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A rare and very important political campaign portrait of Lincoln issued by Currier & Ives. Beginning in the 1840s, Currier & Ives issued campaign portraits of political candidates. These prints would have been one of the main way that these candidates could get their images out to the general public and many of these would have been passed around and hung (usually just tacked to the wall) in homes and taverns around the country. So despite the important role they played in the country's history, few of these prints have survived to today. This is a print, showing a beardless Lincoln, from Lincoln's first campaign. Currier & Ives issued a small folio print and also this rarer medium folio image. CWL On Approval
“The Inauguration of Abraham Lincoln as President of the United States, At the Capitol, Washington, March 4, 1861. [From a Drawing Made on the Spot].” New York: Harper’s Weekly, March 16, 1861. Wood engraving. 13 3/4 x 20. With expertly repaired tears.
Harper's Weekly was a New York based newspaper in the last half of the nineteenth and early twentieth century. In weekly issues, Harper's presented a mixture of news stories, gossip, poetry, and most notably, wood-engraved illustrations. These pictures remain one of the best sources for lively, informative images of nineteenth-century America. Before photography developed as a viable medium for mass publication of images, engravings made from artists' sketches relayed news of both the everyday and the extraordinary to newspaper and magazine audiences.
In March of 1860, one key news story was the inauguration of a new American president, duly illustrated in this image drawn “on the spot.” In a sweeping composition, a crowd gathers on the platform and below as Abraham Lincoln delivers his inaugural address. Notably, the artist included in the lower lefthand corner two African-American figures, one of whom doffs his hat to the man who would be the “Great Emancipator.” $125
"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.
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
Albert Ruger. "Funeral Car used at the Obsequies of the late Pres. A. Lincoln at Columbus, O. April 29th. 1865." [Columbus: J.H. Studer, 1865.] 10 5/8 x 15 7/8. Lithograph by Ehrgott, Forbriger &Co.. Original hand color. Some repaired tears and chips in top margin. Very good condition.
Ehrgott, Forbriger & Co. were an important lithographic publishing firm from Cincinnati who issued a wide variety of patriotic prints during the Civil War. (cf. above) They especially focused on prints of regional interest, where they had the advantages of access and knowledge of the local market over the bigger lithographic firms on the east coast. Much of their output was commissioned work by mid-western publishers and this is a nice example published by J.H. Studer of Columbus (publisher information on example of this print in Library of Congress).
After Lincoln's assassination, plans were made to send the body back by train to his hometown of Springfield, Illinois for burial. A route was planned that essentially retraced the route Lincoln took in 1861 as President-elect, though skipping Cincinnati and Pittsburgh and adding Chicago. The Lincoln Special, adorned on its cowcatcher with a portrait of Lincoln, carried approximately 300 mourners, leaving Washington on April 21, and arriving in Springfield on May 4th, having passed through Harrisburg, Philadelphia, New York, Buffalo, Cleveland, Columbus, Indianapolis, and Chicago. At each stop Lincoln was accorded great honors and mourned by thousands. In Columbus, where the train arrived on April 29, the coffin was pulled through the streets by a 17 foot long hearse to the State Capitol, where Lincoln lay in state throughout the day. This print, issued to satisfy the interest of a mourning public, shows the hearse approaching the Capitol building accompanied by a guard of honor. It is a fine example of regional American printmaking and a rare glimpse of a fascinating historical event in our history. $1,150
HONEST ABE: "Diogenes His Lantern Needs No More, An Honest Man is Found!-The Search Is O'er." New York: N.P. Beers, 1865. 15 7/8 x 12 (image). Engraving by H.B. Hall. Hand coloring. Wide margins with one small repaired tear at left extremity. A strong impression. Very good condition.
Much of Lincoln's success as a candidate, as President, and in the minds of his countrymen before and after his death resulted from his image "Honest Abe." In the nineteenth century, as today, an honest politician was perceived to be a rarity. Lincoln both was and was seen to be such a man. The public's skepticism about the honesty of public figures has roots from well before the nineteenth century, as the classic tale of Greek philosopher Diogenes searching for an honest man tells. This tale is used in this print to highlight Lincoln's abiding image as Honest Abe. Diogenes is shown sitting at rest, leaning on a handsome oval portrait of Lincoln, his search finally over. In the background of the print is an image of the U.S. Capitol. It is interesting to note that this depiction shows the original Bulfinch dome even though the new, loftier dome was almost completed by the time the print was issued. This print was published after Lincoln's assassination, showing how important and enduring was the image of Lincoln as man who lived up to classic ideal of an honest man. $1,200
[Thomas Hicks]. "Abraham Lincoln." New York: William Pate & Boston: L.A. Elliot & Co., circa 1865. 26 1/2 x 19 5/8. Engraving. A few short tears in margins, and chip in upper right corner. Expertly conserved and lined with rice paper. Overall, very good condition. Holzer: Lincoln Seen & Heard, fig 1.9.
A large, full length portrait of Lincoln by Thomas Hicks. Hicks, a fine American painter (1823-1890), first painted a bust of Lincoln during the election of 1860. This print shows Lincoln as President, standing by a table upon which rest the volumes of Jefferson's Works, and three pieces of paper which read, "Constitution," "Union," and "Proclamation of Freedom." Lincoln strikes a pose of classic symbolism, holding his cape as a Roman would his toga. To the side is a globe of the world and the American flag. A dignified, stern and heroic portrait of the President. $850
"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
"Abraham Lincoln. The Nations Martyr. Assassinated April 14th. 1865." 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
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
William E. Marshall. "Abraham Lincoln." New York: Ticknor & Fields and Wm. E. Marshall, 1866. 20 5/8 x 15 7/8. Steel engraving by W.E. Marshall. Full and generous margins. Expertly repaired tear at right, 2" into image. Else, excellent condition. Framed in a nineteenth century frame to archival specifications.
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. $1,600
Samuel B. Waugh. "Lincoln and his Family." Philadelphia: Bradley & Co., 1866. 17 1/2 x 24 3/4 (image) 22 x 27 3/4 (full sheet). Mezzotint with engraving by William Sartain. Printed by Irwin & Sartain. Water stain along bottom edge of paper, with faint staining just into title area. Otherwise, an excellent impression in very good condition. Holzer et al., The Lincoln Image, Fig. 80.
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. 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.” (p. 171) $950
Francis B. Carpenter. "The First Reading of the Emancipation Proclamation Before the Cabinet. From the original picture painted at the White House in 1864." New York: Carpenter, 1866. 21 x 32. Steel engraving by Alexander H Ritchie. Several tears expertly repaired. Otherwise, good condition. Holzer, et al., The Lincoln Image, fig. 57.
One of the most important of Lincoln prints, this large engraving after Carpenter's painting had much to do with the impact of the Emancipation Proclamation on the minds and hearts of Americans after the Civil War. Carpenter, who believed that the Proclamation was one of the great events of the nineteenth century, petitioned Lincoln to create an image of the event and then to publish a print to disseminate knowledge of it. Lincoln, who had made the Proclamation with the intent of it having an important political impact, was enthusiastic in helping Carpenter, even to the extent of letting him use the White House state dining room as his studio for six months. The resulting print was extremely successful, receiving critical acclaim and wide distribution. Each of the sitters for the print, from Lincoln through every cabinet member, ordered a copy of the print. Many derivative prints were issued, but this is the original image of this monumental act, published by Carpenter as a premium for the newspaper, The Independent. $1,400
Ad. Biegemann. “Lincoln and His Family.” Philadelphia: William Smith, ca. 1866. 18 x 24. Lithograph by D. Wiest. Original color. Rear 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 elaborate, period frame. Mounted on board as issued and with original labels.
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. $2,800
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
After Matthew Brady. [Abraham Lincoln reading to Tad.] Photograph: Carte de visite format. Chair lightly retouched; else, faithful to Brady's original. Some discoloration at edges; overall, fine condition.
An iconic image of a beloved president and his son. 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
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