Three-quarter length portrait of Miss Washburn holding a rifle and glancing back at a wounded Indian., In Frost, John. Daring and heroic deeds of American women (Philadelphia, 1860), plate following p. 268., After being held captive for ten years by a group of Indians, Miss Washburn encountered several pioneers. She persuaded them to provide her with a rifle, which she then used to kill two of her captors as they launched an attack on the pioneers.
In Stratton, B. B. Captivity of the Oatman girls: being an interesting narrative of life among the Apache and Mohave Indians, (New York, 1858), frontispiece., More illustrations depicting Oatman appear in Stratton, B. B. Captivity of the Oatman girls (New York, 1858), plates opposite p. 85, p. 259, p. 272; p. 119, p. 133, p. 155, p. 195, p. 229., Olive Oatman lived as a captive among the Apache and Mohave Indians for five years, following the murder of her family., "The chief's wife then bade us go out upon the yard, and told us that the physicians were going to put marks on our faces. It was with much difficulty that we could understand, however, at first, what was their design. We soon, however, by the motions accompanying the commands of the wife of the chief, came to understand that they were going to tatoo our faces. We had seen them do this to some of their female children, and we had often conversed with each other about expressing the hope that we should be spared from receiving their marks upon us. I ventured to plead with them for a few moments that they would not put those ugly marks upon our faces. But it was in vain. To all our expostulations they only replied in substance that they knew why we objected to it; that we expected to return to the whites, and we would be ashamed of it then; but that it was their resolution we should never return, and that as we belonged to them we should wear their ‘Ki-e-chook.' They said further, that if we should get away, or if some other tribes should steal us, they would by this means know us. They then pricked the skin in small regular rows on our chins with a very sharp stick, until they bled freely. They then dipped these same sticks in the juice of a certain week that grew on the banks of the river, and then in the powder of a blue stone that was to be found in low water, in some places along the bed of the stream, (the stone they first burned until it would pulverize easy, and in burning it turned nearly black,) and pricked this fine powder into these lacerated parts of the face. The process was somewhat painful, though it pained us more for two or three days after than at the time of its being done. They told us this could never be taken from the face, and that they had given us a different mark from the one worn by their own females, as we saw, but the same with which they marked all their own captives, and that they could claim us in whatever tribe they might find us"--P.182-183., Waist-length portrait of Miss Olive Oatman, wearing necklace, with facial tattoos.
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].
Full-length portrait of the young woman, standing with hands clasped and arms uplifted. In the foreground Anglo and Indian men wield swords while two women stand weeping in the background., In Frost, John. Daring and heroic deeds of American women (Philadelphia, 1860), frontispiece., Jemima Boone was the daughter of pioneer Daniel Boone. While living in Kentucky in 1776, she and a friend by the name of Miss Calloway [i.e., Callaway] were captured by a group of Indians. The girls were retrieved after a fatal confrontation between Boone’s men and the Indian men., Another portrait appears in: Frost, John. Daring and heroic deeds of American women (Philadelphia, 1860), plate following p. 26.
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 Lee, L. P. History of the Spirit Lake massacre! / 8th March, 1857, and of Miss Abigail Gardiner's three month's captivity among the Indians (New Britain, CT, 1857), p.5., Facsimile signature: Abagail Gardner., Another illustration depicting Gardner appears in: Lee, L. P. History of the Spirit Lake massacre! (New Britain, CT, 1857), p. 35; another portrait appears in: Gardner-Sharp, A. History of the Spirit Lake massacre (Des Moines, 1885), frontispiece, and another illlustration depicting Gardner appears on plate facing p. 63., Three-quarter length portrait of a seated Mrs. Gardner, wearing cross necklace.
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 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.
