Text: Chandos Fulton, “Portraits of Poe,” Home Journal (New York, NY), twenty-eight year, March 12, 1878, p. 1, col. 7

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THE engraving which appeared in Graham's Magazine, Philadelphia, February, 1845, accompanying a biographical and critical sketch by Mr. James Russell Lowell, (republished in “Poe's Works,” vol. 1.) was engraved on steel by Welch & Walter, from a painting by A.C. Smith, This plate, being out of print, is scarce; and is, in fact, only to be found in preserved editions of that once popular and able magazine. It is a half-figure, The poet is represented sitting in a chair with the broad square back fashionable at the time, with right arm carelessly thrown behind and resting on this top-piece. The attitude is careless and easy. An expression of suppressed merriment characterizes this portrait which is to be found in no other that I have seen; and I have seen all those of which I write. The portrait can hardly be pronounced good, compared with Osgood's portrait, painted a few years afterward. That it was considered satisfactory at the time may be taken for granted, else it would not have appeared in Graham's, or an explanation would have been made, as in the case of Griswold's portrait. At this period the poet wore small, short side whiskers.

The plate in Redfield's edition of Poe's works was, as stated in a line at the bottom, “engraved by J. Sartain, from the original picture in the collection of R. W. Griswold.” There is much expression in this portrait; and the engraver has been rather more successful in its development than the artist. The original was painted by the well-known artist, Mr. Samuel S. Osgood, but is by no means one of the best examples of his skill and genius, This portrait is No. 147 in the collection of the New York Historical Society, to whom it was bequeathed by the late Rufus W. Griswold, the poet's biographer. The artist painted the more prominent literati of the day, er rather of that “set,” being brought into that society by his wife, (the late Frances S. Osgood,) herself one of its most brilliant members. Many of these portraits are included in the collection of the Historical Society.

The engraving in Widdleton's edition of the poems is clearly a good deal idealized. This portrait is familiar to the readers of this volume, which has had a much larger sale than the works; and it is unnecessary to speak of its characteristics in this connection. The large photograph to be seen in Brady's Portrait Gallery, formerly on Broadway, has been made popular by Anthony's carte-de-visite in his collection of celebrities, This was taken while Poe was editing the Broadway Journal. There is much vitality in this portrait.

A very “speaking” portrait is a daguerreotype taken of the poet about the same time as the Brady photograph, by Mr. Gabriel Harrison, who has presented this and a photograph in color (worked from it) to the Long Island Historical Society. The mouth of the poet was crooked, slanting or running down on the left side; in this portrait, this peculiarity, not always concealed by the moustache which the poet wore in early life and latterly, is in measure concealed by the poet's holding his head a little sideways, at the suggestion of Mr. Harrison, who was quite well acquainted with him. The peculiarity of the mouth also characterizes the Brady portrait.