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.
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 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 The life and adventures of James P. Beckwourth (New York, 1856), p. [203]., The Native American woman was taken captive and adopted by the Crows when she was about ten. After excelling as a warrior, she became a chief, and was known as Bíawacheeitchish, or Woman Chief. She married four women in her lodge. In his autobiography, James Pierson Beckwourth, calling her Pine Leaf or Bar-chee-am-pe, claims to have had a romantic relationship with her., Full-length portrait of the woman warrior astride a horse.
In The sisters : a memoir of Elizabeth H., Abbie A., and Sarah F. Dickerman (Boston, 1859), frontispiece., Three separate waist-length portraits in arabesque frames: Elizabeth H. (Lizzie) Dickerman; Abbie A. Dickerman; Sarah F. (Fannie) Dickerman., The Dickerman sisters, who grew up in Connecticut, lived pious lives and died young. Elizabeth lived long enough to work first as a teacher and later as the first principal of the Hart Female Seminary in Plymouth, Connecticut.
In Twelve years a slave (Auburn, N.Y., 1853), plate opposite p. 320., Same image appears in Twelve years a slave (Auburn, N.Y., 1854)., Full-length portrait of Mrs. Solomon Northup embracing her husband; their daughters Elizabeth and Margaret stand nearby.
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 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.
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.
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 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.