.F. Memoir of Mrs. Mary E. Van Lennep (Hartford, 1848), frontispiece., Facsimile signature: Mary E. Van Lennep., Above signature: "Jesus, I give my all to Thee.", "See Page 128.", Waist-length portrait of the woman missionary, with a shawl draped over her shoulders.
In Heath’s Book of beauty (London, 1840), plate opposite p. [277]; the accompanying text is a poem “To Madame Van de Weyer : written on her wedding-day.”, In 1839, Elizabeth Anne Sturgis Bates married Sylvain Van de Weyer (1802-1874), who served as the Belgian Ambassador in London, 1831-1867., Knee-length portrait of the Massachusetts native, possibly wearing her wedding dress.
Bust-length portrait of the criminal., In Sampson, M. B. Rationale of crime and its appropriate treatment; being a treatise on criminal jurisprudence considered in relation to cerebral organization. Edited by Eliza W. Farnham (Philadelphia, 1846), p. 160., “My acknowledgements are due to the officers of the Penitentiary on Blackwell’s Island for their politeness in furnishing me with facilities for taking the daguerreotypes, and to Mr. L. N. Fowler for aiding me in the selection of cases; nor must I omit to name Mr. Edward Serrell, who was obliging enough to take the outline drawings for me; or Mr. Brady, to whose indefatigable patience with a class of the most difficult of all sitters, is due the advantage of a very accurate set of daguerreotypes.” -- Introductory preface by Mrs. Farnham, p. xx., “The drawing indicates a large development of the perceptive, the mechanical and musical powers, with excessive secretiveness and destructiveness. But the most striking feature of her head is the extreme shortness from individuality to philoprogenitiveness. Her impatience and restlessness prevented the side view from being taken….”--P. 160.
In The American book of beauty, or, Token of friendship (Hartford, 1847?), plate following p. [32]., Another portrait appears in: The Family circle, and parlor annual, 1848 (New York, 1847), plate preceding p. [45]., Three-quarter portrait of Miss Tyndal, seated with a flower in her right hand and a handkerchief in her left hand., Original sitter identified as the Hon. Mrs. Spalding.
In Summary of the transactions of the College of Physicians of Philadelphia, vol. 3 (1850), plate opposite p. 93., “Ruth Tucker, a large and healthy negro woman, aged twenty-four, was admitted into the Pennsylvania Hospital in January last, on account of tumours developed in the lobe of each ear. She stated that between five and six years before, she had her ears pierced, and that soon afterwards brass rings were inserted into them…. Some swelling had already shown itself around the punctures before they were taken out … and gave origin to the tumours, which had continued since slowly to enlarge.”—P. 93., Waist-length portrait of Ruth Tucker, a patient whom Dr. George W. Norris treated for tumors on her ears.
In McKenney, T. L. and J. Hall. History of the Indian tribes of North America, v.1 (Philadelphia, 1836), plate opposite p. 173. Also in 1838-1844 and 1848-1850 editions., "Like all handsome women, be their color or nation what it may, she knew her power, and used it to the greatest advantage."--P. 175., Tshusick, an Ojibwa woman, arrived in Washington, D.C. in 1826, destitute and supposedly seeking Christian conversion after traveling on foot from Detroit. After several months of being entertained by high-level U.S. government officials and mingling in the highest social circles, she left the capital, laden with many gifts. Later, her Washington friends discovered that she was a con artist, "a sort of female swindler" (P. 177) who often appeared in cities and used her charm to make friends and enjoy the hospitality of others., Full-length portrait of a seated Tshusick leaning on a table, wearing elaborately decorated clothing, including a hat, jacket, and moccasins, and holding a flower. A piece of paper on the table bears her signature: "Thusick" [sic].
