Price: $250.00

A particularly brilliant print, featuring beautiful Confederate imagery, including a vivid battle flag.  The illustration features the telegraph wire strung by Union defenders to impede Confederate attackers – a Civil War precursor of barbed wire. 

Near fine condition; no loss to chipping; colors brilliant. 

	Price: $375.00

Like other Kurz & Allison prints, this is rich with symbolism. The Chicago artists chose to illustrate the death of General McPherson as the most important moment of the key battle for Atlanta. One wonders what Chicagoan John A Logan, who validly considered himself the hero of the battle, must have thought of this representation.

With usual toning, but still bright. Not evaluated outside of frame.

	Price: $150.00

The critical moment at The Angle during Pickett's charge is depicted. 

Print is darkly toned by previous contact with a board backing; light chipping of extremities with light loss; a 6" tear at upper right corner slightly mars the image, as does a crack resulting from a "poke" at upper left center; otherwise very good.

	Price: $575.00

Kurz and Allison produced a large number of prints of battles and other historic action scenes during the 1880s.  They were known for their vibrant colors, though not for any historical accuracy. 

Light chipping at extremities with minor loss (covered by matting), and a light, repaired tear in lower left hand corner; else very good.  The colors remain bright in this action-filled print.

	Price: $325.00

This colorful Kurz & Allison print illustrates the crisis of the 1861 Battle of Wilson's Creek, Missouri, as Union General Nathanial Lyon falls leading the charge of the 1st Iowa Infantryregiment (who are clearly identified by their colors at the left of the illustration).  Like other Kurz and Allison prints, historical accuracy bows to symbolism, although it is true that Lyon died near the 1st Iowa. 

Usual toning for its age; light chipping at extremities with minor loss (covered by matting); else very good. 

	Price: $4,500.00

Ray illustrated some of the most popular comic books of the 1930s – 1970s, including Superman, Batman and Robin and G.I. Combat, all for D.C. Comics. An expert in historical uniforms, Ray illustrated a number of historical booklets, such as interpretive pieces for Fort Henry, Fort Niagara, and Fort Ticonderoga, as well as the Alamo and the battle of Antietam.

This work, apparently intended for the magazine Civil War Times Illustrated, reinterprets a scene from the July 22, 1864 battle of Atlanta , drawn from the popular Cyclorama, in Atlanta. In the background is the Troup Hurt house, site of the breakthrough of the Union line by Confederates under Brigadier General Arthur Manigault – pictured in the foreground. In the middle-distance Union troops of General John A. Logan’s XV Corps counterattack to re-establish their line.

Fine condition, with borders unpainted accept for, interestingly Confederate figures emerging from the unfinished border as Michelangelo’s figures were “freed” from the stone.

	Price: $125.00

The Samuel Pry Mill was used as a hospital during the battle of Antietam. It was indeed an "Island of Mercy" during what would become the bloodiest single-day battle in American history.

This print was commissioned by Dr. Gordon Dammann to benefit the National Museum of Civil War Medicine in Fredericksburg, MD.

Keith Rocco's works currently hang in every major collection of historical art in the country and several abroad. His painterly and fluid style and extensive research of his subject has made Rocco one of the nation's most respected narrative artists. It is this honest rendition of subject along with a painting tradition reminiscent of the best that America has produced, that keeps Rocco in the forefront of his contemporaries. Originally from Illinois, today Keith Rocco lives and paints in Virginia's Shenandoah Valley.

(Ships in a sturdy mailing tube, special shipping charge of $15 to the Contiguous United States. Other locations please inquire)

	Price: $3,600.00

. A large woodcut bust portrait of Andrew Johnson, approx. 6 x 7.5 in. and surrounded by a border of small red-outlined stars, dominates the center of this unusual piece. His portrait is partly overprinted in red and blue, to provide flesh tones and color both suit and background, and is surrounded by black and white woodcuts of all his predecessors (including a beardless Lincoln).

The outer border is composed of slightly finer cuts of 15 generals (Sherman, Thomas, Grant, Sheridan and Hooker at top; Hancock, Rosecrans, Cox, Burnside, Rousseau and Logan along the sides; Butler, Terry, Banks and Howard at bottom) and Adm. Farragut. Each of these appears within an identical red-and-blue tinted “frame” composed of an eagle, flags, and the figures of Liberty and Justice. Each Presidential portrait bears a short gloss of the administration and a tally of electoral votes cast; the military ones have very brief biographical and sometimes editorial captions (e.g., for Hooker, “He meant business…[I]f there was not so much strategy, there was…an endless amount of ‘fight’”). A comment that Gen. Cox “is governor elect of Ohio…chosen Oct. 10” and “will enter upon the duties…in January, 1866” effectively dates this broadside. Display-quality material of Johnson as President is very scarce, doubtless due to the rapid decline of his political fortunes and eventual impeachment.

Some smoothed old folds; fine and quite fresh appearance. Quite unusual for this period; the first we’ve seen it.

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	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!

	Price: $1,200.00

A three-color, mid-19th century print featuring the presidents of the United States from Washington to Polk. Each presidential portrait is in a stylized round vignette, with two-color stars surrounding each one. The center panel features a brief biography of Washington, a reproduction of John Trumbull's Declaration of Independence print--including a key to the signers--and brief biographies of the presidents featured in the print.

Moderate speckling, minor tears and chipping at edges, one 5 inch tear bottom center, else very good. Photographed through the wrapping --colors are brighter in person.

	Price: $200.00

This wonderful print shows Abraham Lincoln as he appeared during the 1858 campaign for the U. S. Senate. Based on an ambrotype taken by Calvin Jackson, at Pittsfield, Illinois, October 1, 1858 (O-10), Maxwell Boas has captured "Lincoln the Politician" as he appeared at the height of Lincoln-Douglas Debates.

A limited edition of 100 numbered and artist-signed Bicentennial Giclée prints of a fine oil portrait of Abraham Lincoln by Maxwell Boas.

*A Giclée print represents one of the finest ink-jet reproduction techniques. . Included is a Certificate of Authenticity signed by the artist. This portrait was used to illustrate the cover of Norman Boas’ Abraham Lincoln: Illustrated Biographical Dictionary.

Ships in a tube, $22.00 shipping to the contiguous United States.

	Price: $6,500.00

A striking presentation of America’s first sixteen Presidents, each shown in an oval bust portrait, arranged around ornate oval framework, with Washington at the top and a beardless Lincoln (from his “Cooper Union” photo) at the bottom.

The central oval shows Columbia holding a liberty cap on a pole and a stars-and-stripes shield; a bald eagle w/arrows is at her side, a steamship and the U.S. Capitol dome behind her. The president’s names and administration dates are printed near the bottom. This print was made to honor Lincoln ’s first inauguration but proved difficult to sell, owing to his changed appearance -- his newly-grown beard.

Professionaly conserved: Paper replacements at two margins, not affecting the image; light water-staining at bottom margin; a few marginal closed tears; tear from top down through middle of image is bearly noticeable. When framed, most problems can be matted out. GORGEOUS COLORING WITH A FINE, FRESH APPEARANCE. PERHAPS THE MOST BEAUTIFUL OF ANY POPULAR POLITITCAL PRINT IMAGE OF AMERICAN PRESIDENTS.

	Price: $25,000.00

A three-quarter, shoulder-length view based on a photograph of Lincoln and son, Tad, taken by Anthony Berger at Brady's Gallery, Washington , D.C. , February 9, 1864 [Ostendorf, O-93A].

This particular image is one of the most popular of Lincoln, partly because it was of him reading. But this close-up of him wearing spectacles is one of Courter’s finest! The colors remain both vibrant and warm, causing a true 19th century feel. Here, certainly, is “Father Abraham.”

	Price: $18,500.00

Perhaps based on Brady’s January 8, 1864 photograph [O87].

Courter is faithful to the subject, but injects a living spirit to the image.

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	Price: $375.00

This wonderful print was produced for the Illinois Pavilion at the New York World’s Fair of 1964-65; a very limited number has now come to light as a remainder edition. Abraham Lincoln’s classic remarks at the dedication of the National Military Cemetery at the Gettysburg battlefield on November 19, 1863, are printed in nine languages and in various bright colors: English (a facsimile in Lincoln’s own hand), and in Hebrew, Japanese, Greek, French, German, Spanish, Russian, and Latin.

As new; a beautiful display piece for a school, office, home, or public venue. While they last!

(Entire and Signatures at Click-thru)
	Price: SOLD

New York artist Francis Carpenter believed that the Emancipation Proclamation was “an act unparalleled for moral grandeur in the history of mankind.” Carpenter had a deep respect for Lincoln’s action, and it was he who had the impulse to capture it on canvas, to exalt the moment of the first reading of the proclamation. About a year after the preliminary proclamation, Carpenter acted on this impulse. He asked Illinois Representative Owen Lovejoy to arrange for him to paint the subject at the White House–-in fact, to set up a studio there (eventually, in the State Dining Room). In February of 1864, Carpenter met Lincoln, and the project began. His extraordinary extended residence in the White House resulted in the Senate’s painting and in the informative, sometimes moving, 1866 memoir, Six Months at the White House with Abraham Lincoln.

This artist's proof employs the chine colle technique and is on onion skin paper, allowing complete ink penetration and contrast. As a result, this print is much brighter than other versions available at the time.

A note on the photographs: This print was photographed though the glass. The artists' signatures and the print itself are much brighter is person. This is probably the finest version of this print we have ever had.

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

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	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)

This artist's proof employs the chine colle technique and is on onion skin paper, allowing complete ink penetration and contrast. As a result, this print is much brighter than other versions available at the time.

A note on the photographs: This print was photographed though the glass. The artists' signatures and the print itself are much brighter is person. This is probably the finest version of this print we have ever had.

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

	Price: $125,000.00

Albert Hunt, a Methodist preacher, was a known charcoal illustrator. As an acquaintance of General U. S. Grant, he was visiting the Union army when Lincoln arrived. On March 27, 1865, Hunt made this charcoal sketch of President Lincoln during the latter’s visit to General Grant's headquarters at City Point, Virginia.

On his lap rests a copy of the “Richmond Dispatch” and his bag and shawl are seen behind the chair. Hunt signs and dates the sketch – one of the most detailed of Lincoln extant. It is illustrated in a number of books, including Carl Sandburg’s LINCOLN COLLECTOR and Stefan Lorant’s THE LIFE OF ABRAHAM LINCOLN.

“Life” sketches are as difficult to obtain as original glass plate negatives. The latter at least can produce more copies, but a sketch is, like a daguerreotype and an ambrotype, an “original,” one-of-a-kind image.

	Price: $500.00 Standard Framing: $250.00

Limited edition print, hand-pulled from the original printing plate, hand numbered and embossed with the seal of the Estate of Bill Mauldin.

Bill Mauldin was a two-time Pulitzer Prize -winning editorial cartoonist. He was considered a hero by the common soldier. While serving in the infantry Mauldin began drawing cartoons about regular soldiers, called "dogfaces". Eventually he created two cartoon infantrymen, Willie and Joe, who became synonymous with the average American G.I.

This print is Mauldin's response to the assassiantion president Kennedy. "Back at his cubicle, he took a snort of Jack Daniels from a bottle in a filing cabinet and went to work. What he produced in a short time was a drawing that the news desk instantly recognized as a must-carry cartoon. The back page, historically reserved as the paper's primary showcase for the day's major sports stories, was pre-empted for Mauldin. Many newsstand operators displayed the back page instead of the front page."--Ralph Otwell, Executive Vice President, Chicago Sun-Times.

Unknown to the world, Mr. Otwell rescued the plate from the refuse container that day. It has hung in his study for over forty years. He brought the plate to Jean Albano Gallery here in Chicago in 2006, during the first exhibition of Bill Mauldin's cartoons.

The estate of Bill Mauldin, in association with Jean Albano Gallery, is privileged to offer this limited edition prints. Abraham Lincoln Book Shop is proud to offer them here.

	Price: $3,250.00

Best known for his brilliantly colored and energetic images, Neiman is one of the most popular and widely recognized American artists, having studied and then taught at the Art Institute, Chicago.

This work was initially commissioned as an oil painting, which is now housed in the Abraham Lincoln Presidential Library and Museum in Springfield, IL. It was based on a study of Lincoln photographic images and biographical literature and married to Neiman’s unique perspective. Neiman faithfully captures the strength and intensity which Lincoln exudes in Anthony Berger’s image taken at Brady’s Washington Gallery on Tuesday, February 9, 1864 (Ostendorf #91).

For this serigraph, twenty-six screens were meticulously hand-cut and each color individually applied, to faithfully capture the tonal values of the original work. Though vividly colored, there remains a 19th century feeling to this exceptional work.

	Price: $13,500.00

As with so many of Rockwell's works, this one was painted for the Saturday Evening Post magazine in the 10 Feb. 1962 issue (illustrating Elisia Bialik's article "Lincoln for the Defense"); the original oil is now in the Rockwell collection at The Old Corner House, Stockbridge, Mass.

Lincoln is portrayed here as defender of Duff Armstrong in the celebrated "almanac" murder trial (wherein he proved lack of moonlight would have prevented witnesses from clearly seeing what they claimed); he is shown coatless, in white trousers and ruffled shirt, suspenders loose, one hand holding almanac and spectacles, the other clenched in a fist atop a law book. The manacled client sits behind him in shadow, head by hands. A vital, dramatic image.

V.g. . This is the "truest" Lincoln Rockwell produced.

	Price: $8,850.00

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: $2,500.00

America 's best known print makers produced three versions of Lincoln 's death, the present one being the last – and most politically correct. Mary Lincoln was literally shown the door, where she is shown weeping, along with Tad and Clara Harris, who had been in the box when Lincoln was shot. Andrew Johnson, who had replaced General Halleck in the second version (though he reappears to the left), is here placed right up front – perhaps to symbolize a ordered presidential transition. The clock on the mantle shows the time of 7:22am , while Stanton, Welles, Colfax, and even Chase (who had never visited the room) look on.

The colors are fresh and, save for unobtrusive general foxing, there are no flaws to mar this handsome rendition.

	Price: $275.00

These were reprinted throughout the ealy 20th century and during the Civil War Centennial. Similar to above, not colored.

Evenly-toned, Very good; not examined out of frame.

	Price: $2,500.00

Period, original watercolor with a mourning border, of a freedman mourning at Lincoln's Tomb, topped with an urn bearing a Lincoln image, below which is drawn "ABRAHAM LINCOLN OUR NATION HAS LOST ITS FATHER 1809-1865."

This "Schoolhouse" style folk art watercolor is on manila paper, matted and handsomely framed to 16 x 15 in.

A touching image with a wonderful use of colors.

Excellent.

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	Price: ON HOLD

Bachman designed the allegorical figures of The Continents for the Pulitzer Building in New York. His most famous Lincoln work is a bronze standing figure in Minneapolis known as “The Congressman.” It is unique in that the head is by Bachman, but the body is an exact replica of the Augustus Saint Gaudens standing figure in Chicago.

This beardless head, patterned after the Minneapolis statue, was issued for the 1909 Centennial of Lincoln's birth. Bachman indeed captured the young Lincoln during his Illinois days as a lawyer and state legislature. It has great power and would dominate any room in which it would be displayed.

Bachman signed his work, but added a thump print as well.

Excellent condition.

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	Price: $8,500.00

Bachman used the same mold as for the bust above, but added his presidential beard. The warm toning of the terra cotta patina is quite pleasing, even for such a dramatic bust.

Again, Bachman signed his name and added an impression of his thumb.

Excellent condition.

	Price: $3,500.00

A White Plaster Replica Bust, approx. 38 x 12.5 inches.

Taken from a mold off an original bronze in the Chicago Historical Society collection. [This same mold was used to make the bronze replica in the stateroom of the U.S. Abraham Lincoln.]

	Price: $18,500.00

Modeled after Bissell’s life-sized Lincoln emancipation group in Edinburgh, Scotland, dedicated in 1893 and later replicated at Clermont, Iowa, c1903. Three desk-top versions of this full-figure Lincoln were subsequently produced by Bissell at the famous Gorham Company foundry of New York, this being the largest and most impressive of the three. This is only the third of this size that we have seen on the market in 34 years. Lincoln is shown holding the Emancipation Proclamation in his right hand, and the statuette’s large size allowed Bissell to incise that heading and Lincoln’s name on the “paper.” It displays well the sculptor’s knack for presenting his subjects in a compelling yet delicately accomplished manner.

With its rich, dark-brown patina, this striking, even heroic, statuette is remarkably stirring.

	Price: $3,500.00

Bissell, an army veteran, produced the first Lincoln sculpture erected outside the United States, the well-known (and copied) “Emancipation Group” (1893) in Edinburgh , Scotland .

This bust is an early to mid 20th century replica based on the Lincoln “Emancipator” head.

	Price: $4,500.00

After viewing the “Lincoln Plaque” for the first time, President Teddy Roosevelt recommended it to the Treasury Dept. as a design for either the nickel or penny; the latter was chosen since it was the coin of the “common man.” The portrait was taken by Anthony Berger at Brady’s Washington gallery on 9 February 1864. This one is marked nuumber 1.

Lower left edge bears foudry mark "S. Klayberg & Co./FOUNDERS N.Y."

Excellent.

	Price: $3,900.00

Bronze by “lost wax” method

taken from an original bronze of c1911.

Reflecting his life-long admiration for Lincoln, his statue, "The Frontiersman," standing in Oahu, is a masterpiece; and his four "Heads of Lincoln," showing Lincoln from youth to president, grace the Ford's Theatre museum.

His other Lincoln works include "Lincoln at New Salem" at the historical site; "The Chicago Lincoln," recently restored and standing watch over Chicago's Lincoln Square neighborhood; and "Lincoln the Friendly Neighbor" in Berwyn, IL.

	Price: $3,500.00

Plaster; 13” high. According to Fairbanks ’ son, about 10 were made -- though this is the very first we have seen! Fairbanks was known for his Lincoln statues and busts, with four gracing Ford’s Theatre’s museum in Washington , DC .

Bronze 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: $6,500.00

	Price: $875.00

Rogers could neither sketch nor paint, but was a master model maker who could make anything that could be conceptualized in three dimensions. He produced twelve war groups, with this being one of his most popular: there are photographs of both Rogers himself and George Armstrong Custer each next to this particular sculpture. A neighbor of Rogers posed for the standing soldier, wearing the uniform in which he had fought during the war. It was originally commissioned for a monument that was never produced. The Alva company is now out of business and this sculpture is hardly found today, having been out of production for many years.

Excellent; clean with no chipping.

	Price: $12,500.00

 “In one of John Rogers’ notebooks there are descriptions, analyzed carefully, of famous portraits of George Washington, together with many measurements of the head and figure. There are also little sketches and notations regarding the uniforms and accoutrements known to have been worn (by him). All this but confirms our knowledge of the care which was taken by John Rogers in perfecting the details of his sculpture.” – ROGERS GROUPS by Mr. & Mrs. Chetwood Smith.

Rogers’ statuary was displayed in a place of honor in the Victorian home, often in a bay-window, since they were “equally rewarding” whether viewed from the front or rear. Over a hundred thousand of the various sculptures were reported to have been sold by this self-taught artist.

In excellent and sparking condition. The first we have ever seen on the market!!

	Price: $2,850.00

This cast metal bust of Abraham Lincoln in his lawyer years is 13" high and 10' across the shoulders. It has a rich bronze patina.

Bearing the number "201" on verso, no other marks or signatures found.

	Price: $15,500.00

Bachmann placed Lincoln in the classical stance of the 19th century orator; Daniel Webster and Benjamin Disraeli were portrayed in this manner. The Victorian orator was taught in school to stand with one hand outstretched, palm up in appeal, while the other rests on a nearby table or stand.

A unique and powerful piece, the first we've handled!

Excellent condition with a rich patina.

	Price: $3,500.00

Beautiful reproduction, plaster bust of Lincoln, known as the "draped" or "Romanesque" bust. 31 inches high; 18-1/2 inches shoulder to shoulder. The last variation Volk produced from his 1860 life mask.

In unusually excellent, bright condition.

	Price: $12,500.00

The full standing Lincoln is holding a facsimile signed Emancipation Proclamation, while the other hand grasps his lapel.

A most unusual feature is that the figure’s chest opens on small brass hinges to reveal an interior triptych, the central panel of which is a view based on Francis B. Carpenter’s famed engraving of Lincoln reading the Proclamation to his cabinet. On either side is a standing military figure: on the right is U.S. Grant, with a plumed hat and still with his long beard; on the left is Henry W. Halleck, General-in-Chief, standing with hand in coat a la Napoleon. Considering its European origin, both Grant and Halleck are easily recognizable.

Dieppe, Franc , was the center for European trade with the Ivory Coast in the 18th century, and well known for its ivory carvings. Much of the decorative ivory from the 19th century is often attributed to Dieppe . This example – only the second of Lincoln we’ve encountered -- still bears a pleasing, soft patina.

	Price: $2,800.00

The American eagle with its banner of “E Pluribus Unum” was one of the more popular motifs. The fierce eagle sits atop a panoply of American flags. This silk includes a portrait of the steamer on which he was serving, S. S. Minnesota.

Excellent condition, with colors still bright.

	Price: $1,850.00

This souvenir for one of the sailors was most likely made in Japan, judging not only by its material, but its stylized design. The American eagle was one of the more popular motifs. The fierce eagle sits atop a panoply of American flags holding a green banner with the words, “In God We Trust.” An anchor hangs below the flags.

The various colors (red, white, blue, green, brown, and gold) remain bright and vivid. The eagle is embroidered, the stuffing giving it a wonderful dimensionality; being especially appealing in a beautiful brown and gold. Unusual is the blue silk background, showing some slight spotting and wear; the remainder is in excellent condition and one of the more striking examples we’ve handled. Housed in a modern shadow box frame.

	Price: $1,850.00

The World's Columbian Exposition, celebrating the 400th anniversary of Christopher Columbus's landing in America, was actually held in 1893. Creating the Fair was an enormous task. The scope and size of the undertaking forced the commission to push the opening day back from late 1892 to May, 1893. Of course, the delay only heightened anticipation.

This charming souvenir, a wooden box designed to look like a stage, is bordered with lithographic images of a theater interior. The marquee reads "WORLD'S FAIR." The sides and top are covered with period illustrations of images associated with the Fair: Christopher Columbus on top, The Chicago Masonic Temple on one side, a stylized list of Presidents of the United States on the other.

Inside is a hand-colored lithographic scroll on two rollers, with two turned wooden knobs on the bottom. Turning the knobs advances the scroll in the cut-out, displaying the various scenes in sequence. The panoramic scroll contains 22 different images, some of World Columbian Expo sites, including Miner's Building; the Womens' Building; U.S. Man of War; Government Building, Manufacturing and Liberal Arts; Gallery of the Arts and many more. The remaining panels feature images of the U.S. Presidents and Vice Presidents from George Washington to Benjamin Harrison.

Theater in somewhat rough condition; moderate edge chipping and overlall browning. Scroll has a tape repair between the Agricultural Building and the Fine Arts Building images. In a sense, the condition is a secondary concern—it was not meant to survive, so it is pretty spectacular that it is even still here!