In: Comfield, A.S. Alida, or, Miscellaneous sketches (New York, 1849), frontispiece., “Optimum vitae genus eligito nam consuetudo faciet jucundissimum.”, Amelia Stratton Comfield was the wife of John F. (or John L.?) Comfield., Waist-length portrait of the writer wearing a short-sleeved dress; based on oil painting by David Rogers., For image of painting of Mrs. Comfield, press link below.
In Memoir of Mrs. Sarah Tappan (New York, 1834), frontispiece., Sarah Tappan was the mother of Arthur Tappan (1786–1865) and Lewis Tappan (1788–1873), both successful merchants and prominent antebellum reformers. She was also the mother of the anti-abolitionist and Ohio politician Benjamin Tappan (1773-1857), William Tappan (1779-1855), John Tappan (1781-1871), and publisher Charles Tappan (1784-1875)., Waist-length portrait of Mrs. Tappan, wearing a bonnet.
In Gleason’s pictorial drawing-room companion, vol. 7, no. 3 (July 22, 1854), p. 36., Waist-length portrait of the widow of Benjamin Thompson, Count Rumford.
In Memoirs of Martha Laurens Ramsay (Philadelphia, 1845), frontispiece., Waist-length portrait of Mrs. Ramsay, wearing a lowcut dress with lace collar.
In Writings of Caroline Elizabeth Jenness (Boston, 1858), frontispiece., Waist-length of the New Hampshire writer, wearing a brooch depicting an adult and a child at the mid-point of a lace collar.
In Trial of Mrs. Margaret Howard, for the murder of Miss Mary Ellen Smith (Cincinnati, 1849), title vignette., Mrs. Margaret Howard was tried for stabbing her husband’s mistress to death; she was acquitted on grounds of insanity., Bust-length portrait of the murderess, wearing a bonnet or head scarf.
In Graham's Magazine 33 (August, 1848), frontispiece., Facsimile signatures: Your obedient servant, Maria Brooks., Waist-length portrait of writer Maria Brooks, wearing a cross on a ribbon around her neck.
In The Mirror of taste, vol. 1, no. 2 (February 1810), frontispiece. Library Company’s copy defaced., In 1791, Anne Brunton married Robert Merry, who died in 1798. In 1803, she married Thomas Wignell, who died that same year. She married William Warren in 1806. She died in childbirth two years later in Alexandria, Virginia. Already established as a leading actress in England, she made her American debut in December 1796 as Shakespeare’s Juliet. Cf. ANB., Waist-length portrait of the actress, wearing a hat with feathers.
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.
In Serious almanac, 1845-’46 (1845), p. [15]., James Bishop was hanged on March 17, 1843, in Essex County, New York., Full-length portraits of the four figures in a bedroom., This image also appears in Confessions, trials, and biographical sketches of the most cold-blooded murderers (Hartford, 1854), p. 417, and the later edition of this work, The trail of blood (New York, 1860), p. 417.
In Ballou's pictorial drawing-room companion, vol. 9, no. 19 (Nov. 10, 1855), p. 300., "Mrs. Farren is an American by birth, being the daughter of Richard Russell, who was lessee of the Tremont Theatre, some twenty-four years ago .... Mrs. Farren's earliest appearance ... was as Cora's Child in Sheridan's bombastic but popular drama 'Pizarro'."--P. 300., Waist-length portrait of the actress.
In Rockafield, H. A. The Manheim tragedy (Lancaster, 1858), back wrapper., Anderson and Richards were hanged at Lancaster, Pa., April 9, 1858., Full-length view of the women struggling with their assailant, one of whom holds a pistol and the other an axe.
In Tingley, H.F. Incidents in the life of Milton W. Streeter, the jealous and infatuated murderer, who murdered his young and beautiful wife, Elvira W. Streeter (Pawtucket, R.I., 1850), p. [3]., Full-length portrait of the woman, prostrate on the floor, with a man holding her by the hair to position her on his knee while he wields a razor high above his head; the woman has her right arm raised toward the razor.
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.
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 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.
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 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.
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.
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.
In Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 96., Shoulder-length portrait of Mrs. Schermerhorn, with a wreath of leaves on her head.
Bust-length portrait of Mrs. Scott, wearing a necklace and earrings, and holding a child., In Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 115., Mrs. Scott was the fourth daughter of physician Richard Hill and of prominent Quaker lineage, belonging to the Hill, Lloyd, and Moore families of Philadelphia., “Harriett married John Scott, and had one daughter, Mary, who died young, and a son, John -- called Jock in the letters -- who grew up and held an official appointment in India; he died about the same period with his widowed mother. She seems to have been an affectionate, timid, and sorrowful woman; her married life, entered upon without her father’s consent, was not entirely happy; her husband was much older than herself.”--P. xvii-xviii.
In American missionary memorial (New York, 1853), p. 230., Mrs. Scudder and her husband were sent to Ceylon by the American Board of Commissioners for Foreign Missions., Waist-length portrait of the missionary.
Waist-length portrait of the poet, wearing a garment fastened by a brooch, with lace visible beneath., In Scott, Julia H. Memoir of Julia H. Scott (Boston, 1853), frontispiece., Facsimile signature: Thine, Julia H. Scott., Mrs. Julia H. Scott, an early 19th-century writer of poetry and prose, frequently wrote on romantic themes such as nature, death, and spirituality.
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. 271., Three-quarter length portrait of Mrs. Sedgwick, seated, her hands resting in her lap, her right hand holding a flower.
Waist-length portrait of Mrs. Sears, seated next to a table on which there are books., In Hamline, Melinda. Memoirs of Mrs. Angeline B. Sears, with extracts from her correspondence (Cincinnati, 1851), frontispiece., Facsimile signature: Your affectionate Angeline., Mrs. Sears was the wife of the itinerant Methodist minister Clinton W. Sears. As the wife of a minister, she had occasion to aid others, especially the sick and the poor, before her death at a young age from consumption (the disease known as tuberculosis today).
In White, C.I. Life of Mrs. Eliza A. Seton (New York, 1853), frontispiece; portrait also stamped in gold on cover and spine., Waist-length portrait of Mrs. Seton, in profile, wearing a crucifix.
Waist-length portrait of Shakoka, seated, wearing beaded necklaces and earrings. Her untied grey hair features prominently in the portrait., 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.
Three-quarter length portrait of Miss Shaw, seated, wearing a shawl and holding a rose. Ornate border around the portrait depicts angels and flowers. An eagle at the top of the portrait holds in its mouth a circular medal reading: PLUMBE Gold Medal., In Loder, George. Lady! The rose I give to thee (Philadelphia, 1846), vignette., The actress Charlotte Shaw debuted at the Bowery Theater on Dec. 14, 1842. Cf. Hall, Lillian A. Catalogue of dramatic portraits (1930-1934)., “[John] Plumbe devised a method whereby his studio copied original photographic images onto a lithographer’s stone by an early and innovative method of mechanical photoreproduction that still remains a mystery. Plumbeotypes were thus actually lithographs, but with a difference, for the stones were created with the new process.”--P. 48. LCP AR [Annual Report] 1992.
In Stratton, B. B. Captivity of the Oatman girls: being an interesting narrative of life among the Apache and Mohave Indians, (New York, 1858), frontispiece., More illustrations depicting Oatman appear in Stratton, B. B. Captivity of the Oatman girls (New York, 1858), plates opposite p. 85, p. 259, p. 272; p. 119, p. 133, p. 155, p. 195, p. 229., Olive Oatman lived as a captive among the Apache and Mohave Indians for five years, following the murder of her family., "The chief's wife then bade us go out upon the yard, and told us that the physicians were going to put marks on our faces. It was with much difficulty that we could understand, however, at first, what was their design. We soon, however, by the motions accompanying the commands of the wife of the chief, came to understand that they were going to tatoo our faces. We had seen them do this to some of their female children, and we had often conversed with each other about expressing the hope that we should be spared from receiving their marks upon us. I ventured to plead with them for a few moments that they would not put those ugly marks upon our faces. But it was in vain. To all our expostulations they only replied in substance that they knew why we objected to it; that we expected to return to the whites, and we would be ashamed of it then; but that it was their resolution we should never return, and that as we belonged to them we should wear their ‘Ki-e-chook.' They said further, that if we should get away, or if some other tribes should steal us, they would by this means know us. They then pricked the skin in small regular rows on our chins with a very sharp stick, until they bled freely. They then dipped these same sticks in the juice of a certain week that grew on the banks of the river, and then in the powder of a blue stone that was to be found in low water, in some places along the bed of the stream, (the stone they first burned until it would pulverize easy, and in burning it turned nearly black,) and pricked this fine powder into these lacerated parts of the face. The process was somewhat painful, though it pained us more for two or three days after than at the time of its being done. They told us this could never be taken from the face, and that they had given us a different mark from the one worn by their own females, as we saw, but the same with which they marked all their own captives, and that they could claim us in whatever tribe they might find us"--P.182-183., Waist-length portrait of Miss Olive Oatman, wearing necklace, with facial tattoos.
In Woods, L. Sermon, preached at Haverhill, Mass. 4th ed., enl. (Boston, 1814), frontispiece., Waist-length portrait of the woman missionary, with a ruffled collar., Artists' signatures illegible; identification based on the copy of the 1st ed. (1814) owned by the American Antiquarian Society and copy of the 2nd ed. (1814) owned by Bowdoin College. Library Company's copy of the 8th ed. (1818) has portrait frontispiece engraved by Ralph Rawdon., Another portrait appears in: American missionary memorial (New York, 1853), p. 74.
In Nichols, R.S. Bernice, or, The curse of Minna (Cincinnati, 1844), frontispiece., Facsimile signature: R.S. Nichols., Waist-length portrait of the writer, wearing lace gloves., Another portrait appears in Nichols, R.S. Songs of the Heart and the Hearth-Stone (1851), frontispiece.
In Hale, S.J. Woman's record (New York, 1853), p. 757. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer
In Bishop, H. E. Floral home; or, first years of Minnesota (New York, 1857), plate opposite p. 259., Old Bets was a Dakota woman, also known as Aza-ya-man-ka-wan, or the Berry Picker, who lived near St. Paul, Minnesota. She was involved in aiding white settlers in the Sioux Uprising of 1862., Waist-length portrait of Old Bets., Another portrait appears in: American phrenological journal, v. 26 (Oct., 1857), p. 84.
In Ballou's pictorial drawing-room companion, vol. 8, no. 19 (May 12, 1855), p. 300., Nau, a soprano of American birth, trained and toured in Europe and won considerable critical acclaim before returning to New York to make her American debut., Waist-length portrait of Nau, seated and wearing a necklace and mantle.
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. 69., Three-quarter length portrait of Mrs. Madison standing in front of a curtain., Another portrait appears in Hunt, L. The American biographical sketch book (New York, 1848), plate opposite p. 339.
In Mayo, S.C.E. Selections from the writings of Mrs. Sarah C. Edgarton Mayo (Boston, 1849), frontispiece., Facsimile signature: Yours affectionately Sarah C. Edgarton., Bust-length portrait of the writer.
In Ballou's pictorial drawing-room companion, v. 12, no. 8 (Boston, Feb. 21, 1857), p. 124., Marsh's Juvenile Comedians was a traveling children's theater troupe that performed in locations from Maine to California to Australia. Many of its members went on to successful adult acting careers., "In the performances of these children, you would look for something automatic; and might fancy beforehand, if you saw them once, you would exhaust their capabilities. Such, however, is by no means the case. Though they certainly evince careful training, still there is a great deal of spontaneity in their performances. If they possessed a purely imitative faculty, without any creative genius, they could not by any possibility be taught to play the many pieces which make up their repertory."--P.124., Full-length portrait of the troupe, including sixteen girls and three boys.
In Serious almanac, 1845-’46 (1845), p. [18]., Mrs. Bacon was killed in her home in Middletown, Connecticut, one Sunday while her family was at church; cf. McDade. Annals of murder., The same image appears in Tragic almanac. 18-46 (1845), p. [4]; in Confessions, trials, and biographical sketches of the most cold-blooded murderers (Hartford, 1854), p. 418, and the later edition of this work, The trail of blood (New York, 1860), p. 418.
In Hitchcock, E. The power of Christian benevolence illustrated in the life and labors of Mary Lyon (New York, 1858), frontispiece. A different portrait appears in Hitchcock, E. The power of Christian benevolence... 4th ed. (Northampton, 1882), frontispiece., Mary Lyon founded the Mount Holyoke Seminary, which became Mount Holyoke College., Text below portrait: From a miniature painting in 1832., Another portrait appears in: The home: a fireside monthly companion and guide, vol. 1 (Feb. 1856), p. 49., Bust-length portrait of Lyon, wearing a hat and shawl.
Full-length portrait of the singer holding a fan and wearing a full-skirted tiered dress., In Frank Leslie’s illustrated newspaper, vol. 4, no. 91 (Aug. 29, 1857), p. 193., Miss Juliana May was an American opera singer who first achieved fame in Europe.
Full-length portrait of Miss McCrea in an outdoor setting with two Indian men. She flails her arms while one man holds her and the other wields a tomahawk., In the Pictorial national library, vol. 2 (Mar., 1849), p. 129., Miss Jane McCrea was engaged to David Jones, a British general, during the Revolutionary War and while traveling to visit him she was taken captive by Indians and killed. Accounts of her death furthered anti-Loyalist sentiment in the Colonies., Another portrait appears in: Wilson, D. The life of Jane McCrea (1853), p. [156].
Full-length portrait of the actress in costume as Medea. She wears Grecian robes and drapes a long beaded necklace around her head and across her chest. A brooch with a portrait on it adorns her right sleeve and she wears a bracelet beaded with pearls., In Frank Leslie’s illustrated newspaper, vol. 3, no. 59 (Jan. 24, 1857), p. 128., “Miss Heron’s style is her own. She has endeavored throughout her career to perfect such abilities as were most natural to herself : hence her success in producing powerful emotions upon her audiences. At first she is rather quiet - almost tame, some would suppose - but she gradually warms up with the progress of the play, and closes the performance with some of the most powerful effects it is possible to imagine. In most of her scenes she is perfectly natural, and refuses to use any of the trickeries which have so long defaced the efforts of some of our best actors.”--P. 128., Another portrait found in: Ballou’s pictorial drawing-room companion, vol. 14, no. 8 (Apr. 4, 1857), p. 177.
In Trial of John Hendrickson, Jr. (Albany, 1853), detail from frontispiece., Three-quarter length portrait of the murder victim, whose husband was convicted of poisoning her with aconite (more popularly known as wolf’s bane).
