In Davis, A.H. The Female preacher, or, Memoir of Salome Lincoln (Providence ; Boston, 1843), frontispiece., Facsimile signature: Salome Lincoln., Below signature: Math. 25:6. "Behold the Bridegroom cometh." Page 46 & 47. "This book was thine -- here didst thou read -- This picture, ah! yes here indeed I see thee still.", Waist-length portrait of the preacher, in profile, holding an open book.
In The Book of the boudoir (Boston, 1853), frontispiece., “Thine truly – Ellen Louise”., Three-quarter length portrait of the writer, holding a bouquet of flowers.
In Ellet, E. F. The women of the American revolution (New York, 1848), v.2, plate opposite p. 68., Mrs. Motte, whose husband was killed early in the Revolutionary War, also graciously sacrificed her home, which was burned for strategic reasons, to the war effort: "If ever a situation in real life afforded a fit subject for poetry, by filling the mind with a sense of moral grandeur--it was that of Mrs. Motte contemplating the spectacle of her home in flames, and rejoicing in the triumph secured to her countrymen--the benefit to her native land, by her surrender of her own interest to the public service."--P.72., Facsimile signature: Rebecca Motte., Other portraits appear in: Hale, S. J. Woman's record (Philadelphia, 1853), p. 448; Jones, A.D. The American portrait gallery (New York, 1855), p. [427]., Waist-length portrait of Mrs. Motte.
In The liberty bell (Boston, 1844), frontispiece., Facsimile signature: Lucretia Mott., Mott wrote, "Duty bids to do all that in us lies, to overcome prejudice, and improve the condition of the nominally free, but our object should be, to break up a system which has thus degraded our fellow-beings. While we aid, to the extent of our power, the fugitive from injustice and oppression, let us not yield to solicitations for money to purchase his freedom from his claimants; thus acknowledging a right of property in man, and giving an indirect support to slavery. Rather let our main and most vigorous exertions be directed to the overthrow of the outrageous system of American Slavery."--P.177-178., Waist-length portrait of Mott, seated in a chair, wearing a bonnet and shawl., Another portrait appears in: American phrenological journal, v. 17 (Apr., 1853), p. 76.
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 Ellet, E. The women of the American Revolution (New York, 1848), vol. 1, plate opposite p. 202., Waist-length portrait of Mrs. Morris, wearing bonnet, ribbon necklace, and flower brooch.
Waist-length portrait of Mrs. Morris, seated in chair, wearing a bonnet and a shawl, and holding a book in her right hand and eyeglasses in her left hand., In Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 393., "Aet 76"., Mrs. Morris was the sixth daughter of physician Richard Hill and of prominent Quaker lineage, belonging to the Hill, Lloyd, Moore, and Morris families of Philadelphia., Presumed that artist is Morris’s grandson, Morris Smith., Another portrait appears in: Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 89.
In Morrell, A.J. Narrative of a voyage to the Ethiopic and South Atlantic Ocean, Indian Ocean, Chinese Sea, North and South Pacific Ocean, in the years 1829, 1830, 1831 (New York, 1833), frontispiece., At age fifteen, Abigail Jane Wood Morrell, known as Abby, married her sea captain cousin Benjamin Morrell, Jr. She accompanied him on a multi-year voyage aboard the schooner Antarctic. In 1831, they returned to New York, in debt. To raise money, Benjamin organized a stage show entitled “Two Cannibals of the Islands of the South Pacific.” The firm J. & J. Harper published their journals as monographs; Benjamin’s was ghostwritten by Samuel Woodworth, and Abby’s was ghost-written by Samuel L. Knapp., Waist-length portrait of the world traveler, holding a book.
Full-length portrait of a woman [i.e., Mrs. Morley?] wearing an off the shoulder evening dress, pearl strands around her head, elbow length gloves, and earrings. Holding a fan in one hand and a handkerchief in the other, she stands beside a harpsichord before an open balcony., In Day is closing o’er the billow (New York, [1834-1839?]), cover., “Sung by Mrs. Morley. The words by Jonas B. Phillips Esq. Arranged from a popular Italian aria and dedicated to Mrs. Habicht of Boston by Clerc W. Beames”., “Mrs. Morley contributed to the entertainment and gave satisfaction. Her voice appears to be a mezzo-soprano of considerable power and flexibility, with good intonation.” -- Ives, E. Musical review and record of musical science, literature, and intelligence (New York, 1839), p. 375.
In Lectures of Lola Montez (Countess of Landsfeld) including her autobiography (New York, 1858), frontispiece., Facsimile signature: Lola Montez., Lola Montez was born in Ireland and spent her childhood in India, Scotland, France, and England. As an adult, she trained as a dancer and traveled the royal courts of Europe. She had a forceful, captivating personality, and at times she wielded considerable political influence, particularly in Bavaria, where she was the mistress of King Ludwig I. Later in life, she moved to America, where she performed as a dancer, actress, and lecturer. In one of her public lectures, she proclaimed, "It takes most women two-thirds of their lifetime to discover, that men may be amused by, without respecting them; and every woman may make up her mind that to be really respected, she must possess merit, she must have accomplishments of mind and heart, and there can be no real beauty without these."--P. 121-122., Another portrait appears in: Gleason's pictorial drawing-room companion, vol. 2, no. 16, (April 17, 1852), p. 249., Bust-length portrait of Montez., Another portrait (entitled "Morning") appears in: Snow flake (1849), frontispiece. The sitter is identified as Lola Montez on the basis of a portrait by Jules Laure; the painting is now located in the collection of the Leeds Castle Foundation, Maidstone, Kent, UK.
Bust-length portrait in profile of Maria Monk., In The American phrenological journal, vol. 11 (July, 1849), p. 314., Maria Monk, supposed author of Awful disclosures of Maria Monk, or, the Hidden secrets of a nun's life in a convent exposed, claimed to have suffered sexual abuse as a nun in a convent in Montreal. Though the book detailing her allegations sold well, the veracity of her claims was doubted almost immediately after its publication, and contemporary scholars regard her story as false., The article accompanying this portrait references the recent death of Maria Monk, suggesting that she in fact died in 1849.
In The missionary sisters (Boston, 1860), frontispiece., Facsimile signatures: Seraphina H. Everett; H.M.L. Hamlin., Two separate waist-length portraits of the American Board of Commissioners for Foreign Missions missionaries, in arabesque frames: Mrs. Seraphina Haynes Everett; Mrs. Harriet Martha Hamlin.
In Narrative of the capture and providential escape of Misses Frances and Almira Hall (1833), p. [2]., Full-length portraits of the sisters, one of whom holds a handkerchief to her eye, together with five other figures, four of whom are armed Indians.
In Brooke, H.K. Tragedies on the land (Philadelphia, 1845), p. 149., On November 21, 1828, after a disagreement at their home in Philadelphia, Michael M’Garvey whipped his wife. She died one or two days later., Full-length portrait of a woman, kneeling with her hair tied to a bedpost; a man stands nearby with a whip raised above his head ready to strike her; another woman stares at them from behind an open door.
Waist-length portrait of Mi-neek-ee-sunk-te-ka, seated, wearing beaded necklaces, bracelets, and earrings., 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.
In Green, F.H. Biography of Mrs. Semantha Mettler, the clairvoyant (New York, 1853), frontispiece., Facsimile signature: Semantha Mettler., Waist-length portrait of the medium, wearing a dress with a lace collar.
In Morris, M. Memoir of Miss Margaret Mercer (Philadelphia, 1848), frontispiece., Mercer, who was born into an affluent family, became an educator and director of several schools. She was an abolitionist and a colonization advocate; after emancipating her own slaves, she provided for their passage to Liberia., "Educated in the midst of slavery, and familiar with it under circumstances in which it displayed its least exceptionable features, Miss Mercer was fully convinced of the evil necessarily inherent in the system, and of the malign influence it exerts as well upon the master as the slave. She had, however, also, at the same time, full opportunity to observe the great difficulties with which the effort to get rid of the evil is environed, and was able to appreciate the obstacles which oppose the full development of the negro character in a country in which he has so long been kept in a state of degradation, and where he is compelled to contend with habits and prejudices, not only inveterate from long continuance, but continually excited into renewed vigour by the struggle ever maintained between distinct races of men dwelling on the same soil. She was convinced that circumstances over which the friends of the negro have no control, would keep him here in a state of thraldom and servitude, even though liberated from the galling chain of hopeless bondage. Yet none ever felt more deeply the evil of slavery; none ever more anxiously desired the coming of the time when the stain of it should be wiped from the scutcheon of our country; none ever made more disinterested, self-sacrificing efforts than she to be delivered from its guilt. It was with such views and feelings she had hailed with delight the establishment of the American Colonization Society, an institution which she regarded as peculiarly adapted to the relief of both master and slave."--P.113-114., Figurehead and text below portrait: Non nobis solum ("Not for ourselves alone")., Another portrait appears in: Hale, S. J. Woman's record (Philadelphia, 1855), p. 424., Three-quarter-length, seated portrait of the educator, wearing a bonnet and rings, with a table at right.
In Hart, J.S. Female prose writers of America (Philadelphia, 1852), plate opposite p. 63., Facsimile signature: M.J. McIntosh., Shoulder-length portrait of the writer.
In Bouton, N. Memoir of Mrs. Elizabeth McFarland. 3rd ed. (Boston, 1839), frontispiece., Waist-length portrait of the clergyman's wife, wearing a bonnet and shawl., Facsimile signature: Your affectionate friend Eliza'h MFarland.
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].
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 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.
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.
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 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 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.
Bust-length portrait of the criminal., In Sampson, M. B. Rationale of crime and its appropriate treatment; being a treatise on criminal jurisprudence considered in relation to cerebral organization. Edited by Eliza W. Farnham (Philadelphia, 1846), p. 162., “My acknowledgements are due to the officers of the Penitentiary on Blackwell’s Island for their politeness in furnishing me with facilities for taking the daguerreotypes, and to Mr. L. N. Fowler for aiding me in the selection of cases; nor must I omit to name Mr. Edward Serrell, who was obliging enough to take the outline drawings for me; or Mr. Brady, to whose indefatigable patience with a class of the most difficult of all sitters, is due the advantage of a very accurate set of daguerreotypes.” -- Introductory preface by Mrs. Farnham, p. xx., “L.W. is a criminal who has long been notorious in New York for her depravity and abandonment of character. She has been under arrest innumerable times, and when not in prison leads a most profligate and shameless life. She is obstinate but kind withal, and very impulsive and ardent in all her emotions. Her temperament is sanguine-nervous, highly excitable, and unrestrained. In her head benevolence is well developed, but the whole moral region beside is exceedingly small. The drawing indicates extreme narrowness and smallness of the whole coronal region.”--P. 162.
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 Lowrie, L.A. Memoirs of Mrs. Louisa A. Lowrie (Pittsburgh, 1836), frontispiece., Waist-length portrait of the woman missionary, wearing a scarf around her neck.
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.
In Locke, J.E. The recalled (Boston, 1854), frontispiece., Facsimile signature: Yrs. Very truly J. Ermina Locke., Waist-length portrait of the poet, wearing a crucifix.
In Cases of cures performed by the use of Swaim’s panacea (Philadelphia, 1829), frontispiece., “One of the most extraordinary cures ever recorded in the annals of medicine”., “See p. 25”., According to the accompanying article, Nancy Linton was cured of scrofula by using Swaim’s panacea., Another portrait of Nancy Linton appears in A treatise on Swaim's panacea (Philadelphia, 1829), frontispiece., Another portrait of Nancy Linton (as Ana Linton) appears in Coleccion de casos, en ilustracion de las propiedades restaurativas i sanativas de la panacea de Swaim, en varias enfermedades (Filadelfia, 1831), frontispiece., Another portrait of Nancy Linton appears in A treatise on the alterative and curative virtues of Swaim's panacea (Philadelphia, 1833), p. 86., Another portrait of Nancy Linton appears in Swaim’s panacea (Philadelphia, 1848), p. [10]., The Philadelphia Museum of Art owns a hand-colored lithograph with minor differences in composition. ("Drawn on stone by W.H. Kearney, printed by C. Hullmandel.") See Library Company of Philadelphia, Every man his own doctor (1998), p. 29., Full-length portrait of a woman with scars on her face, arms, and legs, seated with her right arm resting on a table next to a bottle labeled “Swaim’s”.
In Baird, R. Memoir of Anna Jane Linnard. 2nd ed. (Philadelphia, 1837), frontispiece. Also in 1835 ed., Waist-length portrait of Miss Linnard, seated before a book (a Bible, open to the Gospel of St. John).
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 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 Godey's Lady's book 32 (January, 1846), frontispiece., Waist-length portrait of the writer, seated holding a portfolio labeled Sketches., The original painting, by Thomas Sully, is now located in the Pennsylvania Academy of the Fine Arts, Philadelphia, Pa.
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.
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 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.
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.
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)].
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 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 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 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 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.
