In Adams, H.M. Memoir of Miss Hannah Adams (Boston, 1832), frontispiece., Facsimile signature: Your friend Hannah Adams., Three-quarter length portrait of the writer, seated holding an open book.
In Read, T.B. Female poets of America (Philadelphia, 1849), plate opposite p. 225, Facsimile signature: Amelia B. Welby, Waist-length portrait of the writer.
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 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 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 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 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 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.
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.
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 Lewis, J.O. Aboriginal portfolio, v. 1 (Philadelphia, 1835)., Full-length portrait of Ta-Ma-Kake-Toke holding garments (of dead spouse?), seated on a bench.
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 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.
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].
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 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.
Portraits of the women as depicted in the diagram from the trial proceedings. Mrs. Baker stands beside Captain Carson near the card table [i.e., 9] and Mrs. Carson stands by the fireplace [i.e., 7] in the house at Dock Street and Second Street., In Smith, Richard. The trials of Richard Smith (Philadelphia, 1816), frontispiece., Mrs. Jane Baker is the mother of Mrs. Ann Baker Carson, who was acquitted on allegations of conspiring with her lover, Mr. Richard Smith, to kill her husband, Captain John Carson.
In McKenney, T. L. and J. Hall. History of the Indian tribes of North America, v.1 (Philadelphia, 1836), plate opposite p. 147. Also in 1838-1844 edition., "Rantchewaime has been known, after her return from Washington, to assemble hundreds of the females of her tribe, and discourse to them on the subject of ... vicious courses which she witnessed ... among the whites, and to warn them against like practices."--P. 148., Waist-length portrait of Rantchewaime, wearing earrings and necklaces, and holding a fan constructed of feathers.
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. 219., Three-quarter length portrait of Mrs. Randolph, seated, with her arms crossed in her lap, her right hand holding a rose, in front of a window through which a mountain and a river are visible.
In Rankin, Mary. The daughter of affliction (Dayton, 1858), frontispiece., Waist-length portrait of the invalid, with a blanket across her lap., "Your sister in Christ, Mary Rankin".
In Lee, R.H. Memoir of the life of Harriet Preble (New York, 1856), frontispiece., Three-quarter length portrait of the teacher, seated at a table with a book in her lap.
In Bennett, S.R.I. Walks of usefulness (New York, 1868), frontispiece. Text first published in 1843., Bust-length portrait of Mrs. Prior, wearing eyeglasses and a bonnet.
In Gleason's pictorial drawing-room companion, vol. 2, no. 1 (Jan. 3, 1852), p. 8-9., Fourteen separate waist-length portraits surrounded by arabesque decoration and putti: M.M. Ballou; Sylvanus Cobb, Jr.; Mrs. E. Wellmont; Geo. Canning Hill; Caroline A. Hayden; Fred Hunter; Mrs. C.E. Lovering [i.e., Mrs. E.C. Lovering?]; F. Gleason; L. Curtiss Hine; Francis A. Durivage; Mrs. M.E. Robinson; F. Clinton Barrington; Miss Sarah M. Howe; Dr. J.H. Robinson. Mrs. Robinson wears eyeglasses.
In Ellet, E.F. The women of the American revolution (New York, 1848) v.1, plate opposite p. 36., Facsimile signature: E. DeBerdt., Bust-length portrait of Mrs. Reed., Another portrait appears in Jones, A.D. The American portrait gallery (New York, 1855), p. [361].
In McKenney, T.L. and J. Hall. History of the Indian tribes of North America, v.3 (Philadelphia, 1848), plate opposite p. 53. Also in 1836-1844 and 1838-1844 editions., The story of Pocahontas remains one of the most powerful legends of early colonial America. Pocahontas was a friend to the English settlers, often intervening on their behalf in negotiations with her father, powerful chief Powhatan. She famously saved the life of John Smith moments before his planned execution. She married settler John Rolfe, moved to England in 1616, and died there soon after., "With a shriek of agony, and an impulse of energy and devotion known only to woman's heart, Pocahontas rushes forward, throws herself between the victim and the uplifted arm of the impassioned avenger, beseeching him to spare, for her sake, that doomed life. In what page of her voluminous annals does history record a spectacle of such exquisite beauty? What grace, what feminine tenderness and devotion, what heroic purpose of soul--what self-sacrificing resolution and firmness! And that in a child of twelve years old--and that child an untaught savage of the wilderness, who had never heard the name of Jesus, or of that gospel which teaches to love our enemies, and do good to them that hate us!"--P. 54-55., Other portraits appear in: New York Mirror, v. 18, no. 3 (July 11, 1840), p. 17; The Picture of the baptism of Pocahontas: painted by order of Congress, for the rotundo of the Capitol, by J.G. Chapman, of Washington, plate opposite p. 8; McKenney, T.L., Memoirs, official and personal, v.2 (New York, 1846), frontispiece; Hale, S.J., Woman's record (New York, 1853), p. 474; Jones, A.D., The illustrated American biography (New York, 1853), v.1., p. [21]; Jones, A.D., The American portrait gallery (New York, 1855), p. [21]; Frost, J., Pictorial history of America, v.1 (Philadelphia, 1856), p. 156; Clarke, M.C., World-noted women (New York, 1858), plate opposite p. 283; Goodrich, F.B., Women of beauty and heroism (New York, 1859), plate opposite p. 211., Waist-length portrait of Pocahontas, holding a flower.
In Abbott, J.S.C. Memoir of Miss Elizabeth T. Read (New York, 1847), frontispiece., “Ever your own true Lizzie. Love her Jennie”., Three-quarter length portrait of the young woman.
Waist-length portrait of Mrs. Prosser, wearing muff., In Frank Leslie’s illustrated newspaper, vol. 3, no. 75 (May 16, 1857), p. 368., Mrs. Prosser was a witness in the Burdell murder trial., Also known as Caroline Weathington. Cf. New York daily tribune (Feb. 6, 1857), p. 6.
In Gleason's pictorial drawing-room companion, vol. 2, no. 23 (Boston, June 5, 1852), p. 361. "The likeness we give herewith is by our artist, Mr Rowse"., The actress, also known as Sophia Elizabeth Munson Roberts, adopted Miss Kimberly as her stage name., "'You will see by the literature I enclose that I am occupied in aiding in the control of the only insurance company in the world organized and conducted by women,-- myself being the originator of the project. I also conduct a family hotel comprising the block between 21ist and 22nd Sts. My life has been passed in all absorbing labor, mental and physical.' We learn from Mrs. Harriet Bradley Jackson that Sophia was formerly an actress became quite a performer and went all round. She was known in the profession as Miss Kimberly which was her mother's maiden name. Another adds that she was a Shakespearean reader. Her husband was an actor also. After she left the stage she practiced medicine."--Munson, M.A. 1637-1887 The Munson record, v. 2 (New Haven, 1896), p. 963., Three-quarter length portrait of Miss Kimberly, wearing earrings, a bracelet, and a cross necklace with a flower in her hair.
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. 113., Three-quarter length portrait of Mrs. King seated in front of drapery and architectural elements.
In Hale, S. J. Woman's record (New York, 1853), p. 712., Another portrait appears in: Leslie, E., ed. The gift: a Christmas and new year's present for 1836, frontispiece., Bust-length portrait of the actress looking over her left shoulder.
In Baird, R. Memoir of Anna Jane Linnard. 2nd ed. (Philadelphia, 1837), frontispiece. Also in 1835 ed., Waist-length portrait of Miss Linnard, seated before a book (a Bible, open to the Gospel of St. John).
In Judson, E.C. Memoir of Sarah B. Judson (New York, 1852), front cover (stamped in gold)., Below image: Faithful is He that calleth you [1 Thessalonians 5:24]., Full-length portrait of Mrs. Judson, standing between mourners (including Adoniram Judson?) and storm-tossed ship. She points to a vignette (depicting buildings and people in Burma?) within an arabesque frame, above which an angel hovers. Snakes curl around the lower edge of the frame.
In The gift (Philadelphia, 1842), plate opposite p. 152., Waist-length portrait of Mrs. King wearing a lace bonnet., Sitter identified as Sarah Rogers Gracie King, the wife of James Gore King, on the basis of a portrait by Thomas Sully; the painting is now located in the Nelson-Atkins Museum of Art, Kansas City, Missouri.
In Read, T.B. Female poets of America (Philadelphia, 1849), plate opposite p. 305., Facsimile signature: E.C. Kinney., Waist-length portrait of the writer.
In Hart, J.S. Female prose writers of America (Philadelphia, 1852), plate opposite p. 105., Facsimile signature: C.M. Kirkland., Bust-length portrait of the writer in a bonnet.
Waist-length portrait of the actress, seated, wearing flowers in her hair., In Frank Leslie’s illustrated newspaper, vol. 3, no. 53 (Dec. 3, 1856), p. 32., Laura Keene was a popular actress and theater manager, best known for acting in the production of Our American Cousin on the night of President Lincoln’s assassination., Another portrait appears in: Frank Leslie’s illustrated newspaper, vol. 4, no. 103 (Nov. 21, 1857), p. 397.
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. 295., Cornelia Clinton Genet was the daughter of New York Gov. George Clinton (1739-1812) and the wife of Edmond-Charles Genêt (1763-1834)., Three-quarter length portrait of Mme. Genet standing standing in front of a natural landscape, her arms folded at her waist.
In The Ladies' Repository (July, 1858), plate preceding p. 385. "Engraved expressly for the Ladies Repository.", Waist-length portrait of Mrs. Garrett.
In Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 180. "The drawings ... have been made by Mr. W. Momberger of the city."—Preface, v. 1, p. x., Facsimile signature: Caroline Gilman., Bust-length portrait of the writer.
In Lee, L. P. History of the Spirit Lake massacre! / 8th March, 1857, and of Miss Abigail Gardiner's three month's captivity among the Indians (New Britain, CT, 1857), p.5., Facsimile signature: Abagail Gardner., Another illustration depicting Gardner appears in: Lee, L. P. History of the Spirit Lake massacre! (New Britain, CT, 1857), p. 35; another portrait appears in: Gardner-Sharp, A. History of the Spirit Lake massacre (Des Moines, 1885), frontispiece, and another illlustration depicting Gardner appears on plate facing p. 63., Three-quarter length portrait of a seated Mrs. Gardner, wearing cross necklace.
Waist-length seated portrait of the actress holding a book., In The American phrenological journal, vol. 29 (Feb., 1859), p. 25., Ernestina Katherine Louise Marie Ritter, who went by the stage name Ada Clifton, was a popular actress in the mid-nineteenth century.
In Wiley, I.W. The mission cemetery and the fallen missionaries of Fuh Chau, China (New York, 1858), p.336., Mrs. Colder was the daughter of Rev. John Winebrenner, and the wife of Rev. James Colder. Mrs. Colder and her husband were both members of the Methodist Episcopal Mission, and arrived in China in July 1851., Waist-length portrait of the missionary.
