Full-length portrait of Mrs. Gaines wearing a lace shawl over a floor-length dress. Mrs. Gaines, holding a handkerchief in her left hand and wearing her hair in an up do with ringlets, stands on an outdoor balcony in front of a natural setting., In The Columbian lady’s and gentleman’s magazine, vol. 9, no. 10 (October, 1848), plate preceding p. 433., Mrs. Myra Clark Gaines, the celebrated litigant, was the daughter of Zulime Carriere and the wealthy Daniel Clark, who may or may not have ever legally married. Clark, who died in 1813 never having acknowledged Myra as his child, acquired his fortune in New Orleans as a real estate speculator. Mrs. Gaines was raised by Samuel Boyer Davis, a friend of Clark’s, and only discovered her true parentage in 1830. Four years later she began what was to become a 57-year lawsuit to recover four-fifths of her father’s estate, an inheritance to which she was entitled based solely on a missing will., Other portraits appear in: The Columbian lady’s and gentleman’s magazine, vol. 9, no. 5 (May, 1848), plate preceding p. 193; The Ladies wreath (1851), p. [310].
In Ellet, E. F. The women of the American revolution (New York, 1848) v.1, plate opposite p. 332., Facsimile signature: S Bache., Bust-length portrait of Mrs. Bache, wearing a bonnet., Another portraits appears in: Jones, A.D. The American portrait gallery (New York, 1855), p. [461].
In Graham's Magazine 33 (August, 1848), frontispiece., Facsimile signatures: Your obedient servant, Maria Brooks., Waist-length portrait of writer Maria Brooks, wearing a cross on a ribbon around her neck.
In Ellet, E. F. The women of the American revolution (New York, 1848), v.2, plate opposite p. 191., Facsimile signature: C Beekman., Waist-length portrait of Mrs. Beekman, wearing necklace.
In Ellet, E. F. The women of the American revolution (New York, 1848), v.2, frontispiece., Facsimile signature: "I pray God to bless you / Martha Wilson"., Bust-length portrait of Mrs. Wilson
In McKenney, T.L. and J. Hall. History of the Indian tribes of North America, v.1 (Philadelphia, 1848), plate opposite p. 29. Also in 1836-1844 and 1838-1844 editions., Sacred Sun, also known as Mohongo, was one of seven members of the Osage tribe taken to Europe as "curiosities" for public exhibition. After their return to America, Mohongo visited Washington, D.C. and met various members of the government., "Perhaps when circumstances of embarassment, or perplexing objects of curiosity, were presented, the superior tact and flexibility of the female mind became apparent, and her companions learned to place a higher estimation upon her character, than is usually awarded by the Indian to the weaker sex. Escaped from servile labor, she had leisure to think. New objects were continually placed before her eye; admiration and curiosity were often awakened in her mind; its latent faculties were excited, and that beautiful system of association which forms the train of rational thought, became connected and developed. Mahongo was no longer the drudge of a savage hunter, but his friend. Such are the inferences which seem to be fairly deductible, when contrasting the agreeable expression of this countenance, with the stolid lineaments of other females of the same race."--P. 32., Waist-length portrait of Sacred Sun, seated, wearing metal and beaded necklaces and earrings, and holding a child on her lap.
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 Wheeler, J.H. Trial of Rev. Issachar Grosscup (Candaigua, N.Y., 1848), title vignette., Three-quarter length portrait of the young woman, wearing a bonnet.
In Hawes, L.F. Memoir of Mrs. Mary E. Van Lennep (Hartford, 1848), frontispiece., Facsimile signature: Mary E. Van Lennep., Above signature: "Jesus, I give my all to Thee.", "See Page 128.", Waist-length portrait of the woman missionary, with a shawl draped over her shoulders.
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 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.
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 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.
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 The American book of beauty, or, Token of friendship (Hartford, 1847?), plate following p. [40]., Another portrait appears in: Family circle, and parlor annual, 1849 (New York, 1848), plate following p. 148., Three-quarter portrait of Miss Escars, seated holding handkerchief and spray of flowers in her lap., Fictitious person? Original sitter identified as the English photographer Catherine Curtis Verschoyle; cf. Heath's Book of beauty, 1839; and Taylor & Schaaf. Impressed by light: British photographs from paper negatives, 1840–1860 (2007).
In Diadem for MDCCCXLVII (Philadelphia, 1847), plate opposite p. 60., Sitter identified as Sarah Annis Sully, the wife of Thomas Sully, on the basis of a portrait by Thomas Sully; the painting is now located in the Metropolitan Museum of Art., Waist-length portrait of Mrs. Sully wearing a cap; her left hand rests near her throat.
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.
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 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 The American book of beauty, or, Token of friendship (Hartford, 1847?), plate following p. [72]., Full-length portrait of Mrs. Coster [possibly Stephanie de Pau Coster, wife of Washington Coster] seated next to child [possibly her daughter Frances Stephanie Coster]. Cf. oil painting at MCNY? (not seen). Mrs. Coster has an open book on her lap, on which the child's left hand rests., Another portrait appears in: The Family circle and parlor annual, 1848 (New York, 1847), plate preceding p. [117]., Original sitter identified as the Hon. Lalagé Letitia Caroline Bankes (née Vivian), the wife of Henry Hyde Nugent Bankes; and the daughter of 1st Baron Vivian. Cf. National Portrait Gallery, London. http://www.npg.org.uk/collections/search/portrait/mw199868/Hon-Lalag-Letitia-Caroline-Bankes-ne-Vivian?LinkID=mp94766&role=sit&rNo=0
In The American book of beauty, or, Token of friendship (Hartford, 1847?), frontispiece. Note: plate appears preceding p. [5] in later issue., Another portrait appears in: The Family circle and parlor annual (New York, 1850), plate preceding p. [153]., Three-quarter length portrait of Mrs. Baldwin, seated holding a child on her right hip and a handkerchief in her left hand; she is wearing fingerless lace mitts (i.e., gloves)., Fictitious person? Original sitter identified as Mrs. Henry Bathurst; cf. Heath's Book of beauty, 1838.
In The American book of beauty, or, Token of friendship (Hartford, 1847?), plate following p. [32]., Another portrait appears in: The Family circle, and parlor annual, 1848 (New York, 1847), plate preceding p. [45]., Three-quarter portrait of Miss Tyndal, seated with a flower in her right hand and a handkerchief in her left hand., Original sitter identified as the Hon. Mrs. Spalding.
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.
In The lovely sisters, Margaret and Henrietta (Hartford, 1846), frontispiece., Waist-length portraits of Margaret Flower in bed, with her sister Henrietta and their parents Ebenezer and Anne Granger Flower at her bedside.
In Memoir of Mary King (Philadelphia, 1846), frontispiece with illegible caption., Deathbed scene depicting Mary King surrounded by women family members.
Three-quarter length portrait of Miss Shaw, seated, wearing a shawl and holding a rose. Ornate border around the portrait depicts angels and flowers. An eagle at the top of the portrait holds in its mouth a circular medal reading: PLUMBE Gold Medal., In Loder, George. Lady! The rose I give to thee (Philadelphia, 1846), vignette., The actress Charlotte Shaw debuted at the Bowery Theater on Dec. 14, 1842. Cf. Hall, Lillian A. Catalogue of dramatic portraits (1930-1934)., “[John] Plumbe devised a method whereby his studio copied original photographic images onto a lithographer’s stone by an early and innovative method of mechanical photoreproduction that still remains a mystery. Plumbeotypes were thus actually lithographs, but with a difference, for the stones were created with the new process.”--P. 48. LCP AR [Annual Report] 1992.
Waist-length portrait of Mrs. Taylor wearing a dress over a lace undergarment and holding a letter in one hand. Landscape scene visible through a window., In Lot, Jones. Memoir of Mrs. Sarah Louisa Taylor. 4th ed. (New York, 1846), frontispiece.
In Stark, C. The remarkable narrative of Cordelia Krats, or, The female wanderer (Boston, 1846), p. [2]., "[See Page 9.]", Full-length portrait of the author, possibly a fictitious character, wearing a full suit and a cap, and holding a cane.
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.
Bust-length portrait of the criminal, in profile., 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. 166., “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., “C.G. is a German woman, noted for her obliging, submissive disposition and the kindness of her feelings ; but exceedingly wanting in self-respect and regard for the rights of others. She is now under imprisonment for larceny. The head shows large benevolence, with exceedingly deficient conscientiousness, self-esteem, and firmness.”--P. 166.
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. 158., “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., "C.P., a half-breed Indian and negro woman, under confinement for the fourth time. She has been twice imprisoned for petit, and once for grand larceny, and once for assault and battery with a knife. During one of her terms of confinement she attacked her keeper with a carving-knife, and he was compelled to fell her with a loaded cane. When excited she exhibits the most uncontrollable fury, and is always disposed to be offensive, aggressive, and more or less violent. In her head destructiveness is enormously developed, with large secretiveness and caution, and very defective benevolence and moral organs generally.”--P. 158.
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. 159., “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., “D.M. has been an inmate of the county prisons of New York, a greater part of the last seven or eight years. She is notoriously abandoned and profligate; and for the last few years has added intemperance to her other vices. She seems utterly lost to all sense of decency and to every moral tie of humanity. With all this degradation she possesses a good mind, with much shrewdness and quickness of perception. The drawing indicates a large development of propensity with fair intellect, but a total destitution of moral endowment. The scanty development of the coronal region of her head is very striking.”--P. 159.
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. 160., “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., “The drawing indicates a large development of the perceptive, the mechanical and musical powers, with excessive secretiveness and destructiveness. But the most striking feature of her head is the extreme shortness from individuality to philoprogenitiveness. Her impatience and restlessness prevented the side view from being taken….”--P. 160.
In The People’s journal, vol. 2, no. 29 (July 18, 1846), p. 29., At head of image: Public exhibitions. No. 2., Full-length portraits of the actresses Charlotte and Susan Cushman.
In Serious almanac, 1845 & '46 (New York, 1845), p. [25]., According to the accompanying article, Julian Gardner answered the door when her husband was not at home. A black man wielding a lighted torch pushed his way in and “with one blow split open the head of Mrs. G. with an axe.”, Probably a fictitious character., The same image appears in Tragic almanac. 18-46 (1845), p. [13].
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 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 Brooke, H.K. Tragedies on the land (Philadelphia, 1845), p. 129., Ursula Newman, of New York City, was shot on November 20, 1828, by her common-law husband Richard Johnson, in the presence of her three children (her daughter Rachel and two sons). Johnson had just learned that the landlord had taken the equipment from his home printing office for back rent. That very day, he had returned from Genesee County, where he had picked up the infant that had been born to Mrs. Newman (at the home of the brother of her previous husband in August 1827)., Full-length figure of a woman with her right arm raised above her head as she collapses on a sofa; she is being shot by a man standing near her; two boys run toward the door, and a young woman standing near the door stares with her mouth open and her hands clasped near her chest.
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.
In Memoirs of Martha Laurens Ramsay (Philadelphia, 1845), frontispiece., Waist-length portrait of Mrs. Ramsay, wearing a lowcut dress with lace collar.
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 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 Serious almanac, 1845-’46, p. [31]., Mrs. Crawford, the wife of William Crawford Jr., died in their home in Elkton, Md. Apparently, she started a fire while lighting a pipe. Cf. Philadelphia inquirer (May 21, 1844)., Full-length portrait of Mrs. Crawford, burning to death, with a pipe on the floor nearby., The same image appears in Tragic almanac 18-46 (New York, 1845), p. [17].
In Serious almanac, 1845-’46 (1845), p. [16]., Andrew Hellman (1792-1843), also known as Adam Horn, was convicted of killing and then dismembering his wife in November 1843., Full-length portraits of the pair struggling, with the husband holding the wife down on the floor., The same image appears in The Tragic almanac 1850 (New York, 1849), p. [5].
In Hooker, E.W. Memoir of Mrs. Sarah L. Huntington Smith. 3rd ed. (New York, 1845), frontispiece., Facsimile signature: Very affectionately your Sister Sarah L. Smith., Three-quarter length portrait of Mrs. Smith, seated and holding a book., Provenance: Waldo & Jewett, artist., Another portrait appears in: American missionary memorial (New York, 1853), p. 280.
