Separately issued print., Attributed to Francis Kearny, who engraved the portrait of Andrew Jackson that Joseph How published (as a companion piece?)., Full-length portrait of the First Lady seated in an armchair, holding a fan and a book.
In Cases of cures performed by the use of Swaim’s panacea (Philadelphia, 1829), frontispiece., “One of the most extraordinary cures ever recorded in the annals of medicine”., “See p. 25”., According to the accompanying article, Nancy Linton was cured of scrofula by using Swaim’s panacea., Another portrait of Nancy Linton appears in A treatise on Swaim's panacea (Philadelphia, 1829), frontispiece., Another portrait of Nancy Linton (as Ana Linton) appears in Coleccion de casos, en ilustracion de las propiedades restaurativas i sanativas de la panacea de Swaim, en varias enfermedades (Filadelfia, 1831), frontispiece., Another portrait of Nancy Linton appears in A treatise on the alterative and curative virtues of Swaim's panacea (Philadelphia, 1833), p. 86., Another portrait of Nancy Linton appears in Swaim’s panacea (Philadelphia, 1848), p. [10]., The Philadelphia Museum of Art owns a hand-colored lithograph with minor differences in composition. ("Drawn on stone by W.H. Kearney, printed by C. Hullmandel.") See Library Company of Philadelphia, Every man his own doctor (1998), p. 29., Full-length portrait of a woman with scars on her face, arms, and legs, seated with her right arm resting on a table next to a bottle labeled “Swaim’s”.
Bust-length portrait of the actress in costume., In Barker, James N. The tragedy of superstition (Philadelphia, 1826), frontispiece., “An incomplete list of [Mrs. Duff’s] performances reveals that she played at least 220 different roles in her career. Junius Booth called her the greatest tragic actress in the world and John Gilbert proclaimed that she had no superior. Joseph N. Ireland, her biographer and a stage historian of considerable experience with actors, believed she was the best tragic actress in nineteenth-century America.” -- Claudia Durst Johnson (1999). “Duff, Mary Ann Dyke”. American National Biography. 7. New York: Oxford University Press. pp. 19-20.
In La belle assemblée (London, 1829), plate opposite p. [47]., Marianne Wellesley (née Caton), Marchioness Wellesley (1788-1853), was Lady of the bedchamber to the queen dowager Adelaide. She married Richard Wellesley, Marquess Wellesley (1760-1842) after the death of her first husband, Robert Patterson (1781-1822)., Three-quarter length portrait of the Maryland native, holding a fan.
In Wisner, B.B. Memoirs of the late Mrs. Susan Huntington. 2nd ed. (Boston, 1826), frontispiece., Facsimile signature: Adieu, beloved friend – S. Huntington., Waist-length portrait of Mrs. Huntington.
In Anderson, R. Memoir of Catharine Brown, a Christian Indian of the Cherokee Nation (Boston, 1825), frontispiece., Full-length recumbent portrait of the Cherokee woman, who was educated at Brainerd Mission near Chattanooga, Tennessee. She is depicted in bed, propped on her elbow, with an open book before her. Nearby, a woman, seated at a writing desk, holds a pen and appears to be taking dictation., "'Then raising herself in the bed & wiping a tear, that was falling from her eye, she with a sweet smile began to relate what God had done for her soul, while upon that sick bed.' Page 142."
In American Sentinel (May 28, 1824), p. [1]., Three identical busts representing Hannah, Rebecca, and Abigail Hatch., “A very interesting Natural Curiosity, to be seen from 10 A.M. to 9 P.M. at the Masonic Hall, Chesnut street. Admittance 25 cents. It sometimes happens ... that ... there is a remarkable diminution in the human form. This inferiority of stature is ... exemplified ... in the case of three women, Hannah, Rebecca, and Abigail Hatch. They are daughters of the same father and mother, (who were of the ordinary size) and born at Falmouth ... Massachusetts.... their ages [are] between 25 and 40 years – and their height between 36 and 42 inches.”
