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. 139., Waist-length portrait of Mrs. Izard, wearing a pearl necklace, with pearls in her hair, holding a basket of flowers.
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. 97., Waist-length portrait of Mrs. Jay in profile.
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.
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 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.
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 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 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 Aunt Sally; or, the cross the way of freedom. / A narrative of the slave-life and purchase of the mother of Rev. Isaac Williams, of Detroit, Michigan (Cincinnati, 1858), frontispiece., Sally Williams's son Isaac purchased her freedom. The publishers envisioned the narrative of her life, in which the portrait appears, as a text that would inspire readers "to labor for that oppressed and unhappy race which "Aunt Sally" represents, so, at length, this unfortunate people shall be slaves no longer, but shall find that, to them all, the Cross has been the Way of Freedom."--P.v., "And this is the mother and this is the son, who, through such peril and labor, have escaped from bondage into freedom. The facts need no comments. They are eloquent enough of themselves. But when we remember that these are not isolated cases, but that every day there is this suffering and strife for liberty, with only now and then one fortunate enough to obtain it, they become "trumpet-tongued," and plead with us to rest not till all over the land liberty shall no longer be a name only, but the right and blessing of every creature."--P.213., Another illustration picturing Williams appears in: Aunt Sally; or, the cross the way of freedom, plate opposite p. 214., Waist-length portrait of Williams, wearing a bonnet and eyeglasses.
In The Ladies' Repository (November, 1859), plate preceding p. 641. "Engraved expressly for the Ladies Repository.", Waist-length portrait of Mrs. Wilkins seated in front of a window with a Liberian village visible in the background.
In Badger, C.N. The teacher's last lesson: memoir of Martha Whiting (Boston, 1855), frontispiece., Facsimile signature: Your affectionate friend M. Whiting., Whiting, a pious woman who was devoted to making her life useful, taught at the Charlestown Female Seminary in Boston, Massachusetts., Bust-length portrait of Whiting, wearing eyeglasses and a bonnet.
In Griswold, R.W. The Republican Court, or, American society in the days of Washington. New and rev. ed. (New York, 1856), frontispiece., Three-quarter length portrait of Mrs. Washington, standing outdoors, surrounded by foliage.
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. 219., Three-quarter length portrait of Mrs. Randolph, seated, with her arms crossed in her lap, her right hand holding a rose, in front of a window through which a mountain and a river are visible.
In Rankin, Mary. The daughter of affliction (Dayton, 1858), frontispiece., Waist-length portrait of the invalid, with a blanket across her lap., "Your sister in Christ, Mary Rankin".
In Lee, R.H. Memoir of the life of Harriet Preble (New York, 1856), frontispiece., Three-quarter length portrait of the teacher, seated at a table with a book in her lap.
In Gleason's pictorial drawing-room companion, vol. 2, no. 1 (Jan. 3, 1852), p. 8-9., Fourteen separate waist-length portraits surrounded by arabesque decoration and putti: M.M. Ballou; Sylvanus Cobb, Jr.; Mrs. E. Wellmont; Geo. Canning Hill; Caroline A. Hayden; Fred Hunter; Mrs. C.E. Lovering [i.e., Mrs. E.C. Lovering?]; F. Gleason; L. Curtiss Hine; Francis A. Durivage; Mrs. M.E. Robinson; F. Clinton Barrington; Miss Sarah M. Howe; Dr. J.H. Robinson. Mrs. Robinson wears eyeglasses.
Waist-length portrait of Mrs. Prosser, wearing muff., In Frank Leslie’s illustrated newspaper, vol. 3, no. 75 (May 16, 1857), p. 368., Mrs. Prosser was a witness in the Burdell murder trial., Also known as Caroline Weathington. Cf. New York daily tribune (Feb. 6, 1857), p. 6.
In Gleason's pictorial drawing-room companion, vol. 2, no. 23 (Boston, June 5, 1852), p. 361. "The likeness we give herewith is by our artist, Mr Rowse"., The actress, also known as Sophia Elizabeth Munson Roberts, adopted Miss Kimberly as her stage name., "'You will see by the literature I enclose that I am occupied in aiding in the control of the only insurance company in the world organized and conducted by women,-- myself being the originator of the project. I also conduct a family hotel comprising the block between 21ist and 22nd Sts. My life has been passed in all absorbing labor, mental and physical.' We learn from Mrs. Harriet Bradley Jackson that Sophia was formerly an actress became quite a performer and went all round. She was known in the profession as Miss Kimberly which was her mother's maiden name. Another adds that she was a Shakespearean reader. Her husband was an actor also. After she left the stage she practiced medicine."--Munson, M.A. 1637-1887 The Munson record, v. 2 (New Haven, 1896), p. 963., Three-quarter length portrait of Miss Kimberly, wearing earrings, a bracelet, and a cross necklace with a flower in her hair.
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. 113., Three-quarter length portrait of Mrs. King seated in front of drapery and architectural elements.
In Hale, S. J. Woman's record (New York, 1853), p. 712., Another portrait appears in: Leslie, E., ed. The gift: a Christmas and new year's present for 1836, frontispiece., Bust-length portrait of the actress looking over her left shoulder.
In Hart, J.S. Female prose writers of America (Philadelphia, 1852), plate opposite p. 105., Facsimile signature: C.M. Kirkland., Bust-length portrait of the writer in a bonnet.
Waist-length portrait of the actress, seated, wearing flowers in her hair., In Frank Leslie’s illustrated newspaper, vol. 3, no. 53 (Dec. 3, 1856), p. 32., Laura Keene was a popular actress and theater manager, best known for acting in the production of Our American Cousin on the night of President Lincoln’s assassination., Another portrait appears in: Frank Leslie’s illustrated newspaper, vol. 4, no. 103 (Nov. 21, 1857), p. 397.
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. 295., Cornelia Clinton Genet was the daughter of New York Gov. George Clinton (1739-1812) and the wife of Edmond-Charles Genêt (1763-1834)., Three-quarter length portrait of Mme. Genet standing standing in front of a natural landscape, her arms folded at her waist.
In The Ladies' Repository (July, 1858), plate preceding p. 385. "Engraved expressly for the Ladies Repository.", Waist-length portrait of Mrs. Garrett.
In Lee, L. P. History of the Spirit Lake massacre! / 8th March, 1857, and of Miss Abigail Gardiner's three month's captivity among the Indians (New Britain, CT, 1857), p.5., Facsimile signature: Abagail Gardner., Another illustration depicting Gardner appears in: Lee, L. P. History of the Spirit Lake massacre! (New Britain, CT, 1857), p. 35; another portrait appears in: Gardner-Sharp, A. History of the Spirit Lake massacre (Des Moines, 1885), frontispiece, and another illlustration depicting Gardner appears on plate facing p. 63., Three-quarter length portrait of a seated Mrs. Gardner, wearing cross necklace.
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 Smith, John Jay, ed. Letters of Doctor Richard Hill and his children (Philadelphia, 1854), plate preceding p. 437., Waist-length portrait of Margaret Morris Collins., "Aet. 19"., Mrs. Collins, the daughter of Mrs. Margaret Hill Morris, was of prominent Quaker lineage, belonging to the Hill, Lloyd, Moore, and Morris families of Philadelphia.
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 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 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.
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.
Full-length portrait of the young girl in color, wearing a white dress with large red sash and flowers in hair. Seated on grass, amidst trees and flowers, with a large brown dog., In Southgate, F. Affection schottisch (Baltimore, 1858)., “To Miss Georgiana Smith of Boston”.
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. 91., Waist-length portrait of Mrs. Smith, standing in front of a window partially covered with drapery, wearing a pearl headband and holding a fur muff. Obscure landscape scene visible through window.
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. 413., Three-quarter length portrait of Mrs. Stewart wearing pearls in her hair and holding a folded fan in her right hand. The miniature on her left wrist is probably a portrait of her father; the one on her right, her husband. Cf. Robin J. Frank. Love and loss (2000), p. 21.
In Green, F.H. Biography of Mrs. Semantha Mettler, the clairvoyant (New York, 1853), frontispiece., Facsimile signature: Semantha Mettler., Waist-length portrait of the medium, wearing a dress with a lace collar.
In Lectures of Lola Montez (Countess of Landsfeld) including her autobiography (New York, 1858), frontispiece., Facsimile signature: Lola Montez., Lola Montez was born in Ireland and spent her childhood in India, Scotland, France, and England. As an adult, she trained as a dancer and traveled the royal courts of Europe. She had a forceful, captivating personality, and at times she wielded considerable political influence, particularly in Bavaria, where she was the mistress of King Ludwig I. Later in life, she moved to America, where she performed as a dancer, actress, and lecturer. In one of her public lectures, she proclaimed, "It takes most women two-thirds of their lifetime to discover, that men may be amused by, without respecting them; and every woman may make up her mind that to be really respected, she must possess merit, she must have accomplishments of mind and heart, and there can be no real beauty without these."--P. 121-122., Another portrait appears in: Gleason's pictorial drawing-room companion, vol. 2, no. 16, (April 17, 1852), p. 249., Bust-length portrait of Montez., Another portrait (entitled "Morning") appears in: Snow flake (1849), frontispiece. The sitter is identified as Lola Montez on the basis of a portrait by Jules Laure; the painting is now located in the collection of the Leeds Castle Foundation, Maidstone, Kent, UK.
In Hart, J.S. Female prose writers of America (Philadelphia, 1852), plate opposite p. 63., Facsimile signature: M.J. McIntosh., Shoulder-length portrait of the writer.
Bust-length portrait of Sarah Margru Kinson Green., Sarah Margru Kinson Green, a child captive onboard the Amistad slave ship, returned to the United States to study at Oberlin College., “This girl, one of the Amistad captives, called in her native language Margru, meaning black snake, called at our office for an examination, while a stranger to us. She was described as possessing strong friendship, independence, perseverance, energy, and unusual intellectual powers ; remarkable memory, and the faculty of acquiring education. We afterward learned that she had been educated at the Oberlin Institute, in Ohio, and excelled in all branches of study, and was one of the first scholars in the institution in mathematics and superior sciences ; remarkable for memory and native intelligence. She has gone to her native land as a missionary. The forehead is broad and high, and particularly prominent in the center, in the region of eventuality, and the whole head is large, sustained by a vigorous constitution. She is far superior to Africans generally. The same is true of the majority of the Amistad captives, particularly so of Cinquez, the leader. Dignity, independence, and scope of mind were such as to do honor to individuals of any nation.”--P. 231., In the American phrenological journal, vol. 12 (1850), p. 231., Another portrait appears in The illustrated phrenological almanac for 1851 (1850), p. 30.
In Priere (New Orleans, La., 1851), cover vignette., “A Mademoiselle Sallie R. Price”., Full-length portrait of a young woman on her knees praying to a statue of the Virgin Mary; the dedicatee, Sallie R. Price, married Ludovic Hanau, the author of the song Priere, which expresses the hope that the Virgin Mary will watch over the couple.
In Lander, Meta. Light on the dark river (Boston, 1854), frontispiece., Facsimile signature: Yours affectionately, Henrietta., Shoulder-length portrait of Mrs. Hamlin.
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. 55., Three-quarter length portrait of Mrs. Hamilton, seated in front of a curtain, holding a folded fan, hands resting in her lap., Another portrait appears in Hunt, L. The American biographical sketch book (New York, 1848), plate opposite p. 326.
In Godey's Lady's book 41 (December 1850), frontispiece., Facsimile signature: Truly yr friend Sarah J. Hale., Waist-length portrait of the writer/editor.
In Life and letters of Miss Mary C. Greenleaf (Boston, 1858), frontispiece., Facsimile signature: M.C. Greenleaf., Bust-length portrait of Miss Greenleaf.
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. 345., Three-quarter length portrait of Mrs. Goodrich in profile, with a ribbon in her hair, standing in front of architectural elements with a distant landscape visible in the background.
In Ballou's pictorial drawing-room companion, vol. 8, no. 12 (Mar. 24, 1855), p. 177. "Mr. Rowse's design illustrates the scene in the first act of Mr. Sargent's new tragedy"., Full-length portrait of Dean, acting in a scene with two other figures, with a cottage in a woodland setting in the background.
