Full-length portrait of the back of Mrs. Daviess, holding a shotgun aimed at an Indian man stepping through a doorway., In Frost, John. Daring and heroic deeds of American women (Philadelphia, 1860), plate following p. 206., Mrs. Daviess was the wife of the late 18th-century Kentucky pioneer Samuel Daviess. She tricked her potential captor into setting down his gun, which she then used to hold him hostage.
In The Napoleon dynasty, or, The history of the Bonaparte family (New York, 1852), plate opposite p. 451., In 1803, Elizabeth ("Betsy") Patterson married Jérôme Bonaparte (1784-1860), the youngest brother of Napoleon I. The wedding took place in Baltimore, Maryland. Her taste in clothing, inspired by then-current European fashions, provoked criticism as immodest. Complying with Napoleon’s orders, her husband returned to Europe and effectively abandoned her., Waist-length portrait of the Maryland native, wearing a garment with a low neckline.
In The only complete report of the Burch divorce case (New York, 1860), front wrapper., Waist-length portrait of Mrs. Burch, seated with her arm resting on a table., Mrs. Burch’s husband Isaac accused her of adultery, and she countersued that he had married her for her wealth and was carrying on a relationship outside their marriage as well.
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 Breckinridge, J. A memoir of Mrs. Margaret Breckinridge (Philadelphia, 1839), frontispiece., Facsimile signature: Marg't Breckinridge., Bust-length portrait of Mrs. Breckinridge, with lace shawl.
In Read, T.B. Female poets of America (Philadelphia, 1849), plate opposite p. 265., Facsimile signature: Anne C. Lynch., Bust-length portrait of the writer.
In Anderson, R. Memoir of Catharine Brown, a Christian Indian of the Cherokee Nation (Boston, 1825), frontispiece., Full-length recumbent portrait of the Cherokee woman, who was educated at Brainerd Mission near Chattanooga, Tennessee. She is depicted in bed, propped on her elbow, with an open book before her. Nearby, a woman, seated at a writing desk, holds a pen and appears to be taking dictation., "'Then raising herself in the bed & wiping a tear, that was falling from her eye, she with a sweet smile began to relate what God had done for her soul, while upon that sick bed.' Page 142."
Waist-length seated portrait of the writer., In The American phrenological journal, vol. 31 (May, 1860), p. 72., Mary Booth was an author, translator, and editor. Largely self-taught, she wrote and edited dozens of works, and served as editor of Harper’s Bazaar.
Full-length portrait of the young girl holding her hands across her waist., In The American phrenological journal, vol. 29 (Jan., 1859), p. 1., At the age of four Ella Burns was a national celebrity, renowned for her captivating public readings and poetry recitations., “Without ever having been taught spelling or the alphabet, but having herself picked up a knowledge of words by intuitive quickness of eye, [Ella] takes any book of poetry presented to her and reads verses she has never before seen, with a cadence and a pronunciation which do the fullest justice to the sense and rhythm.”--P. 2.
In Tragic almanac 1843 (New York, 1842), p. [28]., According to the accompanying article, Mary Bird said her husband “gave me no reason for doing it, except he was drunk.”, Probably a fictitious character., Full-length portrait of the victim (Mary Bird), tied to a chair and engulfed in flames.
In Tragic almanac 1843 (New York, 1842), p. [21]., According to the accompanying article, Mary C. Rogers left her job in a cigar store on Broadway in New York City after customers started a rumor that she had been seduced. “The Beautiful Segar Girl” returned home to live with her mother. One Sunday, she set out to visit her cousins, but did not arrive. The following Wednesday her body was found floating in the North River, with “a rope tied around her neck in a way which ... created the suspicion that the persons who committed the act must have been seamen.”, The character of Marie Rogêt in Edgar Allan Poe's The Mystery of Marie Rogêt (the first installment of which appeared in the Ladies companion, v. 18, no. 1 (Nov. 1842)) is based on Mary Cecilia Rogers (1820-1841)., Full-length portrait of the victim struggling to escape the grasp of two men in top hats.
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.
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: The trial and a sketch of the life of Oliver Watkins (Providence, 1830), p. [2]., Full-length portrait of a man bending over a woman lying on a bed, with his arms outstretched. Oliver Watkins strangled his wife Roxana with a horsewhip, so the item in the man's right hand may be the handle of a horsewhip. A child gestures from a smaller bed in the background. The clock on the back wall indicates that the time is 1:45.
In Versi composti da Lorenzo Da Ponte per per la morte d'Anna Celestina Ernestina (New York, 1832), frontispiece., Bust-length portrait of the English expatriate, who was known as Nancy.
In Ballou's pictorial drawing-room companion, v. 16, no. 20 (May 14, 1859), p. 305., “The accompanying engraving of the already famous “Fairy Children” is from a drawing made expressly for us by Mr. Homer [i.e., Winslow Homer] ….”, Dollie Dutton, known as the “Little Fairy,” had a stage career as a singer and a dancer. She and her sister Etta performed together before Etta died at the age of eight., Full-length standing portraits of diminutive Etta and Dollie Dutton, with a significantly taller child standing between them.
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 Cries of the metropolis, or, Humble life in New York (Rutland, 1858), p. [7]., Full-length portrait of Elizabeth Carl, seated with a basket of apples next to her., Born in Potsdam, Elizabeth Carl came to New York City at age 73, and sold apples outside A.T. Stewart’s department store (and possibly other stores) for the following 17 years.
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.
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 Memoir of Mrs. Chloe Spear (Boston, 1832), frontispiece., Full-length portrait of Chloe and other black girls being pursued by white men and a dog; a ship is 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 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.
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 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 Gleason’s pictorial drawing-room companion, vol. 1, no. 28 (Nov. 8, 1851), p. 440., Full-length portraits of the child actresses Kate and Ellen Bateman in costume for their appearance in Bombastes furioso, Kate in the role of King Artaxaminous (?).
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.
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 The female review: or, memoirs of an American young lady; whose life and character are peculiarly distinguished-- being a Continental soldier, for nearly three years, in the late American war (Dedham, 1797), frontispiece., Gannett dressed as a man in order to serve in the Continental Army during the Revolutionary War., "I shall here notice a heroic deed of this gallantress; which, while it deserves the applause of every patriot and veteran, must chill the blood of the tender and sensible female. Two bastion redoubts of the enemy having advanced two hundred yards on the left, which checked the progress of the combined forces, it was proposed to reduce them by storm. To inspire emulation in the troops, the reduction of one was committed to the Americans, and the other to the French. A select corps was chosen. The commander of the infantry was given to Fayette, with permission to manage as he pleased. He therefore ordered them to remember Cherry-Valley and New London Quarters, and to retaliate accordingly, by putting them to the sword, after having carried the redoubts. Our Heroine was one of these! At dark, they marched to the assault with unloaded arms, but with fixed bayonets; and with unexampled bravery, attacking on all sides at once, after some time of violent resistance, were complete victors of the redoubts."--P. 151-152., Bust-length portrait of Gannett, encircled by ornamental oval frame with decorative elements including eagle, flags, and foliage., Another portrait appears in Chapin, J.R. The historical picture gallery (Boston, 1856), p. 27., Another copy of portrait held in Graphic Arts [Portrait Prints - S [5750.F.29a]]. Copy reproduced in "In Disguise" online exhibition.
In The afflicted and deserted wife, or, Singular and surprising adventures of Mrs. Ellen Stephens (New York, 1842), frontispiece., Mrs. Ellen Stephens is probably a fictitious character., Three-quarter length portrait of the woman wearing a dress with leg-of-mutton sleeves, with her head down-turned, in tears.
In The life and sufferings of Miss Emma Cole (Boston, 1844), p. [19]., Emma Cole [later Mrs. Hanson] is probably a fictitious character., Full-length of the woman wearing a sailor suit, lying on her back on the deck of a ship, while a man binds her hands. Four other armed men stand nearby.
In A Sketch of the life of Elizabeth Emmons, or, The female sailor. 2nd ed. (Boston, 1841), frontispiece., Elizabeth Emmons is probably a fictitious character., Waist-length portrait of the partially-sighted woman on board ship, wearing a sailor uniform.
