|


This Page Was Updated on 1 September 2010 |

|
|
(Newspaper - Revolutionary Period) THE CONNECTICUT COURANT. September 2, 1765. 14 1/4 x 10 3/8. |
| |
|
The paper contains Sir Francis Bernard's Proclamation describing in detail the Stamp Act Riot and the mob's attack upon various houses and offering rewards for the leaders and any participant, and a pardon plus reward for the stoolie.
Light toning; two large spots; folds. Else good. |
| |
|
|
|
(--) THE PENNSYLVANIA EVENING POST. Vol II; Num. 195, April 20, 1776. 7 5/8 x 9 1/2. |
| |
|
On the second page are seven "Reasons for a Declaration of Independence of the American Colonies" and other military news: the finding of Maj. General Warren's body on Bunker's-hill; reports of the Virginia inhabitants being warm for independence; and New England troops in New York city.
Disbound. |
| |
|
|
|
(--) THE PENNSYLVANIA EVENING POST. Vol II; Num. 235 July 23, 1776. 7 5/8 x 9 1/2. |
| |
|
Much on war matters. Including, under the New York section, that Thursday last the Declaration of the Independancy of the United States of America was published at the Courthouse...the coat of arms of his Majesty George the III was torn it pieces and burnt in the presence of the spectators."
Lt. toning; disbound. |
| |
|
|
|
INDIANAPOLIS GAZETTE. Vo., V; Num. 214. September 5, 1826. 12 x 20. |
| |
|
Reports of James Wilkinson and General Scott's military enterprises of 1791 in the Ohio and the Wabash River area.
Front page quite toned; some foxing; small tears w/ no loss of text along horizontal fold; original ink at top margin "J. Hann/Morristown (?) MS.
|
| |
|
|
|
Herndon, William H. & Weik, Jesse W. HERNDON’S LINCOLN; THE TRUE STORY OF A GREAT LIFE … THE HISTORY AND PERSONAL RECOLLECTIONS OF ABRAHAM LINCOLN. Chicago: Belford-Clarke Co., 1890. 1st; 3 volumes; 1,255p.; ft. [Howes H-440] Scarce -- Signed: “With the regards of Jesse W. Weik, Newcastle, Ind., March 22, 1890”. |
| |
|
Herndon seemingly never signed this set, and very seldom by co-author Jesse Weik. Book plate of Ex Libris of Frank C. Deering.
Each enclosed in protective wrapper, within a half leather, marble slipcase. Some wear and soiling; rubbing; start of sep. from spine; otherwise good. |
| |
|
|
|
Hill, Frederick Trevor. LINCOLN THE LAWYER. New York: 1913. Ltd Ed., #610/800 copies 334p.; ft., illus., t.e.g |
| |
|
Presented to Governor Adlai Stevenson, “To a courageous man admired by millions; ‘Let none falter who thinks he is right’ – November 11, 1952”. Includes banquet menu for the celebration of the 105th anniversary of Lincoln’s birth on February 12, 1914.
Half leather, tightly bound; usual wear; very clean. |
| |
|
|
|
Sparks, Edwin Erle. COLLECTIONS OF THE ILLINOIS STATE HISTORICAL LIBRARY VOLUME III; LINCOLN SERIES, VOL. 1; THE LINCOLN-DOUGLAS DEBATES OF 1858. Springfield: 1908. 627p., ft., illus., map. |
| |
|
Includes program for banquet held on the 102nd anniversary of Lincoln’s birth (February 1911). Several additional photographs of attendees and speakers, including William Howard Taft.
Half leather/half marble; rubbing; some soiling on outer pages; usual wear; minor start of separation from spine. |
| |
|
|
|
(Spanish American War) (Commemorative Fan). Jenny Lind Style, with blue paper pansies mounted to blue muslin. 14” x 9”, opened. |
| |
|
Each flower bears the raised, printed likeness of a Spanish American war notable. Included are Roosevelt, Hobson, Watson, Lee, McKinley, Shafter, Dewey, Evans, and Sampson.
The last petal is blank. Conspicuously absent is that of Schley. Sampson and Schley were at odds over credit for the victory at the battle of Santiego de Cuba - the largest naval engagement of the Spanish American War. After charges were made against Schley an investigation of Schley’s conduct before and during the battle was launched. Although the court praised Schley's role in the sinking of the Spanish Squadron, it criticized him for his delay in locating the enemy squadron and for disobeying an order to remain in contact.
In floriography, the pansy symbolizes thought and is associated with deep contemplation.
Well executed hand painting on each flower. Balsa wood construction. Sticks, ribs, leaves, loop and rivet are solid. Very good, no noted flaws.
|
| |
|
LINCOLN FROM LIFE: 1854 - 1865
A SERIES OF ALBUMEN-TONED DIGITAL PRINTS DERIVED FROM CONTEMPORARY SOURCES;
GLASS NEGATIVES AND AN AMBROTYPE

|
|
(Lincoln, Abraham) Albumen-toned modern photographs. 8" x 10". Archivally printed on cotton paper, with pigment inks. |
| |
We have achieved a clarity unmatched for these Lincoln images. You will be delighted by their warmth and intimacy -- you will be amazed by their clarity. In one a fly is clearly evident sitting on Lincoln’s pant leg; in another, scratches on the arm of the chair are noticeable. As well, for the first time, in his last formal sitting the entire image is finally revealed, as are scratches on the chair.
These prints may be considered “from life,” since they each derive from a period glass and are each only one or two generations from the original photographic rendering.
This series encompasses Lincoln from 1854 and his re-entry into politics to stop the nationalization of slavery through his penultimate image as a care-worn, war-time president.
Illinois Politician
Polycarpus Von Schneidau
October 1854
O-6
| Notice the tie, Lincoln's hair and fingernails. Also, the Press and Tribune masthead has been stripped in, over another paper's. |
|
Lawyer & Presidential Candidate
Alexander Hesler
June 1860
O-27
Notice the skin quality; emulsion at corner; spectacle string.
|
|
|
|
Price: $150.00 |
Price: $150.00 |
|
|
Commander in Chief
Alexander Gardner
August 1863
O-71
| Notice the fly on Lincoln's trousers; also, the clarity on the newspaper and the spectacles. |
|
The Gettysburg Lincoln
Alexander Gardner
November 1863
O-77
| Notice the facial clarity; wandering left eye; emulsion wave near shoulder. |
|
Toll Of Office
Alexander Gardner
February 1865
O-116
| Notice the pencil and spectacles in Lincoln's fidgety hands; smile; both books are evident. |

|
Price: $150.00 |
Price: $150.00 |
Price: $150.00 |
|
|
|
Toll Of Office
Alexander Gardner
February 1865
O-116 |
| A Entire of the Stereo Shown Above. |
|
Price: $150.00 |
|
We Gurantee these are the most detailed images of Lincoln you have ever seen. If you are not satisfied with them, please return in "as new" condition for a full refund.
|
|
| |
|
AN
UNPRECEDENTED
COLLECTION FROM THE END OF THE
CIVIL WAR AT APPOMATTOX COURTHOUSE |
|
|
(Appomattox) Wooden Desk from the front parlor of Wilmer McLean’s home, where Confederate General Robert E. Lee surrendered the Army of Northern Virginia to Union General Ulysses S. Grant. Rosewood spool table, with turned legs and one drawer. Rectangle; 29-3/4” wide x 16-1/2” deep x 29-1/4” high; on casters. |
| |
|
This desk was one of three in the surrender room: the marble-top table at which Lee sat and where he and Grant signed the final surrender document; the oval spool side-table, at which Grant sat and wrote out a draft of the surrender terms; and this third table (a desk similar to the side-table) were Grant’s aide, Eli Parker, sat in order to write the numerous orders and memos generated during the negotiations -- and on which the final surrender document was prepared.
The present table was obtained by Secretary of the Navy Gideon Welles, a collector of historical artifacts, such as this table and chairs from the Confederate White House, which devolved upon his son, Captain Thomas Welles. The desk remained in the Welles family until 1979, when it was sold privately to a Connecticut collector. In 1986 it was placed at Riba Auctions. It now resides with its second owner since that sale.
Accompanying this document are two notarized statements by the great-grandson of Gideon Welles, Thomas Welles Brainard, who delineates the provenance of the desk in detail. There is also a partial memo in the hand of Capt. Thomas Welles stating that this desk, from Appomattox , was then standing in his office.
|
| |
|
GENERAL ORDER NO. 9 LEE’S FAREWELL TO HIS TROOPS
A COPY SIGNED ON THE FIELD AT APPOMATTOX COURT HOUSE
A CONTEMPORARY SOUVENIR COPY, PERSONALLY SIGNED BY LEE ON THE FIELD.
A HERETOFORE UNKNOWN COPY OF LEE’S IMMORTAL FAREWELL TO HIS TROOPS,
EXTRAORDINARY FOR HAVING BEEN SIGNED THE DAY AFTER ITS OFFICIAL ISSUANCE.
|
|
|
Lee, Robert E. (General in Chief, C.S.A.) General Order No. 9. Manuscript Document, signed “R E Lee / Genl”. H. H.Q., Army of Northern Va. (near Appomattox Court House, Va.): 10 April 1865. Folio; one page. |
| |
|
The text of the this copy is in the hand of William J. Luck, a surgeon who, by his own account, happened to be at the surrender: “I saw General Lee…just after the papers. Soldiers gathered around…and many shook hands with him, I did…(a) hard looking private came up & said ‘Gen. I had rather died than see this.’ Lee said ‘I have done the best I could for you all’.” The next day he sent a copy, asking for his last order to Gen. Bushrod Johnson’s headquarters: “I made a copy…asking for his signature & sent it to him…Gen. Lee signed it & Col. Walter Taylor sent word by the courier ‘you must not bother the general.’”
The number of souvenir copies signed by Lee in the field is doubtless very small (perhaps twelve to fifteen), most done for officers close to him. Their scarcity is probably explained by the above admonition from Taylor. Postwar, as the farewell came to be regarded as a “sacred text” of the lost cause, Lee did sign purely souvenir copies in return for gifts to veterans’ charities. The present copy, as penned by Luck, has trifling spelling/punctuation differences from the official version and modifications to a few words (e.g. “continuance” for “continuation”); but its moving message is unchanged.
Accompanying the document is a folio account book, kept by Luck circa 1890/1900, containing about 20 pages of family history, notes, and reminiscences, including the surrender account quoted above. The book is well worn, with some pages of the memoir torn and tattered, but present. Laid in is a secretarial field copy of Grant’s April 9, 1865 surrender-terms letter to Lee; this is broken in folds, torn and stained, but complete and readable. (Much nicer in person; rather deeply framed. The photo was shot through the glass).
The General Order No. 9 has faint brownish striations overall, having once been matted against cardboard; also light water stains, mostly in the blank margin areas, and fold wear and some tiny holing and marginal nicks.
Of all Lee’s writings, none is more desirable than this, the “ultimate” Confederate document of the Civil War. Not only unusual for being signed on the field, this copy is unique for having the accompanying memoir of the soldier who obtained it, as well as postwar family cartes-de-visite of Dr. Luck and his wife.
William J. Luck was Assistant Surgeon, and then Surgeon, of Captain Edward Graham's Company, Virginia Horse Artillery (Petersburg Artillery). The Petersburg Light Artillery was formed in 1843 and entered Confederate service during April, 1861. The unit was involved at Malvern Cliff on June 30, 1862, and lost half its equipment though not directly part of the action. In July only 24 effectives were present. Later it was attached to the Department of North Carolina and in 1864 converted to horse artillery. Serving in R.P. Crew's Battalion, Army of Northern Virginia, the battery was active south of the James River and in the Appomattox Campaign. It surrendered 2 officers and 19 men.
|
| |
|
A PIECE OF THE APPOMATTOX SURRENDER FLAG
WITH A MANUSCRIPT IDENTIFICATION BY GENERAL GEORGE A. CUSTER
|
|
|
Fragment of the Confederate Flag of Truce from Appomattox Court House, Virginia. (9) April 1865. Being a piece of rough white toweling, with red stripes at either side. 1.25 x 5 inches. With: Custer, George Armstrong. Autograph Note (unsigned) identifying it: “Piece of the flag of truce / under which Genl. Lee / surrendered to Gen. Grant / at Appomattox.” Framed together with wartime cartes-de-visite of Custer and Ulysses S. Grant, and a later cdv of Robert E. Lee. |
| |
|
 |
|
| Pricing For the entire grouping available upon request |
 |
Fragment of the Confederate Flag of Truce from Appomattox Court House, Virginia. (9) April 1865. Being a piece of rough white toweling, with red stripes at either side. 1.25 x 5 inches. With: Custer, George Armstrong. Autograph Note (unsigned) identifying it: “Piece of the flag of truce / under which Genl. Lee / surrendered to Gen. Grant / at Appomattox.” Framed together with wartime cartes-de-visite of Custer and Ulysses S. Grant, and a later cdv of Robert E. Lee.
General E. W. Whittaker, a cavalry officer under Custer, recalled that rebel Capt. Robert M. Sims of General Longstreet’s staff, single-handedly met and stopped Custer’s final charge at Appomattox “By a vigorous flourish of a white towel and an emphatic declaration that General Lee asked suspension of hostilities.” At Custer’s direction, Whitaker went behind Confederate lines with Sims to make sure of the terms; and then, at the request of Generals Gordon and Longstreet, used the same flag to “announce the surrender to General Ord’s infantry line that was then sweeping southward, and had reached an uncomfortable short range.”
Whittaker then gave the flag to Custer. He later recalled that General Phil Sheridan had written to Mrs. Custer that “the country owed more to her gallant husband for the glorious event of that day than to any other person.”
Triple matted in red, with blue-gray insets and hand-painted golden embellishments. In a gilt frame bearing a descriptive plaque. 19.5 x 16 inches overall. Taped to the frame back is some documentation, including a letter form the (Smithsonian) National Museum of American History, noting the similarity between this fragment and the portion of the surrender flag donated to them by Mrs. Custer. (Much nicer in person; rather deeply framed. The photo was shot through the glass).
|
| |
|
FRANKLIN C. COURTER [1854 – 1947]
American Artist; Specialized in Portraits of Lincoln and in Landscape Paintings
Born in New Jersey, Courter attended Albion Preparatory School of Albion College where he devoted a great deal of time to art. In 1888, he was appointed Professor of Drawing and Painting at Albion College, and went on to become Head of the Art Department. He also served as Art Director for the Austin Manufacturing Company in Harvey, IL, from 1896 to 1899.
Lincoln became Courter’s enduring passion, producing numerous studies of Abraham Lincoln from 1870 until his death at age 90.. He dedicated himself to collecting anything that related to the 16th President, including photographs and life masks.
Courter’s mammoth painting of Sojourner Truth giving a bible to Lincoln was exhibited in the Michigan building at the World’s Fair in 1893. Commissioned by the Kellogg cereal family, it was later destroyed by fire; but the oil had gained him recognition and a wealthy Armenian immigrant, Dikran Bedikian, commissioned Courter to paint several Lincoln portraits. His knowledge of Lincoln’s physiogamy, along with his passion for the man, led to over 25 oils.
Courter later wrote: “Since that picture [Sojourner Truth] was painted, every angle of the subject has been of interest. All biographies, photographs, and engravings, the life mask, and full descriptions of his complexion and other data are made a deep study, for the sole purpose of realizing as nearly perfect as possible every characteristic. Over 40 years of almost constant study of Lincoln for historical purposes brings one to be acquainted with his subject. One may safely say this is a life portrait.”
|
|
|
Courter, Franklin C. ABRAHAM LINCOLN. Oil portrait on panel, of Lincoln wearing spectacles, signed lower right by Franklin C. Courter. 11.5" x 15.5" (image); 18" x 22" (overall). |
| |
|
A three-quarter, shoulder-length view based on a photograph of Lincoln and son, Tad, taken by Anthony Berger at Brady's Gallery, Washington , D.C. , February 9, 1864 [Ostendorf, O-93A].
This particular image is one of the most popular of Lincoln , partly because it was of him reading. But this close-up of him wearing spectacles is one of Courter’s finest! The colors remain both vibrant and warm, causing a true 19th century feel. Here, certainly, is “Father Abraham.” |
| |
|
|
|
(--)
ABRAHAM LINCOLN. Oil on masonite, signed in the lower right by Franklin C. Courter. A letter signed by the artist is preserved on the verso, discussing his obsession with Lincoln as a subject. 16" x 20" (sight). |
| |
|
Perhaps based on Brady’s January 8, 1864 photograph [O87].
Courter is faithful to the subject, but injects a living spirit to the image. |
| |
|
LINCOLN’S SECOND EARLIEST PHOTOGRAPH
|
|
(Lincoln Photograph). Ninth-Plate Ruby Glass Ambrotype By Roderick A. Cole (attributed) Peoria, Illinois: O-14 (variant) circa 1858. |
| |
|
Housed in an 1865 period frame, with mourning ribbons setting off the ambrotype at the corners. The entire is in a specially designed purple velvet box, which also houses half of the original gutta purcha case for the image, with its cover glass and brass matt.
An image popularized on campaign ribbons and campaign button ferrotypes during the 1860 presidential campaign. Probably obtained during the campaign and then, after the assassination, removed from the half-case and switched to the frame. Mourning ribbons were added and the whole reverently hung on the wall as a memorial to the fallen leader.
A powerful reminder of the emotions Mr. Lincoln’s murder engendered. |
| |
|
|
|
(Lincoln, Abraham). Tintype, (Maker Unknown), Approximately 3-1/4 x 2-1/4 inches. Ostendorf-6; Kunhardt-AL.1854.1 |
| |
|
From the Lost Original Daguerreotype by J. C. F. Polycarpus Von Schneidau; (Chicago: October 1854). Then fashioned into an Ambrotype by Samuel G. Alschular, (Chicago: July, 1858). The ambrotype is in the Abraham Lincoln Library and Museum, Springfield; and the other existing image, a faded salt print (probably made by Alschular), is at the Chicago History Museum. In fact, only two other 19th century images exist, in the form of cabinet cards.
Lincoln visited Chicago on October 27th and 28th of 1854 and spoke out against the possible extension of slavery resulting from the Kansas/Nebraska Act. It is logical that on October 27th, either before or after this important Chicago speech, Lincoln had the opportunity to have a photograph taken while in the company of George Schneider, who had invited Lincoln to speak and was the publisher of the German Whig newspaper, Illinois Staats Zeitung -- probably the original newspaper Lincoln is holding.
Many historians were misled by the newspaper that Lincoln holds in the photo. The words “PRESS AND TRIBUNE” clearly appear in it. The Chicago Press and Tribune was first published under that name on July 1, 1858 and the masthead was only used by until March 17, 1859. The newspaper heading type was added on the negative from which the salt print and the ninth plate ambrotype were made. The middle word “AND” is larger than the other names, and the entire title “PRESS AND TRIBUNE” is placed too low on the paper, conveniently positioned so that Lincoln’s fingers did not cover the masthead.
Probably George Schneider himself allowed the words to be changed at Joseph Medill’s request, for the Chicago Press and Tribune had the most to gain. Publisher Medill was a firm supporter of Lincoln in his quest for a Senate seat (and later for President), along with fellow anti-slavery publisher Schneider. In a clever marketing tactic, Joseph Medill most likely hoped to capitalize on the famous Lincoln holding the Tribune during the upcoming campaign for the Senate.
|
| |
|
|
|
(Lincoln Statuary) [Vannia(?), E.] “ Lincoln the Orator” Standing Statue in plaster. No place: No date (circa first third of the 20th century). Approximately 49” (H) x 23” (W) x 15” (D); set on a base of 4.75” (H). |
| |
|
The sculptor has placed Lincoln in the classical stance of the 19th century orator; Daniel Webster and Benjamin Disraeli were portrayed in this manner. The Victorian orator was taught in school to stand with one hand outstretched, palm up in appeal, while the other rests on a nearby table or stand. The present statue was on display in the John D. Lippy “Lincoln Room” museum in the David Wills house, where Lincoln stayed while in Gettysburg to deliver his “Address.”
Excellent condition with a rich patina. Perhaps only two examples of this statue are extant! |
| |
|
|