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 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 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 Ellet, E. F. The women of the American revolution (New York, 1848), v.2, frontispiece., Facsimile signature: "I pray God to bless you / Martha Wilson"., Bust-length portrait of Mrs. Wilson
In Ellet, E. F. The women of the American revolution (New York, 1848), v.2, plate opposite p. 68., Mrs. Motte, whose husband was killed early in the Revolutionary War, also graciously sacrificed her home, which was burned for strategic reasons, to the war effort: "If ever a situation in real life afforded a fit subject for poetry, by filling the mind with a sense of moral grandeur--it was that of Mrs. Motte contemplating the spectacle of her home in flames, and rejoicing in the triumph secured to her countrymen--the benefit to her native land, by her surrender of her own interest to the public service."--P.72., Facsimile signature: Rebecca Motte., Other portraits appear in: Hale, S. J. Woman's record (Philadelphia, 1853), p. 448; Jones, A.D. The American portrait gallery (New York, 1855), p. [427]., Waist-length portrait of Mrs. Motte.
In Ellet, E.F. The women of the American revolution (New York, 1848) v.1, plate opposite p. 36., Facsimile signature: E. DeBerdt., Bust-length portrait of Mrs. Reed., Another portrait appears in Jones, A.D. The American portrait gallery (New York, 1855), p. [361].
In Ellet, E. The women of the American Revolution (New York, 1848), vol. 1, plate opposite p. 202., Waist-length portrait of Mrs. Morris, wearing bonnet, ribbon necklace, and flower brooch.
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.
The Thomas Leiper family business records include “Letterbooks;” “Estate records;” “Paper, lumber and wood business records;” “Quarry business records;” “Tobacco business records;” and “Miscellaneous and household accounts and receipts,” dating from 1771 to 1947. These volumes document the business efforts of Thomas Leiper and his descendants, including the businesses of Thomas Leiper and Sons, Tobacconists; several quarries; a lumber yard and stable; and the Caldwell and Crosby estates. In addition to his other businesses, Leiper bought and sold real estate.
