Full-length recumbent portrait of the poet in a bed next to a window., In Taggart, Cynthia. Poems. 2nd ed. (Cambridge, 1834), frontispiece., Cynthia Taggart, a poet, was a chronic invalid and though she was bedridden for much of her life, she attained a degree of celebrity for her writing., “‘Now sleep spreads wide his downy wings’ p. 89. See page 13.”, Library Company’s copy marked in ink by former owner., Another portrait appears in Richmond, James C. Rhode Island cottage (New York, 1841), plate opposite p. 41.
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.
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 A treatise on the alterative [sic] and curative virtues of Swaim’s panacea (Philadelphia, 1833), plate facing p. 94., “Page 94”., According to the accompanying article, Elizabeth Soby was relieved of the pain she suffered from the ulcer on her face by using Swaim’s panacea., Charles Joseph Hullmandel was a London lithographer., Another portrait of Elizabeth Soby appears in Swaim’s panacea (Philadelphia, 1848), p. [19]., Three-quarter length portrait of a woman with a disfiguring scar on the right side of her face.
In A treatise on the alterative [sic] and curative virtues of Swaim’s panacea (Philadelphia, 1833), plate facing p. 95., “Page 94”., According to the accompanying article, Mrs. Tregomaine was relieved of the pain she suffered from ulcers on various parts of her body by using Swaim’s panacea., Charles Joseph Hullmandel was a London lithographer., Another portrait of Mrs. Tregomaine appears in Swaim’s panacea (Philadelphia, 1848), p. [22]., Recumbent portrait of a woman with scars on her face and hands, leaning against pillows.
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 Bloom, David F. Memoirs of eminently pious women of Britain and America (Hartford, 1833), plate opposite p. [300]., Five separate bust-length portraits in arabesque frames: Mrs. Susan Huntington, Mrs. Sarah Edwards, Mrs. Isabella Graham, Mrs. Ann H. Judson, and Miss Hannah Adams.
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 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 Mann, Rev. C.M. Memoir of Mrs. Myra W. Allen (Boston, 1832), frontispiece., Facsimile signature: Myra W. Allen., Myra Allen served as a missionary in Bombay, India, with her husband, David O. Allen., Bust-length portrait of Mrs. Allen.
In Adams, H.M. Memoir of Miss Hannah Adams (Boston, 1832), frontispiece., Facsimile signature: Your friend Hannah Adams., Three-quarter length portrait of the writer, seated holding an open book.
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 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.
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 La belle assemblée (London, 1830), plate opposite p. 48., Louisa Catherine Osborne (née Caton), Marchioness of Carmathen (1793-1874), married Francis Osborne (1798-1859) after the death of her first husband, Sir Felton Hervey (1782-1819). In 1838, she became Duchess of Leeds when Osborne became the 7th Duke of Leeds., “The proofs by M. Colnaghi, 23, Cockspur Street”., Waist-length portrait of the Maryland native, wearing a pearl necklace and teardrop earrings, and holding flowers.
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 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 La belle assemblée (London, 1829), plate opposite p. [47]., Marianne Wellesley (née Caton), Marchioness Wellesley (1788-1853), was Lady of the bedchamber to the queen dowager Adelaide. She married Richard Wellesley, Marquess Wellesley (1760-1842) after the death of her first husband, Robert Patterson (1781-1822)., Three-quarter length portrait of the Maryland native, holding a fan.
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.
Bust-length portrait of the actress in costume., In Barker, James N. The tragedy of superstition (Philadelphia, 1826), frontispiece., “An incomplete list of [Mrs. Duff’s] performances reveals that she played at least 220 different roles in her career. Junius Booth called her the greatest tragic actress in the world and John Gilbert proclaimed that she had no superior. Joseph N. Ireland, her biographer and a stage historian of considerable experience with actors, believed she was the best tragic actress in nineteenth-century America.” -- Claudia Durst Johnson (1999). “Duff, Mary Ann Dyke”. American National Biography. 7. New York: Oxford University Press. pp. 19-20.
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.
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."
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.”
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).
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 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 The Mirror of taste, vol. 1, no. 2 (February 1810), frontispiece. Library Company’s copy defaced., In 1791, Anne Brunton married Robert Merry, who died in 1798. In 1803, she married Thomas Wignell, who died that same year. She married William Warren in 1806. She died in childbirth two years later in Alexandria, Virginia. Already established as a leading actress in England, she made her American debut in December 1796 as Shakespeare’s Juliet. Cf. ANB., Waist-length portrait of the actress, wearing a hat with feathers.
Bust-length portrait of Alice, wearing a bonnet., In Thomas, Isaiah. Eccentric biography; or, Memoirs of remarkable female characters, ancient and modern (Worcester, 1804), plate preceding p. vii., Alice, known variously as Black Alice and Alice of Dunk’s Ferry, was a native of Philadelphia and a slave, born to parents who had come from Barbados. She is said to have been 116 at the time of her death in 1802. In extreme old age Alice received many visitors who enjoyed hearing stories about early Philadelphia and its famous first settlers, including William Penn and Thomas Logan. Alice was also a lifelong worshiper at Christ Church in Philadelphia., “Being a sensible intelligent woman, and having a good memory, which she retained to the last, she would often make judicious remarks on the population and improvements of the city and country; hence her conversation became peculiarly interesting, especially to the immediate descendents of the first settlers, of whose ancestors she often related acceptable anecdotes.”--P. 9.
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 Wheatley, P. Poems on various subjects, religious and moral (London, 1773), frontispiece., Possibly based on a drawing by Scipio Moorhead., Three-quarter length portrait of writer, seated at a table, with pen in hand; inkwell and book nearby.
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.
Full-length portrait of the writer wearing a hat while holding a rifle in one hand and a horn in the other. A citadel is visible in the distant background., In Rowlandson, Mary W. A narrative of the captivity, sufferings, and removes of Mrs. Mary Rowlandson (Boston, 1770), p. [2.], Mrs. Mary Rowlandson was a Puritan pioneer who, during an Indian attack on her town, was taken captive with her children and held for three months before being ransomed., The portrait was likely first used to represent Hannah Snell, the cross-dressing British soldier. Cf. Reilly, Elizabeth Carroll. Dictionary of colonial American printers’ ornaments and illustrations, p. 373.
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 Edmond, A.M. Broken vow (Boston, 1845), frontispiece., Facsimile signature: Amanda M. Edmond., Three-quarter length portrait of the writer, seated holding a closed book, with another book nearby.
