Full-length portraits of the victims in the parlor. The illustration depicts the scene of the crime the morning after the murders. Mrs. Honora Shaw, closest to the door, lies on her back with her arms flailed upward. Mrs. Ellen Lynch lies across the room, barefoot and on her side., In The Life and adventures of Arthur Spring; the murderer of Mrs. Ellen Lynch and Mrs. Honora Shaw (Philadelphia, 1853), p. 53., Mrs. Ellen Lynch and Mrs. Honora Shaw were murdered by Mr. Arthur Spring, whom they had grown up with in Ireland, on the night of March 10th, 1853. Mr. Spring murdered the sisters in the home that they shared in an attempt to rob them of less than one hundred dollars.
In Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate opposite p. 169., Three-quarter length portrait of Mrs. Adams seated in front of a fireplace mantel and vase filled with flowers, holding flowers in her right hand, wearing a full dress and pearl necklace.
In Rockafield, H. A. The Manheim tragedy (Lancaster, 1858), back wrapper., Anderson and Richards were hanged at Lancaster, Pa., April 9, 1858., Full-length view of the women struggling with their assailant, one of whom holds a pistol and the other an axe.
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 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 Ballou's pictorial drawing-room companion, v. 10, no. 20 (Boston, May 17, 1856), p. 305., Another portrait appears in: Ballou's pictorial drawing-room companion, v. 10, no. 19 (Boston, May 10, 1856), p. 300., Full-length portrait of Barrow, wearing an elaborately decorated Native American costume and holding a spear, with dwellings in a natural setting 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 The life and adventures of James P. Beckwourth (New York, 1856), p. [116]., The Native American woman died after her husband punished her for disobeying him when she chose to dance in celebration of the scalping of three white men. After her death, her father (a Flat Head) prevented Beckwourth from being killed, and also presented him with the wife’s younger sister as a replacement wife., Recumbent portrait of Mrs. Beckwourth after her husband struck her with the side of his battle-axe.
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 Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate preceding p. 155., Original oil painting by Lawrence Kilburn painted in 1761; James Beekman's records indicate that the painting was later retouched by John Durand. Cf. White, Philip L. The Beekmans of New York in Politics and Commerce, 1647-1877 (New York, 1956)., Engraved by William Henry Mote?, Three-quarter length portrait of Mrs. Beekman, standing in front of a curtain, wearing a pearl necklace, her raised right hand holding a flower.
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.
In Twelve years a slave (Auburn, N.Y., 1853), plate opposite p. 88., Same image appears in Twelve years a slave (Auburn, N.Y., 1854)., Full-length portrait of the enslaved women, possibly a fictitious character, kneeling next to her daughter Emily; two white men stand above her.
In Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate preceding p. 253., Three-quarter length portrait of Mrs. Bingham seated in an upholstered chair, wearing a pearl bracelet on her left wrist and holding a book in her right hand., The original painting is now located in the Philadelphia Museum of Art.
In Bishop, H. E. Floral home; or, first years in Minnesota (New York, 1857), frontispiece., Harriet Bishop moved to Minnesota, then still a territory, to become the first teacher in the small city of St. Paul. She was a writer and an advocate of education reform and women's rights., Facsimile signature: Harriet E. Bishop., Bust-length portrait of Bishop, wearing a brooch.
In Autographs for Freedom (Auburn, N.Y., 1854), plate opposite p. 41., Facsimile signature: Antoinette L. Brown., Bust-length portrait of the woman preacher, with a brooch on her lace collar.
Waist-length portrait of the reformer., In The American phrenological journal, vol. 17 (March, 1853), p. 52., Mrs. Amelia Jenks Bloomer was a suffragist and temperance advocate whose name came to be associated with the radical new short dress style for women., Another portrait appears in: The water-cure journal, v. 12, no. 4 (Oct., 1851), p.96.
In The lighted valley, or, The closing scenes in the life of a beloved sister (New York, 1850), frontispiece., The young woman was the daughter of the Rev. Robert Bolton (1788-1857), an Episcopalian clergyman who was born Savannah, Georgia; in 1807, he traveled to England, where he married Anne Jay Bolton (1793-1859); the couple and their children left England in 1836 and settled in New York; they opened the Bolton Priory School in Pelham Manor, New York, in 1838., Three-quarter-length portrait of the young woman., Another portrait appears in Bolton, R. The Lighted valley, or, The closing scenes of the life of Abby Bolton (London, 1851), frontispiece ("Eng'd by W. Holl, from a painting by her brother [i.e., William Jay Bolton]").
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 Hale, S.J. Woman's record (Philadelphia, 1855), p. 592. "Illustrated by two hundred and thirty portraits engraved on wood by Lossing and Barritt.", Laura Bridgman, who lost all sense of hearing, sight, and smell after contracting smallpox in her early childhood, went on to become the first educated deaf-blind person. Aided by the patience and dedication of her teacher, Samuel Gridley Howe, she was able to learn to read, write, sign, and perform many other tasks., Other portraits appear in: The prisoner's friend, no. 3 (Nov., 1848), frontispiece; Phrenological and physiological almanac, for 1849 (New York, 1848), p. 40; Jones, A.D. The American portrait gallery (New York, 1855), p. [707]., Waist-length portrait of Bridgman, wearing an eye covering.
Full-length portrait of the young girl holding her hands across her waist., In The American phrenological journal, vol. 29 (Jan., 1859), p. 1., At the age of four Ella Burns was a national celebrity, renowned for her captivating public readings and poetry recitations., “Without ever having been taught spelling or the alphabet, but having herself picked up a knowledge of words by intuitive quickness of eye, [Ella] takes any book of poetry presented to her and reads verses she has never before seen, with a cadence and a pronunciation which do the fullest justice to the sense and rhythm.”--P. 2.
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 Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate preceding p. 355., Three-quarter length portrait of Mrs. Carroll standing in front of an architectural element and drapery, holding a flower in her left hand.
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 J.A.B. Mary Bean: the factory girl / a domestic story, illustrative of the trials and temptations of factory life (Boston, 1850), front wrapper., Waist-length portrait of Bean, wearing a bracelet., Miss Caswell, also known as Mary Bean, was a factory girl who became the subject of popular fiction after her body was discovered in a stream, following her death by a botched abortion., "Not unfrequently impatient of restraint, and indisposed to listen to the voice of counsel, the unthinking female is ensnared in the toils of the destroyer, and being insidiously led onward, step by step, she awakes from her dream of fancied happiness, but to mourn over her dishonor, and the destruction of her cherished hopes. Such was the case with Mary Bean. Her life, her sufferings, and her death, are but a picture of the life, the sufferings, and the death of many others. Let those of her sex, then, who may chance to read these pages, be admonished in season, and not turn a deaf ear to those counsels, which, if regarded, would save them from misery and dishonor."--P. 40.
In Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), plate preceding p. 209., Three-quarter length portrait of Mrs. Caton, Mary ("Polly") Carroll Caton, holding a handkerchief in her right hand, leaning against an architectural element, with a landscape scene in the background.
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.
In Maria Cheeseman, or, The candy-girl (Philadelphia, 1857), vignette on added engraved title page., Waist-length portrait of the orphan, who returned to her grandparents in England after having been aided by missionaries who found her selling items on Sunday in New York City.
Waist-length seated portrait of the actress holding a book., In The American phrenological journal, vol. 29 (Feb., 1859), p. 25., Ernestina Katherine Louise Marie Ritter, who went by the stage name Ada Clifton, was a popular actress in the mid-nineteenth century.
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 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 Cooke, H.B. Memories of my life work / the autobiography of Mrs. Harriet B. Cooke (New York: 1858), frontispiece., Facsimile signature: H. B. Cooke., Waist-length portrait of the educator, wearing a bonnet.
In Hannah Corcoran, the missing girl of Charlestown (Boston, 1853), title page vignette., Three-quarter length portrait of the young woman, wearing a Maltese cross brooch.
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.
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.
In Narrative of the deceptive courtship and seduction of Miss Phebe Crossen (Cincinnati, 1857), wrapper vignette., Fictitious person? Born near Blanchester, Ohio, Phoebe Crossen was raised by her grandparents after her mother died (and her father went West); her seducer promised marriage and then supplied Phebe with medicine in order to kill their unborn child; after the child was born dead, she wrote the narrative and committed suicide with laudanum on February 19, 1857., Three-quarter length portrait of the unwed mother, carrying a book in one hand and a lace handkerchief in the other hand.
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.
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.
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.
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 The Dalton divorce case (Boston, 1857), title vignette., Helen Dalton was accused of adultery by her husband, Frank Dalton, but maintained her innocence, arguing that her relations with her supposed lover, William Sumner, had not been improper. The ensuing divorce trial was complicated by counter-accusations of adultery and spousal neglect leveled at Frank Dalton, allegations of an aborted pregnancy, and Sumner's death following a brutal beating by Mr. Dalton. The trial became something of a public sensation, as the topic of women and morality was a subject of heated debate. The jury was ultimately unable to come to a conclusive verdict., Full-length portrait of Dalton, wearing a gown and bonnet.
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 Duyckinck, E.A. Cyclopaedia of American literature (New York, 1855), v. 2, p. 484. "The engravings are by Mr. W. Roberts."—Preface, v. 1, p. x., Facsimile signature: Margaret M. Davidson., Bust-length portrait of the writer.
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.
Bust-length portrait of the reformer with her right hand at her chin., In The American phrenological journal, vol. 18 (July, 1853), p. 12., Mrs. Paulina Wright Davis was a prominent abolitionist and suffragist as well as a lecturer in various scientific fields, such as anatomy and physiology.
In Day, M. L. Incidents in the life of a blind girl (Baltimore, 1859), frontispiece., Mary Day studied at the Maryland Institution for the Instruction of the Blind, now the Maryland School for the Blind., Bust-length portrait of Mary Day.
