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Frances Flora Bond Palmer, often referred to as Fanny Palmer, was an English artist who achieved notable success as a lithographer in the United States, particularly through her prolific work for Currier and Ives. Born in Leicester, England, on July 24, 1812, Palmer was the daughter of Robert Bond, a prosperous lawyer, which afforded her a privileged upbringing. She was educated at Miss Linwood's School for young ladies in London, where she received instruction in music, literature, and the fine arts, laying the foundation for her future career as an artist. 

In 1832, Frances married Edmund Seymour Palmer, and they had two children, Frances E. Palmer and Edmund Jr. The family enjoyed a comfortable life until financial difficulties necessitated a turn towards their artistic talents as a means of livelihood. Despite being described as charming, talented, and resilient, Palmer's transition to working for a living was not due to romantic notions but rather practical necessity. She had already established herself as a lithographer in England before emigrating to the United States, where she and her husband ran the F. Palmer and Co. firm in New York City. 

By 1841, the Palmers were operating a lithography business in Leicester, England, where Frances worked as the artist and Edmund as the printer. Their topographical prints, such as the series Sketches of Leicestershire, received positive acclaim in local publications like the Leicester Journal and the Leicester Chronicle. However, despite the high praise, the business struggled to support the family, prompting the Palmers to emigrate to New York between 1843 and 1844 in search of better financial opportunities.

In Brooklyn, Frances diversified her skills by teaching singing, painting, drawing, and wax flower making, while also working as a governess and chaperone. The couple reestablished a printing business, producing advertisements, architectural drawings, and lithographs of current events, including scenes of the Mexican War. Despite their efforts, financial success eluded them, leading to the failure of their business for a second time. 

Recognizing her talents, Nathaniel Currier acquired the Palmers' stock and hired Frances Palmer to work for his firm, where she would go on to produce around two hundred lithographs between 1849 and 1868. Palmer was involved in every stage of the lithographic process and was instrumental in advancing the firm’s technological capabilities, including improvements to the lithographic crayon used in printmaking.

Palmer specialized in landscape and genre prints, capturing rural farm scenes, notable American ships, and Western landscapes.  

Among her original works, Landscape, Fruit, and Flowers (1862) stands out for its flawless composition and early use of chromolithography, anticipating the Impressionist movement. Despite her success, Palmer faced challenges, including a period of personal grief following her husband’s death, which coincided with a decline in her signed works between 1859 and 1860. Towards the end of her career with Currier and Ives, changes in public taste and increasing constraints on her artistic freedom led her to leave the firm in 1868. 

Little is known about Palmer’s professional activities after her departure from Currier and Ives. She continued to be listed in city directories as a lithographer or artist, though her output diminished significantly. Palmer's sister Maria lived with her until her death from tuberculosis in 1876. Frances Palmer’s daughter, Fanny E. Palmer, also pursued art, with speculation that she may have contributed lithographs to Currier and Ives under the signature "F.E. Palmer."