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 Cries of the metropolis, or, Humble life in New York (Rutland, 1858), p. [7]., Full-length portrait of Elizabeth Carl, seated with a basket of apples next to her., Born in Potsdam, Elizabeth Carl came to New York City at age 73, and sold apples outside A.T. Stewart’s department store (and possibly other stores) for the following 17 years.
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. 359., Full-length portrait of the frontier wife, kneeling behind a fence with a rifle aimed at a bear in her dooryard; a pig runs away from them. According to the text, the rifle failed to discharge, which was fortuitous because a wounded bear would have been even more dangerous; the bear returned to the woods. Possibly Isabella W. Austin (1826-1901), of Geneva, Ohio.
In Chapin, J.R. The historical picture gallery (Boston, 1856), p. 503., Full-length portrait of the heroine of the War of 1812, passing a garment to a seated man; Mother Bailey was known to have donated her petticoat for wadding.
In Ballou's pictorial drawing-room companion, vol. 10, no. 2 (Jan 12, 1856), p. 28., Adelaide Phillipps won popularity as a child star with her singing, acting, and dance routines. She later trained as an opera singer in Europe, under the legendary Manuel Garcia, and toured the United States and Europe with numerous opera companies., Other portraits appear in: Gleason's pictorial drawing-room companion, vol. 1, no. 2 (May 10, 1851), p. 32; Gleason's pictorial drawing-room companion, vol. 1, no. 6 (June 7, 1851), p. 84; Appleton's encyclopaedia of American biography, vol. 4 (New York, 1888), p. 758., Full-length portrait of Phillipps, wearing a man's costume of boots, tights, a tunic and belt purse, holding a picture; she is depicted while acting a scene with two other male figures at left, with a rural landscape including a cottage and arbor in the background.
In Gleason’s pictorial drawing-room companion, vol. 1, no. 28 (Nov. 8, 1851), p. 440., Full-length portraits of the child actresses Kate and Ellen Bateman in costume for their appearance in Bombastes furioso, Kate in the role of King Artaxaminous (?).
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 Chapin, J.R. The historical picture gallery (Boston, 1856), p. 155., Full-length portrait of the wilderness woman astride a galloping horse; she looks over her left shoulder, with a whip held high in her right hand; her clothing does not identify her as male or female.
In Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 132., Shoulder-length portrait of Mrs. James Wadsworth, with lace bonnet., Based on drawing by Charles Martin.
In Jones, A.D. The illustrated American biography (New York, 1855), v. 3, p. 439. "Portraits drawn by S. Wallin, and engraved by J.W. Orr.", Other portraits appear in: Gleason's pictorial drawing room companion, v. 1 (1851), p. 232 and p. 481; Hale, S.J. Woman's record (New York, 1855), p. 638; Jones, A.D. The American portrait gallery (New York, 1855), p. [617]., Bust-length portrait of the actress., For image of painting of Charlotte Cushman by Thomas Sully, press link below.
In Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 144., Bust-length portrait of Mrs. S. Ward., Based on drawing by Charles Martin.
In Wiley, I.W. The mission cemetery and the fallen missionaries of Fuh Chau, China (New York, 1858), p. 200., Mrs. Wentworth was the daughter of J.J. Lewis, Esq., and the wife of Rev. Dr. Wentworth. She and her husband were both members of the Methodist Episcopal Mission. They arrived in China in May 1855., Waist-length portrait of the missionary.
In Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 120., Bust-length portrait of Mrs. Coventry Wardell, with flowers in her hair., Based on a drawing by Charles Martin.
In Kirkland, C.M. The book of home beauty (New York, 1852), plate opposite p. 96., Shoulder-length portrait of Mrs. Schermerhorn, with a wreath of leaves on her head.
In American missionary memorial (New York, 1853), p. 230., Mrs. Scudder and her husband were sent to Ceylon by the American Board of Commissioners for Foreign Missions., Waist-length portrait of the missionary.
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
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 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 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.
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 Hale, S.J. Woman's record (Philadelphia, 1855), p. 870. "Illustrated by two hundred and thirty portraits engraved on wood by Lossing and Barritt.", Mrs. Peter, with the help of a teacher she hired, started a school in her home in 1848. As a training program in industrial design for young women, the school gained the sponsorship of the Franklin Institute in 1850. In 1853, it was incorporated as the Philadelphia School of Design for Women (and today is known as Moore College of Art)., Bust-length portrait of the educator, with a lace shawl draped over her head.
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 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 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.
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.
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 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 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 Jones, A.D. Illustrated American biography (New York, 1855), v. 3, p. 463., Other portraits appear in: Hale, S.J. Woman's record (New York, 1855), p. 816; Jones, A.D. The American portrait gallery (New York, 1855), p. [719]., Bust-length portrait of the educator.
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.
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 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 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 Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 251. "The engravings are by Mr. W. Roberts."—Preface, v. 1, p. x., Facsimile signature:Louisa S. McCord., 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.