“No One to Love” was submitted for copyright deposit twice by S. T. Gordon of New York, on June 20, 1862, as “No One to Love” and on July 24, 1862, as “Why, No One to Love?”

According to Evelyn Foster Morneweck’s The Chronicles of Stephen Foster’s Family: 

A large number [of songs] were brought out by S. T. Gordon and Horace Waters. All the publishing houses were hard pressed [during the Civil War], and everyone, except government bondholders, was struggling to get along. Stephen’s songs continued to have a large sale in the Southern States, but to no benefit to himself or his northern publishers. A number of southern music houses, on receiving sheet music from the North, calmly appropriated it to their own use as they did not consider themselves bound by Union copyright laws. All restrictions were removed, and thousands of Confederate editions were reprinted from the publications of Firth, Pond and other northern companies. It might have been that the New York publishers did the same thing with southern compositions, but the best composers seem all to have been Northerners, or living in the North when war was declared. The late Walter R. Whittlesey, of the Library of Congress, discovered hundreds of Confederate songs with a large number of Stephen Foster’s songs advertised on the back pages. Mr. Whittlesey stated that the Foster songs that seemed the most popular in the Confederacy were “Come Where My Love Lies Dreaming,” “Fairy Belle,” “I See Her Still in My Dreams,” “Lula Is Gone,” “Parthenia to Ingomar,” and “Why No One to Love.”