In American missionary memorial (New York, 1853), p. 162., Mrs. Comstock and her husband were Baptist missionaries in Arracan, which became the Rakhine State of Burma., Waist-length portrait of the missionary.
In Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 437., Waist-length portrait of Margaret Morris Collins., "Aet. 19"., Mrs. Collins, the daughter of Mrs. Margaret Hill Morris, was of prominent Quaker lineage, belonging to the Hill, Lloyd, Moore, and Morris families of Philadelphia.
In Cooke, H.B. Memories of my life work / the autobiography of Mrs. Harriet B. Cooke (New York: 1858), frontispiece., Facsimile signature: H. B. Cooke., Waist-length portrait of the educator, wearing a bonnet.
In Congdon, C.M. Guardian angel (Auburn, N.Y., 1856), frontispiece., Facsimile signature: Yours most truly Carrie M. Congdon., Waist-length recumbent portrait of the writer, holding a pencil at an invalid's writing desk, with books nearby. Peacock feathers along top of image.
In Maria Cheeseman, or, The candy-girl (Philadelphia, 1857), vignette on added engraved title page., Waist-length portrait of the orphan, who returned to her grandparents in England after having been aided by missionaries who found her selling items on Sunday in New York City.
Full-length portraits of the victims in the parlor. The illustration depicts the scene of the crime the morning after the murders. Mrs. Honora Shaw, closest to the door, lies on her back with her arms flailed upward. Mrs. Ellen Lynch lies across the room, barefoot and on her side., In The Life and adventures of Arthur Spring; the murderer of Mrs. Ellen Lynch and Mrs. Honora Shaw (Philadelphia, 1853), p. 53., Mrs. Ellen Lynch and Mrs. Honora Shaw were murdered by Mr. Arthur Spring, whom they had grown up with in Ireland, on the night of March 10th, 1853. Mr. Spring murdered the sisters in the home that they shared in an attempt to rob them of less than one hundred dollars.
In Serious almanac, 1845-’46 (1845), p. [16]., Andrew Hellman (1792-1843), also known as Adam Horn, was convicted of killing and then dismembering his wife in November 1843., Full-length portraits of the pair struggling, with the husband holding the wife down on the floor., The same image appears in The Tragic almanac 1850 (New York, 1849), p. [5].
In Longacre, J.B. National portrait gallery of distinguished Americans, v.4 (1839), 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 replaced by another portrait of Mrs. Sigourney., Facsimile signature: L.H. Sigourney., Waist-length portrait of the writer.
In Hooker, E.W. Memoir of Mrs. Sarah L. Huntington Smith. 3rd ed. (New York, 1845), frontispiece., Facsimile signature: Very affectionately your Sister Sarah L. Smith., Three-quarter length portrait of Mrs. Smith, seated and holding a book., Provenance: Waldo & Jewett, artist., Another portrait appears in: American missionary memorial (New York, 1853), p. 280.
In Sleeper, S. Memoir of Mrs. M. Hazeltine Smith (Boston, 1843), frontispiece., Facsimile signature: Your affectionate friend M. Hazeltine Smith., Smith was the principal of the New Hampton Female Seminary., Waist-length portrait of the teacher, wearing a brooch and shawl.
In Graham's Magazine 26 (November 1844), frontispiece. "Our contributors .... Engraved expressly for Graham's Magazine.", Facsimile signature: Ann S. Stephens., Three-quarter length portrait of the writer, seated near a window.
Full-length portrait of the young girl in color, wearing a white dress with large red sash and flowers in hair. Seated on grass, amidst trees and flowers, with a large brown dog., In Southgate, F. Affection schottisch (Baltimore, 1858)., “To Miss Georgiana Smith of Boston”.
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. 91., Waist-length portrait of Mrs. Smith, standing in front of a window partially covered with drapery, wearing a pearl headband and holding a fur muff. Obscure landscape scene visible through window.
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. 413., Three-quarter length portrait of Mrs. Stewart wearing pearls in her hair and holding a folded fan in her right hand. The miniature on her left wrist is probably a portrait of her father; the one on her right, her husband. Cf. Robin J. Frank. Love and loss (2000), p. 21.
In American missionary memorial (New York, 1853), p. 472., Mrs. Simpson and her husband were sent to Western Africa by the Presbyterian Board of Foreign Missions., Waist-length portrait of the missionary.
Waist-length portrait of Mi-neek-ee-sunk-te-ka, seated, wearing beaded necklaces, bracelets, and earrings., In Prichard, James Cowles. The natural history of man (London, 1843), plate following p. 402., "Dr. Prichard’s Natural History of Man”., The distinctive physical features of the Mandan Indians - such as the prevalence of grey hair and variety of skin tones within the tribe - led Dr. James Prichard to include several of George Catlin’s portraits of Mandan Indians in his own anthropological works.
In Green, F.H. Biography of Mrs. Semantha Mettler, the clairvoyant (New York, 1853), frontispiece., Facsimile signature: Semantha Mettler., Waist-length portrait of the medium, wearing a dress with a lace collar.
In Morris, M. Memoir of Miss Margaret Mercer (Philadelphia, 1848), frontispiece., Mercer, who was born into an affluent family, became an educator and director of several schools. She was an abolitionist and a colonization advocate; after emancipating her own slaves, she provided for their passage to Liberia., "Educated in the midst of slavery, and familiar with it under circumstances in which it displayed its least exceptionable features, Miss Mercer was fully convinced of the evil necessarily inherent in the system, and of the malign influence it exerts as well upon the master as the slave. She had, however, also, at the same time, full opportunity to observe the great difficulties with which the effort to get rid of the evil is environed, and was able to appreciate the obstacles which oppose the full development of the negro character in a country in which he has so long been kept in a state of degradation, and where he is compelled to contend with habits and prejudices, not only inveterate from long continuance, but continually excited into renewed vigour by the struggle ever maintained between distinct races of men dwelling on the same soil. She was convinced that circumstances over which the friends of the negro have no control, would keep him here in a state of thraldom and servitude, even though liberated from the galling chain of hopeless bondage. Yet none ever felt more deeply the evil of slavery; none ever more anxiously desired the coming of the time when the stain of it should be wiped from the scutcheon of our country; none ever made more disinterested, self-sacrificing efforts than she to be delivered from its guilt. It was with such views and feelings she had hailed with delight the establishment of the American Colonization Society, an institution which she regarded as peculiarly adapted to the relief of both master and slave."--P.113-114., Figurehead and text below portrait: Non nobis solum ("Not for ourselves alone")., Another portrait appears in: Hale, S. J. Woman's record (Philadelphia, 1855), p. 424., Three-quarter-length, seated portrait of the educator, wearing a bonnet and rings, with a table at right.
In Lectures of Lola Montez (Countess of Landsfeld) including her autobiography (New York, 1858), frontispiece., Facsimile signature: Lola Montez., Lola Montez was born in Ireland and spent her childhood in India, Scotland, France, and England. As an adult, she trained as a dancer and traveled the royal courts of Europe. She had a forceful, captivating personality, and at times she wielded considerable political influence, particularly in Bavaria, where she was the mistress of King Ludwig I. Later in life, she moved to America, where she performed as a dancer, actress, and lecturer. In one of her public lectures, she proclaimed, "It takes most women two-thirds of their lifetime to discover, that men may be amused by, without respecting them; and every woman may make up her mind that to be really respected, she must possess merit, she must have accomplishments of mind and heart, and there can be no real beauty without these."--P. 121-122., Another portrait appears in: Gleason's pictorial drawing-room companion, vol. 2, no. 16, (April 17, 1852), p. 249., Bust-length portrait of Montez., Another portrait (entitled "Morning") appears in: Snow flake (1849), frontispiece. The sitter is identified as Lola Montez on the basis of a portrait by Jules Laure; the painting is now located in the collection of the Leeds Castle Foundation, Maidstone, Kent, UK.
In Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 251. "The engravings are by Mr. W. Roberts."—Preface, v. 1, p. x., Facsimile signature:Louisa S. McCord., Waist-length portrait of the writer.
In The liberty bell (Boston, 1844), frontispiece., Facsimile signature: Lucretia Mott., Mott wrote, "Duty bids to do all that in us lies, to overcome prejudice, and improve the condition of the nominally free, but our object should be, to break up a system which has thus degraded our fellow-beings. While we aid, to the extent of our power, the fugitive from injustice and oppression, let us not yield to solicitations for money to purchase his freedom from his claimants; thus acknowledging a right of property in man, and giving an indirect support to slavery. Rather let our main and most vigorous exertions be directed to the overthrow of the outrageous system of American Slavery."--P.177-178., Waist-length portrait of Mott, seated in a chair, wearing a bonnet and shawl., Another portrait appears in: American phrenological journal, v. 17 (Apr., 1853), p. 76.
In Ellet, E. The women of the American Revolution (New York, 1848), vol. 1, plate opposite p. 202., Waist-length portrait of Mrs. Morris, wearing bonnet, ribbon necklace, and flower brooch.
In Hart, J.S. Female prose writers of America (Philadelphia, 1852), plate opposite p. 63., Facsimile signature: M.J. McIntosh., Shoulder-length portrait of the writer.
In Bouton, N. Memoir of Mrs. Elizabeth McFarland. 3rd ed. (Boston, 1839), frontispiece., Waist-length portrait of the clergyman's wife, wearing a bonnet and shawl., Facsimile signature: Your affectionate friend Eliza'h MFarland.
In Narrative of the capture and providential escape of Misses Frances and Almira Hall (1833), p. [2]., Full-length portraits of the sisters, one of whom holds a handkerchief to her eye, together with five other figures, four of whom are armed Indians.
Bust-length portrait of Sarah Margru Kinson Green., Sarah Margru Kinson Green, a child captive onboard the Amistad slave ship, returned to the United States to study at Oberlin College., “This girl, one of the Amistad captives, called in her native language Margru, meaning black snake, called at our office for an examination, while a stranger to us. She was described as possessing strong friendship, independence, perseverance, energy, and unusual intellectual powers ; remarkable memory, and the faculty of acquiring education. We afterward learned that she had been educated at the Oberlin Institute, in Ohio, and excelled in all branches of study, and was one of the first scholars in the institution in mathematics and superior sciences ; remarkable for memory and native intelligence. She has gone to her native land as a missionary. The forehead is broad and high, and particularly prominent in the center, in the region of eventuality, and the whole head is large, sustained by a vigorous constitution. She is far superior to Africans generally. The same is true of the majority of the Amistad captives, particularly so of Cinquez, the leader. Dignity, independence, and scope of mind were such as to do honor to individuals of any nation.”--P. 231., In the American phrenological journal, vol. 12 (1850), p. 231., Another portrait appears in The illustrated phrenological almanac for 1851 (1850), p. 30.
In Priere (New Orleans, La., 1851), cover vignette., “A Mademoiselle Sallie R. Price”., Full-length portrait of a young woman on her knees praying to a statue of the Virgin Mary; the dedicatee, Sallie R. Price, married Ludovic Hanau, the author of the song Priere, which expresses the hope that the Virgin Mary will watch over the couple.
In Lander, Meta. Light on the dark river (Boston, 1854), frontispiece., Facsimile signature: Yours affectionately, Henrietta., Shoulder-length portrait of Mrs. Hamlin.
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. 55., Three-quarter length portrait of Mrs. Hamilton, seated in front of a curtain, holding a folded fan, hands resting in her lap., Another portrait appears in Hunt, L. The American biographical sketch book (New York, 1848), plate opposite p. 326.
In Hale, S.J. Woman's record (New York, 1853), p. 828. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer., Another portrait appears in Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 48.
In Godey's Lady's book 41 (December 1850), frontispiece., Facsimile signature: Truly yr friend Sarah J. Hale., Waist-length portrait of the writer/editor.
In Life and letters of Miss Mary C. Greenleaf (Boston, 1858), frontispiece., Facsimile signature: M.C. Greenleaf., Bust-length portrait of Miss Greenleaf.
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. 345., Three-quarter length portrait of Mrs. Goodrich in profile, with a ribbon in her hair, standing in front of architectural elements with a distant landscape visible in the background.
In “An Indian outrage,” in The trail of blood (New York, 1860), p. [9]., According to legend, Abenaki Indians took Hannah Duston and her children’s nurse Mary Neff captive in March 1697 in Haverhill, Mass. Later that month, Mrs. Duston and Mrs. Neff escaped their captors by murdering them while they slept, and returned to Haverhill with ten Indian scalps., Three-quarter portrait of Hannah Duston, raising a hatchet above her head. With her is Mary Neff, also kneeling, and three prostrate bodies., This image also appears in the earlier edition of this work, Confessions, trials, and biographical sketches of the most cold-blooded murderers (Hartford, 1854), p. [9].
In “Trial of Joel Clough,” in The trail of blood (New York, 1860), p. 304., In June 1833, Mary Hamilton, resisted the sexual advances of Joel Clough, who lived in a boarding house which her mother Elizabeth Longstreth kept in Mount Holly, New Jersey. The young widow died after Clough stabbed her three times., Full-length portrait of Mary W. Hamilton on the landing of a stairway, gesturing for help. Joel Hough is visible at the top of the stairs, holding a knife., This image also appears in the earlier edition of this work, Confessions, trials, and biographical sketches of the most cold-blooded murderers (Hartford, 1854), p. 304.
In Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 484. "The engravings are by Mr. W. Roberts."—Preface, v. 1, p. x., Facsimile signature: Margaret M. Davidson., Bust-length portrait of the writer.
In Ballou's pictorial drawing-room companion, vol. 8, no. 12 (Mar. 24, 1855), p. 177. "Mr. Rowse's design illustrates the scene in the first act of Mr. Sargent's new tragedy"., Full-length portrait of Dean, acting in a scene with two other figures, with a cottage in a woodland setting in the background.
In De Kroyft, H.A. Place in thy memory (New York, 1850), frontispiece., Facsimile inscription: Instead of their eyes; the blind pick up the gems of thought with their fingers. S.H. De Kroyft., Three-quarter length portrait of blind writer, holding an open book.
Full-length portrait of the actress saluting in costume as Marie from Donizetti’s opera, “La Figlia del Reggimento.” Her accoutrements include a canteen, top hat, and a drum., In Frank Leslie’s illustrated newspaper, vol. 3, no. 68 (Mar. 28, 1857), p. 264., Cora De Wilhorst was an opera singer and a native New Yorker.
Bust-length portrait of the reformer with her right hand at her chin., In The American phrenological journal, vol. 18 (July, 1853), p. 12., Mrs. Paulina Wright Davis was a prominent abolitionist and suffragist as well as a lecturer in various scientific fields, such as anatomy and physiology.
In Day, M. L. Incidents in the life of a blind girl (Baltimore, 1859), frontispiece., Mary Day studied at the Maryland Institution for the Instruction of the Blind, now the Maryland School for the Blind., Bust-length portrait of Mary Day.
