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Photographica: Hard Images and Large Format

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Before Helen Keller
there was Laura Bridgeman…among the most famous figures of the 19th century. She was “saved” by the husband of Julia Ward Howe and immortalized by Charles Dickens.

313. Cased 1/4 plate daguerreotype of a print (after a circa 1845 painting by Alvan Fischer now part of the collection of the Perkins School for the Blind) of Laura Bridgman posed with her close friend and schoolmate Oliver Caswell. Fifty years before Helen Keller, there was Laura Bridgman, the first deaf-mute American ever to gain a significant education. Born in 1829 in Hanover, New Hampshire she fell victim to scarlet-fever at age 2, a malady that killed her two older sisters and brother. The disease spared her but left her deaf, blind, and lacking a sense of smell or taste. She spent the next few years at home, learning to sew and knit. In 1837 she came to the attention of Dr. Samuel Gridley Howe, Director of the Perkins School for the Blind in Boston. (On June 8, 1861, President Lincoln would recognize Dr. Howe and several colleagues as he approved the creation of the U.S. Sanitary Commission; Howe was also husband of Julia Ward – author of Battle Hymn of the Republic.) Howe convinced the family to enroll Laura in the school. Over the next several years Howe managed to teach Laura to read, write, enabling her to also learn arithmetic, geometry, astronomy and religion. Though she never left the institution, she led a relatively independent life, living in a small cottage on the grounds of the school until her death in 1876. Bridgman’s amazing story made her a celebrity – due in great part to Charles Dickens who visited Laura in 1842 and wrote enthusiastically of Dr. Howe’s work with her in his American Notes. It was Dickens’ account that inspired Kate Keller, the mother of Helen Keller, to seek out Anne Sullivan, a teacher at the same Boston school that educated Laura Bridgman. Sullivan learned Laura Bridgman’s manual alphabet and taught that to Helen. Very little is known about the other subject, Oliver Caswell, who came to the Perkins school in 1841 at age 8, according to Howe’s daughter, Laura E. Richards. Dr. Howe noted how Laura Bridgman “took great interest and pleasure in assisting those who undertook the tedious task of instructing him. She loved to take his brawny hand with her slender fingers, and show him how to shape the mysterious signs which were to be come to him keys of knowledge and methods of expressing his wants, his feelings, and his thoughts…Patiently, trustingly, without knowing why or wherefore, he willing submitted to the strange process. Curiosity, sometimes amounting to wonder, was depicted on his countenance, over which smiles would spread ever and anon; and he would laugh heartily as he comprehended some new fact, or got hold of a new idea…” Howe mused, “I seem now to see the two, sitting side by side at a school desk…I see Laura grasping one of Oliver’s stout hands with her long graceful fingers, and guiding his forefinger along the outline while, with her other hand, she feels the changes in the features of his face, to find whether, by any motion of the lips or expanding smile, he shows any sign of understanding the lesson…” (John J. Chapman, Learning and Other Essays, 113-115). The original of this important work was executed by Alvan Fisher (1796-1863), a noted Massachusetts portrait and landscape painter. During his lifetime, his work was exhibited at the Pennsylvania Academy of the Fine Arts, and the Boston Athenaeum. Daguerreotypes of works of art this significant seldom come to market. (Est. $5,000-7,000)

A REMARKABLE piece of history…

a photograph documenting a relaxed moment for known combatants who served at Gettysburg.

314. An incredible quarter-plate tintype of identified officers from New Jersey 39th – combatants who served in the Battle of Gettysburg. Before you dismiss the significance of this significant piece, consider the following: these men, sitting in a relaxed, non-formal pose between battles, have been identified…with certainty! These are not anonymous soldiers…these are men we know – who fought, and in the cases of several, died for their country. The inside of case beneath the plate has been detailed with the following information: “…Mess. 1st Battalion. 1st NJ Cavalry. Centerville Va. Oct 1st 1862. Maj. Beaumont Capt. Bustor Co. B Kester Co. E, Yorke Co. 4 Lieut. Hobensack Co B, Winkoop Co. A.” We have verified the correctness of the identification with comparisons to known photographs of Major Beaumont as well as portraits of both Kester and Winkoop. As detailed by the N.P.S. in their listing of the 1st NJ Cavalry: “The 1st New Jersey Cavalry was commanded by Major Myron H. Beaumont during the Gettysburg Campaign, with nine companies present at the battle: Troop A- Capt. James Hart; Troop B- 1st Lt. William Wynkoop; Troop C- Capt. William W. Gray; Troop D- Capt. Robert N. Boyd; Troop F- Capt. John Lucas; Troop H- 1st Lt. Joseph Brooks; Troop I- Capt. Patton Jones Yorke; Troop K- 2nd Lt. William Hughes; Troop M- Capt. Moses M. Malsbury; As for the three companies not present with the regiment, Troop E was detailed from the regiment on June 29 for provost guard duty in Frederick, Maryland, Troop G was in Washington being refitted, and Troop L was detailed as escort for Sixth Corps Headquarters.” The 1st NJ Regiment Cavalry (16th Volunteers) was organized at Trenton as Halsted’s Cavalry. They helped in the early defense of Washington, D. C., until May, 1862. They would then see action in numerous engagements including the Battle of Cross Roads, in operations about Orange Court House, the Battle of Cedar Mountain, with Pope’s Campaign in Northern Virginia, at Brandy Station, Bull Run, the Battle of Fredericksburg, in the Chancellorsville Campaign, the Battle of Gettysburg, as well as in numerous skirmishes and other major battles through close of the War. (Their record is quite distinguished; books have been written on their exploits.) They were present at Appomattox Court House and witnessed the surrender of Lee and his army. [Note: this lot also comes with a sixth-plate daguerreotype of Yorke’s mother, one of the combatants pictured. It is from his estate both photographs originate.] This is an exceptional photograph; to repeat an oft overused phrase so very true in this instance, “worthy of the most sophisticated collection.” (Est. $6,000-8,000)

315. Enjoying a drink before going back to battle. A GREAT quarter-plate cased tintype housed in gutta-percha with red velvet liner. A stunning presentation of comrades off to battle, one holding a whiskey bottle another with glass in hand. One in back wears what appears to be a Zoave jacket, one small area of loss at bottom center, overall quite a fun study. (Est. $300-500)

316. An unusual quarter-plate tintype: a painting of Arlington House (a.k.a., the “Custis-Lee Mansion”), dated on verso 1862. A Greek revival style mansion built by George Washington’s step-grandson on bluffs overlooking the Potomac River, the home is directly across from the National Mall in Washington, D.C. Home to Robert E. Lee prior to the outbreak of war, Federal forces occupied the property within a month pf Fort Sumter. It was used as a headquarters for officers supervising some of the forts that were part of the defenses of Washington. By 1864, the military cemeteries of Washington and Alexandria were filled with Union dead; Meigs chose Arlington as the site for a new cemetery. Meigs, a Georgian who had served under Lee and considered him a traitor, ordered that graves be placed just outside the front door of the mansion. (Meigs himself supervised the burial of 26 Union soldiers in Mrs. Lee’s rose garden. In October, Meigs’ own son was killed in the war, and he too was buried at Arlington.) Neither Robert E. Lee nor his wife would ever set foot on the property again. The government confiscated the mansion “legally” charging that property taxes had gone unpaid. In 1882, the Supreme Court awarding Lee’s son Custis compensation for the house and 1,100 acres. One small area of emulsion loss at bottom left, usual light bends. Quite a special, period photographic souvenir! (Est. $700-900)

317. Ready for battle…with Old Gloryin the background! A lovely quarter-plate tintype of a double armed Union cavalryman. Gold accents, great detail. We wish we had the patriotic flag tacked to the wall (note the great design). A superior hard-image!

(Est. $1,500-2,500)

318. A sixth-plate horizontal cased tintype of three members of Company D, 30th Reg., gold and red accents, a fun group portrait. (Est. $200-300)

319. Sixth-plate cased tintype of two rather young men cavalry men (note the boots!) posed in a studio before heading back into the field. Possibly Confederate? (Est. $200-300)

320. A handsome sixth-plate cased tintype of a Union infantry officer with his sword. Great gold detailing, his cap adorned with a bugle, patriotic flag detailing on front of case. (Est. $300-400)

Union drummer boy ambrotype!

321. An evocative sixth-plate ruby-red ambrotype of a full standing, young Union drummer boy who is perhaps not more than seventeen years old. This young man is ready to beat on the well-worn drum head calling his comrades to quarters. Housed in a full leatherette case with the imprint of Willard, Philadelphia on the velvet cushion. Light solarization affects the outer perimeter of the image, else very good.
(Est. $1,500-1,800)

Native Americans fight for the Union!!

322. A superb set of four (4) sixth-plate tintypes including a scarce and wonderful image a pair of American Indian soldiers in a cavalry unit posed seated with their regimental hat both bearing a number “1” above the saber insignia. Gilt accents have been added tot their coat buttons and a hint of rouge to the cheeks. Another image shows two other Indians seated in three-piece suits, one of whom is wearing a veteran’s medal. Offered together with two other tintypes of family members. All four are housed in ornate brass mats and gutta-percha cases. Considering that only 3,600 Native Americans served in the Union Army during the Civil War, these are particularly rare and desirable photographs. A terrific group of arresting images. (Est. $2,000-3,000)

323. A sixth-plate cased tintype of a Union private seated with his pipe at the ready. Quite a studious visage, light tinting to cheeks, cannon and flag patriotic brass matte enhances the presentation. (Est. $150-250)

324. Sixth-plate cased tintype a Union infantryman in a four-button sack-coat with his pork-pie hat on table. Blue tinting to trowsers, red tinting to cheeks, quite nice. (Est. $150-250)

325. A sixth-plate cased tintype of a New York or Pennsylvania infantryman, buttons detailed in gold, red tinting to cheeks, slight bends, check out that huge beard! (Est. $150-200)

326. Perhaps the scarcest branch of the service documented in the Civil War. A fine, sixth-plate, cased tintype of a Union Signal Corps officer. Those in this branch of the service are quite rare as very few served and even fewer were photographed. An excellent example. (Est. $600-800)

327. Union Soldier. A good sixth-plate tintype of a steady Union soldier. With a touch of rouge to cheeks and gilt highlights to buttons. Some surface scratches and bends. Housed in a brass mat and gutta-percha case. (Est. $200-300)

328. Sixth-plate tintype of a Union chasseur (named after the French light infantry/cavalry), his arm resting on a flag-draped table. We believe he is either a member of the 18th Mass. or the 83rd Pennsylvania. (Est. $300-500)

329. A fine, sixth-plate tintype of a seated Union soldier, his revolver in belt. With gilt accents to buttons on breast and cuffs. A fine Civil War portrait. (Est. $150-200)

330. A Confederate in Uniform! Sixth-plate tintype of a CSA private wearing a coarse woven battle shirt. Great. (Est. $300-500)

331. Another Confederate… a great ambrotype!< Sixth-plate of a well-dressed Confederate soldier wearing what we believe to be an early Confederate regulation double-breasted frock coat with black collar and cuffs. He is also wearing a handsomely tailored black vest that gives him the appearance of perhaps being an important staff officer. Light speckling, otherwise very sharp. Housed in a damaged, but original thermoplastic case. A classic Confederate image! (Est. $1,000-1,500)

332. Union Naval officer tintype. A fine sixth plate tintype of a seated Union naval captain, expertly accented with gold to the buttons and watch fob. A warm, deep image. Housed in a Union thermoplastic case with simple brass mat. Great composition! (Est. $500-700)

333. Identified Union Deserter. A fine sixth-plate ambrotype, a full-length portrait of Private William White of the 11th Massachusetts Infantry. Records indicate that White, a Boston shoemaker, enlisted on June 13, 1861, and before he could even see action, he deserted — June 29, 1861, the day the regiment headed off for Washington. This was probably a smart move on White’s part as the 11th Massachusetts suffered 88 casualties including 21 dead at First Manassas. Housed in an ornate bras mat. A fine, richly detailed image with only a hint of solarization at center. (Est. $200-400)

334. A fine, sixth-plate tintype of a Private Henry B. Manley of the 58th Massachusetts, kepi in lap, with his civilian friend, circa1864. Manley, a native of New Bedford, first enlisted in the Navy and served from 1861 to 1863 on the U.S.S. Ohio and U.S.S. James L. Davis. In March 1864 he enlisted into Company E of the 58th Mass. seeing action at the North Anna, Petersburg Crater, Poplar Grove Church and the general assault on Petersburg in 1865. Some rouge to cheeks, overall a very fine image. A great, identified portrait. (Est. $150-300)

335. A fine and VERY EARLY 1/6th plate daguerreotype of a militia sergeant from the 1840s-early 1850s. The young officer poses in his quite impressive uniform. Some typical solarization at edges, a few spots, overall handsome. (Est. $600-800)

336. Ninth-plate cased tintype a Color Sergeant striking a rather Napoleonic pose! Color detailing, case top detached, overall a lovely portrait. (Est. $200-400)

337. Ninth-plate cased ambro a Union infantryman in a nine-button shell jacket. He appears a little glum…can’t imagine why! (Est. $150-200)

338. Ninth-plate cased tintype a Union soldier with his pork-pie hat (mmmm…pork-pie!!), and, if you look closely, you will note this fellow is completely cross-eyed! A fun one. (Est. $150-200)

339. Cased ninth-plate ambrotype of a Union private housed in a patriotic “Constitution and Union” brass mat. A handsome, young combatant. (Est. $150-200)

340. Ninth-plate cased tintype a young soldier wearing his shell jacket and what appears to be a fatigue hat. Lacking top of case, light red tinting to cheeks, nice. (Est. $80-120)

341. Ninth-plate tintype of a Confederate private in a seven-button shell jacket with tinted blue collar and cuffs. Gold detailing to buttons, light red tinting to his youthful cheeks. One light emulsion scratch across center detracts little. (Est. $500-700)

342. Ninth-plate cased tintype New York State militiaman with a rather sizable knife (Bowie?) tucked into his coat. Light bend at extreme top, a handsome young combatant. (Est. $150-250)

343. Suprised Union Corporal. A sixteenth-plate tintype, a chest-up view of a somewhat mesermized Union corporal. Housed in a brass mat and gutta-percha case. (Est. $200-300)

344. Wisconsin cavalryman tintype. A sixteenth-plate tintype, a bust image of a Union cavalryman. Attributed on verso to be a member of Company L of the 2nd Wisconsin Volunteer Cavalry, also known as the Eau Claire Rangers. Housed in a hand-carved wood frame (4 x 4”) and an ornate paper mat. (Est. $300-400)

345. Tintype plate, 2 1/2 x 3 3/4”, of General Ambrose Burnside. Light surface abrasions and scratches as shown. Quite different in this format, would make a fine display item if properly cased behind matte and glass.(Est. $150-300)

346. Armed Union Soldier. A great quarter-plate tintype of a Union infantryman standing at attention with gun and fixed bayonet. Light typical surface abrasions. (Est. $200-300)

347. A sixteenth-plate tintype in a CDV mount of a Union soldier bearing two revolvers crossed before his chest wearing an “Iowa Caton”. Identified on verso as “William Tharp” With slightly tined cheeks, a few minor abrasions to image, else very good. (Est. $300-500)

348. Identified Union Soldier Tintype and CDV’s. Traitorism<” which resulted in “flogging and banishment” to lesser offenses like “smoking…swearing…Lethargy…and cowardice” which could lead to confinement in the guard house down to a simple “rebuking“. Also offered together with a history of the 126th regiment, a book entitled A Sketch of the 126th Regiment P.V. (Chambersburg, 1869); 89p. The 126th was organized in July 1862, served in the reserve at Anteitam, but suffered heavily at Fredericksburg where it participated in Humphrey’s ill-fated charge on Marye’s Hts. (Est. $200-400)

349. Identified Union Soldier. Sixth-plate tintype of two Union soldiers, one a corporal, the other a private. The corporal is identified as John A. Shepherd of the 10th New York Cavalry. The 10th saw action at Fredericksburg, Gettysburg, St. Mary’s Church Deep Bottom, Dinwiddie Court House and Sayler’s Creek. Offered with Shepherd’s 1905 replacement discharge. Housed in an ornate brass mat. A fine photo. (Est. $300-500)

350. An Abbott tintype of “Col. Cameron, N.Y. Highlanders – Killed at Bull Run.” A heroic figure from the first major engagement of the Civil War – the disastrous First Battle of Bull Run (a.k.a., First Battle of Manassas) July 21, 1861. Sherman’s 79th NY was under the command of Col. James Cameron, brother of Sec. of War Simon Cameron. Upon the regiment’s charge on the Henry House, Cameron was mortally wounded and became one of the first martyrs of what proved to be a long conflict. A pristine example. (Est. $100-200)

Thermoplastic “Union” Cases

Thermoplastic, or “Union” cases, date to the early 1850s through the mid-1860s. Made to house photographs – primarily dags, ambros, and later a few tins – these delightful works of art rapidly became quite collectible on their own. Design themes range from patriotic and historical portraits to quite light-hearted, whimsical motifs. They were manufactured in standard sizes to house photographic plates that were likewise of established sizes. Occasionally you will find cases that house interior partitions to accommodate several photographs for an entire family. The standard reference source to consult (catalog numbers cited in descriptions that follow) is Nineteenth Century Photographic Cases and Wall Frames by Paul K. Berg. (Second edition self-published in 2003.) And, as Berg writes, something to remember that often leads to confusion: “(When) discussing the thermoplastic case makers it is necessary to explain the term ‘gutta percha.’ The collector will inevitably be told that the thermoplastic (hard) case is made of gutta percha. This is not true. No known photographic case has ever been proven to have been made of this substance. Gutta percha is the sap of a tree which grows in the tropics especially in the southwest Pacific islands. It is very similar in appearance and feel to the thermoplastic composite of the miniature case, but gutta percha is a rubber which when softened by heat, becomes quite moldable (hence the term “plastic” was used to describe it) and when hardened by cooling, becomes solid and acid resistant. Thermoplastic on the other hand is not of a rubber base.”

351. A rare, gorgeous case: “Two Lovers Going to the Well.” (Berg #1-16) The interior houses partitions to accommodate two ninth-plates and three 1/16th plates. Cataloged as “Very Rare,” this example is enjoys a deep violet liner and is in excellent condition save for one very small chip on bevel of spine that is hardly noticeable. Lovely. (Est. $500-750)

352. Another fine case: “Children Playing with Toys.” (Berg #1-48) The interior houses partitions for two ninth-plates, deep violet liner, excellent. (Est. $200-300)

353 . “First in war, first in peace…” One of the more elegant thermoplastic cases: “Washington Medallion, Four Stars.” (Berg #1-73) Sixth-plate, deep purple liner, one barely noticeable tiny chip at edge of one corner else quite excellent. (Est. $300-400)

354. “Constitution and the Laws.” (Berg #1-56) Sixth-plate, dark blue liner, one barely noticeable tiny chip at edge of one corner else quite excellent. (Est. $150-200)

355. “Rebekah at the Well.” (Berg #1-85) Sixth-plate, dark violet liner, one very small chip at edge of one corner else quite excellent.

(Est. $150-200)

356. “Rebekah at the Well.” (Berg #1-85) Sixth-plate, purple liner, typical rubbed condition, slightly cockled when closed. (Est. $100-150)

357. “Lady with Falcon 2.” (Berg #1-113) Sixth-plate, dark green liner, extremely fine condition. (Est. $150-200)

358. A double-sixteenth plate case: “Children Playing With Toys.” (Berg #1-165) Ninth-plate, dark purple liner, a few minor chips at extreme edge/corners impacts the presentation little — a great, and quite rare thermo case. (Est. $200-300)

359. “The Blind Beggar 1.” (Berg #1-161) Ninth-plate, purple liner, a few minor dings at edge of perimeter detracts little. (Est. $80-120)

360. “Mary Had a Little Lamb.” (Berg #1-156) Ninth-plate, red liner, a few minor chips at very edge/corners doesn’t detract. (Est. $80-120)

361. “The Ballerina.” (Berg #1-154) Ninth-plate, purple liner, absolutely superior condition. One of the prettier cases of the era. (Est. $200-250)

362. “Shield, Flags, and Cap.” (Berg #1-127) Ninth-plate, deep red liner, absolutely clean, smooth condition. A great, patriotic case that displays quite well. (Est. $150-200)

363. Three (3) magic lantern slides, early wooden frames with rimmed bevel, with great hand-colored scenes. One we believe to be Antietam, one seems to present Winfield Scott on his triumphant march into Mexico City, the third a battle as viewed from the Confederate side. A pretty group. (Est. $200-300)

364. Three (3) “American Civil War” magic lantern slides, early wooden frames, partial paper labels on rim detail: “Battle of Lookout Mountain, 1863”; “New Orleans”; and the firing on Fort Sumter. (Est. $200-300)

365. Three (3) “American Civil War” magic lantern slides, early wooden frames, partial paper labels on rim detail: “The U.S. Cavalry Through the Village of Fairfax Court House”; “Fort Pulaski at the entrance of the Savannah River”; and “Defenders of the Union in Council.” Lovely hand coloring, great action studies. (Est. $200-300)

366. Teaching the Lincoln story to those whippersnappers right before the Depression! A good set of 23 glass lantern slides by Keystone produced for the New York State Education Dept. Visual Instruction Division, circa 1920s. They present imagery related to Lincoln and his times. Includes slides of Lincoln and his first cabinet, the Lincoln store at New Salem, the statehouse at Springfield, the Lincoln birthplace, political cartoons, and other visual aids for teachers. One slide bears a crack, the others appear to be intact and in very good condition. Housed in its original case from the Keystone View Co. of Meadville, PA. A fun group…set up a show of your own! (Est. $200-300)

A remarkable piece of black Americana and photographic history.

367. A superb and quite rare mounted albumen, 8 x 6″, of members the Louisiana Native Guard learning to read at Port Hudson, Louisiana in 1863 at a school set up for the benefit of the soldiers and other freedmen. One of the first all-black units in the Civil War, the Louisiana Native Guard was formed after the fall of New Orleans by Benjamin Butler on September 27, 1862. Composed primarily of free blacks from New Orleans, the ranks soon began to swell with escaped slaves from the surrounding countryside necessitating additional regiments, all of which were commanded by Col. Nathan W. Daniels, whose diary of his service was published in 1998. The regiment, whose historical significance is as great as the fabled 54th Massachusetts, consisted of all-white field grade officers, all-black line officers as well as enlistees. When Nathaniel Banks replaced Butler as Commander of the Department of the Gulf, he attempted to systematically purge all black line officers with only limited results. On May 27, 1863, the regiment participated in the first assault at the Siege of Port Hudson. Soon afterwards, the regimen was dissolved and folded into the Corps d’Afrique. That too was later dissolved, becoming part of the 73rd and 74th United States Colored Troops in 1864. This rare, arresting image shows a large group of enlisted men (including several corporals) holding books (some sharing) obviously posed for the camera. At center, a white officer stares at the camera while holding a book open for the benefit of two black enlisted men looking over his shoulder. A testament to the pervasive racism in the Union army, almost all of the white officers stand (save for a young boy, possibly a servant) at the far left while the blacks soldiers stand toward the right. Also note the high-ranking field officer with the double-breasted coat and saber in hand. A truly brilliant image capturing a critical period in the lives of many of those shown: recently freed slaves now being empowered not only with guns, but with words. Photographer unknown, one extant copy of this image is known to be housed in the Chicago History Museum, but we have yet to encounter any other exmaples. Small cut to emulsion at right, a few toned spots, else a fine crisp image. (Est. $4,000-5,000)

Gardner’s little joke?

An unpublished photo of “Mosby’s Men!”

368. A rare and likely unpublished mounted albumen 9 x 7″ on Alexander Gardner’s own titled mount (10 x 8 1/2″) entitled “Poleka” showing a coach, filled with men (many of whom appear to be drinking), stuck in the mud. Mounted to a 10 1/2 x 16″ album page bearing several printed clippings of poetry and news together with decorative details cut from greeting cards. One of clippings is a news item about this very photo exhibited in his Washington studio. Entitled “A Party of Mosby’s Men<” the clipping reads: “Gardner, the photographer, has at his gallery an ‘instantaneous picture’ of a body of men attempting to escape in an omnibus. It is supposed that they were a portion of Mosby’s men. The artist was in ambush. The party was stuck in the mud and are represented in the picture as being in the act of extricating the ‘buss’ from the mire. The picture was taken yesterday in Virginia, not many miles from this city. Detectives might recognize some of the faces by looking at the photograph. We have not yet heard of any depredations committed by the party in the vicinity, although some of them were last seen coming from the residence of a widow lady. The picture certainly represents the gang as a very ruffianly-looking set of fellows.” Obviously a goof by Gardner, the photo shows the horse-drawn omnibus which ran between Alexandria and Washington (which can be seen on the left side of the coach) run by one John T. Price. Also note that everyone visible either has a bottle or tin cup in their hands (and that ain’t cold water!). A wonderful photo not published in his monumental Photographic Sketchbook of the War (1866), nor have we found it reprinted anywhere else. Light vertical creases, extremely light toning at top, else very good condition. (Est. $800-1,200)

369. A gorgeous photo presenting Philip Sheridan and his Staff, the group posed on the front porch of a mansion. An exceptionally detailed, resonant mounted albumen, 12 x 9″ overall. A few non-consequential foxed spots, else quite bright and clean. The portrait had been taken by the great Mathew Brady; this would appear to be a first-generation print. (Est. $1,200-1,500)

370. Fort Richardson. An excellent 1861 mounted albumen from Brady’s Incidents of the War, 16 x 12” overall. On titled mount. Mount foxed some light toning, else very good. (Est. $400-500)

371. Libby Prison. A fine mounted albumen 11 x 9″ overall, from the War for the Union Photographic History series with explanatory text in margin. Published by Taylor & Huntington, Hartford. A superb, crisp image. (Est. $400-600)

A Collection of HUGE, Mounted Albumen Photographs.

[Note: The albumens in each of the following nine lots, made from negatives by Mathew Brady, measure approximately 9 x 13″ mounted onto 16 x 20″ boards. Many of the boards have chips and edge loss, some with moderate age/foxing, light dampstains, most of which can easily be remedied.]

372. Schulyer Colfax, who presided as Speaker in the House during the passage of the 13th Amendment only to be besmirched by CrÈdit Mobilier, presented here in an enormous mounted albumen, 9 x 13″ on a 16 x 20″ mount, the largest we have encountered. And he looks just soooo innocent here! Extremely light foxing, minor corner chips to board, can be cleaned. (Est. $250-350)

373. “The Magician”, America’s first true professional politician, Martin Van Buren. (Est. $150-250)

374. Van Buren’s former colleague in Andrew Jackson’s cabinet, and 1848 presidential candidate, Lewis Cass. His 1848 nomination espousing popular sovereignty split the Democratic party, prompting anti-slavery Democrats to combine with the Free Soil Party. (Est. $150-250)

375. Garrett Davis, the Kentucky Whig who assumed the vacated Senate seat of John C. Breckinridge (who had been expelled from the Senate in December, 1861). (Est. $150-250)

376. James Buchanan’s Sec. of State, Jeremiah S. Black, who despite his denunciation of secession and advice to reinforce Fort Sumter, argued that a state could not be legally coerced by the federal government: compounding the confused policies of that disastrous administration! (Est. $150-250)

377. Fitz John Porter, the Union general who was dismissed from the army for insubordination during Second Bull Run and spent the remainder of his life in an effort to clear his name shown here seated in a very large mounted albumen. (Est. $250-350)

378. The man who really made the Union victory possible, Quartermaster General Montgomery C. Meigs, who’s logistical genius made the enormous campaigns of Grant and Sherman a reality. (Est. $250-350)

379. One of the “Fighting McCooks”, Alexander McDowell McCook who saw action at First Bull Run, Shiloh, Perryville, and Chickamauga. (Est. $250-350)

380. James B. McPherson, the career officer who would rise to major general before his death at the hands of Confederate sharpshooters at Atlanta. (Est. $250-350)


381. An view of the Second Corps Hospital at Brandy Station, 1864, by Alexander Gardner, an unmounted 9 3/4 x 7 1/2” (see Plate 54 in the Sketch Book<). Light marginal chipping, else fine. (Est. $150-200)

382. Another alternate view of the Second Corps Hospital by Garnder, a bit darker, and more people standing to pose for the camera than the former. Right margin irregularly cut, else fine. (Est. $150-200)

383. Poplar Grove Church, 1865. An original by Timothy O’Sullivan for the Gardner Sketch Book (Plate 74), an unmounted albumen, 8 x 9 1/2″ of the spectacular wooden church constructed in 1865 by the 50th NY Volunteer Engineers near Fort Fisher in North Carolina. Mounting remnants on verso, else fine. (Est. $150-200)

384. Mounted albumen with ornate border, 9×10” overall by Alexander Gardner from his famous post Civil War series “Memories of The War.” Entitled “Ruins of Danville Railroad Bridge Across The James, at Richmond – View From The Manchester Side 10th April 1863.” The image was published by Philip & Solomons, Washington. Minor foxing/dampstains, one spot on right side of mount does not detract from image. (Est. $200-300)

385. A terrific collection of gem-sized albumens, all mounted in a mid-nineteenth century leather bound autograph book kept by a student or faculty member at Union College in Troy N.Y. The album features a CDV sized mounted albumen of the martyred Elmer Ellsworth. The book also includes portraits of Henry Ward Beecher, William Seward, Millard Fillmore, Benjamin Butler, Edwin D. Morgan, Col. Elias Peissaer of the 119th N.Y. (K.I.A. at Chancellorsville) together with other portraits of students and faculty at Union College. Pages bear light foxing, but otherwise are quite clean, overall very good to fine. (Est. $400-500)

386. The Civil War in Photographs. A set of nine (9) mounted photographs, circa turn-of-the century, measuring between 12 x 10″ to 11 x 14″ overall (including mount), likely from a regional museum exhibition The larger examples bear a hand-written legend below interpreting the image. Includes several reproductions of Brady and Gardner photographs including some from the U.S. Government’s “War Views” series including an arresting image of a dead Confederate soldier at Spotsylvania, May 19, 1864 together with views of fortifications, camps and grave diggers. Marginal chipping to mounts with some loss, else very good. (Est. $1,000-2,000)

387. Large mounted silverprint by B. Williams, and published by Thomas W. Bicknell , measuring 11 x 13″ of 2nd Rhode Island Regular division departing for war. On verso inscribed “Exchange Place, Prov. R.L. 2nd R.L. Reg.going to War, in 1861 T.W.B 1920.” In pristine condition. (Est. $100-200)

388. A lovely Lincoln tribute – an original albumen affixed to a cover mailed in 1933 with a Lincoln 4-cent canceled stamp. The ca. 1865 photograph is gorgeous…a pristine, detailed, quite rich example. (Est. $200-400)

389. A bit of ephemeral, photographic history: a cover from the Tipton Gallery in Gettysburg. Photographer William H. Tipton was a Gettysburg native, born in the town in 1850. As a teen, he worked for the studio belonging to Charles J. Tyson, eventually taking over the gallery. The two created a huge catalog of photographs documenting scenes and monuments on the Gettysburg battlefield, selling to tourists and veterans. His depictions of the monuments are often the earliest documented views. (OPEN)

390. “The Birch Row Lincoln.” A fine edition issued by The Curtis Studio of New Haven, numbered 155 of 500. 9 1/2″ x 12″, two residual tape marks from mat at top, handsome. (Est. $100-300)

391. A fine example of Brady’s portrait of Lincoln at Antietam reproduced from the original negative. A black-and-white photograph (#44) – most likely printed in the mid part of the 20th century. This wonderful photo by Mathew Brady shows Lincoln visiting the battlefield, October 2, 1862, towering over Generals McClellan, Hunt, Porter and others. Nice clarity and detail as is the case with most of these quality prints. Comes with Meserve’s original paper legend. Housed in a simple frame with blue matting and ready for display. Vintage prints bring $8,000+, this loveley example from the same plate should well be worth… (Est. $600-800)

392. A huge, Lincoln silver print photograph, #O-71, measuring 14 x 16″. It is framed to 24 x 28″ overall and is detailed with imprint by Moses P. Rice, Washington, D.C., 1901. Rice worked for Alexander Gardner and used the studio’s negatives at the turn-of-the century to issue cabinet card and larger-format studies. Superb tone and detail, some scattered nicks and surface abrasions as shown, but still a fine presentation. We have to believe the presentation can be helped by a conservator doing a little in-filling. The same photo with Rice’s imprint in a much smaller cabinet card format sells for about $1,500…hard to guestimate this one! (Est. $2,000-2,500)

393. Beautiful copies of the large format Hesler photographs in virtually mint condition. These silver prints were published from the original negatives by noted photograph and manuscript dealer King V. Hostick in 1956. The original photographs were taken by Alexander Hesler in Springfield, on June 3, 1860, while Lincoln was campaigning for the presidency. In 1866 Hesler’s studio passed into the hands of George B. Ayres. A year later he sold the studio and moved East, taking the original Lincoln negatives with him. (Five weeks later the studio burned to the ground!) Ayres left the negatives to two daughters, and in 1932, a Philadelphia lawyer accepted them in lieu of a debt on the estate of one of the daughters. When the attorney attempted to send them by mail to St. Louis, the negatives broke. They were subsequently sent to the Smithsonian. These were believed to be the only existing plates until the fall of 1952 when Hostick found a duplicate set of negatives in an assortment of effects he bought in Philadelphia from the Ayres’ estate. The 9 x 12 ” photographs have been removed from the original non-archival (acidic) boards and retain Hostick’s mattes with imprints, all backed by new archival boards and framed to 20 x 24″ overall. Printed legend details “From original negative of Abraham Lincoln owned by King V. Hostick, Springfield, Illinois. Copyright 1956 King V. Hostick – Herbert George Studio, Springfield, Illinois.” The last pair we had were the medium folio, 7 x 9″ examples, selling last year for $5,500. A really fine set getting increasingly difficult to source. (Est. $1,500-2,500)

394. A huge archive of photographs made from the original negatives. A sizable holding privately issued by the great collector Frederick Hill Meserve. Widely recognized as “America’s first great collector of photography,” Meserve (1865-1962) was a New York textile executive who began to search for Civil War photographs in the late 1890s to illustrate a book about his father’s experiences in the Union Army. His “collection” was greatly expanded (talk about an understatement!) when he purchased the negatives of Mathew Brady that had been surrendered in a bankruptcy to the photographers E. & H.T. Anthony. Some 10,000 Brady plates were obtained by Meserve in 1902; his acquisitive pursuits were only wetted. (Pun intended…wetted…plates…wet-plate negatives…get it? Sorry!) He was an aggressive collector – evidenced by a single purchase in 1918: 75,000 photographs of theatrical personalities. His collection of Lincoln photographs became the cornerstone of all Meserve’s labors. He issued privately-printed collections documenting all known images of the martyred president. His silver prints made from negatives he owned were coveted by those in the first half of the 20th century; they are even more desired today. Included in this quite impressive collection: Lincoln and his cabinet: 4 photos of Lincoln (three alone and one with Tad Lincoln); 2 photos of Mary Todd Lincoln; Caleb B, Smith; Edward Bates; William Pitt Fessenden; Montgomery Blair; Gideon Welles; Edwin M. Stanton; Salmon P. Chase; William H. Seward. Statesmen: Stephen A. Douglas; Hannibal Hamlin; Gerrit Smith; Charles Sumner; Hamilton Fish; James Bayard; Frelinghuysen; Daniel Webster; Benjamin F. Wade; James Buchanan; Franklin Pierce; Andrew Jackson; George Washington; George Washington from the Peale Portrait; Millard Fillmore; Andrew Johnson. Navy: Commodore Foote; David D. Porter, Rear Admiral; Commodore Matthew Calbraith Perry; Samuel Dupont; Charles S. Boggs, Rear Admiral; Charles Wilkes; David G. Farragut, Vice Admiral. Army: Carl Schurz; 2 of Major General John Adams Dix (whom Fort Dix is named after); Fitz John Porter; Colonel William F. Baldy Smith; George G. Meade; General John Logan; Henry Warner Slocum; George H. Thomas; Franz Siegel; Benjamin F. Butler; Colonel Elmer E. Ellsworth; Francis E. Brownell (the Avenger of Ellsworth); Major General James B. McPherson; General Irvin McDowell; General Ambrose Burnside; Major General John Sedgwick; William S. Rosecrans; George A. Custer; W. G. Brownlow; James A. Garfield; Daniel Edgar Sickles; 2 Philip H. Sheridan; 2 W.T. Sherman; Ulysses S. Grant; Mrs. Grant; Nathaniel P. Banks; George B. McClellan; Major General Joseph Hooker; 2 Winfield Scott Hancock. Confederate: Jefferson Davis; Mrs. Jefferson Davis; General James Longstreet; General Joseph Wheeler; General Lee’s son and Colonel Thomas Taylor; Herschel V. Johnson; Commander James D. Johnston; Admiral Raphael Semmes; Belle Boyd (Le Belle Rebelle, Confederate Spy); together with 7 photos of Ft. Sumter. Literary: Henry Ward Beecher (Brother of Harriet Beecher Stowe); Henry Longfellow; Nathaniel Hawthorne; Oliver Wendell Holmes; Ralph Waldo Emerson; Charles Dickens; William Cullen Bryant; Horace Greeley; Harriet Beecher Stowe. Miscellaneous: Edwin Booth; Victoria and The Prince and Princess of Wales; 2 Victoria alone (sitting and riding atop a horse); Commodore Cornelius Vanderbilt (built wealth on shipping and railroads); William Henry Venderbilt (Son of Cornelius, businessman); The Bone of Contention (a racist cartoon from around 1860 and labels slavery “the bone of contention” between the North and South and portrays an African American with the word “Slavery” on his head as happy); Kate Chase (daughter of Salmon P. Chase); D.F. Tiemann, Mayor of New York; Chang and Eng (Siamese twins); Thomas Nast (editorial cartoonist); Victoria and Prince Albert; Queen Victoria with child; Peter Cooper (founder of the Cooper Union for the Advancement of Science and Art and first manufacturer of gelatin); William Gladstone; Samuel F.B. Morse. There are also several loose, unmounted photographs including 6 of Abraham Lincoln, 4 photos of the conspirators in their assassination, one on the day of their hanging. The photos, with the exception of the execution photo, are stamped from the “Negative in the possession of F.H. Meserve, 265 Edgecomb Ave., New York, NY.” This archive also includes a small group of related ephemera including: an original advertisement for Meserve’s book “The Photographs of Abraham Lincoln” (8p. with a lovely sepia-toned photo of the President); a black and white photo measuring 8 x 10″ of a seated Lincoln, stickered on verso “Meserve No. 87, reduced slightly from the photograph made by Brady in Washington, Feb., 9, 1864.” Also, a program honoring Meserve’s 80th birthday thrown by the Civil War Round Table of New York on Nov. 1, 1953; a 1908 Christmas greeting with a photo of a Lincoln bust; a postcard with a photo of Lincoln. The back has a pencil notation dated “Lincoln in 1864” with Meserve’s notation of ownership, 1909; and much more. A great opportunity to obtain a huge collection of photographic history. (Est. $10,000-15,000)

395. A rare edition of Fredrick Hill Meserve’s The Photographs of Abraham Lincoln. Supplement Number One. (New York: Privately Printed, 1917) 7p. 8.5 x 11″, in titled wraps. Limited edition of 102 copies. A continuation of his monumental 1911 work, the slim volume contains eight carte-sized silver prints of Lincoln numbered 101 to 108 and includes a seldom seen image of Lincoln speaking at Independence Hall on February 22, 1861 en route to Washington and the better known image of Lincoln seated in a tent with McClellan. A great rarity — we have seen editions sell as much as $1,500. Pages and photos very clean, some minor toning to covers, else very fine. (Est. $800-1,200)

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