A strong campaign print for Abraham Lincoln by the Kellogg brothers and their associate George Whiting in New York. This was probably the first print of Lincoln by the Kelloggs. The face, which is beardless, may have been based on a photograph of Lincoln, but the resemblance is poor. The firm issued another (reversed) campaign print which has a better image of Lincoln, which seems to indicate that this version was rushed out as soon as information reached Hartford that Lincoln had been nominated. Typically of such campaign prints is the fact that "Republican candidate for" is in small type between Lincoln's name and the designation "Sixteenth President ..." This would have allowed the firm to reissue the print if Lincoln was elected by simply erasing the middle line of the title. The Kelloggs did do that with the later campaign portrait (cf. Brashears & Shortell 4 & 5), but this hurried print seems to have been discarded once the better print was made. $1,800
"Abraham Lincoln." With facsimile signature at lower right. Steel engraving originally created by John C. Buttre, but a changed third state. New York, 1861. 25 1/2 x 18 1/2 (image) plus large margins. Third state; re: Milton Kaplan, "Heads of State." Winterthur Portfolio 6 (1970): 136-7. Smudges in the margins and archivally repaired tears into top and bottom margins. Overall strong impression.
A large and powerful, full length portrait of Abraham Lincoln in an elegant setting that suggests the White House in Washington. The president is framed by the pillar of strength and the curtain of elegance, while his table contains books, a lamp and a paper. A very elegant chair surmounted by an eagle is behind Lincoln.
Upon closer inspection a nimbus surrounds the president's head and the lamp from an earlier use of the steel plate. In 1859 the plate had been used to print portraits of John C. Fremont when he was running for the office of president for the second time as a Republican. On the table was a globe. When Lincoln gained the nomination in 1860 the plate was reused by burnishing out the head of Fremont and changing the globe to a reading lamp. At first Lincoln appeared clean shaven in the second state, and soon thereafter the third state was created when the beard was added. $850
"Abraham Lincoln, Sixteenth President of the United States." New York: Currier & Ives, 1861. Lithograph. Original hand color. 11 3/8 x 8 3/8. Very good condition. C:20. Denver.
Currier & Ives naturally issued many prints of Lincoln during his Presidency, including this one which was in the style of their Presidential portrait series. Surprisingly rare, this is a very nice example of a desirable print. $550
"Presidents Buchanan and Lincoln Entering the Senate Chamber before the Inauguration." By "Our Special Artist." Wood engraving and offset text from Harper's Weekly. 16 March 1861. 6 x 9 (image) plus margins and text. Half a folio page. Slight soiling.
Just prior to taking the Oath of Office when the new president was to stand outside the Capitol before the crowd, the new and former presidents met a group of U.S. Marshals. To their right were the Marshal of the United States for the District of Columbia (Colonel William Selden-the only one named) and to their left other marshals. While not said in the text, these marshals present were there for security measures.
This engraving is a scarce piece because it is not large or heroic or exciting; however, it captures the somberness of the occasion as states in the south were withdrawing from the Union and violence was a threat throughout the land. $85
"A. Lincoln. President of the U.S." Cincinnati: Ehrgott, Forbriger & Co., ca. 1862. Folio, ca. 12 1/2 x 9 1/2. Lithograph by Ehrgott, Forbriger & Co. Very good condition. Denver.
Perhaps in late 1861, but certainly by mid-1862, the Cincinnati lithographic firm of Ehrgott, Forbriger & Co. began to issue a series of portraits of Civil War figures: politicians as well as military and naval officers. These prints, which the firm continued to issue at least as late as 1864, were of a type published by other lithographic firms of the day, for instance Currier & Ives, E.B. & E.C. Kellogg, Gibson & Co., and J.H. Bufford. While of a familiar type of print, these Ehrgott, Forbriger & Co. are quite unlike the prints by other publishers in one salient feature. As discussed in Milt Kaplan's "Heads of States," (Winterthur Portfolio 6. Charlottesville, 1970 Pp. 135-150.) prints of different figures share the same, or very similar backgrounds, with the identical horses, landscapes, troops, ships, desks, and so forth. While some of the backgrounds the firm used appear only in one print, others are shared by between three and five figures, and some even more. This particular background was used for all the political figures, of which nine are know, including Lincoln, members of his cabinet, and mid-west governors. In each case a different head is attached to the same body. The Ehrgott, Forbriger & Co. prints were issued separately for those in the mid-west who wanted to have these images of Union heroes and they have also been found in bound portfolios. However they are found, they are quite rare. $525
Go to page with other prints by Ehrgott & Forbriger
"President Lincoln's Grand March." Stone lithography, colored. Published by F.A. Doggett. New York, 1862. 13 x 9 1/4 (sheet). The musical piece is credited to F.B. Helmsmuller. The sheet is cut a bit close on all sides, the bottom left corner is replaced, and some text at the bottom is cut off. An attractive piece.
A lovely and heart felt portrait of Abraham Lincoln whose flag draped oval portrait stands on a stone base flanked by allegorical female figures representing Peace and War. By this time the war had mounting casualties on both sides, but the tenor of this print was to exhibit determination to persevere. $350
"Abraham Lincoln" [printed autograph]. "President of the United States." Steel engraving by George Perine. 10 3/4 x 8 (image) plus full margins. New York: George E. Perine, 1864. Excellent condition.
A handsome and strong three quarters portrait of Lincoln seated in an elegant chair by a luxurious curtain. The paper on his desk is the Emancipation Proclamation. Perine made many small book illustrations in his time, but this is a larger and richer piece. By 1864 Lincoln's writing and signing the Emancipation Proclamation was seen as a crowning achievement of his presidency. $600
"Abraham Lincoln." New York: Rudolf Lesch, 225 Fifth Ave., 1864+. 26 x 19 (image) plus full margins. Steel engraving. See ref. Milton Kaplan, "Heads of State." Winterthur Portfolio 6 (1970): 139-40, figs. 10 & 11. Strong image; three expertly repaired tears. Scarce.
Thanks to Kaplan's article we know that the model for this imposing full length image of Lincoln is a smaller engraved portrait of John C. Calhoun that was published in Duyckinck's National Portrait Gallery (New York, 1864): II, 162. The elements are very similar with the exception of the titles on the documents on the table. Calhoun's documents read, "Strict Construction," "Free Trade" and "The Sovereignty of the States." Lincoln's documents are: "Constitution," "Union," and "Proclamation of Freedom." Spine titles of two books on the table are Jefferson Works. The Library of Congress print was published by William Pate, and this one is by Rudolf Lesch not much is known about either of them.
A strong portrayal of the savior of the country, probably popular among those mourning his assassination. Not found in major publications that should include such a portrait. $1,200
Compare to: "J.C. Calhoun." 7 3/8 x 5 3/8. Steel engraving. Very good condition. $65
"Abraham Lincoln. 16th. President of the United States." Credits read, "Photo by Brady" and "Engraved by A. H. Ritchie." Steel engraving. 15 1/2 x 11 1/2 (sight) in archival mat in frame 26 x 22. New York: Derby & Miller, 1864-65. Some slight spotting throughout.
A very strong, patriotic image of Abraham Lincoln emerged at the time of and with the spirit of commitment to the Emancipation Proclamation. When Francis Carpenter was creating his painting and next his engraving of "The First Reading of the Emancipation Proclamation," participants such as Matthew Brady and Alexander H. Ritchie were committed to that publication as well as this portrait of the president. Associate publishers credited on this print were J.A. Elliot in Boston and George & C.W. Sherwood in Chicago. All three were celebrating Lincoln's accomplishment, and the steel plate survived to later reflect his dignity and fame. $1,200
"A. Lincoln." Lithographed portrait surmounting a facsimile autograph in a large oval. 14 3/4 x 10 3/4 (sight) after a photograph. Oval trimmed 1/4" beyond the remaining paper. Clean, bright, strong portrait. No references found.
This portrait is based on the 1864 photograph by Anthony Berger done in Brady's studio. It is a large print and one of the most neat in the depiction of Lincoln's hair and clothing of all that we have examined. No hint of the backwoods rail-splitter is here. Rather the image is of a strong and serious man with a mature beard and more hair than any other. The print fits with the message of victory approaching for the North in the Civil War, and it would have been welcomed for those mourning after Lincoln's assassination.
Almost all oval portraits such as this would have been framed. Given the destructive materials used and climate in most homes, the fact that few of this printing are available is no surprise. $750
"The Assassination Of President Lincoln, At Ford's Theatre Washington, D.C. April 14th. 1865." New York: Currier & Ives, 1865. Small folio. 8 x 12 1/4. Uncolored. Very good condition. Wide margins. C:291. Denver.
Currier & Ives to a great extent built their business on their "rush prints," ones which showed important (or at least exciting) events of the day which were rushed into print so that the American public could have an image of the news they heard about. This is a nice example of that type of print, an image showing the assassination of Lincoln at Ford's Theater on April 14th, 1865. It would have appeared within days of the event and shows Lincoln sitting next to Mary, who is gazing unsuspecting at the stage, while Lincoln throws up his hand in surprise as the bullet fired by Booth hits him. A key below the image gives the names of the figures shown and the rushed nature of the print is indicated by Booth simply being identified as "Assassin." A print of a seminal event in American history by America's greatest printmakers. $450
"Washington and Lincoln. The Father And The Saviour Of Our Country." New York: Currier & Ives, 1865. Lithograph. Medium folio; 15 x 11. Some old stains, but overall very good condition. C:6510.
Currier & Ives, "America's Printmakers," issued many prints on current political and social themes, and during the Civil War these included a large number with a pro-Union bent. This is one of the best examples of that genre, a print showing George Washington shaking the hand of Abraham Lincoln before the eternal flame of Liberty. This tied together the "Father of his Country" with the President trying to preserve that country, as a Union and as the support of liberty throughout the world. $750
Henry B. Major & Joseph Knapp. "Grand Reception of the Notabilities of the Nation, at the White House 1865." New York: Frank Leslie, 1865. 14 7/8 x 20 3/8. Lithography by Major & Knapp. Good margins, with some wear, tears and smudging. Otherwise, very good condition. Denver.
According to Holzer, Boritt and Neely (The Lincoln Image, p. 145), this print had a copyright date of April 8, 1865, just a week before the assignation of Lincoln, and thus would likely be the last print issued during Lincoln's lifetime. The print shows Lincoln, with Mrs. Lincoln by his side, at a "Grand Reception" in the White House. Lincoln is shown receiving General and Mrs. Grant in a room filled with most of the notable figures of the government and army. As Boritt, Neely and Holzer say, "The picture froze in time the Lincoln who might have emerged from his years of unrelieved melancholy "the catharsis denied him by John Wilkes Booth." (ibid., p.144f.)
This print was issued by Frank Leslie and it has a price of $3.00 printed on it. However, the print was actually intended as a free premium for subscribers to Frank Leslie's Chimney Corner, a "New Family Paper." This particular instance of the print was a broadside issued to advertise the paper and its premium. In the lower right, text is printed over the corner of the image explaining that "Every Person who pays Ten Cents each for numbers 1 and 2" of the paper will get the print for free. Leslie had a number of prints run off with this legend imprinted on them, and these would have been distributed throughout his outlets in order in increase the sale of the Chimney Corner. The cost of two, ten cent issues was not a bad deal for a $3.00 print. In order to keep his subscribers a bit longer, Leslie promised to issue a key to the print, to be published in volume 4 of the paper. This example of Leslie's broadside is a fine example of the nineteenth century print market and also an excellent image of one of the last events in Lincoln's presidency. $575
W.H. Pratt. "Proclamation of Emancipation." Davenport, Iowa: W.H. Pratt, 1865. Lithograph by A. Hageboeck. 11 3/8 x 9. Very good condition. Eberstadt 40. Holzer, Lincoln Seen and Heard, p.17. Denver.
In this artifact of Civil War America, fascination with Abraham Lincoln and the end of slavery coincide with the aesthetic tradition of fine penmanship and meticulous engraving. A popular format throughout the eighteenth and nineteenth centuries, the calligraphy portrait is used here to unite the martyred president with his most famous document, the Emancipation Proclamation. Written either by W.H. Pratt or by E.C. Smith (examples crediting both exist), the calligraphic portrait is a masterful manipulation of letter form to achieve a well-known likeness and joins the plethora of images of Abraham Lincoln that came on the market after his assassination. Printed in Iowa, the state that sent the most soldiers to the front per capita in the Civil War, this print would have been a powerful visual reminder of one of the outcomes of a costly struggle. A popular image and a rare example of fine engraving from the a small printing center of the Midwest. $1,200
"Abraham Lincoln, Sixteenth President of the United States. Born Feby. 12th. 1809. Died April 15th. 1865." New York: Kimmel & Forster, ca. 1865. Lithograph. Ca. 14 x 10. Wide margins. Excellent condition.
A stately memorial print to the assassinated President, issued shortly after his death on April 15th, 1865. Lincoln is shown 3/4rs, standing in front of a American shield draped in mourning. The print is signed, but the signature (F. Facks?) is hard to read. A handsome example of the type of print which would have hung in many homes of grieving Americans. $750
"Abraham Lincoln, Sixteenth President of the United States. Born February 12, 1809. Died April 15, 1865." Stone lithograph. Bust portrait in oval with signature beneath reading, "A. Lincoln." 10 3/4 x 8 1/2 (image). Full margins.
A fine, strong image; probably printed within the year 1865. $825
"The Funeral of President Lincoln, New York, April 25th. 1865. Passing Union Square." New York: Currier & Ives, 1865. Small folio. 8 x 13. Uncolored. C:2206.
Currier & Ives had much success with issuing "rush" prints of important events of the nineteenth century, which provided one of the few sources of graphic depictions for the general public. This is a fine example of this sort of print, showing Lincoln's funeral procession through New York. $575
"Death of President Lincoln. At Washington, D.C. April 15th. 1865. The Nation's Martyr." Currier & Ives, 1865. Small folio. 8 1/2 x 12 7/8. C:1501.
Currier & Ives had much success with issuing "rush" prints of important events of the nineteenth century, which provided one of the few sources of graphic depictions for the general public. This is a fine example of this sort of print, showing Lincoln's funeral procession through New York. $350
"Abraham Lincoln. The Nations Martyr. Assassinated April 14th. 1865." New York: Currier & Ives, 1865. Small folio. Vignette, ca. 10 1/2 x 9. Uncolored. Paper time toned. In early frame. C:26.
Another example of a "rush" print of Lincoln after his assassination. $675
"The Death Bed of the Martyr President Abraham Lincoln. Washington, Saturday Morning April 15th. 1865, at 22 Minutes Past 7 O'Clock." New York: Currier & Ives, . Medium folio. Lithograph (black & white). Full margins. Repaired single tear into left margin. Fine impression. C: 1471.
The many contemporary prints depicting the death bed of Abraham Lincoln often showed as many prominent people as would fit into a room. The eighteen people depicted here could never have fit into the room across the street from Ford's Theatre. The room is decorated in fine style for the Nineteenth Century, National leaders depicted in the foreground are from left to right: Gen. Halleck, Gen. Montgomery Meigs, Sec. Stanton, Post Master Dennison, a clergyman, Mr. Colfax, Chas. Sumner, Robert Lincoln, Sec. McCullogh, Sec. Wells, and three surgeons. In the far background and past the doorway are Mrs. Lincoln, son Tad and Miss Harris. The clergyman seated at the bedside records the time of death with his pocket watch. The depiction of furniture in the room includes prints are "The Horse Fair" by Rosa Bonheur and a version of "The Blacksmith Shop" by a British artist. $900
"Abraham Lincoln. The Nations Martyr. Assassinated April 14th. 1865." New York: Currier & Ives, 1865. Small folio. Vignette, ca. 10 1/2 x 9. Uncolored. C:26. Denver.
An unframed example of this dramatic "rush" portrait print. $675
Kimmel & Forster. "Columbia's Noblest Sons." New York: Henry & William Voight, 1865. 14 1/8 x 20 1/8. Lithograph by Manson Lang. Very good condition. Holzer, et al., The Lincoln Image, fig. 95.
A handsome print linking Lincoln with the revered George Washington. Portraits of the first and sixteenth Presidents are placed in ovals on either side of the figure of Columbia, who holds a laurel wreath above the head of each. To the left of Washington are drawn scenes from the Revolution, and these are mirrored on Lincoln's left by scenes from the Civil War. Below the former is shown the Declaration of Independence, and below the latter the Emancipation Proclamation. As Holzer, Boritt and Neely say, "The meaning was unmistakable: the birth of freedom in America under Washington in 1776 and the "new birth of freedom" on January 1, 1863, were of equal importance." (The Lincoln Image, p. 197). By the time this print was issued, Lincoln was being placed by his supporters on a level with Washington, and this print is an excellent example of that trend. $475
Anton Hohenstein. "President Lincoln And Family Circle. Respectfully Dedicated To The People Of The United States." Philadelphia: John Smith, 1865. 18 5/8 x 24 3/4. Lithograph by A. Hohenstein. Some discoloration and repaired tears in margins (one extending just into lower neatline). One repaired crack (nearly invisible) at Lincoln's left leg. Lined on rice paper for stability. Overall, fine condition.
Lincoln's assassination inspired the publication of many prints about Lincoln, including portraits, scenes of the assassination, and images of earlier, happier times of Lincoln's life. A surprisingly large number of the latter prints showed Lincoln and his family in a domestic setting, giving the American public a glimpse of the private life of the martyred President, albeit one based more on the imagination of the artist than on reality. Modified from a painting by Francis Bicknell Carpenter (that J.C. Buttre made into an "official" print), this portrait of the Lincoln family was drawn by Anton Hohenstein and published by John Smith of Philadelphia shortly after the assassination. Lincoln's figure comes from the famous 1865 photograph of the President reading to Tad, here reversed and altered to show Tad holding the book, instead of his father, as in the photograph. Because Hohenstein wanted to show all three sons (including Willie who had died in 1862), Tad's place in the photograph was taken by Willie in the print, and a figure of Tad as a younger boy was added standing next to Mary. Dressed in a sized-down soldier's outfit, Tad mirrors his older brother Robert, who appears here in uniform. Overall, the image is an impossible construction by the artist, for there were only a very few times Robert was in Washington before Willie's death in 1862, and Robert didn't join the army until 1864. Of primary importance, though, was the symbolism of a Victorian ideal family for the martyred President, not verisimilitude, and this print well achieved its aim. The rendering of the surrounding furniture is very well done, and the figures are less crude than many of the other similar prints that were rushed to print after Lincoln was shot. This is a fascinating reflection of its time and a most interesting and attractive graphic image of Lincoln and his family. $575
"Abraham Lincoln, Sixteenth President of the United States. Born Feby. 12th. 1809. Died April 15th. 1865." New York: Kimmel & Forster, ca. 1865. Lithograph. 12 x 8 1/2 (sheet). Excellent condition.
A stately memorial print to the assassinated President, issued shortly after his death on April 15th, 1865. Lincoln is shown in a rectangular bust portrait. He is handsome, strong and wears an elegant vest. An example of the type of print based on Francis Carpenter's original that would have hung in many homes of grieving Americans. $550
"President Lincoln at Home, Reading the Scriptures to his Wife and Son." New York: Currier & Ives, 1865. Lithograph 16 1/2 x 12 1/2 (in oval). Framed to archival specifications in original oval frame. Frame features some distressing but better than most and an unusual survivor. Conningham, 4883.
This large oval portrait used a Mathew Brady photograph, taken 9 February 1864, that showed Lincoln reading to his son Tad. The image of Mrs. Lincoln to the right was drawn into the ensemble by the lithographer. It is an unusually large lithograph and shows the president turning to the Biblical chapter of Isaiah.
In Stefan Lorant's Lincoln. A Picture of His Life (Harper, 1952): p. 184, the author claims that Lincoln insisted that the book was a photo album so the public would not think he was merely posing with a Bible. In this case the book has clasps as would a Bible, but that was also appropriate for a large album at the time. An unusual and scarce piece of history. $1,200
F. Schell. "Lincoln Family." Philadelphia: John Dainty, [ca. 1865 ff.]. Steel engraving by A.B. Walter. 8 1/4 x 6 (oval image) plus margins. Slight age toning. Cleaned and deacidified. In original, very well preserved oval frame.
Although not giving proper credit, this picture is inspired by Matthew Brady's famous portrait of President Lincoln reading to Tad. Added to the print is Mary Todd Lincoln and son Robert behind the president who is reading a Bible. We can assume it is a Bible because the clasps on the back cover represent a typical housing for the times. A portrait of the son, Willie, who died in the White House is on the far wall. A lovely and touching print in a contemporary frame. $425
William E. Marshall. "Abraham Lincoln." New York: Ticknor & Fields and Wm. E. Marshall, 1866. Steel engraving by W.E. Marshall. 20 5/8 x 15 7/8 (image) plus full margins. Excellent condition and impression.
A dignified, handsome formal bust length portrait of Lincoln, drawn, engraved and published by William E. Marshall. As soon as it was issued, this print was accepted as the finest portrait ever done of Lincoln, and in fact was claimed by a number of critics to be one of the finest engravings ever produced. Copies of this print were sent to many who knew Lincoln, and their reaction was uniformly enthusiastic. Amongst some who had high praise for the print were Robert Todd Lincoln, Gustave Dore, William Herndon, Edwin Stanton and Charles Sumner. Frederick Douglass even had the print on display in his home. As fine an example of American portraiture in print as one can find. $1,800
"President Lincoln And His Cabinet. With General Grant in the Council Chamber of the Whitehouse." New York: Thomas Kelly, 1866. 18 7/8 x 27 3/4. Lithograph by Antoine (Anton) Hohenstein. Printed by Spohny, Philadelphia. Trimmed to neat line at sides, expertly remargined. Very good condition. Holzer, Boritt, & Neely, Changing The Lincoln Image, Fig. 2.
An interesting print of Lincoln, his Cabinet, and General Grant issued by popular print publisher Thomas Kelly. The basis of this lithograph is Francis B. Carpenter's image "The First Reading of the Emancipation Proclamation," first issued in 1866. Bavarian born Philadelphia artist Hohenstein has made some revisions, but this clearly is a copy. Stanton, Chase, Lincoln, Seward, and Bates are pictured in essentially the same places and poses as in Carpenter's original, as is the picture of Pennsylvanian Simon Cameron (Stanton's predecessor). The room is the same, though Hohenstein removed the portrait of Andrew Jackson and added two landscapes to the wall in the background, and made a few other changes to disguise the piracy. To the basic image taken from Carpenter, Hohenstein moved the image of Wells, replaced Blair with his successor Denison, and in a central position, added General U.S. Grant. Interestingly, he did not show Smith's successor at Interior, but rather both Bates and James Speed who succeeded him as Attorney-General. And, rather than showing a scene concerning the Emancipation Proclamation, this print is supposed to show Grant discussing his campaigns, for the General boldly points to a location on a map placed on the table.
As the war had ended, Kelly also published for sale in the South a Confederate edition of this image, with General Lee replacing Grant, Davis replacing Lincoln, and so forth! This is a wonderful image of Lincoln, as well as an instructive example of the practices of printmaking in the mid-nineteenth century. $850
Samuel B. Waugh. "Lincoln and his Family." Philadelphia: Bradley & Co., 1866. 17 1/2 x 24 3/4. Mezzotint with engraving by William Sartain. Printed by Irwin & Sartain. Very good impression. Very good condition. Holzer et al., The Lincoln Image, Fig. 80. Denver.
This is one of most famous prints of Lincoln, a family portrait based on a painting of Samuel B. Waugh and engraved by William Sartain. This print was copied by many other nineteenth century print publishers, but none equaled the quality of this rich engraving. Lincoln is shown with his two sons and wife surrounded by elegant furnishings of the White House. The family is grouped around a covered table, upon which lie two books, including the Bible. Lincoln and Tad sit to the left, and above Lincoln's right shoulder is a bust of George Washington, linking the martyred president with the 'father of the nation.' Outside the draped window is the outline of the Capitol dome, completed during Lincoln's terms. Mary Lincoln sits to the right, and Robert stands in the center between his parents. Over Robert's shoulder is a portrait of William Lincoln, who had died in 1862. Waugh makes use of clever symbolic lighting and artifacts, which was characteristic of portrait painting at this time. One symbol was described in a promotional circular, "On the table is a vase of flowers 'embracing the Roses of the North, and the Small Magnolia, Sweet Clematis, and Virginia Creeper, which bloom in profusion in the South,' all wreathed in harmony, emblematic of the friendly feeling that should exist between the people of the North and South, in the great vase of the UNION..."
Waugh's details are beautifully rendered by William Sartain, scion of the illustrious Philadelphia family of artists the patriarch of which was John Sartain. The concept and design of Waugh's painting was based on Edward Savage's famous image of George Washington and his family. It is interesting that John Sartain engraved a large mezzotint after the Washington family painting, so here William is following closely in his father's footsteps with his engraving of the Lincoln family. William was able to closely simulate the texture of the rich satins, soft woolens, and lustrous leather. At the time of its issue, this print was thought of as a first class example of print making, selling for as much as $20 for an artist's proof, and $7.25 for a regular print. As Holzer, et al. remark, "In its day, the Sartain engraving was considered the best print portrait of the Lincoln family." (The Lincoln Image, p. 171) This print was so popular that cartes-de-visite were published using photographs of the print, giving the illusion they were photographs of the actual family. $950
Ad. Biegemann. "Lincoln and His Family." Philadelphia: William Smith, ca. 1866. 18 x 24. Lithograph by D. Wiest. Original color. Tear at top extending ca. 3" into image, and tear at bottom just touching image. Otherwise, very good condition. Holzer, et al., The Lincoln Image, Fig 87.
A very primitive rendering using the same theme as the print above. The publisher wanted to take advantage of the demand for images of the President without investing in a first-hand rendering. Thus his artist based the image of Lincoln on a photograph of the President and Tad taken in 1865. The image was reversed for the print, but because Biegemann wanted to show all three of Lincoln's sons, including Willie who had died in 1862, the image of Tad from the photograph became Willie, and a figure of Tad as a younger boy was added. Robert is shown in uniform, even though he didn't join the army until after the death of his brother Willie, near whom Robert is standing. The heads and bodies of all the figures are out of scale with each other, and the setting is most awkward. That such a print could be produced and sold by a major publishing house is an interesting reflection on the print market of the time, and a strong indication of the demand for images of Lincoln. $450
Ad. Biegemann. "Lincoln and His Family." Philadelphia: William Smith, ca. 1866. 18 x 24. Lithograph by D. Wiest. Very good condition. Holzer, et al., The Lincoln Image, Fig 87. Another example of the print above, this one uncolored. $400
Eastman Johnson. "The Boyhood of Lincoln. (An Evening in the Log Hut.)" Boston: L. Prang, 1868. Chromolithograph. 21 x 16 3/4. In period frame. Mounted on board as issued and with original labels by Prang.
Eastman Johnson was hailed for his charming image of the "Barefoot Boy," inspired by on John Greenleaf Whittier's poem. This classic American image was made into a chromolithograph by Louis Prang of Boston. Louis Prang was the most successful American publisher of chromolithographs and he said that the print of the Barefoot Boy was his most successful print ever. This success spurred Prang to go back to Johnson for another of his excellent images, this print showing young Abraham Lincoln reading by the light of a fire in his log cabin home. This is one of Prang's larger and most expensive images, selling for $12 a copy (in contrast to the Barefoot Boy's $5). According to Prang's promotional text, "This great national picture, is full of artistic excellencies, apart from its associations. What better picture to have constantly before the eyes of the rising generation? It teaches that in America there is no social eminence impossible to the lowest youth, who by perseverance, study, and honesty of life and purpose, shall seek to reach the ranks of the rulers of the people." This print still evokes that American ideal, which in addition to the quality and attractiveness of this superb chromolithograph, makes this a most desirable American print. $2,100
T. Johnson. [Abraham Lincoln] Late 19th century engraving. 13 5/8 x 10. Very good condition.
A finely executed profile engraving of our sixteenth president by T. Johnson. $475
"Lincoln Family." Photograph: Carte de visite format. Ca. 5 x 3".
A photograph of a composite image using Brady photograph of Lincoln reading to Tad, superimposing image of Mrs. Lincoln seated next to her husband and Robert in military uniform standing behind his father's chair. Note: though Willie's death is acknowledged by his absence from the picture, Mrs. Lincoln is not shown in mourning dress. Cartes de visite, so named for their size (which resembled a small calling card), became popular in the 1850s and 1860s. Using a specially-designed camera, eight different poses could be printed on one sheet of photographic paper, then cut up and mounted on small, pocket-sized cardstock. The same photographic technology that allowed loved ones to exchange likenesses also afforded thousands of Americans the opportunity to own pocket-sized portraits of public figures, including most prominently Abraham Lincoln. $125
Click here for a page with cartes de visite of Lincoln and his contemporaries.
Max Rosenthal. "Abraham Lincoln." Philadelphia: James E. McClees, 1908. Etching by Max Rosenthal. 23 5/8 x 18. With etched remarque of Lincoln's death mask. Signed in pencil.
A handsome etched portrait of Lincoln without a beard by Philadelphia artist/etcher Max Rosenthal. Rosenthal (1833-1918), born in Russian Poland, studied lithography in Paris at 13, and emigrated to Philadelphia in 1849 or 1850. An active lithographer working with his brothers Louis, Morris and Simon, he also taught mezzotint engraving and oil painting in his later years. He issued a number of attractive portraits in the early twentieth century. Here, inspired by the Marshall portrait, Rosenthal places Lincoln's bust in a oval frame, but this one containing the official seals of the United States and its several states. A banner at the bottom states "With Malice Toward None With Charity For All," and just above is partly shown a copy of the Emancipation Proclamation. In the lower margin is a small etched remarque showing Lincoln's death mask and the print is signed by the artist. A very attractive and strong image from the early twentieth century. $575
Six Satires depicting Abraham Lincoln. These are reproductions of satires that were drawn in 1864 by Henry Louis Stephens who moved from Philadelphia to New York in 1859. He was a brilliant satirist who even managed to lampoon the works of John James Audubon after working for that family. He drew political and social cartoons mainly for magazines such as Frank Leslie's and Harper's during the war. These images appeared in a British magazine.
The six reproductions were commissioned by Townsend and Fuller in 1930 and lithographed by the famous Hoen & Co. in Baltimore. This publisher incorrectly named the artist as "L. H. Stephens" instead of "H.L." An interesting selection that appeared in a city which retained its Southern sympathies into the Twentieth Century. Price for the six $85
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