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.
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.
Shoulder-length portrait of the writer wearing a bonnet and eyeglasses., In Wyatt, Sophia. The autobiography of a landlady of the old school, with personal sketches of eminent characters, places, and miscellaneous items (Boston, 1854), frontispiece., Mrs. Wyatt operated a hotel with her husband in New Hampshire and traveled extensively throughout the country in the early 19th century. As a young woman she worked as a schoolteacher.
In Hale, S.J. Woman's record (New York, 1853), p. 794. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer.
Full-length recumbent portrait of the poet in a bed next to a window., In Taggart, Cynthia. Poems. 2nd ed. (Cambridge, 1834), frontispiece., Cynthia Taggart, a poet, was a chronic invalid and though she was bedridden for much of her life, she attained a degree of celebrity for her writing., “‘Now sleep spreads wide his downy wings’ p. 89. See page 13.”, Library Company’s copy marked in ink by former owner., Another portrait appears in Richmond, James C. Rhode Island cottage (New York, 1841), plate opposite p. 41.
In Hale, S.J. Woman's record (New York, 1853), p. 770. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer.
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.
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 Rickey, A.S. Forest flowers of the West (Philadelphia, 1851), frontispiece., Facsimile signature: Yours ever Anna S. Rickey., Waist-length portrait of the writer, holding a book and a pen.
In Hale, S.J. Woman's record (New York, 1853), p. 754. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of the writer, Other portraits appear in: Gleason's pictorial drawing room companion, v. 1 (1851), p. 300 and p. 348.
Bust-length portrait in profile of Maria Monk., In The American phrenological journal, vol. 11 (July, 1849), p. 314., Maria Monk, supposed author of Awful disclosures of Maria Monk, or, the Hidden secrets of a nun's life in a convent exposed, claimed to have suffered sexual abuse as a nun in a convent in Montreal. Though the book detailing her allegations sold well, the veracity of her claims was doubted almost immediately after its publication, and contemporary scholars regard her story as false., The article accompanying this portrait references the recent death of Maria Monk, suggesting that she in fact died in 1849.
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.
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.
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 Hale, S.J. Woman's record (New York, 1853), p. 872. "Illustrated by two hundred and thirty portraits, engraved on wood by Lossing and Barritt.", Bust-length portrait of Mrs. Whittelsey.
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 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 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.
In Longacre, J.B. National portrait gallery of distinguished Americans, v.4 (1839), plate opposite entry. Also appears in other editions. Note that by the 1852-53 Peterson edition fewer portraits of women are included. This portrait is replaced by another portrait of Mrs. Sigourney., Facsimile signature: L.H. Sigourney., Waist-length portrait of the writer.
In Graham's Magazine 26 (November 1844), frontispiece. "Our contributors .... Engraved expressly for Graham's Magazine.", Facsimile signature: Ann S. Stephens., Three-quarter length portrait of the writer, seated near a window.
In Lectures of Lola Montez (Countess of Landsfeld) including her autobiography (New York, 1858), frontispiece., Facsimile signature: Lola Montez., Lola Montez was born in Ireland and spent her childhood in India, Scotland, France, and England. As an adult, she trained as a dancer and traveled the royal courts of Europe. She had a forceful, captivating personality, and at times she wielded considerable political influence, particularly in Bavaria, where she was the mistress of King Ludwig I. Later in life, she moved to America, where she performed as a dancer, actress, and lecturer. In one of her public lectures, she proclaimed, "It takes most women two-thirds of their lifetime to discover, that men may be amused by, without respecting them; and every woman may make up her mind that to be really respected, she must possess merit, she must have accomplishments of mind and heart, and there can be no real beauty without these."--P. 121-122., Another portrait appears in: Gleason's pictorial drawing-room companion, vol. 2, no. 16, (April 17, 1852), p. 249., Bust-length portrait of Montez., Another portrait (entitled "Morning") appears in: Snow flake (1849), frontispiece. The sitter is identified as Lola Montez on the basis of a portrait by Jules Laure; the painting is now located in the collection of the Leeds Castle Foundation, Maidstone, Kent, UK.
In Hart, J.S. Female prose writers of America (Philadelphia, 1852), plate opposite p. 63., Facsimile signature: M.J. McIntosh., Shoulder-length portrait of the writer.
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.
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 Read, T.B. Female poets of America (Philadelphia, 1849), plate opposite p. 265., Facsimile signature: Anne C. Lynch., Bust-length portrait of the writer.
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 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.
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.
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.
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)
Full-length portrait of Mrs. Elizabeth M’Dougald in a natural setting. She is depicted “in the guise of a Scottish Highlander,” wearing a highland dress and a Scottish bonnet with feathers, and holding two shotguns. --P. 18., In M’Dougald, Elizabeth. The Life, travels, and extraordinary adventures of Elizabeth M’Dougald (Providence, 1834), [1]., "Thus attired I commenced my pursuit after the destroyer of my happiness, -- once the idol that I worshiped”., Elizabeth M’Dougald was a Scottish woman who was abandoned by her husband for another woman. With murderous intentions she pursued him by crossing the Atlantic, traveling throughout Canada and the United States, and enlisting in the Army.
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.
A poem in six verses, followed by a recruiting offer., Originally part of a McAllister scrapbook; MS. note: Nov. 1861., Digitized by Alexander Street Press for Images of the American Civil War.
Creator
Rogers, E. S., Mrs.
Date
[1861?]
Location
Library Company of Philadelphia | Books & Other Texts | Rare sm # Am 1861 Rogers (2)5777.F.75g (McAllister)
In Gleason's pictorial drawing-room companion, vol. 2, no. 1 (Jan. 3, 1852), p. 8-9., Fourteen separate waist-length portraits surrounded by arabesque decoration and putti: M.M. Ballou; Sylvanus Cobb, Jr.; Mrs. E. Wellmont; Geo. Canning Hill; Caroline A. Hayden; Fred Hunter; Mrs. C.E. Lovering [i.e., Mrs. E.C. Lovering?]; F. Gleason; L. Curtiss Hine; Francis A. Durivage; Mrs. M.E. Robinson; F. Clinton Barrington; Miss Sarah M. Howe; Dr. J.H. Robinson. Mrs. Robinson wears eyeglasses.
