Processed by
Emily Castle
7 September 2004
Manuscript and Visual Collections Department
William Henry Smith Memorial Library
Indiana Historical Society
450 West Ohio Street
Indianapolis, IN 46202-3269
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VOLUME OF |
752 photographs, lithographs, engravings, prints, busts, and statues |
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COLLECTION |
1846–2000 |
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PROVENANCE: |
Jack L. Smith, South Bend, Indiana, 46614, 31 March 2003. Acquired through a grant from the Lilly Endowment, 28 January 2003. |
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RESTRICTIONS: |
Certain items in this collection have been restricted for preservation purposes. All items are available for view in the library’s digital collections: http://indianahistory.org/library/digital_image/digitalpics.html |
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COPYRIGHT: |
Indiana Historical Society |
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REPRODUCTION |
Permission to reproduce or publish material in this collection must be obtained from the Indiana Historical Society. |
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ALTERNATE |
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RELATED |
Daniel R. Weinberg Lincoln Conspirators Collection, |
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ACCESSION |
2003.0190 |
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NOTES: |
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South Bend, Indiana, businessman Jack Smith began collecting images of Abraham Lincoln in 1959. His interest was sparked when he discovered a picture of his great-grandfather, Louis Rau, who was a Union soldier during the Civil War and served under General Ulysses S. Grant. Smith first purchased prints of Grant and Lincoln. Soon after he bought another image of Lincoln for $14 and began a hobby that lasted more than forty years. In his early years of collecting, Smith could easily find images of Lincoln in antique shops, but as the years went by it became more difficult.
Through the course of his collecting avocation, Smith collected 752 items relating to the sixteenth president, one of the largest collections of Lincoln images anywhere. These items give a picture history of Lincoln’s life, from his humble beginnings to his presidency and his lasting image as an American icon. Many of the items in the collection were created during Lincoln’s lifetime, others were created shortly after his assassination and in the years since. The collection provides insight into how Lincoln was portrayed as a politician, a family man, and as a national martyr.
Sources:
Picturing Lincoln: The Changing Image of America’s 16th President. Prepared for the Northern Indiana Center For History, n.d.
This collection consists of photographs, prints, engravings, and statues depicting Lincoln and the people and events in his life. Due to the technological advancements in photography and the print industry, Lincoln was the first president whose image was well known to most Americans. The mass marketing of prints made it possible for candidates to distribute their pictures to the public and made it affordable to own a high-quality printed image.
Images of Lincoln became plentiful and in the North were a significant factor in getting him elected president in 1860. It is unknown how many images were produced of him during the campaign, but what has survived shows numerous formats directed at the public. Newspapers circulated his image nationally. Posters, sheet music, paintings, and printed images were made available through bookstores, newspaper offices, and by mail. When Lincoln grew a beard after being elected it rendered all the beardless images of him outdated, and printers had to print new updated images.
During the early 1860s newspapers did not have the technology to reproduce the few photographs available to them and instead used engravings made from the photographs. Lincoln and his campaign managers understood the power of the press and believed strongly that Lincoln’s image be flattering. Because of this concern many images of him have a more pleasing appearance with a restyled nose, eyes, or hair. There were also many crudely drawn images of Lincoln by lithographers and engravers who had probably not seen many likenesses of him. Lincoln himself said that the photograph that came to be known as the Cooper Institute photograph, taken by Mathew Brady in February 1860 (ID 79), put him in the White House.
When Lincoln took the oath of office in March 1861, the prints that followed were of his family. These prints were in pastoral settings and filled with patriotic symbols. In many of the images there are busts of George and Martha Washington to remind us of the First Family, and the Lincoln’s oldest son Robert is often seen in his Union military uniform. After Willie, the middle son, died in 1862, he was portrayed in the prints as a small adult, or there was a portrait of him on the wall.
Lithographs and engravings of images of the well-known men and events of the Civil War were also produced in abundance during this time. With the issue of the Emancipation Proclamation in January 1863, representations of Lincoln reading the document to his cabinet members and generals started appearing. The importance of the document continued the production of prints well into the 20th century.
Lincoln’s assassination on 14 April 1865 led to still more prints. These prints included representations of John Wilkes Booth shooting the president at Ford’s Theatre; Lincoln on his deathbed with members of his family, his cabinet, and generals; and the many services that were held throughout the country over the weeks following Lincoln’s death.
The collection is arranged in the following series: Boyhood, Campaigns and Elections, Political Cartoons, Presidency, Politicians, Civil War, White House Years, Quotes and Speeches, Emancipation, Assassination and Death, Iconography, Family, Mary Todd, Residences, Graphic Portraits, Photographic Portraits, and Statues/Busts/Plaques.
Series 1: Boyhood, 1868–1943 consists of seven items. These include three pictures of a young Lincoln reading, one of him chopping wood, one of him in an Indiana schoolhouse, a picture of the store where he worked in New Salem, and one of him judging a local contest.
Series 2: Campaigns and Elections, 1860–1954 consists of twenty-six items ranging from a beardless Lincoln on the campaign trail to his inaugurations. Four of the items are Currier and Ives campaign banners for the 1860, 1864, and 1868 elections. Four show scenes of Lincoln on the campaign trail, one shows him on the stump, and there are five scenes from both of his inaugurations.
Series 3: Political Cartoons, 1860–1937 consists of twenty-seven items. Some of the cartoons are from Lincoln’s days on the campaign trail, with the theme of the Republican Party’s antislavery doctrine and Lincoln’s frontier origins as a rail-splitter. Others are from the years he was in office and dealing with the Civil War, and a few were published in later years on anniversaries of his birth.
Series 4: Presidency, 1860–1901 consists of seventeen different groupings of former presidents. In many of them Lincoln and Washington are featured prominently.
Series 5: Politicians, 1861–1889 consists of ten items. Included are members of Lincoln’s cabinet, General Grant, and President James Garfield, who was assassinated sixteen years after Lincoln.
Series 6: Civil War, 1861–1993 consists of thirty-four items. Included among these items are three photographs of Lincoln during his visit to Antietam and a map of the Shiloh battlefield. There are also eight scenes with Lincoln in meetings with his generals.
Series 7: White House, 1862–1898 consists of ten items. These include groupings of Lincoln and his cabinet members, scenes of events that took place at the White House, and an image of Lincoln with his secretaries (ID 656).
Series 8: Quotes and Speeches, 1861–1940 consists of twenty items. There are seven items that include quotes, eight prints of the Gettysburg Address, and two prints of the farewell address Lincoln gave in Springfield, Illinois, before leaving for Washington, D.C.
Series 9: Emancipation, 1863–1919 consists of twenty-seven items. Included are a photograph of the original Emancipation Proclamation (ID 152) and two artistic interpretations of the effects of the Emancipation Proclamation (IDs 629 and 687). There are also ten commemorative prints.
Series 10: Assassination and Death, 1865–1910 consists of seventy-eight items. Among these, fifteen are scenes of Lincoln on his deathbed, thirteen are mourning items, and seven are scenes of Lincoln’s assassination and the events with Booth that followed. There are also fifteen scenes of Lincoln’s funeral journey. His body was put on a funeral train that traveled from Washington, D.C., to Springfield, Illinois. Along the way hundreds of thousands of mourners turned out to view the body or watch the train pass through their towns.
Series 11: Iconography, 1802–1926 consists of eighty-six items. Most of the pictures in this series have a symbolic reference to Lincoln freeing the slaves or preserving the union. There are eleven items that include images of Lincoln and George Washington, and there is a photograph of Lincoln and Tad (ID 591) with a sylvan background added for artistic effect. There are also two groups of prints that show how changes were made to out-of-date items so they could be resold. One example of this is the picture that started out as the Apotheosis of George Washington (ID 538). After Lincoln’s assassination his head was placed on Washington’s body and the print was renamed In Memory of Abraham Lincoln: The Reward of the Just (ID 30). Another example of this is an 1852 print made after the Compromise of 1850 titled Union (ID 281), which included prominent politicians of the day. In 1861, the print was remade with Lincoln’s head on John C. Calhoun’s body (ID 282), and other well-known politicians of the 1860s replaced the originals in the print. The print was changed one last time after Lincoln grew a beard—the print also grew one (ID 283).
Series 12: Family, 1860–1931 consists of thirty-eight items. Most of these are idyllic scenes of the Lincoln family together. Since the family was never photographed together, the prints are composite creations using individual photographs of family members to create posed family settings. There was a picture taken of Lincoln and Tad together (ID 251), and because of this, in most pictures they are seen in this pose. Most of the items in this series were made after Lincoln’s assassination to give the public assurances that he spent time with his family, however unproven that assertion is.
Series 13: Mary Todd, 1860–1880 consists of seventeen items. All of the pictures except one are of Mary during her years as the First Lady. The one that is not from that time is a painting that was done of her later in her life. In most of the pictures, Mary is in her mourning attire, which she wore from her son Willie’s death in 1862 to 1 January 1865. There are three composite items of Abraham and Mary Lincoln; they were never photographed together.
Series 14: Residences, 1860–1940 consists of twenty-three items. Most of the prints are of Lincoln’s house in Springfield, but there are also some of the log cabin in which he was born in Kentucky and the log cabin where he lived in Indiana.
Series 15: Graphic Portraits, 1857–2000 consists of 197 portraits of Abraham Lincoln.
Series 16: Photographic Portraits, 1846–1998, consists of sixty-eight photographs of Abraham Lincoln. Included in this series are the images representing the first and last photographs taken of Lincoln. When the last photograph was published before his assassination, it was labeled Latest Photograph of President Lincoln (ID 465). After his assassination it was labeled Last Photograph of President Lincoln (ID 466).
Series 17: Statues/Busts/Plaques, 1861–1997, consists of sixty-seven items. Included is a scrimshaw with Lincoln’s portrait on it and an ad for cigars that used his likeness. There are also more well-known statues, such as the Council of War (ID 641), which has Lincoln looking at a map with General Grant and his Secretary of War Edwin M. Stanton, and the statue of a seated Lincoln (ID 46) that was used as a guide in constructing the Lincoln Memorial statue.
Sources:
Holzer, Harold, Gabor S. Boritt, and Mark E. Neely Jr. The Lincoln Image: Abraham Lincoln and the Popular Print. Urbana and Chicago: University of Illinois Press, 2001. (General Collection: E457.65 .H646 2001)
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CONTENTS |
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Abe Lincoln Larnin’ Ettykett in Indianny. Artist: From the painting by Warren, Raymond. Publisher: Progressive Century Co. 1933. Halftone color lithograph. Shows a young Lincoln in a school room learning how to properly greet a woman. He’s holding his hat in his hand, and looks about to bow, while the girl looks like she’s about to curtsey. The other children in the room are reading, or working on math problems. Physical dimensions framed: 141/8 inches H x 173/5 inches W. ID #704. |
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Boyhood Days of Lincoln. (An Evening in the Log Hut). Artist: Johnson, Eastman. Publisher: L. Prang, Boston. 1868. Collotype. This print shows 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. 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.” Citations: The Philadelphia Print Shop, Ltd., http://www.philaprintshop.com/ prang.html, 13 August 2003. Physical dimensions unframed: 137/8 inches H x 111/8 inches W. ID #426. |
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Lincoln the Arbiter New Salem, Illinois. Artist: Ransom, Fletcher C. Publisher: Chicago & Illinois Midland Railway, Springfield, Illinois. 1943. Color halftone lithograph of an original painting. Fletcher Ransom was a commercial artist who worked in Joliet, Illinois. Although he had a thriving business with a local greeting card company, he also contributed a number of images for the Chicago & Illinois Midlands Railway Company calendar series. One of the local tales explaining Lincoln’s nickname “Honest Abe” comes from his judging sporting events such as horse racing and wrestling. This print portrays a cruel frontier practice known as gander pulling. The horseman would try to pull the head off the gander riding at full speed. The reward for successfully completing the task was a goose for dinner. Physical dimensions framed: 301/2 inches H x 273/8 inches W. ID #317. |
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[Lincoln with Ax]. Artist: Artist’s signature illegible. n.d. Photogravure. Image of a young Abraham Lincoln chopping wood. Physical dimensions framed: 9 inches H x 6 inches W. ID #366. |
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Lincoln’s Store at New Salem. Publisher: B & B. n.d. Modern halftone reproduction. Lincoln started working as a clerk at Denton Offutt’s new store in New Salem, Illinois, in September 1831. This picture shows the store where Abraham Lincoln worked in New Salem, along with other buildings in the town. Physical dimensions unframed: 115/8 inches H x 141/8 inches W. ID #593. |
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Pioneer Education Lincoln at New Salem, Illinois. Artist: Ransom, Fletcher. Publisher: Chicago & Illinois Midland Railway, Springfield, IL. 1938. Color halftone lithograph. Artist Fletcher Ransom carries on the notion of Lincoln’s reading by firelight into his New Salem years. The most frequently asked question at New Salem is which log house did Lincoln live? The answer is that he boarded with many residents in the village as well as sleeping in the back room of the Berry-Lincoln store. It is unclear which cabin is being depicted in this painting. The Chicago and Illinois Midland Railway commissioned several noted commercial artists to portray scenes from Abraham Lincoln’s life. Fletcher Ransom lived in Joliet, Illinois, where much of his artwork can still be seen in public buildings. Pioneer Education conveys the images of both Lincoln’s humble beginnings and the power of education in allowing him to rise above his origins. Physical dimensions framed: 301/2 inches H x 273/8 inches W. ID #603. |
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Youth of Abraham Lincoln. Artist: Engraved by Hubbard, Ernest F. after a painting by Rhees, Morgan J. 1889. Intaglio print. Shows the youthful Lincoln in two of his favorite avocations—reading and splitting rails. Physical dimensions framed: 237/8 inches H x 321/4 inches W. ID #349. **Restricted |
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CONTENTS |
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Abraham Lincoln, Sixteenth President of the United States. Publisher: Currier & Ives, 152 Nassau St., New York. 1860. Lithograph. One of Currier & Ives’ standard presidential series prints, issued while Lincoln was president. Conningham #16. Physical dimensions framed: 16 inches H x 193/4 inches W. ID #105. |
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Abraham Lincoln. Republican Candidate for Sixteenth President of the United States. Publisher: E.B. & E.C. Kellogg, 245 Main St., Hartford, CT (co-publisher George Whiting, New York). 1860. Lithograph. Lincoln is depicted “in an elaborate and formal, yet otherwise unremarkable chair.” Updated print ID #551. Citations: Holzer, et al, Changing the Lincoln Image, p. 45.Physical dimensions framed: 211/4 inches H x 171/4 inches W. ID #573 |
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Abraham Lincoln’s Return Home After His Successful Campaign for the Presidency of the United State, In October, 1860. Publisher: Rees Print & Litho Co., Omaha. n.d. Lithograph. Abraham Lincoln rides atop a horse with his hat in hand, in the middle of people waiting outside his house in Springfield, Illinois. Even though this scene depicts Lincoln’s return home after his successful campaign, his “return home” is fictional. Lincoln did not campaign for the presidency. The same picture was used as a scene of Lincoln returning home after debates with Senator Douglas. Physical dimensions framed: 261/2 inches H x 321/2 inches W. ID #224. |
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Candidates. Publisher: Frank Leslie’s Illustrated Newspaper. 6 June 1868. Wood engraving. Cameo of Grant for president and Colfax for vice president. Physical dimensions unframed: 151/2 inches H x 22 inches W. ID #696. |
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[Card Pictures]. Artist: Ayer, George F. n.d. Tintype photographs of Andrew Johnson and Abraham Lincoln. These card pictures were probably used for campaigning purposes for the election of 1864. Physical dimensions unframed: 4 inches H x 23/5 inches W. ID #542. |
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Chicago Platform. Publisher: Harper’s Weekly. 15 October 1864. Wood engraved illustration of the Chicago platform. Shows a rendering of George B. McClellan for president, and several cameos showing scenes of war, slavery, and government. Physical dimensions framed: 273/8 inches H x 313/8 inches W. ID #327. |
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Grand National Democratic Banner. Publisher: Currier & Ives, 152 Nassau St., New York. 1864. Lithograph. Portraits of George B. McClellan and George H. Pendleton. Eagle, flags, horns of plenty, figure of Liberty, and a view of a city on a harbor. In 1864, Currier & Ives presented images of the Democratic presidential ticket. Most Americans already were familiar with the face of General George B. McClellan who led the Army of the Potomac throughout the early years of the war. George Hunt Pendleton, a congressman from Ohio and a leading critic of the Lincoln administration, was selected as McClellan’s running mate. Conningham #2497. Physical dimensions framed: 111/8 inches H x 81/8 inches W. ID #708. |
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Grand National Union Banner for 1864. Publisher: Currier & Ives, 152 Nassau St., New York. 1864. Hand colored lithograph. “The promise of peace is subtly evoked in this print from the second Lincoln campaign: the accessory portrait beneath those of the candidates represents neither war nor Emancipation but a return to bucolic tranquility, further suggested by a harvest of fruit spilling over from twin cornucopias alongside. As the caption implies, it was a promise possible only through Union and Victory.” (Holzer, et al, The Lincoln Image, p. 130.) Historians remain divided on whether Lincoln actively recruited Andrew Johnson for his running mate in 1864 or merely acquiesced in the decision of the Party. Hannibal Hamlin remained a loyal Republican committed to the abolition of slavery. His residence in Maine supported the charge that the Republican Party was sectional in character. Johnson, a loyal Unionist Democrat from Tennessee, brought a new dimension to the Party ticket and was a symbolic gesture toward reconstruction. It should also be noted that Lincoln and Johnson did not run on a “Republican” ticket but rather a “National Union” ticket, once again emphasizing reuniting the nation. Conningham #2510. Physical dimensions framed: 25 inches H x 211/4 inches W. ID #547. |
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Hon. Abraham Lincoln Republican Candidate for Sixteenth President of the United States. Publisher: Currier & Ives, 152 Nassau St., New York. 1860. Color halftone print. The original was said to be “one of the most prized of all prints, this lithograph was advertised in a period sales circular at 20 cents apiece, six for a dollar. In 1934 a jury of noted print collectors selected this print thirty-fourth among the ‘best 50’ of all small folio Currier & Ives prints.” (Holzer, et al, The Lincoln Image, p. 30.) Conningham #2894. Physical dimensions unframed: 13 inches H x 15 inches W. ID #309. |
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Hon. Hannibal Hamlin. Republican Candidate for Vice President of the United States. Publisher: Currier & Ives, 152 Nassau St., New York. 1860. Crayon manner lithograph, hand colored with red, yellow, grey, and flesh tones. Vice Presidential banner for Hamlin during the election of 1860. Conningham #2902. Physical dimensions framed: 25 inches H x 21 inches W. ID #548. |
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Hon. Schuyler Colfax, the Nation’s Choice for Vice President of the U.S. Publisher: Currier & Ives, 152 Nassau St., New York. 1868. Lithograph. Schuyler Colfax was one of the most prominent and popular political figures of the nineteenth century. He was delegate to the Indiana State Constitutional Convention of 1850; leading Whig and one of the organizers of the national Republican Party; elected to seven terms in the United States Congress from the Ninth Congressional District which included South Bend, Indiana; served as chairman of the Post Office and Post Roads Committee; elected speaker of the House of Representatives; elected vice president of the United States in 1868 and served one term under President Ulysses S. Grant. Conningham #2919. Physical dimensions framed: 1013/16 inches H x 9 inches W. ID #646. |
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Inaugural Procession at Washington Passing the Gate of the Capital Ground. Artist: Homer, Winslow. Publisher: Harper’s Weekly. 16 March 1861. Wood engraved illustration. View of Lincoln’s coach going by the Capitol. Physical dimensions unframed: 16 inches H x 11 inches W. ID #134. |
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Inauguration of Abraham Lincoln as President of the United States. Artist: Homer, Winslow. Publisher: Harper’s Weekly. 1861. Wood engraved illustration of the scene outside the Capitol for Abraham Lincoln’s inauguration as president. Physical dimensions framed: 251/4 inches H x 301/4 inches W. ID #491. |
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Lincoln and Hamlin Inaugural. March 4th, 1861. 4 March 1861. Silver gelatin print. “A distant photograph from a special platform… built specifically for the purpose… The President-Elect was dressed in black, with a black tie and a black silk hat. He carried a cane. As he stepped forward to read his inaugural address, he drew the manuscript from his breast pocket, placed it on the speaker’s table, and anchored it with his cane. Then he put on his spectacles and removed his hat… In a high-pitched but resonant voice, Lincoln spoke for about half an hour, making a dramatic appeal for Southern loyalty… The tall figure of Lincoln is partly hidden by the shadow of the wooden canopy.” (Hamilton, et al, Lincoln in Photographs [1963], p. 86-87.) Physical dimensions unframed: 123/5 inches H x 123/4 inches W. ID #661. |
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Lincoln For President. Artist: Jones, Reynolds. Publisher: Chicago & Illinois Midland Railway, Springfield, IL. 1954. Color halftone lithograph print. Telegraphic cables informed Lincoln in Springfield that he had been nominated by the Republican Party to be their standard bearer at the 1860 Chicago National Republican Convention. On 19 May, the official delegation from the convention visited Lincoln at his home to present him with the news. They were taken into the parlor and sitting room where a humbled Lincoln is shown with his head bowed, receiving the official letter of notification. Physical dimensions framed: 305/8 inches H x 271/4 inches W. ID #314. |
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Lincoln Hamlin! 1860. Lincoln-Hamlin campaign ribbon. Physical dimensions unframed: 41/2 inches H x 31/8 inches W. ID #278. |
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[Lincoln on Campaign Train]. Artist: Rogers, W.A. n.d. Wash drawing. W.A. Rogers did a lot of drawings for Harper’s Weekly. This drawing is based on an incident that happened on the campaign train. Physical dimensions framed: 301/2 inches H x 241/2 inches W. ID #561. |
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Lincoln the Campaigner. Artist: Jones, Reynolds. Publisher: Chicago & Illinois Midland Railway Co., Springfield, IL. 1948. Lithograph. Reynolds Jones was a leading commercial artist of his generation. In a series of prints detailing events from Lincoln’s life, the Illinois Central and Midlands Railroad Company commissioned artists like Jones to bring Lincoln’s life alive through artwork used on their annual calendar. In this scene, Lincoln is literally standing on a stump, addressing his neighbors of New Salem in his first run for the Illinois State Legislature in 1832. The term “stump speech” derives from this practice. On the back of the print it says: “At New Salem, flatboatman Lincoln learned how to get and hold the confidence of the people. In his first campaign for the legislature in 1832 he was defeated but he carried his own New Salem precinct with a vote of 300 to 277. This was the only time, Lincoln said later, that he was ever defeated by a direct vote of the people. In 1834 he was a candidate once more and this time he won. Thereafter he was re-elected three times, then refused further nomination in order that he might build up his law practice and prepare his way for election to Congress. As a politician, stumping the country towns, Lincoln had learned that a successful idealist must be practical. To lead the people he must know the people. To enact a legislative program he must employ skill and compromise. With his feet always squarely on the ground, Lincoln proved by his own example that a great politician is also a great statesman.” Physical dimensions framed: 305/8 inches H x 271/4 inches W. ID #729. |
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[Lincoln-Douglas Debate]; [Lincoln Raising the Flag]; [Ford’s Theatre]. Publisher: McIntosh Stereopticon Co., Chicago. ca. 1915. Three glass slides which depict scenes from Lincoln’s life: one of the Lincoln-Douglas debates, with Lincoln at the podium and Stephen Douglas standing behind him; Abraham Lincoln hoisting a flag up a flagpole in front of a crowd on a platform, and Union soldiers watching from the ground; John Wilkes Booth holding a gun to the head of Abraham Lincoln while he watches the play at Ford’s Theatre. Mary Lincoln is seated next to him. Also in the box are Clara Harris and Major Henry Rathbone. Physical dimensions framed: 31/4 inches H x 4 inches W. ID #124. **Restricted |
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National Inauguration Ball. March 4th, 1865. Artist: Braff. Publisher: Dempsey & O’Toole. 1865. Engraving. Illustrated with beribboned fasces, two eagles (one holding a snake in its beak, the other arrows and an olive branch), and bust portraits of Lincoln and Vice President Andrew Johnson. Over 150 ball “managers” are listed, many honorary, including Generals Grant, Sherman, Sheridan, Hancock, and Doubleday. Physical dimensions framed: 17 inches H x 151/4 inches W. ID #109. |
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National Union Republican Banner, 1868. Publisher: Currier & Ives, 152 Nassau St., New York. 1868. Lithograph. Banner for the election of 1868. Cameo with Ulysses Grant and Schuyler Colfax. On one side is a Civil War soldier and on the other a farm boy. Above the cameo is an eagle with its wings spread holding a banner that reads “For President” above Grant’s picture and “For Vice President” above Colfax’s picture. Conningham #4390. Physical dimensions unframed: 16 inches H x 117/8 inches W. ID #431. |
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A Pen Portrait of Abraham Lincoln. Publisher: Chicago Press & Tribune. 23 May 1860. Lithograph. Text that describes the characteristics of Abraham Lincoln, called a “Pen Portrait.” Physical dimensions unframed: 161/4 inches H x 121/4 inches W. ID #572. |
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President Lincoln’s Reinauguration at the Capital. Publisher: Harper’s Weekly. 1864. Wood engraved illustration. View of President Lincoln’s reinauguration ceremonies on the steps of the capital. The reinauguration was held on Saturday 4 March 1865. Physical dimensions unframed: 151/2 inches H x 215/8 inches W. ID #556. |
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Republican Banner for 1860. Publisher: Currier & Ives, 152 Nassau St., New York. 1860. Hand colored lithograph. A campaign poster for Abraham Lincoln and Hannibal Hamlin with an idealized depiction of the Republican candidates for president and vice president. Campaign posters in the 1860s were designed to look like banners. This one was for Lincoln’s first campaign for president. The poster itself is certainly majestic, regal and patriotic, but does not relate any special theme. Conningham #5113A. Physical dimensions framed: 24 inches H x 20 inches W. ID #353. |
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Republican Nominees. Artist: German, C. S. Publisher: Henry F. Granger & Co., Boston, Mass. 1860. Albumen oval photographs. Campaign photographs from the 1860 presidential election. Physical dimensions framed: 121/4 inches H x 141/8 inches W. ID #139. |
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Republican Ticket. 1860. Letterpress with wood engraving. Two “Wide Awakes,” a group who supported Lincoln, stand as sentries on either side of an image of their candidate for president, Abraham Lincoln. The picture’s appeal to the military ideal, quite popular among nineteenth-century young men, helped to recruit new voters for the Republican Party. Physical dimensions framed: 181/4 inches H x 131/4 inches W. ID #144. |
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CONTENTS |
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Abe’s Last. Publisher: FUN. 27 December 1862. Wood engraving. Cartoon depicts Lincoln and Columbia in a boat with “1863” written on it. They are in a rough sea, which is a metaphor for the Civil War and the political atmosphere of the time. Physical dimensions unframed: 103/4 inches H x 83/8 inches W. ID #19. |
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Broken Vows. Publisher: FUN. 6 December 1862. Line block illustration. This political cartoon shows Abraham Lincoln in a dress, standing in front of a wood fence. Behind the fence are a Union soldier and a southern woman. Physical dimensions unframed: 103/4 inches H x 81/4 inches W. ID #354. |
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Champion Prize Envelopes. Lincoln and Davis in Five Rounds. Artist: Peirce, T.S. Publisher: J.H. Tingley, New York. 1861. Line block prints. Two decorated envelopes. The first envelope shows Abraham Lincoln and Jefferson Davis circling each other in a boxing ring. Surrounding them are members of both men’s cabinets, and a few soldiers. The second envelope shows Lincoln holding the seat of Davis’s pants and chasing him out of the ring. During the Civil War “Patriotic Envelopes” were printed and used for correspondence. These, ID #115 & #116, are a series of five envelopes. Physical dimensions framed: 61/2 inches H x 223/4 inches W. ID #115. |
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Champion Prize Envelopes. Lincoln and Davis in Five Rounds. Artist: Peirce, T.S. Publisher: J.H. Tingley, New York. 1861. Line block prints. Three decorated envelopes. In the first envelope Lincoln is holding Davis, while the rest of the Confederate government has turned and is running away. In the second envelope, members of Lincoln’s government are taking down the boxing ring. Cannons are lined up on the left hand side. The third envelope shows Lincoln in front of a pyramid built of the states in the Union, telling the rest of the nation that he will protect them. During the Civil War “Patriotic Envelopes” were printed and used for correspondence. These, ID #115 & #116, are a series of five envelopes. There were many single envelopes printed showing the flag, the eagle, etc., but this particular series is quite scarce. Physical dimensions framed: 61/2 inches H x 223/4 inches W. ID #116. |
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Cooperation. Artist: Bobbett-Hooper. Publisher: Vanity Fair, 116 Nassau St., New York. 12 April 1862. Six page pamphlet. Hand colored wood engraved illustration on cover. Shows Lincoln building a tub with slats that have all the names of the states on them, hoping that it will stand on its own. Physical dimensions unframed: 121/4 inches H x 9 inches W. ID #594. |
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Davis’ Doings. Artist: Watts, James. Publisher: James Watts & Co., New York. 6 March 1869. Hand colored wood engraving. Artistic interpretation of the removal of the body of John Wilkes Booth. Booth’s body had been buried in the Arsenal in Washington, D.C., along with the bodies of the four Lincoln conspirators who were executed in July 1865, and the body of Capt. Wirz, the Andersonville jailor who was executed in November 1865. Booth’s body was taken to City Cemetery, near Baltimore, and placed beside the remains of his father. Physical dimensions framed: 223/4 inches H x 185/8 inches W. ID #408. |
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Great Exhibition of 1860. Publisher: Currier & Ives, 152 Nassau St., New York. 1860. Lithograph. The artist satirizes the antislavery orientation of the Republican platform. Abolitionist editor Horace Greeley grinds his New York Tribune organ as candidate Lincoln prances to the music. Lincoln is tethered with a cord to Greeley’s index finger, and his lips are padlocked shut. Although the abolitionist bias of the party was well known, Lincoln and the Republicans tried to de-emphasize the slavery issue during the 1860 campaign. In the background stands William H. Seward, holding a wailing black infant. At right stand two other New York editors friendly to the Republican cause, Henry J. Raymond of the New York Times (a short, bearded man holding an ax) and James Watson Webb of the New York Courier and Enquirer. The artist is poking fun at the measures Webb took in August 1860 to revive his newspaper’s flagging circulation, which included a reduction of the paper’s price to three cents and the hiring of newsboys to sell the Courier on the streets. Conningham #2608. Citations: http://loc.harpweek.com/ LCPoliticalCartoons (accessed 3 October 2003). Physical dimensions framed: 197/8 inches H x 253/4 inches W. ID #348. |
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Have We Forgotten This Path? Artist: Somdal, Carl. 12 February 1937. Mixed media about a contemporary political cartoon which is part of H.W. Fay’s Lincoln collection. The original cartoon, the actual publication copy, and a picture signed by the artist are displayed. Physical dimensions framed: 231/8 inches H x 351/8 inches W. ID #186. |
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Honest Abe’s Rudder. Publisher: FUN. 9 May 1863. Line block illustration. This cartoon deals with the ironsides at the battle of Fort Sumter during the spring and summer of 1863. In it Abraham Lincoln’s head is on the body of a dog and he is dragging behind him the Union naval ships as he runs away from Fort Sumter. Physical dimensions unframed: 83/8 inches H x 103/4 inches W. ID #685. |
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The Impending Crisis, or Caught in the Act. Artist: Maurer, Louis. Publisher: Currier & Ives, 152 Nassau St., New York. 1860. The print’s title derives from the name of Hinton Rowan Helper’s 1857 pamphlet The Impending Crisis, an influential document in antislavery literature. Here the crisis is that of New York senator William H. Seward, whose recent loss of the Republican presidential nomination to Abraham Lincoln was widely attributed to the machinations of New York Tribune editor Horace Greeley. James W. Webb of the New York Courier and Inquirer and Henry J. Raymond of the New York Times accuse Greeley of pushing Seward off the dock. Seward holds “Greeley’s Letter.” Conningham #3033. Citations: http://loc.harpweek.com/LCPoliticalCartoons (accessed 3 October 2003). Physical dimensions framed: 221/2 inches H x 191/4 inches W. ID #347. |
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King Mob Upon His Throne. Publisher: FUN. 8 August 1863. Line block illustration. This cartoon shows a man wearing a crown and carrying a sledgehammer, resting his feet on a slave that is wrapped up in an American flag. In the background is Abraham Lincoln with someone hiding behind him. The term “King Mob” is possibly derived from the Gordon gin rioters, who daubed the slogan “His Majesty King Mob” on the walls of Newgate prison in London during the 1800s. Physical dimensions unframed: 103/4 inches H x 83/8 inches W. ID #622. |
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Letting the Cat Out of the Bag. Artist: Maurer, Louis. Publisher: Currier & Ives, 152 Nassau St., New York. 1860. The spirit of discord within the Republican Party created by Lincoln’s nomination is the subject of this print. It shows Massachusetts Senator Charles Sumner releasing a snarling cat, symbolic of the spirit of discord from a republican bag. Sumner was an abolitionist who was severely caned on the floor of the Senate in 1856 by South Carolina Senator Preston Brooks who disliked Sumner’s position on abolishing slavery. Lincoln and Horace Greeley, editor of the New York Tribune, try to push the cat back into the bag with a split rail, Lincoln’s symbol in the 1860 election. William Seward, Senator from New York, stands in the background offering advice. Henry J. Raymond, editor of the New York Times, simply hopes that the controversy will go away. Conningham #3479. Physical dimensions framed: 25 inches H x 191/4 inches W. ID #345. |
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Like A Great Mountain. Artist: Hammond. Bob F. 12 February 1925. Mixed media about a contemporary political cartoon. It appeared on the editorial pages of the Wichita, Kansas, Daily Eagle, on Lincoln’s birthday. The original art work, a picture of the artist, and some notes about the cartoon are displayed. Physical dimensions framed: 231/8 inches H x 351/8 inches W. ID #185. |
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Lincoln with the Drummer Boy. Artist: Nast, Thomas. Publisher: Harper’s Weekly. 27 April 1867. Wood engraved illustration of Lincoln sitting in a chair with a little boy. Physical dimensions unframed: 173/4 inches H x 213/4 inches W. ID #5. |
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Lincoln’s Birthday. Artist: Wilder, Ralph. 1908. Mixed media. This cartoon has Uncle Sam reading a book titled “Abraham Lincoln.” The Chicago Record-Herald, the newspaper where Wilder worked as a cartoonist, is no longer produced. In the first letter Mr. Wilder says he will send the drawing, but in the second letter he says a school teacher requested it and it was in her school room. Physical dimensions framed: 231/8 inches H x 391/4 inches W. ID #189. |
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Old Bull Dog on the Right Track. Publisher: Currier & Ives, 152 Nassau St., New York. 1864. Lithograph. General McClellan speaks to Lincoln, as the bull dog, Grant, sits on the tracks of the Weldon Railroad leading to the Richmond dog house where General Lee, Jefferson Davis, and General Beauregard are hiding. Conningham #4551. Physical dimensions framed: 183/8 inches H x 243/8 inches W. ID #427. |
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Penny Jupiter. Publisher: FUN. 18 October 1862. Line block cartoon of “Jupiter Abe” in the fields with working slaves announcing he’s going to launch his Emancipation thunderbolt. The thunderbolt is atop an eagle carrying a shield designed with the American flag. The slaves working in the field are telling Lincoln to do whatever makes him happy, but to also make sure that they don’t get hurt from emancipation. Physical dimensions unframed: 103/4 inches H x 81/4 inches W. ID #89. |
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President Elect Abraham Lincoln. Publisher: Frank Leslie’s Illustrated Newspaper. 1861. Hand colored wood engraving. Cameo portrait of Abraham Lincoln based on a photograph taken by Alexander Hesler in June of 1860. Surrounding the portrait are scenes from his life. Note the scene in the upper left corner which states: “Lincoln’s Father Killed by the Indians.” It was actually Lincoln’s grandfather who was killed by Indians. Physical dimensions framed: 303/4 inches H x 263/4 inches W. ID #600. |
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Progressive Democracy—Prospect of a Smash Up. Artist: Maurer, Louis. Publisher: Currier & Ives, 152 Nassau St., New York. 1860. Lithograph. The split within the Democratic Party is portrayed in this print showing the party as a wagon being stalled on a railroad track with two opposing teams of horses. The driver on the right is President James Buchanan who supports the candidacy of Kentuckian John C. Breckinridge and Joseph Lane. The Indian chieftain represents the displace inhabitants by Stephen Douglas’s popular sovereignty doctrine as well as the corrupt New York Democratic machine at Tammany Hall. He urges the team of Stephen Douglas and Hershel V. Johnson on, claiming, “I hear a rushing sound that bodes us no good.” Buchanan retorts that he would rather see the machine smashed than let Douglas “run away with it.” Lincoln, Hamlin and the Republican Party are represented as a locomotive, poised to smash the Democratic Party. Conningham #49. Physical dimensions framed: 20 inches H x 24 inches W. ID #346. |
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Rail Candidate. Artist: Maurer, Louis. Publisher: Currier & Ives, 152 Nassau St., New York. 1860. Lithograph. During the campaign of 1860, cartoonists played up Abraham Lincoln’s frontier image as a rail splitter. The rail he rides in this cartoon is that of the Republican Party’s antislavery platform. Unlike the abolitionists, Lincoln was personally resigned to respecting the institution of slavery where it existed under the Constitution. Yet he was firmly committed to stopping its expansion by keeping it out of the western states and territories. Conningham #5052. Physical dimensions framed: 211/8 inches H x 251/8 inches W. ID #302. |
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Settling Day. Publisher: FUN. 30 May 1863. Line block illustration. Cartoon depicts Lincoln and Secretary of the Treasury Salmon P. Chase trying to figure out how to pay for the war. Behind them is a widow, with her children, who wonders if she will be compensated for her husband’s death. Physical dimensions unframed: 103/4 inches H x 83/8 inches W. ID #487. |
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Spencer County, Indiana, Youth and his Un-dreamed of Immortality. Artist: McCutcheon, John T. 1929. Mixed media. One of a series of political cartoons that H.W. Fay assembled. This depicts Lincoln’s Indiana boyhood days and his dreaming of his future. It is signed by the artist with a note, a letter of reply, and a picture of the artist from the Chicago Tribune. Physical dimensions framed: 231/8 inches H x 351/8 inches W. ID #187. |
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Tricks v. Honours. Publisher: FUN. 18 July 1863. Line block cartoon lithograph. Shows a Confederate soldier, with the names of the battles the south has won on his uniform, standing next to a cowering Lincoln, telling him to try something new. The cartoon was published two weeks after the battle of Gettysburg, which the North won and is considered the turning point of the war. Physical dimensions unframed: 103/4 inches H x 81/4 inches W. ID #227. |
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A Voice from the Past. Artist: Orr, Carey. 12 February 1935. Mixed media. This cartoon appeared in the Chicago Tribune on Lincoln’s birthday. It again depicts Lincoln’s early years, showing him with his book and ax. The items include the original cartoon, inscribed by the author, a copy of the cartoon as it was seen in the Tribune, and a letter to Mr. Fay. Physical dimensions framed: 231/8 inches H x 351/8 inches W. ID #188. |
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A Yankee Olmar. Publisher: FUN. 15 November 1862. Wood engraving. Cartoon portrays Abraham Lincoln as a circus performer doing some ceiling walking. Below him are crowds looking worried, while in the balcony are men in business suits looking unhappy. The term “olmar” comes from the name of an actual circus performer, James Chadwick, who would perform ceiling walking 90 feet in the air. Citations: http://freespace.virgin.net/m.killy/grace.htm (accessed 21 January 2004). Physical dimensions unframed: 13 inches H x 111/4 inches W. ID #94. |
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Yankee Pancakes. Publisher: FUN. 21 February 1863. Wood engraving. This cartoon features Abraham Lincoln encouraging the increase of pancake production, which represents the Nation Debt. Physical dimensions unframed: 81/4 inches H x 103/4 inches W. ID #432. |
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Your Plan and Mine. Publisher: Currier & Ives, 152 Nassau St., New York. 1864. Lithograph. One-half of the cartoon shows McClellan wanting peace, and going back to the way things were before the war. The other side shows Lincoln demanding unconditional surrender from Davis. Conningham #6873. Physical dimensions framed: 183/4 inches H x 247/8 inches W. ID #564. |
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Chart of the Presidents. Publisher: H.H. Lloyd & Co., 25 Howard St., New York. n.d. Hand colored line block. Portrait and information of Abraham Lincoln surrounded by portraits of the previous fifteen presidents. This was probably issued close to Lincoln’s election because the picture of him is without a beard. Physical dimensions framed: 263/8 inches H x 323/8 inches W. ID #602. **Restricted |
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G. Washington. Publisher: Morris & Bendien, Inc., New York. n.d. Offset lithographic print of the silhouette of George Washington with his signature printed below the image. Physical dimensions unframed: 43/4 inches H x 33/4 inches W. ID #505. |
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George Washington. Artist: Washington portrait by Stuart, Gilbert; Border designed by Momberger, W. Publisher: National Chromo Co., Philadelphia. 1866. Engraving. Cameo of the famous portrait of George Washington by Gilbert Stuart. Surrounding the portrait are scenes from Washington’s life. Physical dimensions framed: 223/4 inches H x 181/2 inches W. ID #440. |
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Our Presidents. 1789-1881. Artist: Hart, Chas. Publisher: Geo. M. Smith & Co., 11 Bromfield St., Boston, Mass. 1882. Two toned lithograph. Portraits of the first twenty-one presidents, with Lincoln and Washington front and center. The pose of Lincoln is based on the photograph by Anthony Berger. Physical dimensions framed: 275/8 inches H x 355/8 inches W. ID #689. **Restricted |
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Our Presidents. n.d. Halftone lithograph of the first twenty-five presidents. President Lincoln is seated front and center along with President Grant. Physical dimensions unframed: 197/8 inches H x 16 inches W. ID #469. |
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Our Twenty-Two Presidents. Publisher: Buek & Linder, N.Y. 1884. Hand colored two toned lithograph. Cameos of the first twenty-two presidents of the United States surrounding a picture of the Capitol. At the top is Lady Liberty with her arm out, and an eagle. Physical dimensions framed: 35 inches H x 28 inches W. ID #630. **Restricted |
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Our Twenty-Two Presidents. Publisher: Buek & Linder, N.Y. 1884. Two toned lithograph. Cameos of the first twenty-two presidents of the United States surrounding a picture of the Capitol. At the top is Lady Liberty with her arm out, and an eagle. Physical dimensions framed: 277/8 inches H x 195/8 inches W. ID #625. |
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[Presidents and Capitol]. Artist: W.S. Publisher: O&S Silberman. 1901. Collotype. The first twenty-five presidents of the United States. Behind the group is the U.S. Capitol. Physical dimensions unframed: 153/8 inches H x 20 inches W. ID #501. |
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[Presidents and Declaration of Independence]. n.d. Engraving. Shows cameos of the first sixteen presidents of the United States, around a scene from the Constitutional Convention and the Declaration of Independence. President Lincoln is shown without a beard, which could mean that the print was done in 1860 before his inauguration as president. Physical dimensions unframed: 241/8 inches H x 18 inches W. ID #291. |
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Presidents of the United States of America. Artist: Richards, George L. 1899. Halftone lithograph. Depicts the first twenty-two presidents of the U.S. with Lincoln in the middle, and slightly in front of the others. Above them are scenes from the founding of America to the Revolutionary War to the Civil War. At the top is an eagle with its wings spread and two American flags. Physical dimensions unframed: 81/8 inches H x 101/4 inches W. ID #214. |
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Presidents of the United States, 1776-1876. Publisher: J.T. Patton, Detroit, Mich. 1874. Two toned lithograph. Features portrait busts of each U.S. president from Washington to Grant, with large inset engravings of Independence Hall and the U.S. Capitol. Physical dimensions framed: 273/8 inches H x 333/8 inches W. ID #723. |
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Presidents of the United States, During the First Century of the Republic. Artist: Kelly, James P. Publisher: A. Schlaginhaufen, 1731 Seybert St., Philadelphia. 1876. Two toned lithograph. Cameos of the first eighteen presidents of the United States. In the center is a picture of Independence Hall in Philadelphia. Issued during the centennial anniversary of the United States. Physical dimensions framed: 301/2 inches H x 24 inches W. ID #494. |
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Presidents of the United States. 1866. Albumen photograph copy of original artwork in carte-de-visite format. Pictures of the first seventeen presidents of the United States. Issued after Lincoln’s assassination. Physical dimensions unframed: 4 inches H x 23/8 inches W. ID #648. |
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Presidents of the United States. Artist: Bouclet, F. 1860. Ornate colored lithograph done immediately after the election as it has Lincoln without a beard. A rare item that might have been exported to Europe. Note the steamboat, eagle, the Capitol which at the time wasn’t finished, and the shield and victory in stars and stripes. Physical dimensions framed: 361/4 inches H x 30 inches W. ID #329. **Restricted |
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Presidents of the United States. n.d. Albumen photograph copy of artwork that is mounted in carte-de-visite format. Montage of pictures of the first seventeen presidents of the United States. Each portrait is encircled on a dark background with stars as decoration. Physical dimensions unframed: 5 inches H x 61/4 inches W. ID #264. |
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[Presidents]. Artist: Scull. 1885. Wood engraving. Abraham Lincoln’s portrait occupies the center cameo, where he is surrounded by smaller cameos of the tenth (Tyler) through the eighteenth (Grant) presidents. A decorative tree branch design frames the print with pin-stripes in the background. Physical dimensions unframed: 61/4 inches H x 41/4 inches W. ID #256. |
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[U.S. Presidents]. Publisher: American Bank Note Co., New York. n.d. Engraving. Cameos of the eighth through the sixteenth U.S. presidents, surrounding a star. Physical dimensions unframed: 91/2 inches H x 61/4 inches W. ID #619. |
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Garfield and His Family. Twilight Hour, Last Sabbath At Mentor. Publisher: R.H. Curran & Co., Boston. 1889. Lithograph. In the family portrait are: from left to right, James, Lucretia (the President’s wife), Harry, Abram, Eliza Ballou Garfield (the President’s mother), Mary (Mollie), Irvin, and President Garfield. James Abram Garfield was the only preacher ever to be elected president. He joined the Union army and eventually became a major general. He resigned in 1863 when he was elected to Congress from Ohio. He stayed there for seventeen years until he became president. He was assassinated, after serving only 200 days in office, on 2 July 1881 and died 19 September 1881. Physical dimensions unframed: 161/4 inches H x 201/8 inches W. ID #692. |
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Gen. Grant and Family. Artist: Bensell, E.H. (painter), Walter, A.B. (engraver). Publisher: John Damty, 31 S. 6th St., Philadelphia. 1870. Mezzotint. Ulysses S. Grant in a military uniform with his wife Julia Dent Grant and their four children: Nellie, Frederick, Ulysses Jr., and Jesse. Physical dimensions unframed: 10 inches H x 8 inches W. ID #388. |
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General U.S. Grant. The Nation’s Choice For President of the U.S. Publisher: Currier & Ives, 152 Nassau St., New York. 1868. Lithograph. Presidential banner for the 1868 election. Schuyler Colfax, who was running for vice president, had a similar banner. Conningham #2316. Physical dimensions unframed: 173/4 inches H x 131/2 inches W. ID #439. |
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Hon. Edwin Stanton. Secretary of War. Artist: Ritchie, A.H. n.d. Engraving. Facial portrait of Stanton. He served as secretary of war under Abraham Lincoln and continued in that post under Andrew Johnson. Physical dimensions unframed: 95/8 inches H x 61/4 inches W. ID #586. |
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Kentuckians Who Were President or Vice President. Publisher: R. Dudensing, New York. n.d. Engraving. Cameos of, left to right: Lincoln, John C. Breckinridge (vice president under James Buchanan, 1857-61), Jefferson Davis (president of the Confederate States of America, 1862-65), David R. Atchison (vice president under Franklin Pierce by virtue of the death of his first vice president, 18 April 1853–4 December 1854), 1853-1854), Richard M. Johnson (vice president under Martin Van Buren, 1837-41), Zachary Taylor (president, 1849-50). Physical dimensions unframed: 91/2 inches H x 6 inches W. ID #616. |
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S.A. Douglas. Publisher: J.C. McRae. n.d. Engraving. Stephen Arnold Douglas served as a U.S. representative and senator from Illinois. He engaged Abraham Lincoln in a series of famous debates during his campaign for U.S. senator in 1858. Physical dimensions unframed: 9 inches H x 53/4 inches W. ID #396. |
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S.A. Douglas. Likeness from the Latest Photograph Taken From Life. Publisher: Johnson, Fry & Co., New York. 1862. Engraving. Portrait of Douglas in a full-figure pose where he is standing at the exterior of a building, with trees in the background. Noted lawyer, orator, and senator from Illinois, Douglas is most remembered for his support of popular sovereignty as a solution to the slavery problem between the states, and also for his famous series of debates with Abraham Lincoln. Physical dimensions unframed: 97/8 inches H x 73/4 inches W. ID #585. |
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W.H. Seward. Secretary of State. Artist: Turner, A.A. Publisher: D. Appleton & Co. 1861. Possibly an albumen copy of an intaglio print in carte-de-visite format; process is unclear, but CDV has an albumen finish. Seward was a governor of New York state, U.S. senator, and secretary of state in the Lincoln and Johnson administrations. He is best known for his purchase of Alaska, known as “Seward’s Folly.” Physical dimensions unframed: 33/4 inches H x 23/8 inches W. ID #677. |
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William H. Seward. Artist: Chappel, Alonzo. n.d. Engraving. This portrait of Seward was made from a likeness from a photograph from life. Seward was a governor of New York state, U.S. senator, and secretary of state in the Lincoln and Johnson administrations. He is best known for his purchase of Alaska, known as “Seward’s Folly.” Physical dimensions unframed: 171/2 inches H x 151/2 inches W. ID #249. |
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William H. Seward. Secretary of State. Artist: Pelton, O. n.d. Engraving; three-quarter profile portrait. Seward was a governor of New York state, U.S. senator, and secretary of state in the Lincoln and Johnson administrations. He is best known for his purchase of Alaska, known as “Seward’s Folly.” Physical dimensions framed: 131/2 inches H x 111/2 inches W. ID #364. |
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CONTENTS |
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Abraham Lincoln Entering Richmond, April 3rd, 1865. Artist: Hollis, L. Publisher: J.C. Buttre. 1865. Engraving. Even though the caption says “Abraham Lincoln Entering Richmond April 3, 1865,” Lincoln didn’t enter the city until April 4th. Physical dimensions unframed: 91/8 inches H x 57/8 inches W. ID #203. |
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Battlefield of Shiloh Tennessee 1862. Artist: McElfresh, Earl B. Publisher: McElfresh Map Co. 1993. Lithograph, contemporary poster. Map of the battle which took place at Shiloh, Tennessee. The map is based on historical maps by Atwell Thompson and Edwin C. Bearss. Physical dimensions unframed: 24 inches H x 18 inches W. ID #306. |
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Cabinet at Washington. Publisher: Harper’s Weekly. 13 July 1861. Hand colored wood engraved illustration. Shows Lincoln and his cabinet during a meeting in Washington, D.C., at the beginning of the war. Physical dimensions unframed: 153/4 inches H x 111/4 inches W. ID #654. |
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A Council of War in ‘61. Artist: Hall, H.B. Publisher: George E. Perine, 66 & 68 Reade St, New York. 1866. Engraving. Composite prints were popular with the American public as they allowed to see the many different politicians and military leaders involved in the war effort. Physical dimensions framed: 223/4 inches H x 257/8 inches W. ID #162. |
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Defenders of Our Union. Publisher: Kimmel & Forster. 1864. Hand colored lithograph. Matthew Brady perfected the concept of composite images by grouping individual photographs into a single photographic image. Printmakers borrowed the concept to create themed portraits. In this print, the great Union naval leaders David Porter, David Farragut, and John Dahlgren are grouped together. Physical dimensions framed: 305/8 inches H x 255/8 inches W. ID #112. |
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Eagle’s Nest. Publisher: Geo. Whiting, 87 Fulton St., New York; co-published E.B. & E.C. Kellogg, 245 Main St., Hartford, CT. 1861. Hand colored lithograph. An eagle is protecting its nest, which is filled with eggs, each given the name of one of the states in the union. Most of the Southern states have something harmful to the egg around it, with the eagle’s talons grabbing the ones it can. The nest is made of an American flag, and the words “annihilation to traitors” are coming from the eagle’s mouth. Physical dimensions framed: 16 inches H x 20 inches W. ID #194. |
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Gen. Scott Taking Leave of the President and Cabinet. Publisher: J. Rogers, expressly for Victor’s History of the Rebellion. 1861. Engraving. Lincoln and his cabinet are seated at a table, while General Scott is standing and gesturing toward a document that lies on the table. Physical dimensions unframed: 69/16 inches H x 915/16 inches W. ID #546. |
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General Grant Receiving his Commission as Lieutenant-General from President Lincoln. Publisher: Harper’s Weekly. 26 March 1864. Hand colored wood engraved illustration. Lincoln is shown handing the commission to General Grant, with officials and Army officers watching. Physical dimensions unframed: 157/8 inches H x 107/8 inches W. ID #441. |