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 The life and adventures of James P. Beckwourth (New York, 1856), p. [116]., The Native American woman died after her husband punished her for disobeying him when she chose to dance in celebration of the scalping of three white men. After her death, her father (a Flat Head) prevented Beckwourth from being killed, and also presented him with the wife’s younger sister as a replacement wife., Recumbent portrait of Mrs. Beckwourth after her husband struck her with the side of his battle-axe.
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 Transplanted flowers, or, Memoirs of Mrs Rumpff, daughter of John Jacob Astor esq and the Duchess de Broglie, daughter of Madame de Staël (New York, 1839), frontispiece., Three-quarter portrait of the New York native, who married Count Vincenz von Rumpff (1789–1867) in 1825; Countess von Rumpff died in Vaud, Switzerland.
In Account of the golden wedding of James and Mary Brewster, September 18, 1860 (New Haven, 1860), frontispiece., Facsimile signature: Your Affectionate Mother Mary Brewster., Waist-length portrait of the woman wearing a lace collar and a lace bonnet.
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 sisters : a memoir of Elizabeth H., Abbie A., and Sarah F. Dickerman (Boston, 1859), frontispiece., Three separate waist-length portraits in arabesque frames: Elizabeth H. (Lizzie) Dickerman; Abbie A. Dickerman; Sarah F. (Fannie) Dickerman., The Dickerman sisters, who grew up in Connecticut, lived pious lives and died young. Elizabeth lived long enough to work first as a teacher and later as the first principal of the Hart Female Seminary in Plymouth, Connecticut.
In Memoir of Mary King (Philadelphia, 1846), frontispiece with illegible caption., Deathbed scene depicting Mary King surrounded by women family members.
In Twelve years a slave (Auburn, N.Y., 1853), plate opposite p. 320., Same image appears in Twelve years a slave (Auburn, N.Y., 1854)., Full-length portrait of Mrs. Solomon Northup embracing her husband; their daughters Elizabeth and Margaret stand nearby.
In Only full report of the trial of Rev. I.S. Kalloch, on charge of adultery ... with accurate portraits of Kalloch, and the beautiful lady in black (Boston, 1857), p. 4., “The Springfield republican says: ‘The lady thus unfortunately implicated with Mr. Kalloch, is the young and lovely wife of a citizen of Brattleboro’, Vt.’”, Waist-length portrait of the “lady in black,” touching her necklace with her right hand.
In Tragic almanac 1843 (New York, 1842), p. [25]., According to the accompanying article, Thomas Topping beat his wife Elizabeth for five hours before she died. He also threatened to kill Catharine Kelly, who was in the room, if she made any effort to sound an alarm., Probably fictitious characters., Full-length portrait of the victim on the ground with her left hand raised to avert a blow; a woman lies in a bed in the background.
In Tragic almanac 1843 (New York, 1842), p. [30]., According to the accompanying article, James Adams, a street sweeper, quarreled with a servant girl named Ann Gorman. “During the dispute he seized a plate ... and threw it at the girl’s head, when his wife expostulated with him.” He killed his wife after she threatened to call an officer., Probably fictitious characters.
In Serious almanac, 1845 & '46 (New York, 1845), p. [25]., According to the accompanying article, Julian Gardner answered the door when her husband was not at home. A black man wielding a lighted torch pushed his way in and “with one blow split open the head of Mrs. G. with an axe.”, Probably a fictitious character., The same image appears in Tragic almanac. 18-46 (1845), p. [13].
In the Weekly herald, vol. 9, no. 25 (June 29, 1844), p. 203., Another portrait by another artist appears on the same page; see also the Weekly herald, vol. 9, no. 2 (Jan. 13, 1844), p. 9, for an earlier publication of this portrait., Waist-length portrait of the accused murderess wearing a bonnet.
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 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.
In Hannah Corcoran, the missing girl of Charlestown (Boston, 1853), title page vignette., Three-quarter length portrait of the young woman, wearing a Maltese cross brooch.
In The missionary sisters (Boston, 1860), frontispiece., Facsimile signatures: Seraphina H. Everett; H.M.L. Hamlin., Two separate waist-length portraits of the American Board of Commissioners for Foreign Missions missionaries, in arabesque frames: Mrs. Seraphina Haynes Everett; Mrs. Harriet Martha Hamlin.
In Narrative of the deceptive courtship and seduction of Miss Phebe Crossen (Cincinnati, 1857), wrapper vignette., Fictitious person? Born near Blanchester, Ohio, Phoebe Crossen was raised by her grandparents after her mother died (and her father went West); her seducer promised marriage and then supplied Phebe with medicine in order to kill their unborn child; after the child was born dead, she wrote the narrative and committed suicide with laudanum on February 19, 1857., Three-quarter length portrait of the unwed mother, carrying a book in one hand and a lace handkerchief in the other hand.
In The lighted valley, or, The closing scenes in the life of a beloved sister (New York, 1850), frontispiece., The young woman was the daughter of the Rev. Robert Bolton (1788-1857), an Episcopalian clergyman who was born Savannah, Georgia; in 1807, he traveled to England, where he married Anne Jay Bolton (1793-1859); the couple and their children left England in 1836 and settled in New York; they opened the Bolton Priory School in Pelham Manor, New York, in 1838., Three-quarter-length portrait of the young woman., Another portrait appears in Bolton, R. The Lighted valley, or, The closing scenes of the life of Abby Bolton (London, 1851), frontispiece ("Eng'd by W. Holl, from a painting by her brother [i.e., William Jay Bolton]").
Separately issued print., Attributed to Francis Kearny, who engraved the portrait of Andrew Jackson that Joseph How published (as a companion piece?)., Full-length portrait of the First Lady seated in an armchair, holding a fan and a book.
In Twelve years a slave (Auburn, N.Y., 1853), plate opposite p. 88., Same image appears in Twelve years a slave (Auburn, N.Y., 1854)., Full-length portrait of the enslaved women, possibly a fictitious character, kneeling next to her daughter Emily; two white men stand above her.
In Serious almanac, 1845 & '46 (New York, 1845), p. [33]., According to the accompanying article, Mr. and Mrs. Dominick Sweeney “were part of a drunken Irish family, and had been intoxicated and quarrelling for several days.”, Probably a fictitious character., Full-length portrait of a woman wielding a knife over a man on the ground; a bottle is on a table in the background; and an overturned drink glass is on the ground in the foreground.
In The Tragic almanac (New York, 1849), p. [10]., According to the accompanying article, Mrs. Colton shot Mr. Corlis after having had “illicit intercourse” with him., Probably a fictitious character., Full-length portrait of the murderer standing on a sidewalk, firing a pistol at the victim.
In Cases of cures performed by the use of Swaim’s panacea (Philadelphia, 1829), frontispiece., “One of the most extraordinary cures ever recorded in the annals of medicine”., “See p. 25”., According to the accompanying article, Nancy Linton was cured of scrofula by using Swaim’s panacea., Another portrait of Nancy Linton appears in A treatise on Swaim's panacea (Philadelphia, 1829), frontispiece., Another portrait of Nancy Linton (as Ana Linton) appears in Coleccion de casos, en ilustracion de las propiedades restaurativas i sanativas de la panacea de Swaim, en varias enfermedades (Filadelfia, 1831), frontispiece., Another portrait of Nancy Linton appears in A treatise on the alterative and curative virtues of Swaim's panacea (Philadelphia, 1833), p. 86., Another portrait of Nancy Linton appears in Swaim’s panacea (Philadelphia, 1848), p. [10]., The Philadelphia Museum of Art owns a hand-colored lithograph with minor differences in composition. ("Drawn on stone by W.H. Kearney, printed by C. Hullmandel.") See Library Company of Philadelphia, Every man his own doctor (1998), p. 29., Full-length portrait of a woman with scars on her face, arms, and legs, seated with her right arm resting on a table next to a bottle labeled “Swaim’s”.
In A treatise on the alterative [sic] and curative virtues of Swaim’s panacea (Philadelphia, 1833), plate facing p. 94., “Page 94”., According to the accompanying article, Elizabeth Soby was relieved of the pain she suffered from the ulcer on her face by using Swaim’s panacea., Charles Joseph Hullmandel was a London lithographer., Another portrait of Elizabeth Soby appears in Swaim’s panacea (Philadelphia, 1848), p. [19]., Three-quarter length portrait of a woman with a disfiguring scar on the right side of her face.
In A treatise on the alterative [sic] and curative virtues of Swaim’s panacea (Philadelphia, 1833), plate facing p. 95., “Page 94”., According to the accompanying article, Mrs. Tregomaine was relieved of the pain she suffered from ulcers on various parts of her body by using Swaim’s panacea., Charles Joseph Hullmandel was a London lithographer., Another portrait of Mrs. Tregomaine appears in Swaim’s panacea (Philadelphia, 1848), p. [22]., Recumbent portrait of a woman with scars on her face and hands, leaning against pillows.
In A treatise on the alterative [sic] and curative virtues of Swaim’s panacea (Philadelphia, 1833), plate facing p. 54 of the appendix., “Page 54. Appendix”., According to the accompanying article, Mrs. Dorothy Parker was relieved of the pain she suffered from rheumatism, abscesses, and ulcers on her legs by using Swaim’s panacea., Charles Joseph Hullmandel was a London lithographer., Another portrait of Mrs. Dorothy Parker appears in Swaim’s panacea (Philadelphia, 1848), p. [26]., Full-length portrait of a woman with scars on her legs, sitting up in bed.
Waist-length portrait of the Boston native., In Jones, A.D. The illustrated American biography (New York, 1853), v. 1, p. [29]., In 1679, Rebecca Rawson married a man who swindled her out of her fortune and abandoned her in England., Another portrait appears in Jones, A.D. The American portrait gallery (New York, 1855), p. [29].
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 Jones, A.D. The American portrait gallery (New York, 1855), p. [344]., Deborah Franklin was the common-law wife of Benjamin Franklin., Waist-length portrait of the Philadelphia native., Another portrait appears in Franklin, B. Works of Benjamin Franklin (Boston, 1840), v. 7, frontispiece.
In Brooke, H.K. Tragedies on the land (Philadelphia, 1845), p. 35., Mrs. Mary Warner, of Upper Darby, Pennsylvania, allowed four men to enter her house on May 22, 1824. They had asked to see a member of her household, William Bonsall, who also lived there with his wife and child. After the men choked and stabbed William Bonsall, they threatened Mrs. Warner, and stole Bonsall’s property., Full-length figure of a woman holding a candlestick and staring at a seated man being assaulted by two men; two other men stand behind her.
In Brooke, H.K. Tragedies on the land (Philadelphia, 1845), p. 129., Ursula Newman, of New York City, was shot on November 20, 1828, by her common-law husband Richard Johnson, in the presence of her three children (her daughter Rachel and two sons). Johnson had just learned that the landlord had taken the equipment from his home printing office for back rent. That very day, he had returned from Genesee County, where he had picked up the infant that had been born to Mrs. Newman (at the home of the brother of her previous husband in August 1827)., Full-length figure of a woman with her right arm raised above her head as she collapses on a sofa; she is being shot by a man standing near her; two boys run toward the door, and a young woman standing near the door stares with her mouth open and her hands clasped near her chest.
In Brooke, H.K. Tragedies on the land (Philadelphia, 1845), p. 149., On November 21, 1828, after a disagreement at their home in Philadelphia, Michael M’Garvey whipped his wife. She died one or two days later., Full-length portrait of a woman, kneeling with her hair tied to a bedpost; a man stands nearby with a whip raised above his head ready to strike her; another woman stares at them from behind an open door.
In Van Amburgh’s Zoological & Equestrian Co. Concert Company. Fun for the million! (Philadelphia, 1859), detail., Mlle. Fredericks worked with Van Amburgh in 1859 only; cf. W.L. Slout. Olympians of the sawdust circle (1998)., Full-length portrait of the slack wire performer, holding a hoop as she balances on the wire.
In Trial of Mrs. Margaret Howard, for the murder of Miss Mary Ellen Smith (Cincinnati, 1849), p. [4]., Mary Ellen Smith was stabbed to death by her lover’s wife., Bust-length portrait of the murder victim, wearing a bonnet.
In Hammond, L.M. Trials and triumphs of an orphan girl; or the biography of Mrs. Deiadamia Chase, physician and phrenologist (Cortland, N.Y., 1859), frontispiece., Mrs. Chase, orphaned in childhood, became a physician who advocated the use of phrenology., Waist-length portrait of Mrs. Chase., Another portrait appears in: American phrenological journal, v. 15 (May, 1852), p. 100.
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 The afflicted and deserted wife, or, Singular and surprising adventures of Mrs. Ellen Stephens (New York, 1842), title vignette., Almira Paul is probably a fictitious character., Full-length portrait of the woman, wearing a sailor suit and a top hat; a steamboat is visible on the horizon behind her.
Full-length portrait of Mrs. Gaines wearing a lace shawl over a floor-length dress. Mrs. Gaines, holding a handkerchief in her left hand and wearing her hair in an up do with ringlets, stands on an outdoor balcony in front of a natural setting., In The Columbian lady’s and gentleman’s magazine, vol. 9, no. 10 (October, 1848), plate preceding p. 433., Mrs. Myra Clark Gaines, the celebrated litigant, was the daughter of Zulime Carriere and the wealthy Daniel Clark, who may or may not have ever legally married. Clark, who died in 1813 never having acknowledged Myra as his child, acquired his fortune in New Orleans as a real estate speculator. Mrs. Gaines was raised by Samuel Boyer Davis, a friend of Clark’s, and only discovered her true parentage in 1830. Four years later she began what was to become a 57-year lawsuit to recover four-fifths of her father’s estate, an inheritance to which she was entitled based solely on a missing will., Other portraits appear in: The Columbian lady’s and gentleman’s magazine, vol. 9, no. 5 (May, 1848), plate preceding p. 193; The Ladies wreath (1851), p. [310].
In Jones, A.D. The illustrated American biography (New York, 1855), v. 3, p. 439. "Portraits drawn by S. Wallin, and engraved by J.W. Orr.", Other portraits appear in: Gleason's pictorial drawing room companion, v. 1 (1851), p. 232 and p. 481; Hale, S.J. Woman's record (New York, 1855), p. 638; Jones, A.D. The American portrait gallery (New York, 1855), p. [617]., Bust-length portrait of the actress., For image of painting of Charlotte Cushman by Thomas Sully, press link below.
In Tragic almanac 1843 (New York, 1842), p. [17]., According to the accompanying article, Miss Hamlin (aka Miss Goodrich) killed Mr. Ewing in a theater in Mobile, Alabama, on March 25, 1842. “She eluded all pursuit and was not heard of till some months afterward when she was seen in male attire in one of the West India islands.”, Probably a fictitious character., Full-length portrait of the actress, in costume, attacking her actor husband with a knife.
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 American book of beauty, or, Token of friendship (Hartford, 1847?]. plate preceding p. [65]., Full-length portrait of Miss Ketchum (of Boston), standing holding a small dog against her chest with her right arm and a handkerchief in her left hand., Fictitious person? Sitter identified as the singer/actress Mrs. Charles Martyn (i.e., Elizabeth Inverarity Martyn) on a plate published by Longman & Co., 1 October 1840. Cf. National Portrait Gallery, London. http://www.npg.org.uk/collections/search/portrait/mw80781/Elizabeth-Ma
In Ellet, E. F. The women of the American revolution (New York, 1848) v.1, plate opposite p. 332., Facsimile signature: S Bache., Bust-length portrait of Mrs. Bache, wearing a bonnet., Another portraits appears in: Jones, A.D. The American portrait gallery (New York, 1855), p. [461].
Proof copy; never published?, Susannah Knorr was born in Germantown. She married Philadelphia publisher Zachariah Poulson in 1780., Waist-length portrait of Mrs. Poulson seated in a chair., For image of painting of Mrs. Poulson, press link below.
In The magic staff : an autobiography of Andrew Jackson Davis (New York, 1857), plate opposite p. [19]., Facsimile signature: Mary F. Davis., Mary Fenn Davis divorced her first husband, Samuel G. Love (1821-1893), in order to marry celebrity spiritualist Andrew Jackson Davis (1826-1910) in 1855. In 1885, Andrew Jackson Davis had their marriage annulled after he discovered that he had made a mistake thirty years earlier when he determined that he and Mary Fenn Davis were soul mates. He then married Della E. Markham (1839-1928). Already a temperance lecturer when she met Andrew Jackson Davis, Mary Fenn Davis worked alongside her husband in writing and editorial projects during their marriage., Waist-length portrait of Mrs. Davis, dressed simply with a lace collar and a brooch at her neck.
