In Young, A. Madame Young's Guide to health; her experience and practice for nearly forty years; a true family herbal (Rochester, N.Y., 1858), frontispiece., Young was a practicing physician who authored Madame Young's Guide to health, a manual intended to instruct women in the use of herbal and family medicine., "Of all men, the physician should be a liberal-minded man-- ever anxious to learn all that will enable him to be of benefit to his suffering fellow-creatures. He should never conclude that he has nothing more to know, or that he can find all knowledge in any one system, or theory, of practice; he should ever be ready to learn, from every body. He who expects to find out all that can be known, in one train of reasoning, or round of study, is like a man traveling upon a circle"--P.146-147., Bust-length portrait of Madame Young, wearing a bonnet, eyeglasses, and a cross necklace.
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.
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: 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 Trial of Mrs. Margaret Howard, for the murder of Miss Mary Ellen Smith (Cincinnati, 1849), title vignette., Mrs. Margaret Howard was tried for stabbing her husband’s mistress to death; she was acquitted on grounds of insanity., Bust-length portrait of the murderess, wearing a bonnet or head scarf.
Full-length portrait of the singer holding a fan and wearing a full-skirted tiered dress., In Frank Leslie’s illustrated newspaper, vol. 4, no. 91 (Aug. 29, 1857), p. 193., Miss Juliana May was an American opera singer who first achieved fame in Europe.
Full-length portrait of a woman [i.e., Mrs. Morley?] wearing an off the shoulder evening dress, pearl strands around her head, elbow length gloves, and earrings. Holding a fan in one hand and a handkerchief in the other, she stands beside a harpsichord before an open balcony., In Day is closing o’er the billow (New York, [1834-1839?]), cover., “Sung by Mrs. Morley. The words by Jonas B. Phillips Esq. Arranged from a popular Italian aria and dedicated to Mrs. Habicht of Boston by Clerc W. Beames”., “Mrs. Morley contributed to the entertainment and gave satisfaction. Her voice appears to be a mezzo-soprano of considerable power and flexibility, with good intonation.” -- Ives, E. Musical review and record of musical science, literature, and intelligence (New York, 1839), p. 375.
Waist-length portrait of Miss Helen Cunningham, wearing necklace., In Frank Leslie’s illustrated newspaper, vol. 3, no. 63 (Feb. 21, 1857), p. 192., Miss Helen Cunningham was the daughter of Mrs. Emma Augusta Cunningham. Miss Cunningham was a tenant in Dr. Harvey Burdell’s mansion and a witness at the sensational trial of his murder.
Waist-length portrait of Miss Augusta Cunningham, seated., In Frank Leslie’s illustrated newspaper, vol. 3, no. 63 (Feb. 21, 1857), p. 192., Miss Augusta Cunningham was the daughter of Mrs. Emma Augusta Cunningham. Miss Cunningham was a tenant in Dr. Harvey Burdell’s mansion and a witness at the sensational trial of his murder.
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. 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.
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 Lee, J. Religious experience and journal of Mrs. Jarena Lee (Philadelphia, 1849), frontispiece., Waist-length portrait of black preacher, seated at table with pen in hand; inkwell, books, and other papers also on table.
Bust-length portrait of Alice, wearing a bonnet., In Thomas, Isaiah. Eccentric biography; or, Memoirs of remarkable female characters, ancient and modern (Worcester, 1804), plate preceding p. vii., Alice, known variously as Black Alice and Alice of Dunk’s Ferry, was a native of Philadelphia and a slave, born to parents who had come from Barbados. She is said to have been 116 at the time of her death in 1802. In extreme old age Alice received many visitors who enjoyed hearing stories about early Philadelphia and its famous first settlers, including William Penn and Thomas Logan. Alice was also a lifelong worshiper at Christ Church in Philadelphia., “Being a sensible intelligent woman, and having a good memory, which she retained to the last, she would often make judicious remarks on the population and improvements of the city and country; hence her conversation became peculiarly interesting, especially to the immediate descendents of the first settlers, of whose ancestors she often related acceptable anecdotes.”--P. 9.
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 Hammond, L.M. Trials and triumphs of an orphan girl; or the biography of Mrs. Deiadamia Chase, physician and phrenologist (Cortland, N.Y., 1859), frontispiece., Mrs. Chase, orphaned in childhood, became a physician who advocated the use of phrenology., Waist-length portrait of Mrs. Chase., Another portrait appears in: American phrenological journal, v. 15 (May, 1852), p. 100.
Waist-length portrait of Mrs. Wells wearing bonnet., In Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 171., Mrs. Wells was the fifth daughter of physician Richard Hill and of prominent Quaker lineage, belonging to the Hill, Lloyd, Moore, and Partridge families of Philadelphia., “Rachel married in Philadelphia Richard Wells, an English gentleman, and had two sons and three daughters, of whom many descendants are known to us.”--P. xviii.
Bust-length portrait of Mrs. Scott, wearing a necklace and earrings, and holding a child., In Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 115., Mrs. Scott was the fourth daughter of physician Richard Hill and of prominent Quaker lineage, belonging to the Hill, Lloyd, and Moore families of Philadelphia., “Harriett married John Scott, and had one daughter, Mary, who died young, and a son, John -- called Jock in the letters -- who grew up and held an official appointment in India; he died about the same period with his widowed mother. She seems to have been an affectionate, timid, and sorrowful woman; her married life, entered upon without her father’s consent, was not entirely happy; her husband was much older than herself.”--P. xvii-xviii.
Waist-length portrait of the poet, wearing a garment fastened by a brooch, with lace visible beneath., In Scott, Julia H. Memoir of Julia H. Scott (Boston, 1853), frontispiece., Facsimile signature: Thine, Julia H. Scott., Mrs. Julia H. Scott, an early 19th-century writer of poetry and prose, frequently wrote on romantic themes such as nature, death, and spirituality.
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
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 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.
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 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.
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 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.
