Shoulder-length portrait of Madame Restell, wearing hat., In Wonderful trial of Caroline Lohman, alias Restell (New York, 1847), wrapper vignette., Also known as Caroline Lohman., Caroline Lohman, alias Madame Restell, performed abortions and distributed contraception in New York City. She accumulated substantial wealth through her work, and became well known for her ostentatious lifestyle. In 1847 she was tried for performing an abortion on Maria Bodine.
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 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 the Boston native., In Jones, A.D. The illustrated American biography (New York, 1853), v. 1, p. [29]., In 1679, Rebecca Rawson married a man who swindled her out of her fortune and abandoned her in England., Another portrait appears in Jones, A.D. The American portrait gallery (New York, 1855), p. [29].
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 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 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 Memoirs of Martha Laurens Ramsay (Philadelphia, 1845), frontispiece., Waist-length portrait of Mrs. Ramsay, wearing a lowcut dress with lace collar.
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 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 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.
Proof copy; never published?, Susannah Knorr was born in Germantown. She married Philadelphia publisher Zachariah Poulson in 1780., Waist-length portrait of Mrs. Poulson seated in a chair., For image of painting of Mrs. Poulson, press link below.
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.
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 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 Garrison, E.W. Memoir of Mrs. Rebekah P. Pinkham (Portland, Me., 1840), frontispiece., Facsimile signature: R.P. Pinkham., Mrs. Pinkham was the wife of the Rev. Ebenezer Pinkham., Waist-length portrait of Mrs. Pinkham, wearing 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 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 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 Hale, S.J. Woman's record (New York, 1853), p. 770. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer.
In Phelps, A.C. Life of Christ and other poems (Boston, 1852), frontispiece., Facsimile signature: Adalisa [sic] Cutter Phelps., Waist-length portrait of the writer, with an open book nearby.
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 The afflicted and deserted wife, or, Singular and surprising adventures of Mrs. Ellen Stephens (New York, 1842), title vignette., Almira Paul is probably a fictitious character., Full-length portrait of the woman, wearing a sailor suit and a top hat; a steamboat is visible on the horizon behind her.
Waist-length portrait of the singer, seated., In Phrenological and physiological almanac for 1848, (New York, 1847), p. 39., Mrs. Abby Hutchinson Patton sang with her siblings as contralto for the Hutchinson Family Singers, a popular antebellum musical group. The Hutchinsons were supporters of numerous reform issues, abolitionism in particular. Cf. Gac, Scott. Singing for freedom (New Haven, 2007)., Another portrait (with three other family members) appears in the People's journal, vol. 1, no. 17 (Apr. 25, 1846), p. 225.
In A treatise on the alterative [sic] and curative virtues of Swaim’s panacea (Philadelphia, 1833), plate facing p. 54 of the appendix., “Page 54. Appendix”., According to the accompanying article, Mrs. Dorothy Parker was relieved of the pain she suffered from rheumatism, abscesses, and ulcers on her legs by using Swaim’s panacea., Charles Joseph Hullmandel was a London lithographer., Another portrait of Mrs. Dorothy Parker appears in Swaim’s panacea (Philadelphia, 1848), p. [26]., Full-length portrait of a woman with scars on her legs, sitting up in bed.
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.
Waist-length portrait of Mrs. Paine with a shawl draped around her arms, seated in front of a natural landscape., In Paine, Robert Troup. Memoirs of Robert Troup Paine (New York, 1852), plate preceding p. 507., Facsimile signature: Your ever affectionate Mother Mary Ann Paine., Mrs. Paine was the wife of physician Martyn Paine and mother of Robert Troup Paine. With her husband, Mrs. Paine compiled a biography of their son Robert, who died, perhaps of an accidental drug overdose, in his senior year at Harvard College.
In Andrews, C.W. Memoir of Mrs. Anne R. Page (Philadelphia, 1844), frontispiece., Anne Page was an active proponent of emancipation. Although she was not able to free the slaves on her Virginia estate, she devoted time to their education and care., Waist-length portrait of Mrs. Page, wearing a bonnet, with eyeglasses propped on top of her head.
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.
Three-quarter length portrait of the young girl playing with a necklace strand., In Hewitt, Mary E., ed., The memorial (New York 1852), plate opposite p. 29., May Vincent Osgood was the second child of poet Frances Sargent Locke Osgood and painter Samuel Stillman Osgood.
Waist-length portrait of the young girl holding a butterfly., In Hewitt, Mary E., ed., The memorial (New York 1852), plate opposite p. 19., Ellen Frances Osgood was the first child of poet Frances Sargent Locke Osgood and painter Samuel Stillman Osgood.
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 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 Twelve years a slave (Auburn, N.Y., 1853), plate opposite p. 320., Same image appears in Twelve years a slave (Auburn, N.Y., 1854)., Full-length portrait of Mrs. Solomon Northup embracing her husband; their daughters Elizabeth and Margaret stand nearby.
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 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 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 Mrs. Elizabeth M’Dougald in a natural setting. She is depicted “in the guise of a Scottish Highlander,” wearing a highland dress and a Scottish bonnet with feathers, and holding two shotguns. --P. 18., In M’Dougald, Elizabeth. The Life, travels, and extraordinary adventures of Elizabeth M’Dougald (Providence, 1834), [1]., "Thus attired I commenced my pursuit after the destroyer of my happiness, -- once the idol that I worshiped”., Elizabeth M’Dougald was a Scottish woman who was abandoned by her husband for another woman. With murderous intentions she pursued him by crossing the Atlantic, traveling throughout Canada and the United States, and enlisting in the Army.
In Tragic almanac 1843 (New York, 1842), p. [25]., According to the accompanying article, Thomas Topping beat his wife Elizabeth for five hours before she died. He also threatened to kill Catharine Kelly, who was in the room, if she made any effort to sound an alarm., Probably fictitious characters., Full-length portrait of the victim on the ground with her left hand raised to avert a blow; a woman lies in a bed in the background.
In Tragic almanac 1843 (New York, 1842), p. [30]., According to the accompanying article, James Adams, a street sweeper, quarreled with a servant girl named Ann Gorman. “During the dispute he seized a plate ... and threw it at the girl’s head, when his wife expostulated with him.” He killed his wife after she threatened to call an officer., Probably fictitious characters.
In Tragic almanac 1843 (New York, 1842), p. [17]., According to the accompanying article, Miss Hamlin (aka Miss Goodrich) killed Mr. Ewing in a theater in Mobile, Alabama, on March 25, 1842. “She eluded all pursuit and was not heard of till some months afterward when she was seen in male attire in one of the West India islands.”, Probably a fictitious character., Full-length portrait of the actress, in costume, attacking her actor husband with a knife.
In The Tragic almanac (New York, 1849), p. [10]., According to the accompanying article, Mrs. Colton shot Mr. Corlis after having had “illicit intercourse” with him., Probably a fictitious character., Full-length portrait of the murderer standing on a sidewalk, firing a pistol at the victim.
In Brooke, H.K. Tragedies on the land (Philadelphia, 1845), p. 35., Mrs. Mary Warner, of Upper Darby, Pennsylvania, allowed four men to enter her house on May 22, 1824. They had asked to see a member of her household, William Bonsall, who also lived there with his wife and child. After the men choked and stabbed William Bonsall, they threatened Mrs. Warner, and stole Bonsall’s property., Full-length figure of a woman holding a candlestick and staring at a seated man being assaulted by two men; two other men stand behind her.
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.
