Price: $3,500.00

Post-assassination carte of John Wilkes Booth, with caption reading "John Wilkes Booth/The supposed assassin of President Lincoln, on/Friday night the 14th April 1865"

Booth cartes are rather rare as people destroyed them after the assassination.

Carte has some edge soiling. Framed, with black mat.

	Price: On Request

This drawing was done by a Frenchman named Pierre Morand, who moved to the United States and became acquainted with Abraham Lincoln after the Civil War began. Although not a professional, he made several endearing (and enduring) sketches of the president, because “In life Mr. Lincoln’s features and movements impressed me so vividly.”  Among them were:  Lincoln at the Soldiers' Home just outside Washington, where the Lincolns spent the summer months; leaning against a tree reading a paper in 1864; another showing him carrying a satchel, walking from the Executive Mansion with his wife, Mary, perhaps going up to the Soldier’s Home; and a number of various informal poses of Lincoln during June, 1864.

Famously, Morand had contravened Secretary of War Edwin Stanton’s orders and sketched Lincoln in his coffin, probably bribing a guard to do it.  He produced a well-known outline pencil sketch, around 2am in the morning of the April 25th.  Back in his studio, he produced an intermediary rough ink portrait that was followed by this much more elaborate and detailed “Finished Drawing,” which has a high Victorian feel to it.

Morand had sketched Lincoln enough times “from life” that he was able to capture the essence of the man in death.  Lincoln’s animated features are stilled and at rest, as only death can bring.  Eyes closed and his face in its death pallor, his head makes an impression on the tasseled pillow beneath.  Dressed in his usual suit, with his bow tie straighter than normal and a slight wrinkle in his shirt, numerous flowers are draped around the coffin.

	Price: On Hold

Middleton is widely regarded as one of the pioneers of chromolithography in America.

Bust portrait of Abraham Lincoln based on O-91.

In ornate, contemporary gold gilt frame. Excellent condition.

	Price: $2,850.00

Gorgeous!  And nice as they come:   beautiful, deep tonality; detailed and clear; emulsion edges can be seen.

Previous mounting remnants at the very bottom of the mount -- off the albumen – could easily be matted out.

	Price: $2,850.00

Ayers had purchased Hesler’s studio and later sold it, taking the glass plates for this sitting with him.  [This image, O-27, is more difficult to find than the more sideward facing O-26 (above)]  In the 1880s, Lincoln’s secretaries, John Nicolay and John Hay, asked to use this pose for a frontispiece, and the image became instantly famous.  Ayers made many copies for sale, but rarely do they come to us this finely sharp and clear.  Of this Lincoln commented that “It looks better and it expresses me better than any I have seen; if it pleases the people I am satisfied.” 

As nice as they come:   beautiful, deep tonality; detailed and clear; emulsion edges can be seen; very sm. ch. at upper right corner. Taken as Republican nominee for the presidency.

	Price: $4,500.00

One of the rmost desirable of all the prints of Abraham Lincoln.

Shortly after Lincoln's assassination, many artists sought to commemorate the fallen President with paintings, statues and other forms of portraiture.

John H. Littlefield, a campaign worker for Lincoln during the election of 1860, commissioned Gugler, then a vignette engraver for the Bureau of Engraving and Printing, to create an engraving from which prints could be created and sold. After two years of labor, the largest life-size engraving of our sixteenth president was produced. The image on the two-by-three foot steel plate, and the prints made from it, capture the distinguished look of one of our nation's most cherished leaders.

The work was a career achievement for Gugler, who went on to form one of Milwaukee's largest printing houses, Gugler Lithographic Company in 1878. Milwaukee is still very proud of her native son; retaining the original plate at the Milwaukee County Historical Society.

Impressive, hard to find in any condition, this one is excellent.

(Entire and Signatures at Click-thru)
	Price: $5,500.00

Alexander Hay Ritchie was one of the leading American engravers of historical scenes; in 1865-66 had engraved a large print based on Francis B. Carpenter’s important painting of "The First Reading of the Emancipation Proclamation Before the Cabinet," (shown above). Perhaps the success of that print inspired Ritchie to paint an image of "The Death of President Lincoln," which he then engraved and in 1868 published as a large print which he hoped would sell as well as the other had.

The image is interesting for its similarities and differences to previous prints. The room appears to be larger and the number of mourners has grown to twenty-six. However, Ritchie said he personally visited the room at Petersen’s and the wall paper, bed, rug and prints on the wall all seem pretty correct. Indeed, the three main prints on the wall all appear to be in their correct locations and they are quite clearly depicted in this engraving). Also shown is a fourth print, as had been described by George Townsend an often flamboyant, and sometimes inaccurate Civil War journalist. Though the number of mourners in Ritchie's image is probably exaggerated, Townsend did list just two less, so perhaps this print is not too far from historically accurate. Certainly the print was praised by a number of people who were at the death scene and no one at the time complained about its inaccuracy. (Our thanks go to Chris Lane of ILAB for providing the above description)

Excellent condition, in original frame, Not examined out of frame.

	Price: $6,500.00

Lincoln lived 14 years in Indiana. Here the young “Railsplitter” is in the field, reading a book he carried during work hours – Lincoln and his father famously fought over this practice.

Each example is a 15 color lithograph with a limited edition of 260 impressions on papier d’Arches.  35 impressions were reserved for the artist of which this is one.     This image was created by Norman Rockwell from his original oil painting commissioned by the Lincoln Mutual Savings Bank of Spokane, Washington.  The lithographs were pulled at Atelier Ettinger in New York during 1976.

	Price: $15,000.00

An expressive and richly-patinaed bust, classic Springfield-era Lincoln image.

Excellent condition.

	Price: $15,000.00

Buberl's bust of Abraham Lincoln is rare. We have never seen or handled another example. Unknown to most collectors of Lincolniana, it is absent from even most advanced collections. An, early, beautiful, and highly detailed rendering of Lincoln the President that preceded the later and more familiar20th century Lincoln sculptures by French, Weinman, Bissell, St. Gaudens and others.

In 1882 Montgomery Meigs, former quartermaster general of the Union Army during the Civil War, was selected to design and build the new Pension Building in Washington, D.C.  This huge structure was designed to administer the pension claims of hundreds of thousands of Civil War veterans.  (Today the Pension Building is a national historic landmark, and is occupied by the National Building Museum.)  Meigs commissioned Buberl to design a 1200-foot long sculptured frieze, or bas-relief, which wrapped around the entire building.  Buberl created 28 different scenes of infantry, cavalry, artillery medical and navy units, as well as quartermaster wagons driven by African Americans.  Meigs ordered that each of these teamsters must be “a plantation slave, freed by war.”  Buberl’s breathtaking frieze is the most monumental Civil War art memorial ever undertaken, and it remains his masterpiece.

Additionally, Buberl sculpted a number of monuments on the Gettysburg Battlefield, including for the 5th, 9th and 10th  N.Y. Cavalry; the 4th N.Y. Independent Battery of Artillery; the 41st, 52d, 54th, 111th and 126th New York Infantry Regiments; and the Cemetery Hill New York State Monument with its wonderful bas relief depicting the death of General Reynolds.  In addition, Buberl designed a number of Confederate memorials, including the A.P. Hill Monument in Richmond, Virginia; the Howitzer Monument in Richmond; the Confederate Monument at the University of Virginia Cemetery at Charlottesville; and the Confederate Memorial in Alexandria, Virginia.

Buberl also sculpted the  bas-reliefs for the President James A Garfield Memorial at Lake View Cemetery, in Cleveland, Ohio, which included the panels of Garfield as “The Educator,”  “The Civil War Hero,” and “The Martyred President.”  His later works include the Soldiers and Sailors Memorial Arch in Hartford, Connecticut (1890), and in New York City the Dewey Triumphal Arch (1899), to commemorate the Spanish American War.

Bearing the foundry mark "H.B.B.CO." surrounded by a diamond-shaped border and the code number "2345." The Henry Bonnard Bronze Company in New York City was one of the great 19th century American art foundries, and the firm cast many of Remington's famous bronze Western sculptures.

A rare and little known bronze by an important American artist, perfect for display on the desk, mantle or shelf.

	Price: $3,500.00

By “lost wax” method, taken from an original bronze of c1917.

A beautiful patina makes this a warm bust for an office or library.

	Price: $4,500.00

On February 11, 1865, Mills made the second life mask of Lincoln, Leonard Volk’s 1860 beardless casting being the first – there never was a “death” mask. 

This casting was made off one of the 15 original castings extant, using the exact same methods and techniques as was used in 1865. 

Extremely detailed: one can almost imagine the eyes abruptly opening and the nose is clearly curved, where a horse had kicked him “out cold” as a youth.  As new.

(Made to order, please inquire about lead time)

	Price: $8,500.00

A beautiful, mid-size bust comparable in quality to the classic Lincoln sculptures by George Bissell. Muller was known for his captivating portrait busts and figures of the common man at work.  Here he captures an imposing Lincoln as president at the height of his power, gazing directly at the viewer.  The bronze possesses a rich, dark patina.

A substantial and impressive piece that we have never offered before.

	Price: $15,500 (price for the set)

A gorgeous piece in which the contemplative Lincoln glances down, in a pose reminiscent of Daniel Chester French’s sculpture of a thoughtful, standing Lincoln.  Nock’s fine modeling, with its exquisite detail to Lincoln’s face, hair and clothing, makes this one of the most lifelike Lincoln bronzes ever made.  Over the last two decades, we have handled only two examples of his Lincoln.

ACCOMPANIED BY: 

Nock’s rare and hitherto unknown matching bronze bust of George Washington.  Clearly made as a match to Nock’s bust of Lincoln, this sculpture portrays Washington as the defiant commander in chief gazing forward with confidence.  The attention to detail, including the sumptuous, three-dimensional ruffling of Washington’s shirt, equals the quality of the Lincoln piece.  Hitherto unknown and unlisted, and possibly unique, we have never seen another example of Nock’s Washington. 

This is a wonderful pairing of the father and of the savior of their country.  Abraham Lincoln idealized George Washington, once saying of the first president: “Let us believe, as in the days of our youth, that Washington was spotless.  It makes human nature better to believe that one human was perfect – that human perfection is possible.”   Later, in his Springfield Farewell Address on February 11, 1861, Lincoln declared that he journeyed to the nation’s capital to face a task greater than the one that confronted his hero, George Washington.

Both have a handsome, dark chocolate brown/black patina.  The surface of each sculpture matches the other perfectly.  each signed “L.F. Nock  Sc(ulptor] and Founder.” 

	Price: $8,500.00

Brilliantly rendered bust of Abraham Lincoln. Romanesque in quality, it dates from the era when Lincoln was beginning to be recognized for his place in American mythology.

Schnittman's first bronze, he would have been around 11 years old when this was cast.

Rich patina and finish, pristine conditon. The only one we have ever seen!

	Price: $26,500.00

Augustus St. Gaudens produced this set, cast for Subscribers to the project of purchasing the original plaster life mask for the National Museum (now the Smithsonian).  Thirty-three subscriber’s (including author Bram Stoker of Dracula fame) obtained either a bronze or plaster casting of the mask and hands – each taken off molds made directly from the original first castings. 

Out of Series: On the rear of the mask and on the cuffs of the hands, the text explains why these were made and, on the mask, the subscriber’s name would appear.  This set uniquely has no name attached to the explanatory description on the back of the mask – only a hole where the next subscriber’s name would be placed, making it an unused, “out of series” set – perhaps the last to have been completed.

	Price: $2,850.00

This cast metal bust of Abraham Lincoln from his Springfield lawyer years.

A great gift for the law school graduate in your family!

It has a rich bronze patina.

	Price: $6,500.00

In full: "I have at last reached Essex Co with family team &c. but am detained from going to Timbucto in consequence of my Waggon (sic) not coming on as soon as I expected. I hope however to get away in a day or two. I shall be obliged myself to return to Springfield in a few days for a while & would be exceedingly glad to see you about the last of this week so that we may make some arrangement before I go back to Springfield. My wife is in feeble hea(lth). Yours in Truth / John Brown." The envelope is addressed: "Mr. Willis A Hodges (Loon Lake) / Merrillsville PO / Franklin Co / NY".

The letter is written to Willis A. Hodges (1801-1890) who, in 1847, founded the abolitionist paper The Ram's Horn, a weekly newspaper published and edited by Hodges, "A free Black born in Virginia, his family moved to New York in the mid-1830s after Nat Turner's rebellion…By the 1840s, Hodges functioned as one of the most outspoken advocates for abolition and equal rights in the State. His abolitionist newspaper caught the eye of Frederick Douglass and John Brown, both of whom contributed articles and funds…the paper reached a peak circulation of 2,500…After the paper ceased publication, Hodges continued to support abolitionist causes, including Brown. It is not known if Hodges was part of the Harpers Ferry planning, but when Brown was arrested in 1859, Hodges burned their correspondence…. The editor may have helped the U.S. army as a scout in Virginia during the Civil War, but the evidence is uncertain. After the war, he was active in Virginia politics during the Reconstruction era and after the Democratic Party regained power in Virginia, he returned to New York in 1876, where he lived until his death in 1890." --from Blackvoicenews.com. At the time of this letter, Brown and his family were settled in a black community founded in North Elba on land donated by the Anti-Slavery campaigner, Gerrit Smith (1797-1879). While there, Brown developed strong opinions about the evils of slavery and gradually became convinced that it would be necessary to use force to overthrow this system.

Brown's ink writing is dark and bold. Overall, a strong letter, with great association interest, from a desirable and uncommon historical figure, whose actions had a profound effect on the South's flight to disunion – both Robert E. Lee and John Wilkes Booth were present at his hanging. Please Note: the letter and cover are framed with what purports to be a couple of strands of Brown's own hair. We cannot verify that alleged fact, so we place no weight on it at all.

	Price: $6,500.00

A spectacular set of Gettysburg topographical maps, published by "Mr. Gettysburg," John B. Bachelder, who "may well be the most influential historian of a single battle in military history" (Thomas A. Desjardin). 

A landscape painter when the war started, Bachelder decided, in his own words, to "wait for the great battle which would naturally decide the contest; study its topography on the field and learn its details from the actors themselves, and eventually prepare its written and illustrated history."   Arriving at Gettysburg just days after the fighting ended, Bachelder immediately began walking the field, sketching the landscape, and interviewing participants, a labor that became his life's work and led him to become the official government historian of Gettysburg.  It was Bachelder who declared the copse of trees "The High Water Mark of the Rebellion"; his best known work was "Repulse of Longstreet's Assault" (and the accompanying descriptive pamphlet, both published in 1870). 

This set of maps, one for each day of the battle, were "Reduced from one on a scale of 200 feet to the inch, deposited in the Archives of the office of the Chief of Engineers. The survey [made in 1868 and 1869] was ordered by Brevet Major General A. A. Humphreys, Chief of Engineers, and conducted under Brevet Major General G. K. Warren, Major of Engineers." Printed in five colors, showing troop movement (red for Confederate, blue for Union), down to the regimental level, on each day of  the battle.  The maps are on 1"=1000' scale, with counters given for every 4 feet of elevation.  Not only are the units marked and terrain detailed, but houses, walls, and fences are depicted, and whether they were wood, brick, or stone.  

An amazing, truly historical source on the greatest battle every fought in the Western Hemisphere, officially commissioned  and endorsed  by men who were there, and produced by the single most important Gettysburg historian of all time.

Each map is bisected by fold marks, both vertically & horizontally; July 1 map lt. soiled & mottled, w/ some of the troop movement faded; 1"x1" divot missing at center of July 2 map; otherwise all excellent, & beautifully framed.

	Price: $8,000.00

Chancellorsville was not a town, but an intersection where the Chancellor family lived. A house was constructed about 1816 and occasionally functioned as an Inn for travelers on the busy Orange Turnpike. In 1863 this was a five way intersection.

Maj. Gen. Joseph Hooker’s well-executed crossing of the Rappahannock fords on April 30, 1863 placed his rejuvenated and reorganized Army of the Potomac on Lee’s vulnerable flank. Rather than retreat before this sizable Federal force, Lee opted to attack Hooker while he was still within the thick wilderness.

Late on May 1, 1863, Lee and Jackson conceived one of the boldest plans of the war. Jackson, with 30,000 Confederates, would follow a circuitous route to the Union right and from there conduct an attack on that exposed flank. The May 2, 1863 flank attack stunned the Union XI corps and threatened Hooker’s position, but the victorious Confederate attack ended with the mortal wounding of Stonewall Jackson.

On May 3, 1863, the Confederates resumed their offensive and drove Hooker’s larger army back to a new defensive line nearer the fords. Swinging east, Lee then defeated a separate Federal force near Salem Church that had threatened his rear.

Lee's victory at Chancellorsville is widely considered to be his greatest of the entire war.

This painting captures that victory as Lee, astride Traveller, rides by the Chancellor house. The Sesquecentennail of Chancellorsville was in May of this year.

	Price: $2,350.00

Middleton is widely regarded as one of the pioneers of chromolithography in America.

Bust portrait of Ulysses S. Grant, in uniform.

In ornate, contemporary gold gilt frame. Excellent condition.

	Price: $5,500.00

A most uncommon image of Grant and staff, especially being produced prior to the glass negative cracking!  Included are Generals Grant, Rawlins, Duff, Badeau, Bowers, Barnard, Parker, Babcock, and Moulter; and Colonel Dent (three unidentified).  In the background, peering out just to the right of the furthest figure, a Black servant stands for his own picture.  Grant himself will later be photographed by himself next to the same tree and holding the same rolled up papers in his hand. 

Excellent tonality.

	Price: $4,500.00

The king of Hawaii declares a strict neutrality in the war between the states, forbidding any of his subjects to engage in privateering. Captures and seizures by either combatant within Hawaiian waters are to be viewed as a violation of sovereignty.

minor foxing and folds, else very good++

(For another Hawaiian item, take a look at the aboce listing)

	Price: $3,850.00

Scovill Manufacturing was a printing firm in New York. They specialized in reproductions of famous American portraits. They were the leader in the celluloid campaign and photo button business.

Bust portrait of Robert E. Lee in uniform.

In ornate, contemporary gold gilt frame--featuring acorns and oak leaves; Victorian-era symbols of hospitality, stability, strength, honor, eternity, endurance and liberty.

Excellent condition.

	Price: $35,000.00

THE FIRST STATE TO BOLT IN THE SECESSION CRISIS. The "fire-eaters" in the South had made it clear: the election of the "Black republican" candidate Abraham Lincoln meant the end of the Union. One South Carolinian told a London journalist "Nothing on earth shall ever induce us to submit to any union with the brutal blackguards of the New England States!" (McPherson, Battle Cry, 234-35) In vain did Northerners and Southern Unionists try to point out the differences between Lincoln and the more radical abolitionists. Amidst a mood of revolutionary carnival, the Carolinians called a convention to consider secession. Outside bands marched, fireworks flared, and eager soldiers declared themselves neo-Minute Men. Only a single vote was taken, and the momentous ordinance was passed unanimously, 169 to 0. Within fifteen minutes this broadside announcement--probably set in type while the Convention met--was in circulation on the streets of Charleston.

"EXTRA: Passed Unanimously at 1.115 o'clock, P.M., December 20th, 1860. An Ordinance to Dissolve the Union between the State of North Carolina and other States united with her under the compact entitled 'The Constitution of the United States of America.' We, the People of South Carolina, in Convention assembled, do declare and ordain, and it is hereby declared and ordained, That the Ordinance adopted by us in Convention, on the twenty-third day of May, in the year of our Lord one thousand seven hundred and eighty-eight, whereby the Constitution of the United States of America was ratified, and also, all Acts and parts of Acts of the General Assembly of this States, ratifying amendments of the said Constitution, are hereby repealed; and that the union now subsisting between South Carolina and other States, under the name of 'The United States of America,' is hereby dissolved." This began the avalanche. Within weeks six other states joined: Mississippi, Florida, Alabama, Georgia, Louisiana and Texas. The more cautious states in the upper South wavered, but the momentum towards disunion ultimately carried them into the Confederacy as well.

(More Detail at Click Thru)
	Price: $8,500.00

Norman Price studied art in London and Paris and was known for his history and war-action paintings and illustrations. His superb pen and ink works that appear in Treasure Island are particularly important. The Canadian born Price knew many Civil War veterans, whose experiences are reflected in the details and mood of this piece, a scene from what appears to be the Battle of the Wilderness.

We see an ammunition wagon train rumbling toward the front, with an ambulance returning to the rear while two Zouaves carrying a litter. Other soldiers search for bodies and aid the wounded. A striking, brooding, and emotional night scene!