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.
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 American Sentinel (May 28, 1824), p. [1]., Three identical busts representing Hannah, Rebecca, and Abigail Hatch., “A very interesting Natural Curiosity, to be seen from 10 A.M. to 9 P.M. at the Masonic Hall, Chesnut street. Admittance 25 cents. It sometimes happens ... that ... there is a remarkable diminution in the human form. This inferiority of stature is ... exemplified ... in the case of three women, Hannah, Rebecca, and Abigail Hatch. They are daughters of the same father and mother, (who were of the ordinary size) and born at Falmouth ... Massachusetts.... their ages [are] between 25 and 40 years – and their height between 36 and 42 inches.”
Emily Haven was also known as Alice Lee, Alice Haven, Alice Neal, Cousin Alice, and Clara Cushman., In Godey's Lady's book 39 (December 1849), frontispiece., Three-quarter length portrait of the writer, seated.
In Hawes, A.H. Grafted bud (New York, 1853). This copy stamped: Mercantile Library, New-York., Following the dissolution of her parents' marriage, the young child "Susan B." was moved frequently, living at various times with her father ("Mr. B."), her mother ("Mary M."), and others in her native Michigan. The Hawes family, believing her to be an orphan, adopted her and had her baptized Angelica Irene Hawes. Under their care in New York, she received instruction in religion and school subjects, as well as other cultural opportunities. Before her death in 1851 from scarlet fever, she told Mrs. Hawes that she considered her to be her real mother., Waist-length portrait of the young girl.
In McKenney, T. L. and J. Hall. History of the Indian tribes of North America, v.1 (Philadelphia, 1836), plate opposite p. 79. Also in 1838-1844 edition., "There is a Chinese air of childishness and simplicity about [her countenance] .... She was the favourite wife of Shaumonekusse."--P. 79, Waist-length portrait of Hayne Hudjihini, wearing earrings and necklaces.
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).
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].
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 Hale, S.J. Woman's record (New York, 1853), p. 829. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer.
In Hale, S.J. Woman's record (New York, 1853), p. 868. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of Mrs. Hill, with a lace collar.
In The gift (Philadelphia, 1839), plate opposite p. 228., Sitter identified as Ann Biddle Hopkinson, the wife of Francis Hopkinson, on the basis of a portrait of her by Thomas Sully, which is now located in the National Gallery of Art, Washington, D.C., Bust-length portrait of Mrs. Hopkinson wearing a hat decorated with feathers.
In Serious almanac, 1845 & '46 (New York, 1845), p. [33]., According to the accompanying article, Mr. and Mrs. Dominick Sweeney “were part of a drunken Irish family, and had been intoxicated and quarrelling for several days.”, Probably a fictitious character., Full-length portrait of a woman wielding a knife over a man on the ground; a bottle is on a table in the background; and an overturned drink glass is on the ground in the foreground.
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 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 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 The American book of beauty, or, Token of friendship (Hartford, 1847?), plate following p. [16]., Another portrait appears in: The Family circle and parlor annual, 1849 (New York, 1848), plate following p. 76., Three-quarter length portrait of Miss Hoyt (later Mrs. Noah Wilcox?), standing with spotted dog., Original sitter identified as the Hon. Mrs. George Anson; cf. Heath's Book of beauty, 1840.
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.
In Huntington, D. Memoirs of Mary Hallam Huntington (Boston, 1820), wrapper vignette., Full-length portrait of the dying girl in bed, together with her mother (seated on the bed) and a standing female visitor (cf. p. 26-27)., Mary Hallam Huntington died of hydrocephalus (cf. p. 22).
In Wisner, B.B. Memoirs of the late Mrs. Susan Huntington. 2nd ed. (Boston, 1826), frontispiece., Facsimile signature: Adieu, beloved friend – S. Huntington., Waist-length portrait of Mrs. Huntington.
Three-quarter length portrait of the triplets, seated side by side. All three wear bonnets and hold their hands in their laps in a similar manner., In The American phrenological journal, vol. 28 (Sept., 1858), p. 40., “These persons resemble each other very strongly, more especially Mrs. Bushnell and Grennell. Though it is not always the case that twins and triplets resemble each other in appearance and character, yet it is more common for them to do so than it is for those of single birth, because the parents in cases of twins transmit characteristics to the progeny from one given condition of body and of mind….”--P. 40.
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. 465., Three-quarter length portrait of Mrs. Jackson, seated, holding a flower in her right hand.
Separately issued print., Attributed to Francis Kearny, who engraved the portrait of Andrew Jackson that Joseph How published (as a companion piece?)., Full-length portrait of the First Lady seated in an armchair, holding a fan and a book.
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 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 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 Wilkes, G. The lives of Helen Jewett, and Richard P. Robinson (New York, 1849), frontispiece., Portrait caption: Helen Jewett at her childhood's home., Helen (sometimes known as Ellen) Jewett, a prostitute, was brutally murdered, presumably by her jealous lover. Her death caused a media sensation., "She was early cast alone upon the world, and her recollections of those who should have been the patterns for her guidance, were the recollections of a false example. In the next place, she had too much education for her condition in life, and her ambition, made unmanageable by its alliance with a fervid temperament, betrayed her, by too short a cut, to the society for which she yearned. The result was a sudden but hollow exaltation; a crazy revel; a brief career, and a shocking end."--P. 132., More illustrations depicting Jewett appear in Wilkes, G. The lives of Helen Jewett, and Richard P. Robinson (New York, 1849), p. 11, p. 29, p. 39, p. 43, p. 72, p. 81, p. 87, p. 118., Full-length portrait of Jewett, carrying a basket, with a cottage in a rural scene in the background.
Waist-length portrait of the writer, an amputee, holding a book in her left hand., In Johnson, Sophia. The friendless orphan, an affecting narrative of the trials and afflictions of Sophia Johnson, the early victim of a cruel step-mother (Pittsburgh, 1842), title vignette., Sophia Johnson dressed as a man to serve with her brother in the War of 1812., Portrait re-engraved after the original engravings by Huestis in the 1841 New York printing of The friendless orphan.
In Hartley, C.B. The three Mrs. Judsons (Philadelphia, 1860), frontispiece., Waist-length portrait of Mrs. Judson., Another portrait appears in: American missionary memorial (New York, 1853), p. 102.
In Hartley, C.B. Three Mrs. Judsons (Philadelphia, 1860), frontispiece. Portrait also stamped in gold on spine., Waist-length portrait of the writer, who accompanied her husband, the missionary Adoniram Judson, to Burma following their marriage., Another portrait appears in Hunt, L. The American biographical sketch book (New York, 1848), plate opposite p. 202.
In Judson, E.C. Memoir of Sarah B. Judson (New York, 1852), front cover (stamped in gold)., Below image: Faithful is He that calleth you [1 Thessalonians 5:24]., Full-length portrait of Mrs. Judson, standing between mourners (including Adoniram Judson?) and storm-tossed ship. She points to a vignette (depicting buildings and people in Burma?) within an arabesque frame, above which an angel hovers. Snakes curl around the lower edge of the frame.
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 Hale, S. J. Woman's record (New York, 1853), p. 712., Another portrait appears in: Leslie, E., ed. The gift: a Christmas and new year's present for 1836, frontispiece., Bust-length portrait of the actress looking over her left shoulder.
In The American book of beauty, or, Token of friendship (Hartford, 1847?]. plate preceding p. [65]., Full-length portrait of Miss Ketchum (of Boston), standing holding a small dog against her chest with her right arm and a handkerchief in her left hand., Fictitious person? Sitter identified as the singer/actress Mrs. Charles Martyn (i.e., Elizabeth Inverarity Martyn) on a plate published by Longman & Co., 1 October 1840. Cf. National Portrait Gallery, London. http://www.npg.org.uk/collections/search/portrait/mw80781/Elizabeth-Ma
In Gleason's pictorial drawing-room companion, vol. 2, no. 23 (Boston, June 5, 1852), p. 361. "The likeness we give herewith is by our artist, Mr Rowse"., The actress, also known as Sophia Elizabeth Munson Roberts, adopted Miss Kimberly as her stage name., "'You will see by the literature I enclose that I am occupied in aiding in the control of the only insurance company in the world organized and conducted by women,-- myself being the originator of the project. I also conduct a family hotel comprising the block between 21ist and 22nd Sts. My life has been passed in all absorbing labor, mental and physical.' We learn from Mrs. Harriet Bradley Jackson that Sophia was formerly an actress became quite a performer and went all round. She was known in the profession as Miss Kimberly which was her mother's maiden name. Another adds that she was a Shakespearean reader. Her husband was an actor also. After she left the stage she practiced medicine."--Munson, M.A. 1637-1887 The Munson record, v. 2 (New Haven, 1896), p. 963., Three-quarter length portrait of Miss Kimberly, wearing earrings, a bracelet, and a cross necklace with a flower in her hair.
In Memoir of Mary King (Philadelphia, 1846), frontispiece with illegible caption., Deathbed scene depicting Mary King surrounded by women family members.
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 The gift (Philadelphia, 1842), plate opposite p. 152., Waist-length portrait of Mrs. King wearing a lace bonnet., Sitter identified as Sarah Rogers Gracie King, the wife of James Gore King, on the basis of a portrait by Thomas Sully; the painting is now located in the Nelson-Atkins Museum of Art, Kansas City, Missouri.
In Read, T.B. Female poets of America (Philadelphia, 1849), plate opposite p. 305., Facsimile signature: E.C. Kinney., Waist-length portrait of the writer.
In Hart, J.S. Female prose writers of America (Philadelphia, 1852), plate opposite p. 105., Facsimile signature: C.M. Kirkland., Bust-length portrait of the writer in a bonnet.
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.
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.
Waist-length portrait of Chloe Lankton in bed, wearing bonnet., In Atwell, Harriet. Chloe Lankton, or, Light beyond the clouds (Philadelphia, 1859), frontispiece., Frontispiece signed: GAS., Chloe Lankton, a celebrated invalid, received many visitors over the course of her life while bedridden with scrofula (now diagnosed as a form of tuberculosis)., Additional portrait of sitter held in the Print Department. See cdv portraits -- sitters -- L [P.9057.79 (Brenner)].
Waist-length portrait of Cornelia, seated, with shawl around shoulders., In Lee, Henry W. Cornelia, or, the Deaf mute (Rochester, 1853), frontispiece., Miss Cornelia Lathrop, born deaf, attended the New York Institution for the Deaf and Dumb where she learned how to read and write. She died at age seventeen due to complications from the measles.
In Ames, Nathaniel. An astronomical diary, or, Almanack for the year of our Lord Christ 1772 (Boston, 1771), p. [1]., Miss Emma Leach, a dwarf, was exhibited in Boston in 1771., Full-length portrait of the dwarf seated on a chair., “The following short description of the extraordinary person who lately made her appearance in this town, may not be disagreeable to our readers, although it may not be so particular, as the curious would desire, as she would not admit of an accurate examination.”--P. [2]., Another portrait appears in: Ames, Nathaniel. An astronomical diary, or, Almanack for the year of our Lord Christ 1772 (New London, 1771), p. [1]., Portrait appears as one of three engravings in the almanac. Although all three are unsigned, two are attributed to Paul Revere as an entry in his day book refers to engraving plates for an Ames almanac. It remains unclear which two of the three are Revere engravings. Cf. Brigham, Clarence S. Paul Revere’s engravings (Worcester, Mass., 1954), p. 135-136.
In Lee, J. Religious experience and journal of Mrs. Jarena Lee (Philadelphia, 1849), frontispiece., Waist-length portrait of black preacher, seated at table with pen in hand; inkwell, books, and other papers also on table.
In Lee, M.E. Poetical remains of the late Mary Elizabeth Lee (Charleston, S.C., 1851), frontispiece., Facsimile signature: Yours, in joy & Sorrow, Mary E. Lee., Waist-length portrait of the writer holding a book.
