In The national portrait gallery of distinguished Americans (Philadelphia 1840), v.4, plate opposite entry. Also appears in other editions of this title. Note that by the 1852 edition fewer portraits of women are included. This portrait is included., Facsimile signature: Louisa Catherine Adams., Three-quarter length portrait of Mrs. Adams, wearing necklace and decorative hair comb, holding glove, with draped lace shawl; seated by window., Another portrait appears in an untitled plate containing five separate portraits, Godey’s lady’s book 45 (August, 1852), frontispiece.
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 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 Serious almanac, 1845-’46 (1845), p. [16]., Andrew Hellman (1792-1843), also known as Adam Horn, was convicted of killing and then dismembering his wife in November 1843., Full-length portraits of the pair struggling, with the husband holding the wife down on the floor., The same image appears in The Tragic almanac 1850 (New York, 1849), p. [5].
In Tragic almanac 1843 (New York, 1842), p. [28]., According to the accompanying article, Mary Bird said her husband “gave me no reason for doing it, except he was drunk.”, Probably a fictitious character., Full-length portrait of the victim (Mary Bird), tied to a chair and engulfed in flames.
In Ellet, E. F. The women of the American revolution (New York, 1848) v.1, plate opposite p. 332., Facsimile signature: S Bache., Bust-length portrait of Mrs. Bache, wearing a bonnet., Another portraits appears in: Jones, A.D. The American portrait gallery (New York, 1855), p. [461].
In The American book of beauty, or, Token of friendship (Hartford, 1847?), frontispiece. Note: plate appears preceding p. [5] in later issue., Another portrait appears in: The Family circle and parlor annual (New York, 1850), plate preceding p. [153]., Three-quarter length portrait of Mrs. Baldwin, seated holding a child on her right hip and a handkerchief in her left hand; she is wearing fingerless lace mitts (i.e., gloves)., Fictitious person? Original sitter identified as Mrs. Henry Bathurst; cf. Heath's Book of beauty, 1838.
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 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.
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 Narrative and confessions of Lucretia P. Cannon (New York, 1841), t.p. vignette., "[Page 16.]", Full-length portrait of the murderer and slaver Patty Cannon (here Lucretia P. Cannon), holding a black child in the flames of a fireplace.
Bust-length portrait of the criminal, in profile., 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. 166., “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., “C.G. is a German woman, noted for her obliging, submissive disposition and the kindness of her feelings ; but exceedingly wanting in self-respect and regard for the rights of others. She is now under imprisonment for larceny. The head shows large benevolence, with exceedingly deficient conscientiousness, self-esteem, and firmness.”--P. 166.
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 The American book of beauty, or, Token of friendship (Hartford, 1847?), plate following p. [72]., Full-length portrait of Mrs. Coster [possibly Stephanie de Pau Coster, wife of Washington Coster] seated next to child [possibly her daughter Frances Stephanie Coster]. Cf. oil painting at MCNY? (not seen). Mrs. Coster has an open book on her lap, on which the child's left hand rests., Another portrait appears in: The Family circle and parlor annual, 1848 (New York, 1847), plate preceding p. [117]., Original sitter identified as the Hon. Lalagé Letitia Caroline Bankes (née Vivian), the wife of Henry Hyde Nugent Bankes; and the daughter of 1st Baron Vivian. Cf. National Portrait Gallery, London. http://www.npg.org.uk/collections/search/portrait/mw199868/Hon-Lalag-Letitia-Caroline-Bankes-ne-Vivian?LinkID=mp94766&role=sit&rNo=0
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. 158., “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., "C.P., a half-breed Indian and negro woman, under confinement for the fourth time. She has been twice imprisoned for petit, and once for grand larceny, and once for assault and battery with a knife. During one of her terms of confinement she attacked her keeper with a carving-knife, and he was compelled to fell her with a loaded cane. When excited she exhibits the most uncontrollable fury, and is always disposed to be offensive, aggressive, and more or less violent. In her head destructiveness is enormously developed, with large secretiveness and caution, and very defective benevolence and moral organs generally.”--P. 158.
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].
In The People’s journal, vol. 2, no. 29 (July 18, 1846), p. 29., At head of image: Public exhibitions. No. 2., Full-length portraits of the actresses Charlotte and Susan Cushman.
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.
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. 159., “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., “D.M. has been an inmate of the county prisons of New York, a greater part of the last seven or eight years. She is notoriously abandoned and profligate; and for the last few years has added intemperance to her other vices. She seems utterly lost to all sense of decency and to every moral tie of humanity. With all this degradation she possesses a good mind, with much shrewdness and quickness of perception. The drawing indicates a large development of propensity with fair intellect, but a total destitution of moral endowment. The scanty development of the coronal region of her head is very striking.”--P. 159.
In Serious almanac, 1845 & '46 (New York, 1845), p. [25]., According to the accompanying article, Julian Gardner answered the door when her husband was not at home. A black man wielding a lighted torch pushed his way in and “with one blow split open the head of Mrs. G. with an axe.”, Probably a fictitious character., The same image appears in Tragic almanac. 18-46 (1845), p. [13].
In Dwight, H.G.O. Memoir of Mrs. Elizabeth B. Dwight (New York, 1840), frontispiece., Facsimile signature: Your very affectionately E.B. Dwight., Bust-length portrait of Mrs. Dwight.
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 Green, F. H. Memoirs of Elleanor Eldridge (Providence, 1840), frontispiece., Eldridge, of mixed African and Native American heritage, established herself as a successful businesswoman who worked in numerous trades, successfully defended her brother in a lawsuit against him, and became a landowner and homeowner., "Elleanor now, with her sister, entered into a miscellaneous business, of weaving, spinning, going out as nurse, washer, &c.--in all of which departments she gave entire satisfaction: and in no single instance, I believe, has failed to make her employers friends. She also, with her sister, entered considerably into the soap boiling business. Of this article they every year made large quantities, which they brought to the Providence market, together with such other articles as they wished to dispose of, or as were, with suitable commissions, supplied by their neighbors. By this time the earnings of Elleanor had amounted to a sum sufficient to purchase a lot and build a small house, which she rented for forty dollars a year."--P.63., Waist-length portrait of Eldridge, holding a broom.
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 The life and sufferings of Miss Emma Cole (Boston, 1844), p. [19]., Emma Cole [later Mrs. Hanson] is probably a fictitious character., Full-length of the woman wearing a sailor suit, lying on her back on the deck of a ship, while a man binds her hands. Four other armed men stand nearby.
In A Sketch of the life of Elizabeth Emmons, or, The female sailor. 2nd ed. (Boston, 1841), frontispiece., Elizabeth Emmons is probably a fictitious character., Waist-length portrait of the partially-sighted woman on board ship, wearing a sailor uniform.
In The American book of beauty, or, Token of friendship (Hartford, 1847?), plate following p. [40]., Another portrait appears in: Family circle, and parlor annual, 1849 (New York, 1848), plate following p. 148., Three-quarter portrait of Miss Escars, seated holding handkerchief and spray of flowers in her lap., Fictitious person? Original sitter identified as the English photographer Catherine Curtis Verschoyle; cf. Heath's Book of beauty, 1839; and Taylor & Schaaf. Impressed by light: British photographs from paper negatives, 1840–1860 (2007).
Full-length portrait of Mrs. Gaines wearing a lace shawl over a floor-length dress. Mrs. Gaines, holding a handkerchief in her left hand and wearing her hair in an up do with ringlets, stands on an outdoor balcony in front of a natural setting., In The Columbian lady’s and gentleman’s magazine, vol. 9, no. 10 (October, 1848), plate preceding p. 433., Mrs. Myra Clark Gaines, the celebrated litigant, was the daughter of Zulime Carriere and the wealthy Daniel Clark, who may or may not have ever legally married. Clark, who died in 1813 never having acknowledged Myra as his child, acquired his fortune in New Orleans as a real estate speculator. Mrs. Gaines was raised by Samuel Boyer Davis, a friend of Clark’s, and only discovered her true parentage in 1830. Four years later she began what was to become a 57-year lawsuit to recover four-fifths of her father’s estate, an inheritance to which she was entitled based solely on a missing will., Other portraits appear in: The Columbian lady’s and gentleman’s magazine, vol. 9, no. 5 (May, 1848), plate preceding p. 193; The Ladies wreath (1851), p. [310].
In Tragic almanac 1843 (New York, 1842), p. [21]., According to the accompanying article, Mary C. Rogers left her job in a cigar store on Broadway in New York City after customers started a rumor that she had been seduced. “The Beautiful Segar Girl” returned home to live with her mother. One Sunday, she set out to visit her cousins, but did not arrive. The following Wednesday her body was found floating in the North River, with “a rope tied around her neck in a way which ... created the suspicion that the persons who committed the act must have been seamen.”, The character of Marie Rogêt in Edgar Allan Poe's The Mystery of Marie Rogêt (the first installment of which appeared in the Ladies companion, v. 18, no. 1 (Nov. 1842)) is based on Mary Cecilia Rogers (1820-1841)., Full-length portrait of the victim struggling to escape the grasp of two men in top hats.
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 Serious almanac, 1845 & '46 (New York, 1845), p. [33]., According to the accompanying article, Mr. and Mrs. Dominick Sweeney “were part of a drunken Irish family, and had been intoxicated and quarrelling for several days.”, Probably a fictitious character., Full-length portrait of a woman wielding a knife over a man on the ground; a bottle is on a table in the background; and an overturned drink glass is on the ground in the foreground.
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.
In The American book of beauty, or, Token of friendship (Hartford, 1847?), plate following p. [16]., Another portrait appears in: The Family circle and parlor annual, 1849 (New York, 1848), plate following p. 76., Three-quarter length portrait of Miss Hoyt (later Mrs. Noah Wilcox?), standing with spotted dog., Original sitter identified as the Hon. Mrs. George Anson; cf. Heath's Book of beauty, 1840.
In Serious almanac, 1845-’46 (1845), p. [15]., James Bishop was hanged on March 17, 1843, in Essex County, New York., Full-length portraits of the four figures in a bedroom., This image also appears in Confessions, trials, and biographical sketches of the most cold-blooded murderers (Hartford, 1854), p. 417, and the later edition of this work, The trail of blood (New York, 1860), p. 417.
In Wilkes, G. The lives of Helen Jewett, and Richard P. Robinson (New York, 1849), frontispiece., Portrait caption: Helen Jewett at her childhood's home., Helen (sometimes known as Ellen) Jewett, a prostitute, was brutally murdered, presumably by her jealous lover. Her death caused a media sensation., "She was early cast alone upon the world, and her recollections of those who should have been the patterns for her guidance, were the recollections of a false example. In the next place, she had too much education for her condition in life, and her ambition, made unmanageable by its alliance with a fervid temperament, betrayed her, by too short a cut, to the society for which she yearned. The result was a sudden but hollow exaltation; a crazy revel; a brief career, and a shocking end."--P. 132., More illustrations depicting Jewett appear in Wilkes, G. The lives of Helen Jewett, and Richard P. Robinson (New York, 1849), p. 11, p. 29, p. 39, p. 43, p. 72, p. 81, p. 87, p. 118., Full-length portrait of Jewett, carrying a basket, with a cottage in a rural scene in the background.
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 The American book of beauty, or, Token of friendship (Hartford, 1847?]. plate preceding p. [65]., Full-length portrait of Miss Ketchum (of Boston), standing holding a small dog against her chest with her right arm and a handkerchief in her left hand., Fictitious person? Sitter identified as the singer/actress Mrs. Charles Martyn (i.e., Elizabeth Inverarity Martyn) on a plate published by Longman & Co., 1 October 1840. Cf. National Portrait Gallery, London. http://www.npg.org.uk/collections/search/portrait/mw80781/Elizabeth-Ma
In Memoir of Mary King (Philadelphia, 1846), frontispiece with illegible caption., Deathbed scene depicting Mary King surrounded by women family members.
In The gift (Philadelphia, 1842), plate opposite p. 152., Waist-length portrait of Mrs. King wearing a lace bonnet., Sitter identified as Sarah Rogers Gracie King, the wife of James Gore King, on the basis of a portrait by Thomas Sully; the painting is now located in the Nelson-Atkins Museum of Art, Kansas City, Missouri.
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 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 Serious almanac, 1845-’46 (1845), p. [18]., Mrs. Bacon was killed in her home in Middletown, Connecticut, one Sunday while her family was at church; cf. McDade. Annals of murder., The same image appears in Tragic almanac. 18-46 (1845), p. [4]; in Confessions, trials, and biographical sketches of the most cold-blooded murderers (Hartford, 1854), p. 418, and the later edition of this work, The trail of blood (New York, 1860), p. 418.
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. 162., “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., “L.W. is a criminal who has long been notorious in New York for her depravity and abandonment of character. She has been under arrest innumerable times, and when not in prison leads a most profligate and shameless life. She is obstinate but kind withal, and very impulsive and ardent in all her emotions. Her temperament is sanguine-nervous, highly excitable, and unrestrained. In her head benevolence is well developed, but the whole moral region beside is exceedingly small. The drawing indicates extreme narrowness and smallness of the whole coronal region.”--P. 162.
In Mayo, S.C.E. Selections from the writings of Mrs. Sarah C. Edgarton Mayo (Boston, 1849), frontispiece., Facsimile signature: Yours affectionately Sarah C. Edgarton., Bust-length portrait of the writer.
Full-length portrait of Miss McCrea in an outdoor setting with two Indian men. She flails her arms while one man holds her and the other wields a tomahawk., In the Pictorial national library, vol. 2 (Mar., 1849), p. 129., Miss Jane McCrea was engaged to David Jones, a British general, during the Revolutionary War and while traveling to visit him she was taken captive by Indians and killed. Accounts of her death furthered anti-Loyalist sentiment in the Colonies., Another portrait appears in: Wilson, D. The life of Jane McCrea (1853), p. [156].
