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 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 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.
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, 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.
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 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 Bishop, H. E. Floral home; or, first years in Minnesota (New York, 1857), frontispiece., Harriet Bishop moved to Minnesota, then still a territory, to become the first teacher in the small city of St. Paul. She was a writer and an advocate of education reform and women's rights., Facsimile signature: Harriet E. Bishop., Bust-length portrait of Bishop, wearing a brooch.
In Park, R. Jerusalem; and other poems juvenile and miscellaneous (New York, 1857), frontispiece., Facsimile signature: Mary B Park., Mary Park, the beloved wife of the Rev. Roswell Park, president of Racine College, died in childbirth., Waist-length portrait of Park, wearing a shawl and ornamental bow.
Shoulder-length portrait of Mrs. Farnham in profile, wearing eyeglasses., In The American phrenological journal, vol. 25 (June, 1857), p. 133., Mrs. Eliza Farnham was an author, a prison matron at Sing Sing, and a feminist reformer. She was a champion of phrenology and assisted Marmaduke Sampson in illustrating the phrenologically-based Rationale of crime (New York, 1857) by providing him with subjects from Sing Sing., “Fig. 8 shows great vigor and compass of thought, ability to grasp and conquer subjects requiring steady logical power, yet the two points referred to, though they show the chief differences between the two, are not the only strong points of the portrait under consideration. The head rises high, and is long and broad on the top, showing strong moral sentiment, firmness and dignity combined with prudence, taste, and the qualities which give refinement, elevation, and purity of mind. She is one of the strongest female thinkers and writers in America ; and in officiating as matron of the State Prison at Sing Sing for several years, and also in many other spheres of action, she has shown her stamina of character and strength of mind. The perceptive organs are not large enough for a good balance of intellect.”--P. 133., Another portrait appears in: Phrenological and physiological almanac, for 1849 (New York, 1848), p. 31.
Full-length portrait of Miss Rolla dancing on stage, with a bouquet at her feet., In Frank Leslie's illustrated weekly, vol. 4, no. 92 (Sept. 5, 1857), p. 209., Miss Teresa Rolla was an Italian-born ballet dancer who, shortly after moving to New York City, made her American premiere at Niblo's Garden at the age of nineteen.
In Hubbell, M.S. Memorial, or, The life and writings of an only daughter (Boston, 1857), frontispiece., Facsimile signature: Yours truly Mary E. Hubbell., Full-length portrait of the writer, seated with a book in her hand.
Waist-length portrait of Mrs. Cunningham, seated., In Frank Leslie’s illustrated newspaper, vol. 3, no. 63 (Feb. 27, 1857), p. 192., Mrs. Emma Augusta Cunningham was accused of murdering Dr. Harvey Burdell, a wealthy dentist from whom she rented a suite of rooms and with whom she was romantically involved. The murder and subsequent trial caused a media frenzy and, though she was ultimately acquitted of the crime, her innocence came into question when it was found that she was neither married to Burdell nor pregnant with his child, as she initially claimed. The murder remains unsolved.
Waist-length portrait of Miss Helen Cunningham, wearing necklace., In Frank Leslie’s illustrated newspaper, vol. 3, no. 63 (Feb. 21, 1857), p. 192., Miss Helen Cunningham was the daughter of Mrs. Emma Augusta Cunningham. Miss Cunningham was a tenant in Dr. Harvey Burdell’s mansion and a witness at the sensational trial of his murder.
In The Dalton divorce case (Boston, 1857), title vignette., Helen Dalton was accused of adultery by her husband, Frank Dalton, but maintained her innocence, arguing that her relations with her supposed lover, William Sumner, had not been improper. The ensuing divorce trial was complicated by counter-accusations of adultery and spousal neglect leveled at Frank Dalton, allegations of an aborted pregnancy, and Sumner's death following a brutal beating by Mr. Dalton. The trial became something of a public sensation, as the topic of women and morality was a subject of heated debate. The jury was ultimately unable to come to a conclusive verdict., Full-length portrait of Dalton, wearing a gown and bonnet.
Waist-length portrait of Miss Augusta Cunningham, seated., In Frank Leslie’s illustrated newspaper, vol. 3, no. 63 (Feb. 21, 1857), p. 192., Miss Augusta Cunningham was the daughter of Mrs. Emma Augusta Cunningham. Miss Cunningham was a tenant in Dr. Harvey Burdell’s mansion and a witness at the sensational trial of his murder.
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.
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 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.
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 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.
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 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.
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 Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate preceding p. 27., Three-quarter length portrait of "Lady Kitty" holding a folded fan and standing in front of an open window, surrounded by foliage, with a distant landscape in the background.
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. 253., Three-quarter length portrait of Mrs. Bingham seated in an upholstered chair, wearing a pearl bracelet on her left wrist and holding a book in her right hand., The original painting is now located in the Philadelphia Museum of Art.
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. 155., Original oil painting by Lawrence Kilburn painted in 1761; James Beekman's records indicate that the painting was later retouched by John Durand. Cf. White, Philip L. The Beekmans of New York in Politics and Commerce, 1647-1877 (New York, 1956)., Engraved by William Henry Mote?, Three-quarter length portrait of Mrs. Beekman, standing in front of a curtain, wearing a pearl necklace, her raised right hand holding a flower.
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 Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate preceding p. 231., Three-quarter length portrait of Mrs. Philips, leaning against the sill of a window which is partially obscured by drapery.
In Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate opposite p. 183., Three-quarter length portrait of Mrs. Otis wearing a pearl necklace, standing with her right arm propped on an architectural element.
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. 313., Three-quarter length portrait of Mrs. Lewis seated in an upholstered chair, her right hand at her chin, her left hand resting in her lap holding a book.
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. 355., Three-quarter length portrait of Mrs. Carroll standing in front of an architectural element and drapery, holding a flower in her left hand.
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. 209., Three-quarter length portrait of Mrs. Caton, Mary ("Polly") Carroll Caton, holding a handkerchief in her right hand, leaning against an architectural element, with a landscape scene in the background.
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. 333., Daughter of Pennsylvania Gov.Thomas McKean; wife of Carlos Martinez de Yrujo y Tacon, the Marques de Casa Yrujo (1763-1824)., Three-quarter length portrait of the Marchioness d'Yrujo, seated, wearing a pearl necklace and hairpiece, also in a dress adorned with pearls. Her hands are folded in her lap and her right hand holds a closed fan.
In Henry, G.W. Trials and triumphs (for half a century) in the life of G.W. Henry (Oneida, 1856), frontispiece., Mrs. Henry was the wife of the blind Methodist minister George W. Henry (b. 1801). In the 1875 New York State census, the Rev. Henry is listed as living with his wife Susan C. Henry., Three-quarter length portrait of Susan C. Henry (?) seated next to her daughter Florence. Mrs. Henry holds her son George Wesley on her lap.
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. 449., Three-quarter length portrait of Mrs. Morris, standing.
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. 465., Three-quarter length portrait of Mrs. Jackson, seated, holding a flower in her right hand.
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. 139., Waist-length portrait of Mrs. Izard, wearing a pearl necklace, with pearls in her hair, holding a basket of flowers.
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. 97., Waist-length portrait of Mrs. Jay in profile.
In Ballou's pictorial drawing-room companion, v. 10, no. 20 (Boston, May 17, 1856), p. 305., Another portrait appears in: Ballou's pictorial drawing-room companion, v. 10, no. 19 (Boston, May 10, 1856), p. 300., Full-length portrait of Barrow, wearing an elaborately decorated Native American costume and holding a spear, with dwellings in a natural setting in the background.
In Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate opposite p. 169., Three-quarter length portrait of Mrs. Adams seated in front of a fireplace mantel and vase filled with flowers, holding flowers in her right hand, wearing a full dress and pearl necklace.
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 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 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 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 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.
