In Lord, Lucy T. Memoir of Mrs. Lucy T. Lord (Philadelphia, 1854), frontispiece., Facsimile signature: Lucy T. Lord., Three-quarter length portrait of the woman missionary, holding an open book.
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.
Waist-length portrait of Mrs. Morris, seated in chair, wearing a bonnet and a shawl, and holding a book in her right hand and eyeglasses in her left hand., In Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 393., "Aet 76"., Mrs. Morris was the sixth daughter of physician Richard Hill and of prominent Quaker lineage, belonging to the Hill, Lloyd, Moore, and Morris families of Philadelphia., Presumed that artist is Morris’s grandson, Morris Smith., Another portrait appears in: Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 89.
In Davis, A.H. The Female preacher, or, Memoir of Salome Lincoln (Providence ; Boston, 1843), frontispiece., Facsimile signature: Salome Lincoln., Below signature: Math. 25:6. "Behold the Bridegroom cometh." Page 46 & 47. "This book was thine -- here didst thou read -- This picture, ah! yes here indeed I see thee still.", Waist-length portrait of the preacher, in profile, holding an open book.
In Hartley, C.B. The three Mrs. Judsons (Philadelphia, 1860), frontispiece., Waist-length portrait of Mrs. Judson., Another portrait appears in: American missionary memorial (New York, 1853), p. 102.
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 Serious almanac, 1845-’46, p. [31]., Mrs. Crawford, the wife of William Crawford Jr., died in their home in Elkton, Md. Apparently, she started a fire while lighting a pipe. Cf. Philadelphia inquirer (May 21, 1844)., Full-length portrait of Mrs. Crawford, burning to death, with a pipe on the floor nearby., The same image appears in Tragic almanac 18-46 (New York, 1845), p. [17].
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 Mann, Rev. C.M. Memoir of Mrs. Myra W. Allen (Boston, 1832), frontispiece., Facsimile signature: Myra W. Allen., Myra Allen served as a missionary in Bombay, India, with her husband, David O. Allen., Bust-length portrait of Mrs. Allen.
In The Mothers' journal, and Family visitant, v. 14, no. 3 (March, 1849), plate opposite p. 69., Facsimile signature: With very great respect Sir, Truly Yours Eliza C. Allen., Waist-length portrait of Mrs. Allen, wearing bonnet; with a bookcase in the background.
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 The Ladies' Repository (November, 1859), plate preceding p. 641. "Engraved expressly for the Ladies Repository.", Waist-length portrait of Mrs. Wilkins seated in front of a window with a Liberian village visible in the background.
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 Wiley, I.W. The mission cemetery and the fallen missionaries of Fuh Chau, China (New York, 1858), p. 54., Mrs. White and her husband were both members of the Missionary Society of the Methodist Episcopal Church. They arrived in Fuh Chau, China, in September 1847., Another portrait appears in: American missionary memorial (New York, 1853), p. 416., Waist-length portrait of the missionary.
In Wiley, I.W. The mission cemetery and the fallen missionaries of Fuh Chau, China (New York, 1858), p. 166., Mrs. Wiley and her husband were both members of the Methodist Episcopal Mission. They traveled to China in 1851., Waist-length portrait of the missionary.
Bust-length portrait of the criminal., In Sampson, M. B. Rationale of crime and its appropriate treatment; being a treatise on criminal jurisprudence considered in relation to cerebral organization. Edited by Eliza W. Farnham (Philadelphia, 1846), p. 160., “My acknowledgements are due to the officers of the Penitentiary on Blackwell’s Island for their politeness in furnishing me with facilities for taking the daguerreotypes, and to Mr. L. N. Fowler for aiding me in the selection of cases; nor must I omit to name Mr. Edward Serrell, who was obliging enough to take the outline drawings for me; or Mr. Brady, to whose indefatigable patience with a class of the most difficult of all sitters, is due the advantage of a very accurate set of daguerreotypes.” -- Introductory preface by Mrs. Farnham, p. xx., “The drawing indicates a large development of the perceptive, the mechanical and musical powers, with excessive secretiveness and destructiveness. But the most striking feature of her head is the extreme shortness from individuality to philoprogenitiveness. Her impatience and restlessness prevented the side view from being taken….”--P. 160.
In Hawes, L.F. Memoir of Mrs. Mary E. Van Lennep (Hartford, 1848), frontispiece., Facsimile signature: Mary E. Van Lennep., Above signature: "Jesus, I give my all to Thee.", "See Page 128.", Waist-length portrait of the woman missionary, with a shawl draped over her shoulders.
In Bennett, S.R.I. Walks of usefulness (New York, 1868), frontispiece. Text first published in 1843., Bust-length portrait of Mrs. Prior, wearing eyeglasses and a bonnet.
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 Wiley, I.W. The mission cemetery and the fallen missionaries of Fuh Chau, China (New York, 1858), p.336., Mrs. Colder was the daughter of Rev. John Winebrenner, and the wife of Rev. James Colder. Mrs. Colder and her husband were both members of the Methodist Episcopal Mission, and arrived in China in July 1851., Waist-length portrait of the missionary.
In American missionary memorial (New York, 1853), p. 162., Mrs. Comstock and her husband were Baptist missionaries in Arracan, which became the Rakhine State of Burma., Waist-length portrait of the missionary.
In Hooker, E.W. Memoir of Mrs. Sarah L. Huntington Smith. 3rd ed. (New York, 1845), frontispiece., Facsimile signature: Very affectionately your Sister Sarah L. Smith., Three-quarter length portrait of Mrs. Smith, seated and holding a book., Provenance: Waldo & Jewett, artist., Another portrait appears in: American missionary memorial (New York, 1853), p. 280.
In Sleeper, S. Memoir of Mrs. M. Hazeltine Smith (Boston, 1843), frontispiece., Facsimile signature: Your affectionate friend M. Hazeltine Smith., Smith was the principal of the New Hampton Female Seminary., Waist-length portrait of the teacher, wearing a brooch and shawl.
In American missionary memorial (New York, 1853), p. 472., Mrs. Simpson and her husband were sent to Western Africa by the Presbyterian Board of Foreign Missions., Waist-length portrait of the missionary.
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 Lander, Meta. Light on the dark river (Boston, 1854), frontispiece., Facsimile signature: Yours affectionately, Henrietta., Shoulder-length portrait of Mrs. Hamlin.
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 Life and letters of Miss Mary C. Greenleaf (Boston, 1858), frontispiece., Facsimile signature: M.C. Greenleaf., Bust-length portrait of Miss Greenleaf.
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.
Waist-length portrait showing the abolitionist, actress, dramatist, and author, seated and in the costume of the heiress character from Shakespeare's "The Merchant of Venice." Kemble is attired in a large feathered hat, long earrings, a pearl necklace, and an elaborate ruffled dress adorned with pearls and jewels. In 1829, Kemble made her debut performance as Portia, her favorite Shakespearean character that represented her ideal of perfect womanhood. Her memoir, "Residence of a Georgian Plantation (1863)," described the degradation and inhumanities of slavery witnessed by Kemble while living at the plantation of her Philadelphian husband, Pierce Butler, from 1838 until 1839., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Access points revised 2021., Description revised 2021., Accessioned 1893., Sartain, a premier 19th-century Philadelphia portrait engraver, was also a member of the Pennsylvania Anti-Slavery Society.
Creator
Sartain, John, 1808-1897, engraver
Date
[ca. 1835]
Location
Library Company of Philadelphia | Print Department portrait prints - K [5658.F.36]
Allegorical print depicting female allegorical figures in front of a temple of Justice. Depicts in the left, Peace as a white woman attired in a laurel wreath crown and a white Roman gown, standing across from the white figure of Liberty and pointing with her left hand toward the temple in the background. Liberty, wearing the American flag as a cape, and with a liberty pole and cap in hand, charges toward the temple. Three muse-like female followers, including two white women, one holding an urn, and a Black woman, looking toward the temple, stand alongside her. Behind Peace, a white cherub stands by a stack of books. Scene also includes a discarded shield and sword laying on the ground in the foreground., Title from item., Presumably issued late in 1854 by Swain, Abell & Simons, the publisher of the Philadelphia newspaper, the Public Ledger, for their subscribers., Printed below the image: Printing! the art of every art preserver. The lever that uplifts the world of mind. Of Justice, Peace, and Human Rights conserver; The sense of vision to the mental blind. The torch of genius flashes o’er its pages, Illumes Fame’s temple with its dazzling ray. And marks the means for moulding future ages, In universal education’s sway., Purchase 1984., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Sartain, a premier Philadelphia portrait and genre engraver of the 19th century, was also a social reformer who often incorporated his reformist beliefs into his work., Schussele was a historical, genre, landscape, and portrait painter and respected professor at the Pennsylvania Academy of the Fine Arts whose paintings his professional associate and friend, John Sartain, often engraved.
Creator
Sartain, John, 1808-1897, engraver
Date
[1854]
Location
Library Company of Philadelphia | Print Department *GC - Allegories - L [P.9000.1]
Three-quarter length portrait of the African American Methodist evangelist preacher, missionary, and temperance advocate who was born to enslaved parents in Maryland. Shows Smith, standing, slightly turned to her right, and attired in medium-colored, Quaker-like garb including a shawl, shirtwaist with an upright lace collar adorned with a pendant, skirt, and scoop bonnet. She holds a book, possibly a Bible, in her right hand, top edge down, and with her fingers interspersed between a few pages. A chair is partially visible in the right of the image and dark-colored drapery serves as the backdrop. Smith, her freedom bought by her father when a child, entered preaching in 1869. Known as a compelling speaker and singer, she preached at Methodist Episcopal churches throughout the East and Midwest, including Philadelphia. In 1878 she felt called to travel to Keswick, England for a Methodist convention and remained in the country to minister and then worked as a missionary in India (1879-1881) and West Africa (1882-1890). In 1890 she returned to the United States and settled in Chicago where she was also a prominent member of the Women's Christian Temperance Union (Smith joined in the 1870s). In 1893 her "Autobiography" was published, from which she began to raise funds for an orphanage for African American children. 1n 1899 the Amanda Smith Orphan's Home, later the Amanda Smith Industrial Home opened in Harvey, Il. The home was razed by fire in 1918., Title from manuscript note on verso., Photographer's imprint printed on mount., Publisher's imprint printed on verso. Also includes a vignette depicting the British coat of arms., Mount designer's imprint printed on verso., Lib. Company. Annual Report, 2018, p. 59 - 60., RVCDC, Description reviewed 2022., Access points revised 2022.
Creator
Pettitt, Alfred, -1880
Date
[1878]
Location
Library Company of Philadelphia | Print Department cdv portraits - sitter - Smith [P.2018.13]
Bust-length portrait of an African American woman, possibly American-Canadian anti-slavery activist, journalist, publisher, teacher, and lawyer Mary Ann Shadd Cary. Sitter faces right and wears her long hair back and in a chignon and top knot. A head band with an ornament adorns her hair. She is attired in a dark-colored, V-neck garment with a white ruffled collar and dark-colored lace neckerchief. She also wears a cross necklace and drop earrings. Shad Cary, was born free in Delaware to parents active in the Underground Railroad, before relocating to Pennsylvania, then Canada in 1853. In later years, following the Civil War, Shad Cary resided in Washington, D.C. where she died in 1893. During her life, she founded a school for Black children in Pennsylvania and a racially integrated school in Ontario, Canada; was the first Black woman publisher in North America when she founded, in 1853, and edited the anti-slavery and civil rights advocacy newspaper "The Provincial Freeman,"; was the second Black woman to attend law school (Howard University) in the United States; and founded, in 1880, the women's rights advocacy organization the Colored Women's Progressive Franchise. Shad Cary also wrote for multiple newspapers, such as the National Era, served as a Civil War recruiter, and was the first African American woman to vote in a national election., Title from manuscript note on verso: Mariann [sic] C. Shadd, Washington, D.C., Photographer's imprint stamped on verso., Date inferred from active dates of photographer at address listed in imprint., Henrici & Garns operated from 709 South Second Street between 1874 and 1876.
Creator
Henrici & Garns, photographer
Date
[ca. 1875]
Location
Library Company of Philadelphia | Print Department cdv portraits - sitter - Cary [P.2023.4]
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
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 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 Judson, E.C. Memoir of Sarah B. Judson (New York, 1852), front cover (stamped in gold)., Below image: Faithful is He that calleth you [1 Thessalonians 5:24]., Full-length portrait of Mrs. Judson, standing between mourners (including Adoniram Judson?) and storm-tossed ship. She points to a vignette (depicting buildings and people in Burma?) within an arabesque frame, above which an angel hovers. Snakes curl around the lower edge of the frame.
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.
Bust-length portrait of Sarah Margru Kinson Green., Sarah Margru Kinson Green, a child captive onboard the Amistad slave ship, returned to the United States to study at Oberlin College., “This girl, one of the Amistad captives, called in her native language Margru, meaning black snake, called at our office for an examination, while a stranger to us. She was described as possessing strong friendship, independence, perseverance, energy, and unusual intellectual powers ; remarkable memory, and the faculty of acquiring education. We afterward learned that she had been educated at the Oberlin Institute, in Ohio, and excelled in all branches of study, and was one of the first scholars in the institution in mathematics and superior sciences ; remarkable for memory and native intelligence. She has gone to her native land as a missionary. The forehead is broad and high, and particularly prominent in the center, in the region of eventuality, and the whole head is large, sustained by a vigorous constitution. She is far superior to Africans generally. The same is true of the majority of the Amistad captives, particularly so of Cinquez, the leader. Dignity, independence, and scope of mind were such as to do honor to individuals of any nation.”--P. 231., In the American phrenological journal, vol. 12 (1850), p. 231., Another portrait appears in The illustrated phrenological almanac for 1851 (1850), p. 30.
In Ballou's pictorial drawing-room companion, v. 16, no. 20 (May 14, 1859), p. 305., “The accompanying engraving of the already famous “Fairy Children” is from a drawing made expressly for us by Mr. Homer [i.e., Winslow Homer] ….”, Dollie Dutton, known as the “Little Fairy,” had a stage career as a singer and a dancer. She and her sister Etta performed together before Etta died at the age of eight., Full-length standing portraits of diminutive Etta and Dollie Dutton, with a significantly taller child standing between them.
Photographic reproduction of a portrait painting by Thomas Sully of the abolitionist, actress, dramatist, and author early in her marriage to Philadelphian Pierce Butler in 1834. In her work, "Residence of a Georgian plantation (1863)," Kemble described the degradation and inhumanities of slavery witnessed by her while living at the plantation of her husband from 1838 until 1839. Kemble, wearing her hair up and attired in a high collar, looks slightly right., Title from manuscript note on mount., Date based on photographic medium., Originally part of a McAllister scrapbook of portraits. McAllister Collection, gift, 1886., Description revised in 2021., Access points revised in 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Date
[ca. 1863]
Location
Library Company of Philadelphia | Print Department cdv portraits - sitter - Kemble [2(5750.F.67e]
Bust-length portrait of the abolitionist, author, dramatist, and actress in the character of Julia, written specifically for her by Sheridan Knowles for his play "The Hunch Back." Her memoir, "Residence of a Georgian Plantation (1863)," described the degradation and inhumanities of slavery witnessed by Kemble while living at the plantation of her Philadelphian husband, Pierce Butler, from 1838 until 1839., Title from manuscript note on verso., Date from copyright statement: Entered acccording to act of Congress in the year 1833 by Childs & Inman in the Clerks Office of the District Court of the Eastern Distrcit of Pennsylvania., Original painting by Sully located at the Rosenbach Museum & Library in Philadelphia., Sully, a respected Philadelphia portrait painter and friend of Kemble, painted thirteen portraits of the actress, the majority by recollection., Originally part of a McAllister scrapbook of portraits., Description revised 2021., Access points revised 2021., McAllister Collection, gift, 1886.
Date
1833
Location
Library Company of Philadelphia | Print Department *portrait prints - K [5657.F.25]
Three-quarter length portrait of the Quaker abolitionist and reformer. Mott, attired in a white cap, a dark-colored, long-sleeved dress, and a white shawl, is seated on a wooden chair facing slightly left., Title from printed signature of sitter below image., Published as frontispiece in The Liberty bell (Boston: Massachusetts Anti-Slavery Fair, 1844). (LCP Am 1844 Lib,68635.D)., Purchase 1976., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Sartain, the premier 19th-century Philadelphia portrait engraver, was also a member of the Pennsylvania Anti-Slavery Society.
Creator
Sartain, John, 1808-1897, engraver
Date
[1844]
Location
Library Company of Philadelphia | Print Department Portrait prints-M [8198.F.2]
Three-quarter length portrait of the Quaker abolitionist and reformer. Mott, attired in a white cap, a dark-colored, long-sleeved dress, and a white shawl, is seated on a wooden chair facing slightly left., Title from printed signature of sitter below image., Published as frontispiece in The Liberty bell (Boston: Massachusetts Anti-Slavery Fair, 1844). (LCP Am 1844 Lib 68635.D)., Accessioned after 1870 and before 1900., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Sartain, the premier 19th-century Philadelphia portrait engraver, was a member of the Pennsylvania Anti-Slavery Society.
Creator
Sartain, John, 1808-1897, engraver
Date
[1844]
Location
Library Company of Philadelphia | Print Department Portrait prints-M [1885.F.60]
In Account of the golden wedding of James and Mary Brewster, September 18, 1860 (New Haven, 1860), frontispiece., Facsimile signature: Your Affectionate Mother Mary Brewster., Waist-length portrait of the woman wearing a lace collar and a lace bonnet.
In Only full report of the trial of Rev. I.S. Kalloch, on charge of adultery ... with accurate portraits of Kalloch, and the beautiful lady in black (Boston, 1857), p. 4., “The Springfield republican says: ‘The lady thus unfortunately implicated with Mr. Kalloch, is the young and lovely wife of a citizen of Brattleboro’, Vt.’”, Waist-length portrait of the “lady in black,” touching her necklace with her right hand.
In the Weekly herald, vol. 9, no. 25 (June 29, 1844), p. 203., Another portrait by another artist appears on the same page; see also the Weekly herald, vol. 9, no. 2 (Jan. 13, 1844), p. 9, for an earlier publication of this portrait., Waist-length portrait of the accused murderess wearing a bonnet.
