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 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 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 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 Chapin, J.R. The historical picture gallery (Boston, 1856), p. 471., Partially obscured full-length portrait of the young girl, who is being held by a Native American holding a tomahawk over his head; he is trying to fend off a woman (her mother, Ruth Tripp Slocum?), who is kneeling before him with her right arm outstretched toward the child; a second child is on the floor next to them; a second woman and a recumbent body are visible in the background.
In Chapin, J.R. The historical picture gallery (Boston, 1856), p. 383., Full-length portrait of the Mohawk woman, riding side-saddle on a horse behind a man in uniform; Brant was known to have warned the British about the plans of the Patriots (and their Oneida allies) in 1777.
In Chapin, J.R. The historical picture gallery (Boston, 1856), p. 359., Full-length portrait of the Revolutionary War heroine, riding side-saddle on a horse, taking a message from a man in uniform; an American flag, tents, and other soldiers are visible in the background.
In Chapin, J.R. The historical picture gallery (Boston, 1856), p. 375., Full-length portrait of the Revolutionary War heroine, firing a cannon; soldiers are visible in the background amid smoke from the discharge of weapons; a recumbent figure next to a drum is in the foreground.
In Chapin, J.R. The historical picture gallery (Boston, 1856), p. 475., Three-quarter length portrait of the Revolutionary War heroine (Mary Hooks Slocumb, also known as Polly), kneeling with a wounded man in her arms; two men approach her; horses and a recumbent body are visible in the background.
In Chapin, J.R. The historical picture gallery (Boston, 1856), p. 359., Full-length portrait of the frontier wife, kneeling behind a fence with a rifle aimed at a bear in her dooryard; a pig runs away from them. According to the text, the rifle failed to discharge, which was fortuitous because a wounded bear would have been even more dangerous; the bear returned to the woods. Possibly Isabella W. Austin (1826-1901), of Geneva, Ohio.
In Chapin, J.R. The historical picture gallery (Boston, 1856), p. 503., Full-length portrait of the heroine of the War of 1812, passing a garment to a seated man; Mother Bailey was known to have donated her petticoat for wadding.
In Ballou's pictorial drawing-room companion, vol. 10, no. 2 (Jan 12, 1856), p. 28., Adelaide Phillipps won popularity as a child star with her singing, acting, and dance routines. She later trained as an opera singer in Europe, under the legendary Manuel Garcia, and toured the United States and Europe with numerous opera companies., Other portraits appear in: Gleason's pictorial drawing-room companion, vol. 1, no. 2 (May 10, 1851), p. 32; Gleason's pictorial drawing-room companion, vol. 1, no. 6 (June 7, 1851), p. 84; Appleton's encyclopaedia of American biography, vol. 4 (New York, 1888), p. 758., Full-length portrait of Phillipps, wearing a man's costume of boots, tights, a tunic and belt purse, holding a picture; she is depicted while acting a scene with two other male figures at left, with a rural landscape including a cottage and arbor in the background.
In Chapin, J.R. The historical picture gallery (Boston, 1856), p. 407., Full-length recumbent portrait of the American woman from South Carolina who disguised herself as a man and joined the Continental Army; her sex was not discovered until after she died in battle (either in 1782 or 1778).
In Chapin, J.R. The historical picture gallery (Boston, 1856), p. 155., Full-length portrait of the wilderness woman astride a galloping horse; she looks over her left shoulder, with a whip held high in her right hand; her clothing does not identify her as male or female.
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 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 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 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 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.
Full-length portrait of Miss Hardy standing beside two unnamed men, perhaps as a means of depicting her extraordinary height., In The American phrenological journal, vol. 21 (May, 1855), p. 120., Miss Hardy, known during her lifetime as the Maine Giantess, was exhibited in P.T. Barnum’s American Museum during the mid-nineteenth century as a nearly eight-foot tall curiosity., “Miss Hardy is now thirty years of age. She has grown about seven inches since she was twenty-one, and is nearly eight feet high at the present moment. She weighs three hundred and forty-six pounds, is massively proportioned, robust, matronly in appearance, symmetrical in figure, but inclined to stoop, (as most tall people are,) a habit acquired in her native village, where her gigantic height subjected her to a scrutiny on the part of strangers, most annoying to her bashful nature. Her features are large. The expression of her face, if not handsome, is amiable ; her disposition is mild and gentle to a pleasing degree. Her voice is somewhat coarse, but not unmusical. Her movements are easy and graceful ; although, having never before left her village home, she is as yet unsophisticated in fashionable ways, and moves and acts with a timidity that a little more acquaintance with public life will readily remove… She certainly is one of the most wonderful natural phenomena of the age.”--P. 120.
In Gilbert, A. Memoir of Frances Wright (Cincinnati, 1855), frontispiece., Facsimile signature: Frances Wright., Three-quarter length portrait of the writer, seated at a table, holding a rolled document; a book and pens nearby., Another portrait appears in Illustrated news, vol. 1, no. 3 (Jan. 15, 1853), p. 45.
In Hale, S.J. Woman's record (Philadelphia, 1855), p. 870. "Illustrated by two hundred and thirty portraits engraved on wood by Lossing and Barritt.", Mrs. Peter, with the help of a teacher she hired, started a school in her home in 1848. As a training program in industrial design for young women, the school gained the sponsorship of the Franklin Institute in 1850. In 1853, it was incorporated as the Philadelphia School of Design for Women (and today is known as Moore College of Art)., Bust-length portrait of the educator, with a lace shawl draped over her head.
In Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 680. "The engravings are by Mr. W. Roberts."—Preface, v. 1, p. x., Facsimile signature: Estelle Anna Lewis., Bust-length portrait of the writer.
In Ballou's pictorial drawing-room companion, vol. 8, no. 10 (Mar. 10, 1855), p. 160., "Though Yankee girls are particularly well rendered by this lady, she performs well whatever she undertakes, her versatility enabling her to glide gracefully from one line of character to another. She is still, though out of practice, an elegant dancer, and both in figure and face fitted to adorn the stage. Mr. and Mrs. Florence are very happily adapted to each other, and we learn that in private life they are as much esteemed as they are popular in public."--P. 160., Another portrait, depicting Mrs. Florence in character as the Dutch Organ Girl, appears on the same page., Waist-length portrait of Mrs. Florence, seated in a chair, wearing earrings and a brooch.
In Wilson, D. Henrietta Robinson (New York, 1855), frontispiece., After wearing a veil during her 1854 trial, Henrietta Robinson became known as the "Veiled Murderess.", Waist-length portrait of the criminal.
In Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 681., Facsimile signature: Julia Ward Howe., Bust-length portrait of the writer.
In Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 482., Facsimile inscription: In regard of the Tempest! [?], Bust-length portrait of the writer.
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 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 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 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 Hale, S.J. Woman's record (Philadelphia, 1855), p. 592. "Illustrated by two hundred and thirty portraits engraved on wood by Lossing and Barritt.", Laura Bridgman, who lost all sense of hearing, sight, and smell after contracting smallpox in her early childhood, went on to become the first educated deaf-blind person. Aided by the patience and dedication of her teacher, Samuel Gridley Howe, she was able to learn to read, write, sign, and perform many other tasks., Other portraits appear in: The prisoner's friend, no. 3 (Nov., 1848), frontispiece; Phrenological and physiological almanac, for 1849 (New York, 1848), p. 40; Jones, A.D. The American portrait gallery (New York, 1855), p. [707]., Waist-length portrait of Bridgman, wearing an eye covering.
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.
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.
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 Gleason's pictorial drawing-room companion, v.6, no. 26 (Boston, July 1, 1854), p. 416., Howard began acting at age four, and was famous for playing the role of Little Eva in Uncle Tom's Cabin., Waist-length portrait of Howard., Another portrait appears in: American phrenological journal, v. 23 (May, 1856), p. 108.
In Educational laws of Virginia / The personal narrative of Mrs. Margaret Douglass, a southern woman, who was imprisoned for one month in the common jail of Norfolk, under the laws of Virginia, for the crime of teaching free colored children to read (Boston, 1854), frontispiece., Facsimile signature: Margaret Douglass., Douglass established a small school for free black children, teaching them to read and write in her home. For this offense, she spent a month imprisoned in jail in Norfolk, Virginia., Waist-length portrait of Douglass.
Waist-length seated portrait of Mrs. Benjamin wearing bonnet, holding staff., In The American phrenological journal, vol. 20 (Nov., 1854), p. 101., "She was with the army all through the Revolutionary War. She was in Albany during the hard winter of 1780, and at West Point two or three years, while the army was stationed there ; and when it left under General Washington, she followed. Her business was cooking and washing for her husband and other soldiers. She speaks distinctly of riding horseback through the streets of Philadelphia on the way to Yorktown and also of embarking on board ship at the head of Elk river, and of cruising down Chesapeake Bay, and landing (I think) at James River.”--P. 101., Also known as Sarah Osborn.
In Autographs for Freedom (Auburn, N.Y., 1854), plate opposite p. 41., Facsimile signature: Antoinette L. Brown., Bust-length portrait of the woman preacher, with a brooch on her lace collar.
Shoulder-length portrait of the writer wearing a bonnet and eyeglasses., In Wyatt, Sophia. The autobiography of a landlady of the old school, with personal sketches of eminent characters, places, and miscellaneous items (Boston, 1854), frontispiece., Mrs. Wyatt operated a hotel with her husband in New Hampshire and traveled extensively throughout the country in the early 19th century. As a young woman she worked as a schoolteacher.
Bust-length portrait of Mrs. Lamar, wearing a beaded sautoir over her left shoulder., In Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 45., Mrs. Lamar was the second daughter of physician Richard Hill and of prominent Quaker lineage, belonging to the Hill, Lloyd, and Moore families of Philadelphia., “Mary married Thomas Lamar, and had no child, and I know little of her character or her history farther than that she was a woman of the world, fond of high life, &c., and what the letters reveal.”--P. xvii.
In Lord, Lucy T. Memoir of Mrs. Lucy T. Lord (Philadelphia, 1854), frontispiece., Facsimile signature: Lucy T. Lord., Three-quarter length portrait of the woman missionary, holding an open book.