In Tragic almanac 1843 (New York, 1842), p. [25]., According to the accompanying article, Thomas Topping beat his wife Elizabeth for five hours before she died. He also threatened to kill Catharine Kelly, who was in the room, if she made any effort to sound an alarm., Probably fictitious characters., Full-length portrait of the victim on the ground with her left hand raised to avert a blow; a woman lies in a bed in the background.
In Tragic almanac 1843 (New York, 1842), p. [30]., According to the accompanying article, James Adams, a street sweeper, quarreled with a servant girl named Ann Gorman. “During the dispute he seized a plate ... and threw it at the girl’s head, when his wife expostulated with him.” He killed his wife after she threatened to call an officer., Probably fictitious characters.
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 Narrative of the deceptive courtship and seduction of Miss Phebe Crossen (Cincinnati, 1857), wrapper vignette., Fictitious person? Born near Blanchester, Ohio, Phoebe Crossen was raised by her grandparents after her mother died (and her father went West); her seducer promised marriage and then supplied Phebe with medicine in order to kill their unborn child; after the child was born dead, she wrote the narrative and committed suicide with laudanum on February 19, 1857., Three-quarter length portrait of the unwed mother, carrying a book in one hand and a lace handkerchief in the other hand.
In Twelve years a slave (Auburn, N.Y., 1853), plate opposite p. 88., Same image appears in Twelve years a slave (Auburn, N.Y., 1854)., Full-length portrait of the enslaved women, possibly a fictitious character, kneeling next to her daughter Emily; two white men stand above her.
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 The Tragic almanac (New York, 1849), p. [10]., According to the accompanying article, Mrs. Colton shot Mr. Corlis after having had “illicit intercourse” with him., Probably a fictitious character., Full-length portrait of the murderer standing on a sidewalk, firing a pistol at the victim.
In Life and confession of Ann Walters, the female murderess!! (Boston, 1850), front wrapper., Full-length portrait of the murderer, possibly a fictitious character; cf. McDade 1036.
In The afflicted and deserted wife, or, Singular and surprising adventures of Mrs. Ellen Stephens (New York, 1842), title vignette., Almira Paul is probably a fictitious character., Full-length portrait of the woman, wearing a sailor suit and a top hat; a steamboat is visible on the horizon behind her.
In Tragic almanac 1843 (New York, 1842), p. [17]., According to the accompanying article, Miss Hamlin (aka Miss Goodrich) killed Mr. Ewing in a theater in Mobile, Alabama, on March 25, 1842. “She eluded all pursuit and was not heard of till some months afterward when she was seen in male attire in one of the West India islands.”, Probably a fictitious character., Full-length portrait of the actress, in costume, attacking her actor husband with a knife.
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 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.
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 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 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.
Illustration accompanies a recollection made by George, a fugitive slave, in Chapter XI, "In Which Property Gets into an Improper State of Mind." In conversation with Mr. Wilson, George recalled how his sister was whipped by her owner for no other reason that wanting a decent Christian life. Correspondingly, the image captures the moment leading up to George's sister's whipping. Stripped to the waist, she waits on her knees as shabby looking white man ties her wrists to a post. In the center of the scene, a black overseer stands with a whip in his hand, talking with the master. Chains and shackles hang from the rear wall of the barn interior., Illustration in Harriet Beecher Stowe's Uncle Tom's Cabin (London: John Cassell, Ludgate Hill, 1852), p. 112., Caption underneath the image reads, "She was whipped, sir, for wanting to live a decent Christian life, such as your laws give no slave girl a right to live." --Page 95., Fels Afro-Americana Image Project, Punishment Scenes.
Date
[1852]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1852 Sto 72726.O p 112, https://digital.librarycompany.org/islandora/object/Islandora%3A2789
Engraving portrays an episode described in Hildreth's fictional narrative. With blood- hounds in tow and "armed to the teeth," a party of mounted slave-hunters proceeds with two captured fugitives: the young man marching in front around whose neck a rope has been tied, and the older man, identified in the narrative as Wild Tom, who rides on horseback and whose arms are tied behind his back. In the center of the image, the lifeless body of Snapdragon, a Yankee overseer, is draped over a horse. He was killed by Wild Tom during the course of the man hunt., Plate in Richard Hildreth's Archy Moore, the White Slave; or Memoirs of a Fugitive (New York and Auburn: Miller, Orton & Mulligan, 1855), p. 290., Fels Afro-Americana Image Project, Fugitives.
Creator
Baker & Smith
Date
[1855]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1855 Hildr 72210.O p 290, https://digital.librarycompany.org/islandora/object/Islandora%3A2801
Engraving depicts an episode from chapter 17. Atop a rocky embankment, George and Phineas defend themselves, Eliza and Harry, and Jim Selden and his aged mother from an approaching group that includes Marks, Uncle Tom, and two constables., Illustration in the first German translation of Harriet Beecher Stowe's Uncle Tom's Cabin (Oheim Tom's Hütte) printed in America (Boston: John P. Jewett and Company; Cleveland, Ohio: Jewett, Proctor, and Worthington, 1853), p. 79., Fels Afro-Americana Image Project, Fugitives.
Creator
Baker & Smith, engraver
Date
[1853]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1853 Stow 71311.O p 79, https://digital.librarycompany.org/islandora/object/Islandora%3A2794
Engraving accompanies a fictional episode described in Letter XI, "The Marriage." Leaning over the staircase balustrade in the upper left, the story's narrator observes the scene taking place below, as does Cleopatra, an elderly slave, who watches from several steps down. In the center of the scene, mistress Rosalie forces the slaves Mima and Juniper to jump over a broomstick that stretches between two chairs. This is part of the forced marriage ceremony over which Rosalie presides. When the weeping Mima hesitates to jump, Rosalies boxes her ears with her slipper. In the background, another house-slave watches from behind a door., Plate in Emily C. Pearson's Cousin Franck's Household, or, Scenes in the Old Dominion (Boston: Upham, Ford, and Olmstead, 1853), p 168., Fels Afro-Americana Image Project, Scenes from Slave Life.
Creator
Hayes, George H., engraver
Date
[1853]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1853 Pear 73222.O p 168, https://digital.librarycompany.org/islandora/object/Islandora%3A2793
Engraving accompanies a fictional episode described in Letter IV, "The 'Purchases' -- Old Joseph." Episode takes place on Christmas Eve in the cabin of the coachman Rafe, the slave seated on the log near the fireplace to the extreme right. Rafe has learned that he will soon be sold, and thus separated from his wife, who sits to his right, and their young child, who rests on her lap. Other slaves cluster around the couple, trying to comfort them. Leaning on his walking stick, Old Joseph (described as "the beau ideal of a patriarch, at once humble, dignified and venerable") stands and faces the group, offering words of wisdom and consolation. Interior is furnished with a bench, a chest of drawers, a large chair, and stools of varying sizes. The men's discarded top hats are placed throughout the room, as are assorted utilitarian and domestic objects, such as pots and pans, an umbrella, and an axe. In the foreground, a book, quite possibly the Bible, rests on a stool., Frontispiece for Emily C. Pearson's Cousin Franck's Household, or, Scenes in the Old Dominion (Boston: Upham, Ford, and Olmstead, 1853)., Fels Afro-Americana Image Project, Scenes from Slave Life.
Creator
Hedge, Franklin, b. ca. 1830, engraver
Date
[1853]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1853 Pear 73222.O frontispiece, https://digital.librarycompany.org/islandora/object/Islandora%3A2792
Equipped with dogs and rifles, a party of men surround Scipio, an escaped slave, who lies wounded on the ground. St. Clare intervenes, claiming Scipio as his prisoner in order to prevent the men from shooting him., Illustration in Harriet Beecher Stowe's Uncle Tom's Cabin (London: John Cassell, Ludgate Hill, 1852), p. 176., Caption underneath the image reads, "He fought the dogs right gallantly, and actually killed three of them with only his naked fists . . . . It was all I could do to keep the party from shooting him." --Page 200., Fels Afro-Americana Image Project, Fugitives.
Creator
Jackson, Mason, 1819-1903, engraver
Date
[1852]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1852 Sto 72726.O p 176, https://digital.librarycompany.org/islandora/object/Islandora%3A2790
Engraving depicts an episode from Chapter XIV, "How the Flight Ended." Here, the fictional characters Maum Guinea, Rose, and Hyperion, fugitive slaves hiding in a cavern, are discovered by a party of whites that includes a colonel and a judge., Illustration in Metta Victoria Fuller Victor's Maum Guinea, and her plantation "children" (London: Beadle and Company,44 Paternoster Row; New York: Beadle and Company, 141 William Street, 1861), p. 206., Fels Afro-Americana Image Project, Resistance.
Creator
N. Orr & Co., engraver
Date
[1861]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1861 Victo 70421.O p 206, https://digital.librarycompany.org/islandora/object/Islandora%3A2807
Engraving depicts a fictional episode from Chapter IV, "Christmas." The scene takes place on Fairfax Plantation on Christmas day. The newly married couple, Jim and July, dance merrily to the music of fiddles, banjos, and tamborines, while other slaves look on. The pair are still dressed in their wedding attire: July is described as "resplendent in a white dress, white cotton gloves, a string of mock-pearls about her neck, and a wreath of silver flowers about her head," while Jim wears "a gorgeous waistcoat, had a sprig of flowers in the button-hole of his coat, and also sported white cotton gloves." According to the text, a bonfire provided the illumination for these festivities, which grew gayer as evening turned into night., Illustration in Metta Victoria Fuller Victor's Maum Guinea, and her plantation "children" (London: Beadle and Company,44 Paternoster Row; New York: Beadle and Company, 141 William Street, 1861), p. 46., Fels Afro-Americana Image Project, Scenes from Slave Life.
Creator
N. Orr & Co., engraver
Date
[1861]
Location
Library Company of Philadelphia | Books & Other Texts | Rare Am 1861 Victo 70421.O p 46, https://digital.librarycompany.org/islandora/object/Islandora%3A2808
Pro-slavery image set on Fairfield Plantation, a fictional plantation near Macon, Georgia. This scene of casual socializing shows a large "corn-shucking" or husking. A group of men, women, and childen sit around a large pile of corn husks. Laughing and talking with one another, they husk the corn and toss the ears aside. A man identified in the text as Uncle Cato sits on top of pile and leads the others in singing. Two white overseers, who, according to the text, provided the slaves with whiskey, stand near a tree in the background., Illustration in Robert Criswell's "Uncle Tom's Cabin" contrasted with Buckingham Hall, the planter's home; or, A fair view of both sides of the slavery question (New York: Printed and published by D. Fanshaw, No. 108 Nassau-street, 1852), p. 64., Fels Afro-Americana Image Project, Scenes from Slave Life.
Creator
Whitney & Annin, engraver
Date
[1852]
Location
Library Company of Philadelphia | Books & Other Texts | Rare 2 Wright 660 71441.O p 64, https://digital.librarycompany.org/islandora/object/Islandora%3A2652
Set at Buckingham Hall, a fictional plantation near Charleston, South Carolina, this pro-slavery image presents a scene of general merriment. In accordance with the wishes of their benevolent master, Col. Buckingham, the slaves celebrate a "holiday and festival." Jerry, the leader of the band, sits upon a hogshead and plays his fiddle. Next to him, others play banjos, bones, and other instruments for the entertainment of a group of dancers. Other slaves eat ("from a fatted calf"), drink ("something better than water"), and socialize. Col. Buckingham and his family enjoy the festivites from a raised platform in a tree to the right., Illustration in Robert Criswell's "Uncle Tom's Cabin" contrasted with Buckingham Hall, the planter's home; or, A fair view of both sides of the slavery question (New York: Printed and published by D. Fanshaw, No. 108 Nassau-street, 1852), p. 112., Fels Afro-Americana Image Project, Scenes from Slave Life.
Creator
Whitney & Annin, engraver
Date
[1852]
Location
Library Company of Philadelphia | Books & Other Texts | Rare 2 Wright 660 71441.O p 112, https://digital.librarycompany.org/islandora/object/Islandora%3A3139
Engraving accompanies Chapter VII ("A Variety of Incidents") in Thorpe's fictional narrative. It shows the protagonist, Mildmay, leading his slaves on a journey from North Carolina to Louisiana, where he had purchased a new plantation. Following Mildmay's example, the slaves discarded most of their possessions and took only what they could carry. According to the text, the procession included five large wagons, "which were filled with camp equipage, cooking utensils, sick or delicate women, and infant children." (p. 72), Illustration in Thomas Bangs Thorpe's The master's house; or, scenes descriptive of southern life (New York: J.C. Derby, 119 Nassau Street, 1855), p. 70., Fels Afro-Americana Image Project, Scenes from Slave Life.
Creator
Whitney, Jocelyn & Annin, engraver
Date
[1855]
Location
Library Company of Philadelphia | Books & Other Texts | Rare 2 Wright 2496a 71095.D p 70, https://digital.librarycompany.org/islandora/object/Islandora%3A2657
