In Hale, S.J. Woman's record (New York, 1853), p. 757. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer
In Ballou's pictorial drawing-room companion, v. 12, no. 8 (Boston, Feb. 21, 1857), p. 124., Marsh's Juvenile Comedians was a traveling children's theater troupe that performed in locations from Maine to California to Australia. Many of its members went on to successful adult acting careers., "In the performances of these children, you would look for something automatic; and might fancy beforehand, if you saw them once, you would exhaust their capabilities. Such, however, is by no means the case. Though they certainly evince careful training, still there is a great deal of spontaneity in their performances. If they possessed a purely imitative faculty, without any creative genius, they could not by any possibility be taught to play the many pieces which make up their repertory."--P.124., Full-length portrait of the troupe, including sixteen girls and three boys.
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.
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 actress in costume as Medea. She wears Grecian robes and drapes a long beaded necklace around her head and across her chest. A brooch with a portrait on it adorns her right sleeve and she wears a bracelet beaded with pearls., In Frank Leslie’s illustrated newspaper, vol. 3, no. 59 (Jan. 24, 1857), p. 128., “Miss Heron’s style is her own. She has endeavored throughout her career to perfect such abilities as were most natural to herself : hence her success in producing powerful emotions upon her audiences. At first she is rather quiet - almost tame, some would suppose - but she gradually warms up with the progress of the play, and closes the performance with some of the most powerful effects it is possible to imagine. In most of her scenes she is perfectly natural, and refuses to use any of the trickeries which have so long defaced the efforts of some of our best actors.”--P. 128., Another portrait found in: Ballou’s pictorial drawing-room companion, vol. 14, no. 8 (Apr. 4, 1857), p. 177.
In Trial of John Hendrickson, Jr. (Albany, 1853), detail from frontispiece., Three-quarter length portrait of the murder victim, whose husband was convicted of poisoning her with aconite (more popularly known as wolf’s bane).
In Hawes, A.H. Grafted bud (New York, 1853). This copy stamped: Mercantile Library, New-York., Following the dissolution of her parents' marriage, the young child "Susan B." was moved frequently, living at various times with her father ("Mr. B."), her mother ("Mary M."), and others in her native Michigan. The Hawes family, believing her to be an orphan, adopted her and had her baptized Angelica Irene Hawes. Under their care in New York, she received instruction in religion and school subjects, as well as other cultural opportunities. Before her death in 1851 from scarlet fever, she told Mrs. Hawes that she considered her to be her real mother., Waist-length portrait of the young girl.
In Gleason's pictorial drawing-room companion, v.6, no. 26 (Boston, July 1, 1854), p. 416., Howard began acting at age four, and was famous for playing the role of Little Eva in Uncle Tom's Cabin., Waist-length portrait of Howard., Another portrait appears in: American phrenological journal, v. 23 (May, 1856), p. 108.
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 Hale, S.J. Woman's record (New York, 1853), p. 578. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer, wearing eyeglasses.
Waist-length seated portrait of Mrs. Benjamin wearing bonnet, holding staff., In The American phrenological journal, vol. 20 (Nov., 1854), p. 101., "She was with the army all through the Revolutionary War. She was in Albany during the hard winter of 1780, and at West Point two or three years, while the army was stationed there ; and when it left under General Washington, she followed. Her business was cooking and washing for her husband and other soldiers. She speaks distinctly of riding horseback through the streets of Philadelphia on the way to Yorktown and also of embarking on board ship at the head of Elk river, and of cruising down Chesapeake Bay, and landing (I think) at James River.”--P. 101., Also known as Sarah Osborn.
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 Gilbert, A. Memoir of Frances Wright (Cincinnati, 1855), frontispiece., Facsimile signature: Frances Wright., Three-quarter length portrait of the writer, seated at a table, holding a rolled document; a book and pens nearby., Another portrait appears in Illustrated news, vol. 1, no. 3 (Jan. 15, 1853), p. 45.
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.
In Phelps, A.C. Life of Christ and other poems (Boston, 1852), frontispiece., Facsimile signature: Adalisa [sic] Cutter Phelps., Waist-length portrait of the writer, with an open book nearby.
Waist-length portrait of Mrs. Paine with a shawl draped around her arms, seated in front of a natural landscape., In Paine, Robert Troup. Memoirs of Robert Troup Paine (New York, 1852), plate preceding p. 507., Facsimile signature: Your ever affectionate Mother Mary Ann Paine., Mrs. Paine was the wife of physician Martyn Paine and mother of Robert Troup Paine. With her husband, Mrs. Paine compiled a biography of their son Robert, who died, perhaps of an accidental drug overdose, in his senior year at Harvard College.
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 Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 680. "The engravings are by Mr. W. Roberts."—Preface, v. 1, p. x., Facsimile signature: Estelle Anna Lewis., Bust-length portrait of the writer.
Bust-length portrait of Mrs. Lamar, wearing a beaded sautoir over her left shoulder., In Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 45., Mrs. Lamar was the second daughter of physician Richard Hill and of prominent Quaker lineage, belonging to the Hill, Lloyd, and Moore families of Philadelphia., “Mary married Thomas Lamar, and had no child, and I know little of her character or her history farther than that she was a woman of the world, fond of high life, &c., and what the letters reveal.”--P. xvii.
In Hale, S.J. Woman's record (New York, 1853), p. 657. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer
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.
In Memorial of Mrs. Abigail Adams Felt (Boston, 1860), frontispiece., Facsimile signature: Abby Adams Felt., Mrs. Felt was the niece of Abigail Adams., Waist-length photograph of Mrs. Felt, wearing bonnet and lace collar, with a window in the background.
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 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.
In Hale, S.J. Woman's record (New York, 1853), p. 615. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer.
Full-length portrait of Miss Rolla dancing on stage, with a bouquet at her feet., In Frank Leslie's illustrated weekly, vol. 4, no. 92 (Sept. 5, 1857), p. 209., Miss Teresa Rolla was an Italian-born ballet dancer who, shortly after moving to New York City, made her American premiere at Niblo's Garden at the age of nineteen.
In Wilson, D. Henrietta Robinson (New York, 1855), frontispiece., After wearing a veil during her 1854 trial, Henrietta Robinson became known as the "Veiled Murderess.", Waist-length portrait of the criminal.
In The Book of the boudoir (Boston, 1853), frontispiece., “Thine truly – Ellen Louise”., Three-quarter length portrait of the writer, holding a bouquet of flowers.
In Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 681., Facsimile signature: Julia Ward Howe., Bust-length portrait of the writer.
In Hubbell, M.S. Memorial, or, The life and writings of an only daughter (Boston, 1857), frontispiece., Facsimile signature: Yours truly Mary E. Hubbell., Full-length portrait of the writer, seated with a book in her hand.
In Wilkes, G. The lives of Helen Jewett, and Richard P. Robinson (New York, 1849), frontispiece., Portrait caption: Helen Jewett at her childhood's home., Helen (sometimes known as Ellen) Jewett, a prostitute, was brutally murdered, presumably by her jealous lover. Her death caused a media sensation., "She was early cast alone upon the world, and her recollections of those who should have been the patterns for her guidance, were the recollections of a false example. In the next place, she had too much education for her condition in life, and her ambition, made unmanageable by its alliance with a fervid temperament, betrayed her, by too short a cut, to the society for which she yearned. The result was a sudden but hollow exaltation; a crazy revel; a brief career, and a shocking end."--P. 132., More illustrations depicting Jewett appear in Wilkes, G. The lives of Helen Jewett, and Richard P. Robinson (New York, 1849), p. 11, p. 29, p. 39, p. 43, p. 72, p. 81, p. 87, p. 118., Full-length portrait of Jewett, carrying a basket, with a cottage in a rural scene in the background.
In Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate preceding p. 465., Three-quarter length portrait of Mrs. Jackson, seated, holding a flower in her right hand.
In Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 482., Facsimile inscription: In regard of the Tempest! [?], Bust-length portrait of the writer.
Waist-length portrait of the writer wearing a locket containing the portrait of her husband and holding a small portrait of her three sons., In Corwin, Jane H. The harp of home (Cincinnati, 1858), frontispiece., Facsimile signature: Yours with respect Jane H Corwin., Mrs. Jane H. Corwin was a newspaper writer who frequently published pseudonymously. Two letters attached to the Library Company copy reveal that, in the years following the book’s initial publication, her husband died and her three surviving sons fought in the Civil War, and the losses suffered rendered her penniless.
Waist-length portrait of Mrs. Cunningham, seated., In Frank Leslie’s illustrated newspaper, vol. 3, no. 63 (Feb. 27, 1857), p. 192., Mrs. Emma Augusta Cunningham was accused of murdering Dr. Harvey Burdell, a wealthy dentist from whom she rented a suite of rooms and with whom she was romantically involved. The murder and subsequent trial caused a media frenzy and, though she was ultimately acquitted of the crime, her innocence came into question when it was found that she was neither married to Burdell nor pregnant with his child, as she initially claimed. The murder remains unsolved.
In The Dalton divorce case (Boston, 1857), title vignette., Helen Dalton was accused of adultery by her husband, Frank Dalton, but maintained her innocence, arguing that her relations with her supposed lover, William Sumner, had not been improper. The ensuing divorce trial was complicated by counter-accusations of adultery and spousal neglect leveled at Frank Dalton, allegations of an aborted pregnancy, and Sumner's death following a brutal beating by Mr. Dalton. The trial became something of a public sensation, as the topic of women and morality was a subject of heated debate. The jury was ultimately unable to come to a conclusive verdict., Full-length portrait of Dalton, wearing a gown and bonnet.
In Graham's Magazine 34 (1849), plate opposite p. 156. "Engraved Expressly for Graham's Magazine.", Waist-length portrait of the writer, seated with pen in hand, with open bound manuscript and other volumes (both printed book and manuscript?) nearby.
In Ballou's pictorial drawing-room companion, v. 10, no. 20 (Boston, May 17, 1856), p. 305., Another portrait appears in: Ballou's pictorial drawing-room companion, v. 10, no. 19 (Boston, May 10, 1856), p. 300., Full-length portrait of Barrow, wearing an elaborately decorated Native American costume and holding a spear, with dwellings in a natural setting in the background.
In The national portrait gallery of distinguished Americans (Philadelphia 1840), v.4, plate opposite entry. Also appears in other editions of this title. Note that by the 1852 edition fewer portraits of women are included. This portrait is included., Facsimile signature: Louisa Catherine Adams., Three-quarter length portrait of Mrs. Adams, wearing necklace and decorative hair comb, holding glove, with draped lace shawl; seated by window., Another portrait appears in an untitled plate containing five separate portraits, Godey’s lady’s book 45 (August, 1852), frontispiece.
