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 Read, T.B. Female poets of America (Philadelphia, 1849), plate opposite p. 225, Facsimile signature: Amelia B. Welby, Waist-length portrait of the writer.
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 the writer., In The American phrenological journal, vol. 31 (May, 1860), p. 72., Mary Booth was an author, translator, and editor. Largely self-taught, she wrote and edited dozens of works, and served as editor of Harper’s Bazaar.
In Read, T.B. Female poets of America (Philadelphia, 1849), plate opposite p. 265., Facsimile signature: Anne C. Lynch., Bust-length portrait of the writer.
In Graham's Magazine 33 (August, 1848), frontispiece., Facsimile signatures: Your obedient servant, Maria Brooks., Waist-length portrait of writer Maria Brooks, wearing a cross on a ribbon around her neck.
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.
Letters CXC and CXCI only, removed from the whole work, describing London in a cold and snowy winter., Library Company copy is tipped at p. 683 of Peter Collinson's copy of William Maitland's The history of London (London: Samuel Richardson, 1739); followed by a leaf of Collinson's MS. notes.
Creator
Newcastle, Margaret Cavendish, Duchess of, 1624?-1674
Date
1664
Location
Library Company of Philadelphia | Books & Other Texts | Rare *U Eng Maitland (bw) 12049.F.13
Collection title devised by cataloger., Contents: Coll. Zinman Blind: [1] Specimen of type. Medium type. This sample of Howe's Boston line type appeared in the Ninth annual report of the trustees of the Perkins Institution and Massachusetts Asylum for the Blind (Boston 1841) -- [2] Card embossed with a geometric diagram, and the Lord's prayer. This appeared as a specimen in Address to the trustees of the New England Institution for the Education of the Blind (Boston 1833) -- [3] Of Greece & of Rome? raised-letter, all capitals, signed: W. Crafts -- [4] Poem in two verses by Anna McClintock, a blind poet, printed in raised letter on pink paper; first line: Art those weary burdened one? -- [5] Child's book, leaf 27; text is common to the moral lessons in spellers of the 1820s -- [6] New York point alphabet. Specimen printed in Boston line type and New York point; inscribed: Myra M. Cox PO address 624 Batavia -- [7] Students' magazine, Pennsylvania Institution for the instruction of the blind, v. 1 no. 1 (Jan. 3, 1838), leaf 3 --, Contents: #Coll. Zinman Blind: [8] The pilgrims progress, leaf 79, probably printed at the Perkins Institution before 1880 -- [9] New Jerusalem Church, leaves 141-142 -- [10] Proverbs chapter 6, leaves 980-981, probably printed at the Perkins Institution before 1880 -- [11] Visitation of prisoners, leaf 245 of the Book of common prayer, probably printed at the Perkins Institution before 1880 [12] David Copperfield, leaves 188 and 193, probably printed at the Perkins Institution before 1880 -- [13] Type specimen, [2] leaves., In the Michael Zinman Collection of Printing for the Blind., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Date
[1830-1900]
Location
Library Company of Philadelphia | Books & Other Texts | Rare TWO FOLDERS FOLDER 1 Coll. Zinman Blind 11865.F.1-7 (Zinman), Library Company of Philadelphia | Books & Other Texts | Rare TWO FOLDERS FOLDER 2 #Coll. Zinman Blind 11865.F.8-13 (Zinman)
In: Comfield, A.S. Alida, or, Miscellaneous sketches (New York, 1849), frontispiece., “Optimum vitae genus eligito nam consuetudo faciet jucundissimum.”, Amelia Stratton Comfield was the wife of John F. (or John L.?) Comfield., Waist-length portrait of the writer wearing a short-sleeved dress; based on oil painting by David Rogers., For image of painting of Mrs. Comfield, press link below.
In Congdon, C.M. Guardian angel (Auburn, N.Y., 1856), frontispiece., Facsimile signature: Yours most truly Carrie M. Congdon., Waist-length recumbent portrait of the writer, holding a pencil at an invalid's writing desk, with books nearby. Peacock feathers along top of image.
Waist-length portrait of the educator, seated, wearing bonnet., In The American phrenological journal, vol. 27 (June, 1858), p. 88., “Miss Sophia S. Cornell, the distinguished author of Cornell’s admirable series of School Geographies, and who is extensively known as one of the most successful educators and teachers at present enlisted in the great cause of popular Education, was born in New London, Conn., and is of American parentage.”--P. 86, Robert Price obtained a patent in Worcester, Mass., on May 5, 1857, for the process of producing photographic images on wood ; cf. American phrenological journal, vol. 27 (Feb. 1858), p. 24.
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.
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.
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 Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 484. "The engravings are by Mr. W. Roberts."—Preface, v. 1, p. x., Facsimile signature: Margaret M. Davidson., Bust-length portrait of the writer.
In The magic staff : an autobiography of Andrew Jackson Davis (New York, 1857), plate opposite p. [19]., Facsimile signature: Mary F. Davis., Mary Fenn Davis divorced her first husband, Samuel G. Love (1821-1893), in order to marry celebrity spiritualist Andrew Jackson Davis (1826-1910) in 1855. In 1885, Andrew Jackson Davis had their marriage annulled after he discovered that he had made a mistake thirty years earlier when he determined that he and Mary Fenn Davis were soul mates. He then married Della E. Markham (1839-1928). Already a temperance lecturer when she met Andrew Jackson Davis, Mary Fenn Davis worked alongside her husband in writing and editorial projects during their marriage., Waist-length portrait of Mrs. Davis, dressed simply with a lace collar and a brooch at her neck.
In De Kroyft, H.A. Place in thy memory (New York, 1850), frontispiece., Facsimile inscription: Instead of their eyes; the blind pick up the gems of thought with their fingers. S.H. De Kroyft., Three-quarter length portrait of blind writer, holding an open 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.
In Read, T.B. Female poets of America (Philadelphia, 1849), plate opposite p. 87., Facsimile signature: Emma C. Embury., Waist-length portrait of the writer, wearing a lace garment.
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
Shoulder-length portrait of Mrs. Farnham in profile, wearing eyeglasses., In The American phrenological journal, vol. 25 (June, 1857), p. 133., Mrs. Eliza Farnham was an author, a prison matron at Sing Sing, and a feminist reformer. She was a champion of phrenology and assisted Marmaduke Sampson in illustrating the phrenologically-based Rationale of crime (New York, 1857) by providing him with subjects from Sing Sing., “Fig. 8 shows great vigor and compass of thought, ability to grasp and conquer subjects requiring steady logical power, yet the two points referred to, though they show the chief differences between the two, are not the only strong points of the portrait under consideration. The head rises high, and is long and broad on the top, showing strong moral sentiment, firmness and dignity combined with prudence, taste, and the qualities which give refinement, elevation, and purity of mind. She is one of the strongest female thinkers and writers in America ; and in officiating as matron of the State Prison at Sing Sing for several years, and also in many other spheres of action, she has shown her stamina of character and strength of mind. The perceptive organs are not large enough for a good balance of intellect.”--P. 133., Another portrait appears in: Phrenological and physiological almanac, for 1849 (New York, 1848), p. 31.
In Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 180. "The drawings ... have been made by Mr. W. Momberger of the city."—Preface, v. 1, p. x., Facsimile signature: Caroline Gilman., Bust-length portrait of the writer.
In Hale, S.J. Woman's record (New York, 1853), p. 828. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer., Another portrait appears in Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 48.
In Godey's Lady's book 41 (December 1850), frontispiece., Facsimile signature: Truly yr friend Sarah J. Hale., Waist-length portrait of the writer/editor.
Emily Haven was also known as Alice Lee, Alice Haven, Alice Neal, Cousin Alice, and Clara Cushman., In Godey's Lady's book 39 (December 1849), frontispiece., Three-quarter length portrait of the writer, seated.
In Hale, S.J. Woman's record (New York, 1853), p. 829. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer.
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.
Waist-length portrait of the writer, an amputee, holding a book in her left hand., In Johnson, Sophia. The friendless orphan, an affecting narrative of the trials and afflictions of Sophia Johnson, the early victim of a cruel step-mother (Pittsburgh, 1842), title vignette., Sophia Johnson dressed as a man to serve with her brother in the War of 1812., Portrait re-engraved after the original engravings by Huestis in the 1841 New York printing of The friendless orphan.
In Hartley, C.B. Three Mrs. Judsons (Philadelphia, 1860), frontispiece. Portrait also stamped in gold on spine., Waist-length portrait of the writer, who accompanied her husband, the missionary Adoniram Judson, to Burma following their marriage., Another portrait appears in Hunt, L. The American biographical sketch book (New York, 1848), plate opposite p. 202.
In Hale, S. J. Woman's record (New York, 1853), p. 712., Another portrait appears in: Leslie, E., ed. The gift: a Christmas and new year's present for 1836, frontispiece., Bust-length portrait of the actress looking over her left shoulder.
In Read, T.B. Female poets of America (Philadelphia, 1849), plate opposite p. 305., Facsimile signature: E.C. Kinney., Waist-length portrait of the writer.
In Hart, J.S. Female prose writers of America (Philadelphia, 1852), plate opposite p. 105., Facsimile signature: C.M. Kirkland., Bust-length portrait of the writer in a bonnet.
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 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 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.
In Baird, R. Memoir of Anna Jane Linnard. 2nd ed. (Philadelphia, 1837), frontispiece. Also in 1835 ed., Waist-length portrait of Miss Linnard, seated before a book (a Bible, open to the Gospel of St. John).
In Locke, J.E. The recalled (Boston, 1854), frontispiece., Facsimile signature: Yrs. Very truly J. Ermina Locke., Waist-length portrait of the poet, wearing a crucifix.
