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This Section was Updated on 13 March 2014

Prints & Paintings-Just added, Michael Haynes painting of Chancellorsville House
just in time for the Sesquecentennial, take a look at the New Chromolithographs
in the Civil War & Presidential History Section and the Abraham Lincoln Section

Also, Take a look at one of our latest finds,
a Pierre Morand ink and gouache portrait of Lincoln lying in state.

Sculpture Section-New additions include Max Bachmann, Casper Buberl,
Hans Muller, Leo Nock and Sascha Schnitman; plus a stunning rendition of the
Augustus St. Gauden's casting of the Lincoln Life mask and hands.

Civil War, Military and Presidential History

  (Anti-Slavery) [Johnson, David Claypool]. A Proslavery Incantation Scene, or Shakespeare Improved / See Macbeth. Lithograph. N.p.: (c1856). 21-3/8” x 14.
Price: $3,850.00

An unsigned 1856 presidential campaign-related lithograph by a leading 19th Century lithographer.

Pro-slavery politicians gather around a boiling kettle over a fire of “Sumner’s Speech, Beecher’s Sermons, N.Y. Tribune,” etc. The kettle bears the words, “Double, double, Free State trouble; Till Fremont men are straw & Stubble.” James Buchanan presides over the scene stating, “Ere we begin our mystic course, / Bear this in mind, that I indorse / The laws of Kansas now in force…..” Scruffy-looking politicians each gives an incantation in support of Slavery, e.g. “Here’s forked tongue of Free Soil adder, / To make the madden’d gruel madder; / And fillet of a Free Soil frog, / From a Free Soil state, and a Free Soil bog….” A slave catcher, pleased about the spilling of freemen’s blood and hearing the cries of their widows, states, “To know my Kansas-Nebraska bill, / has caus’d these woes; to me is joy, / Here and at home in Illinois ..” An excellent example of a scurrilous anti-slavery political print.

Claypool was trained as an actor before becoming a lithographer, so his allusion to Macbeth makes sense.

Excellent condition. The only one we’ve seen on the market!




(BATTLES & LEADERS ART)  Taber, [(Walton); 1857-1933; Artist] Pen and Ink Drawing, Signed Taber / 85”.  “THE HAGERSTOWN ROAD / ANTIETAM”  (titled by him in manuscript as well.  NP: 1885.  Approx. 16 x 12 inches. Original art work drawn for the famous publication BATTLES & LEADERS OF THE CIVIL WAR [Volume 2, page 679]


(Entire at Click Thru)

Price: SOLD

Taber was one of America's foremost illustrators, especially known for his nearly 250 illustrations for that 4-volume publication.

He was highly skilled in pen and ink drawings, and most of his work was done from photographs – in this case from an Alexander Gardner photograph ("Gardner" is also written just below the title). The drawing features numerous dead Confederate soldiers belonging to Starke’s Louisiana Brigade, who had been fighting the Iron Brigade across the Hagerstown Pike. Taber also produced a “before” scene for the chapter’s heading; this is the “after.” 

Excellent bold ink; minor staining/soiling; corners chipped well away from the drawing,



Chromolithography became the most successful of several methods of color printing developed by the 19th century. Often called "poor man's oils," The initial technique involved the use of multiple lithographic stones, one for each color. Although much less expensive than a painting, it still rather expensive when done for the best quality results. The growing middle class, as well as a strong connection to the war, fueled the nation's desire for for decorative and commemorative objects.

  (Chromolithograph) Grant, Ulysses S.. E. C. Middelton, 1866. oval, 22" x 20" (sight).
Price: $2,000.00

Middleton is widely regarded as one of the pioneers of chromolithography in America.

Bust portrait of Ulysses S. Grant, in uniform.

In ornate, contemporary gold gilt frame. Excellent condition.


  (--) Jackson, Andrew. E.C. Middleton, Based on the Thomas Sully portrait; oval, 22" x 20" (sight).
Price: $1,500.00

Bust portrait of Andrew Jackson.

Chromolithograph in Excellent condition; frame has cracking at joints, chipping.


  (--) Lee, Robert E.. Scovill Manufacturing, 1866. oval, 22" x 20" (sight).
Price: $4,500.00

Scovill Manufacturing was a printing firm in New York. They specialized in reproductions of famous American portraits. They were the leader in the celluloid campaign and photo button business.

Bust portrait of Robert E. Lee in uniform.

In ornate, contemporary gold gilt frame--featuring acorns and oak leaves; Victorian-era symbols of hospitality, stability, strength, honor, eternity, endurance and liberty.

Excellent condition.


  Sherman, William T. Chromolithograph E. C. Middelton, 1866. oval, 22" x 20" (sight).
Price: SOLD
Bust portrait of General Sherman in uniform.

Middleton is widely regarded as one of the pioneers of chromolithography in America.

In ornate, contemporary gold gilt frame. Excellent condition.


  Washington, George (1st President) Chromolithograph E. C. Middelton, 1866. oval, 22" x 20" (sight).
Price: $1,500.00

Middleton is widely regarded as one of the pioneers of chromolithography in America.

Bust portrait of George Washington in uniform.

In ornate, contemporary gold gilt frame. Excellent condition.



More Chromolithographs Below in the Lincoln Print section.


  (Civil War) (Gettysburg) BATTLE FIELD OF GETTYSBURG.  JULY 1ST, 2ND, & 3RD 1863.  Boston:  1876.  "Published by authority of the Hon. The Secretary of War.  Office of the Chief of Engineers U.S. Army".  Three (3) framed maps, each 29" x 36" (sight), 38 ½ " x 46" (overall) 
Price: $6,500.00

A spectacular set of Gettysburg topographical maps, published by "Mr. Gettysburg," John B. Bachelder, who "may well be the most influential historian of a single battle in military history" (Thomas A. Desjardin). 

A landscape painter when the war started, Bachelder decided, in his own words, to "wait for the great battle which would naturally decide the contest; study its topography on the field and learn its details from the actors themselves, and eventually prepare its written and illustrated history."   Arriving at Gettysburg just days after the fighting ended, Bachelder immediately began walking the field, sketching the landscape, and interviewing participants, a labor that became his life's work and led him to become the official government historian of Gettysburg.  It was Bachelder who declared the copse of trees "The High Water Mark of the Rebellion"; his best known work was "Repulse of Longstreet's Assault" (and the accompanying descriptive pamphlet, both published in 1870). 

This set of maps, one for each day of the battle, were "Reduced from one on a scale of 200 feet to the inch, deposited in the Archives of the office of the Chief of Engineers. The survey [made in 1868 and 1869] was ordered by Brevet Major General A. A. Humphreys, Chief of Engineers, and conducted under Brevet Major General G. K. Warren, Major of Engineers." Printed in five colors, showing troop movement (red for Confederate, blue for Union), down to the regimental level, on each day of  the battle.  The maps are on 1"=1000' scale, with counters given for every 4 feet of elevation.  Not only are the units marked and terrain detailed, but houses, walls, and fences are depicted, and whether they were wood, brick, or stone.  

An amazing, truly historical source on the greatest battle every fought in the Western Hemisphere, officially commissioned  and endorsed  by men who were there, and produced by the single most important Gettysburg historian of all time.

Each map is bisected by fold marks, both vertically & horizontally; July 1 map lt. soiled & mottled, w/ some of the troop movement faded; 1"x1" divot missing at center of July 2 map; otherwise all excellent, & beautifully framed.




(--) (--) Bachelder, John B. GETTYSBURG BATTLE-FIELD. Hand-Colored lithograph drawn by John B. Bachelder, published by Endicott & Co., N.Y., 1963. Approx. 41 x 28 inches (sight). Framed.

Price: $5,500.00

Perhaps the most famous Gettysburg print; still regarded as a superior rendering of the battleground, topography, and troop dispositions for both companies and regiments.

Bachelder had been commissioned by the Army to produce a topographical map with a grid, to accompany a pamphlet that listed the units according to their position on that grid. The second rendering was the same, but without the grid. Both were in black and white and a bit smaller in size.

Bachelder was then given permission to commercially produce the print, which he sized up to add clouds and other details, and had each hand-colored. Bachelder obtained endorsements of this work from many of the participating Union officers, e.g. Doubleday, Hancock, Howard, Sykes, Sedgwick, and Warren - whose signatures are placed in facsimile below the print. Chief among these, and dominating the lower border, is an endorsement from commanding general, George G. Meade, stating, "I am perfectly satisfied with the accuracy with which the typography is delineated and the position of the troops laid out." Besides the locations of units and their commanders, there are creeks, roads, bridges, fences, houses and their owners' names, and places where key officers were killed, wounded, or taken prisoner.

An excellent example of a most desirable print and one that is quite difficult to find today, especially in this wonderful condition.

The colors are clear, soft, and rich, having a fresh, bright tone; framed in a modern gilt frame that matches well with the print's predominantly yellow and green hues.


(--) (--) Walker, James. GETTYSBURG. REPULSE OF LONGSTREET'S ASSAULT. Boston: James Drummond Ball, 1876. Engraving, 49 " x 28 1/2" framed, with key 13 1/2 x 20 1/2".


(Key at Click-thru)

Price: $3,500.00

John Bachelder's great illustration of Pickett's Charge was painted by James Walker, and then engraved by H. B. Hall, Jr. Originally sold with a pamphlet that included a key describing every historical figure or unit represented in the painting.

This pairing is particularly stunning, framed in a period gilt frame, with the key also framed.

Light rub on frame; three vertical acid burns on print, but otherwise clean and beautiful. Key in very good condition. A lovely presentation of a vivid grouping.


(--) (Haynes, Michael) (Chancellorsville) Watercolor on board, 48" x 32", 1999, handsomely framed, frame has 3" decorative border.


Price: $7,000.00

Chancellorsville was not a town, but an intersection where the Chancellor family lived. A house was constructed about 1816 and occasionally functioned as an Inn for travelers on the busy Orange Turnpike. In 1863 this was a five way intersection.

Maj. Gen. Joseph Hooker’s well-executed crossing of the Rappahannock fords on April 30, 1863 placed his rejuvenated and reorganized Army of the Potomac on Lee’s vulnerable flank. Rather than retreat before this sizable Federal force, Lee opted to attack Hooker while he was still within the thick wilderness.

Late on May 1, 1863, Lee and Jackson conceived one of the boldest plans of the war. Jackson, with 30,000 Confederates, would follow a circuitous route to the Union right and from there conduct an attack on that exposed flank. The May 2, 1863 flank attack stunned the Union XI corps and threatened Hooker’s position, but the victorious Confederate attack ended with the mortal wounding of Stonewall Jackson.

On May 3, 1863, the Confederates resumed their offensive and drove Hooker’s larger army back to a new defensive line nearer the fords. Swinging east, Lee then defeated a separate Federal force near Salem Church that had threatened his rear.

Lee's victory at Chancellorsville is widely considered to be his greatest of the entire war.

This painting captures that victory as Lee, astride Traveller, rides by the Chancellor house. The Sesquecentennail of Chancellorsville was in May of this year.

  (--) (Kurz & Allison) BATTLE OF ATLANTA: DEATH OF GEN. JAMES B. McPHERSON – JULY 22nd, 1864. ARMY OF THE TENNESSEE ENGAGED. Chicago: Kurz & Allison, Art Publishers, 1888. Approx. 24 x 31 12" framed
Price: $375.00

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

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

  (--) (--) THE BATTLE OF GETTYSBURG: DECISIVE CONFLICT JULY THIRD, 4 P. M. 1863.  Chicago: Kurz & Allison, Art Publishers, 1884.  Approx. 22 x 28 inches. 
Price: $150.00

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

Print is darkly toned by previous contact with a board backing; light chipping of extremities with light loss; a 6" tear at upper right corner slightly mars the image, as does a crack resulting from a "poke" at upper left center; generally, overall a little rough--but a bargain because of it.

  (--) (--) BATTLE OF TIPPECANOE: GEN. HARRISON WAS ATTACKED BY TECHUM'SEH, NOV. 7, 1811.  THE INDIANS WERE ROUTED WITH GREAT SLAUGHTER.  Chicago: Kurz & Allison, Art Publishers, 1889.  Approx. 24 x 21.5 inches, matted.
Price: $575.00

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

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

  (--) (--) BATTLE OF WILSON'S CREEK: Aug. 10th, 1861. UNION (GEN. LYON) LOSS: 223 Kd, 721 Wd, 291 MISSg., GEN LYON Kd. CONF. (GEN. McCULLOCH) LOSS: 265 Kd, 800 Wd, 30 MISSg.  Chicago: Kurz & Allison, Art Publishers, 1893.  Approx. 24 x 30.5 inches matted. 
Price: $325.00

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

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

  (--) Ray, Frederic E., Jr. (1920-2001, American Artist/Illustrator). BATTLE OF ATLANTA. Opaque watercolor on board, 19 ¾” x 29” , signed “F. Ray – ‘64”.
Price: $4,500.00

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

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

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

  (--) (Rocco, Keith) Chamberlain, Joshua. Chromolithograph, 1993. Limited Edition, signed (#406/450).
Price: $175.00

Chamberlain stands, proudly guarding Little Round Top during the Battle of Gettysburg.



(--) (--) Twenty-First Ohio at Horseshoe Ridge. Oil on Canvas, 1992. 39" x 33" framed.

Price: $12,500.00

This stunning original oil was painted as the dust jacket for Peter Cozzens' history of the Battle of Chickamauga, This Terrible Sound. Rocco, one of the most respected modern artists of military and historical scenes, specializes in evocative narrative art, suggesting such masters as N. C. Wyeth and Howard Pyle.

This painting illustrates the stand of the Twenty-First Ohio regiment at Horseshoe Ridge on September 20, 1863. The Twenty-First, armed with Colt Revolving Rifles, repelled numerous Confederate attacks throughout the afternoon and helped to save Rosecrans' retreating army. Though they treated their enemies very roughly, the Buckeyes were eventually outflanked and driven from their position. Many were captured.


(--) (--) ISLAND OF MERCY - THE PRY MILL AT ANTIETAM. Lithograph, 36" x 25", numbered and signed by the artist, circa late 20th Century.

Price: $125.00

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

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

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

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

  (--) (Union Generals) (Johnson, Andrew) (17th President) Bicolored Display Broadside, bearing portraits of the Presidents up through Johnson, as well as those of prominent Union Generals. N.p. (portion of undated copyright at foot, for southern Ohio), n.d. (late 1865). Approx. 20 x 28.5 in. (sight); in simple white mat and black frame, 28.5 x 38.5 in. overall
Price: $3,600.00

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

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

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

  (--) (Wilderness) Price, Norman Mills (1877 - 1951). SMOKING FOREST. Oil on board, 27” x 12 ¾” (sight), 33” x 19 ¼” (overall, framed). Written on the mount below the image is, “Like endless lines of phantoms, men, horses, guns, wagons, continued to pass through the smoking forest”.

(More Detail at Click Thru)

Price: $8,500.00

Norman Price studied art in London and Paris and was known for his history and war-action paintings and illustrations. His superb pen and ink works that appear in Treasure Island are particularly important. The Canadian born Price knew many Civil War veterans, whose experiences are reflected in the details and mood of this piece, a scene from what appears to be the Battle of the Wilderness.

We see an ammunition wagon train rumbling toward the front, with an ambulance returning to the rear while two Zouaves carrying a litter. Other soldiers search for bodies and aid the wounded. A striking, brooding, and emotional night scene!

  (U. S. Presidents) PRESIDENTS OF THE UNITED STATES. Phelps, Ensign and Thayer, New York, 1846. 29" x 22".
Price: $1,200.00

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

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

  (Washington, George - Etchings).  1932 Bicentennial Pageant of George Washington.  New York, The American Art Foundation, 1932.   Twenty Masterpieces in Etching, being the complete set of 20 etchings [originally titled “The American Art Foundation has the honor to announce Twenty Masterpieces in Etching each executed by one of America's most distinguished artists”].   On laid papers, watermarks George Washington's monogram and a coat of arms, each print signed in pencil and numbered 1-20, all with full margins, loose (as issued).  All approximately 10" x 15" plus extra wide margins; each placed on a rag board and shrink-wrapped. Hors-texte (illustrations printed separately from the text of a book, such as plates tipped in after binding.  The phrase also refers to blank pages found at the end of a book, added to make consistently sized signatures). 

(More at Click-Thru)

Price: $2,850.00

Originally commissioned by private investors, this set of engravings was completed by some of America's most prominent artists in the early 20th Century.

Each artist was asked to complete a piece relating to George Washington, his private and public life. Each print was signed by the respective artist at the time of issue and this entire set bears those original signatures. Included among the artists are Childe Hassam, William Auerbach-Levy, Ralph Boyer, Samuel Chamberlain, Kerr Eby, Sears Gallagher, Arthur William Heintzelman, Eugene Higgins, Earl Horter, Robert Lawson, Allen Lewis, F. Luis Mora, Robert H. Nisbet, Louis C. Rosenberg, Ernest David Roth, Albert Sterner, Walter Tittle, Levon West, J.W. Winkler, and George Wright. Despite the variety of artistic styles, the whole set works as a cohesive unit. 

All of the prints are nearly mint, with the exception of one which has some water stains.




Abraham Lincoln-related

  (Lincoln, Abraham) Boas, Max. Giclee Print*, 22" x 19".
Price: $200.00

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

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

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

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

  (--) Bouclet, Francis. “PRESIDENTS OF THE UNITED STATES.” Chromolithograph published 1861; A. Feusier, artist and lithographer. Approx. 20 x 25 in. incl. margins.
Price: $4,500.00

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

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

Handsomely and professionally framed.

(Photographed through mylar cover, brigher overall in person.)

  (--) Stephen Douglas. E. C. Middleton. oval, 22" x 20" (sight).
Price: $1,500.00

U.S. Representative, a U.S. Senator, and the Democratic Party nominee for President in the 1860 election, losing to Republican Abraham Lincoln. Douglas had previously defeated Lincoln in a Senate contest, noted for the famous Lincoln-Douglas debates of 1858. Douglas was also a strong supporter of Leonard Volk.

Bust portrait of Stephen Douglas.

In ornate, contemporary gold gilt frame. Excellent condition.



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).
Price: $25,000.00

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

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

  (--) (Lincoln: Emancipation Proclamation)  (Kidder, A.)  Proclamation of / EMANCIPATION / Whereas On the 22d of September in the year of our Lord 1862 a PROCLAMATION was issued by the / PRESIDENT OF THE UNITED STATES / containing among other things the following, to wit;… / [32 lines] / INDEPENDENCE of the United States of America the eighty seventh.  Chicago:  “Chas. Shober, Cor. Clark & Lake St., (1864).  Lithographic  broadside, 18” x 22” (including margin).   [Eberstadt 27] 

Price: $5,500.00

Elaborately printed, with a text mostly in script, a facsimile signature “A. Lincoln” in the lower right corner, and six vignette illustrations:   Columbia; an eagle; a Union soldier on the battlefield; a union soldier returning home to his family; a freed female slave; and, in the middle with an oval frame, a portrait of Lincoln (with a receding hairline!). 

While a number of handsome, decorative prints of the Emancipation Proclamation were produced for home consumption during Lincoln’s lifetime, Charles Eberstadt locates only four copies of this rare Chicago pre-fire imprint of one of the most important documents in American history.  

In rustic raised wooden frame, 21-½” x 27-¼”, 28” x 34-½” (overall); few minor vertical tears in upper & lower margins, expertly mended; else v.g.   

Not in CHICAGO PRE-FIRE IMPRINTS.             

  (--) (Gettysburg Address) LINCOLN’S GETTYSBURG ADDRESS. New York World’s Fair, 1964-65. 30” x 23”.

(More at Click-thru)

Price: $375.00

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

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

  (--) Gugler, Henry. Lithograph, 1869, 40" x 25"; matted and handsomely framed.
Price: $4,500.00

One of the rmost desirable of all the prints of Abraham Lincoln.

Shortly after Lincoln's assassination, many artists sought to commemorate the fallen President with paintings, statues and other forms of portraiture.

John H. Littlefield, a campaign worker for Lincoln during the election of 1860, commissioned Gugler, then a vignette engraver for the Bureau of Engraving and Printing, to create an engraving from which prints could be created and sold. After two years of labor, the largest life-size engraving of our sixteenth president was produced. The image on the two-by-three foot steel plate, and the prints made from it, capture the distinguished look of one of our nation's most cherished leaders.

The work was a career achievement for Gugler, who went on to form one of Milwaukee's largest printing houses, Gugler Lithographic Company in 1878. Milwaukee is still very proud of her native son; retaining the original plate at the Milwaukee County Historical Society.

Impressive, hard to find in any condition, this one is excellent.

  (--) Gugler, Henry. Lithograph, 1869, 29" x 23" (approx)
Price: $1,900.00

As above, although margins are trimmed with minor edge wear and minor edge chipping, backed and transil wrapped.


  (--) Marshall, William Edgar. ABRAHAM LINCOLN. [Boston]: Ticknor & Field, 1866.] 16-3/4” x 22-1/2” sight; matted in a plain frame 21-½” x 27-½” overall.
Price: $2,500.00

Robert Lincoln testified to “its excellence as a likeness;” and it even hung in the home of Frederick Douglass. Marshall’s print has endured as one of the most sought-after Lincoln engravings, attested to by Stanton, Herndon, Sumner, Colfax, and many others.

As fine an example of American portraiture in print as one can find.

  (--) Mauldin, Bill (1921-2003), WEEPING LINCOLN, 2007, 17.5 x 14 inches, limited edition of 650. Copyright Bill Mauldin 1963.  Courtesy of the Mauldin Estate. 
Price: $500.00
Standard Framing: $250.00

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

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

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

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

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

To see a photograph of the original plate, Click Here.

  (--) Neiman, Leroy (b1927). “Lincoln” Color Serigraph, signed; 19” x 19” sight w/ margin; 26.25” x 25.75” overall framed; finely embossed heavyweight paper stock. Limited edition of 750 numbered impressions, signed by the artist.
Price: $3,000.00

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

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

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

  (--)Newman, Ralph A. LINCOLN'S LETTER TO FANNY McCULLOUGH. Printed Broadside and portfolio, approximately 16" x 21" , Chicago: 1968.
Price: $75.00

Printed by Ralph Geoffrey Newman, with historical commentary by Carl Haverlin on portfolio. Signed by both Newman and Haverlin, and numbered #47 of 100.

Very light wear on portfolio; broadside is mint.


One American Icon Illustrates Another

  (--) (Rockwell, Norman) Young Lincoln. Color Lithograph, signed “Norman Rockwell” in bold pencil. (1964 as a Lincoln Savings advertisement. Artist Proof, marked “AP.”) Framed: 16-1/2 x 25 in . (sight); 29-1/4 x 44-1/2 in. (overall).
Price: $6,500.00

Lincoln lived 14 years in Indiana. Here the young “Railsplitter” is in the field, reading a book he carried during work hours – Lincoln and his father famously fought over this practice.

Each example is a 15 color lithograph with a limited edition of 260 impressions on papier d’Arches.  35 impressions were reserved for the artist of which this is one.     This image was created by Norman Rockwell from his original oil painting commissioned by the Lincoln Mutual Savings Bank of Spokane, Washington.  The lithographs were pulled at Atelier Ettinger in New York during 1976.

  (--) (--) Lincoln for the Defense. Color Artist's Proof, lithograph, signed ("Norman Rockwell") in pencil at lower right, "AP" indication lower left. Image 8 x 22 in.; 19.5 x 25. in. overall.

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Price: $12,500.00

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

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

V.g.; Tastefully and creatively framed. This is the "truest" Lincoln Rockwell produced.


A Nation Mourns

  (--) (Currier & Ives) THE DEATH BED OF THE MARTYR PRESIDENT ABRAHAM LINCOLN / WASHINGTON, SATURDAY MORNING APRIL 15 TH 1865, AT 22 MINUTES PAST 7 O'CLOCK. Hand-Colored Lithograph, New York: Currier & Ives, 1865. 16-1/4 x 12-3/4 inches (sight); framed to 23-/1/2 x 19-1/2 inches.
Price: $2,500.00

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

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


A Unique Artifact

The True Last Image of Lincoln Drawn from the Flesh

Lincoln in His Coffin
City Hall, New York City


(Mourning Lincoln) Morand, Pierre. LINCOLN IN DEATH. Ink and Opaque White Gouache on Heavy Paper; Signed on verso:  “Final Drawing / Pierre Morand” Witten on right front margin:  “City Hall, New York / 25 April 1865” 4-3/4” x 6-1/2”; slightly irregular.

Price: On Request

This drawing was done by a Frenchman named Pierre Morand, who moved to the United States and became acquainted with Abraham Lincoln after the Civil War began. Although not a professional, he made several endearing (and enduring) sketches of the president, because “In life Mr. Lincoln’s features and movements impressed me so vividly.”  Among them were:  Lincoln at the Soldiers' Home just outside Washington, where the Lincolns spent the summer months; leaning against a tree reading a paper in 1864; another showing him carrying a satchel, walking from the Executive Mansion with his wife, Mary, perhaps going up to the Soldier’s Home; and a number of various informal poses of Lincoln during June, 1864.

Famously, Morand had contravened Secretary of War Edwin Stanton’s orders and sketched Lincoln in his coffin, probably bribing a guard to do it.  He produced a well-known outline pencil sketch, around 2am in the morning of the April 25th.  Back in his studio, he produced an intermediary rough ink portrait that was followed by this much more elaborate and detailed “Finished Drawing,” which has a high Victorian feel to it.

Morand had sketched Lincoln enough times “from life” that he was able to capture the essence of the man in death.  Lincoln’s animated features are stilled and at rest, as only death can bring.  Eyes closed and his face in its death pallor, his head makes an impression on the tasseled pillow beneath.  Dressed in his usual suit, with his bow tie straighter than normal and a slight wrinkle in his shirt, numerous flowers are draped around the coffin.

In excellent condition.
  (--) (Folk Art) Watercolor of a Freed Slave Mourning the Death of Lincoln. 10 1/2 x 9 in c1865.
Price: $2,500.00

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

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

A touching image, sensitively rendered, with a wonderful use of colors.


  (--) Ritchie, Alexander H. (engraver). THE DEATH OF PRESIDENT LINCOLN. Steel Engraving by A. H. Ritchie. , 46" x 38" (sight), Circa 1868. Artists Proof, Signed by Ritchie.

(Entire and Signatures at Click-thru)

Price: $4,500.00

Alexander Hay Ritchie was one of the leading American engravers of historical scenes; in 1865-66 had engraved a large print based on Francis B. Carpenter’s important painting of "The First Reading of the Emancipation Proclamation Before the Cabinet," (shown above). Perhaps the success of that print inspired Ritchie to paint an image of "The Death of President Lincoln," which he then engraved and in 1868 published as a large print which he hoped would sell as well as the other had.

The image is interesting for its similarities and differences to previous prints. The room appears to be larger and the number of mourners has grown to twenty-six. However, Ritchie said he personally visited the room at Petersen’s and the wall paper, bed, rug and prints on the wall all seem pretty correct. Indeed, the three main prints on the wall all appear to be in their correct locations and they are quite clearly depicted in this engraving). Also shown is a fourth print, as had been described by George Townsend an often flamboyant, and sometimes inaccurate Civil War journalist. Though the number of mourners in Ritchie's image is probably exaggerated, Townsend did list just two less, so perhaps this print is not too far from historically accurate. Certainly the print was praised by a number of people who were at the death scene and no one at the time complained about its inaccuracy. (Our thanks go to Chris Lane of ILAB for providing the above description)

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



Ever since Grace Bedell changed the face of history by suggesting that Lincoln grow a beard, people have had an interest in fixing his image in a three-dimensional form.

Below is a small sampling of original and reproduction sculpture currently offered by this shop. Of course if you are looking for a certain pose or period in Lincoln's life, or another Civil War personality please get in touch with our shop.
Stock on these items changes frequently, so it is impossible to show everything here.


Abraham Lincoln Busts and Sculpture

Bachmann, Max
(1862 - 1921) a sculptor of allegorical figures including Indian heads, was born in Brunswick, Germany and was active in New York City by 1899. His works included a commission for the Pulitzer Building in New York City of figures from around the world.

  (Lincoln, Abraham) Bust, signed; thumbprint. Plaster with a terra cotta patina; 32” x 22” x 12”.

Price: $7,000.00

The warm toning of the terra cotta patina is quite pleasing, even for such a dramatic bust.

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

Excellent condition.

  (--) Bronze Bust, Marked Roman Bronze Works, NY, 1905, 25" x 15" x 10" (approx.)

Price: $15,000.00

An expressive and richly-patinaed bust, classic Springfield-era Lincoln image.

Excellent condition.


Bercham, Jules
At the early age of nine he was inducted into what was to be his life work---making bronze castings of works of art. He came to Chicago in 1885 and there established himself in his chosen vocation. He came to be regarded as America's master artisan in art bronze, collaborating with the foremost sculptors in his faithful reproduction of their works. His importnat castings include Edward Kerneys Great Lions that flank the Art Institute as well as the casting of Taft's Fountain of the Great Lakes at the same venue.

  (--) after  Leonard W. Volk.  LINCOLN LIFE MASK.  Full Bronze  N.p.; n.d. (originally executed in Chicago, Ill., 1860). [Grand Crossing. Ill.]  “J. Berchem / Fondeur,” circa 1880-90.  Lettered underneath the chin, “A. Lincoln/ 1860 / L. Volk, / fecit”.  9-5/8” high; 8” ear to ear; 7-1/2” deep. 

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Price: $4,500.00

Berchem here used his own foundry, most likely from the original mold, lent by fellow Chicagoan Leonard Volk (1828-1895), with whom Bercham had a close relationship. 

The bent nose, the large lower lip, and the famous mole are all highlights of this mask, which bears a rich, chocolate bronze tonality. 

Bissell, George Edwin
(1839-1920) was serving with the 23rd Connecticut Infantry until 1863, when he was appointed a paymaster in the Navy. After the war, he joined his father's marble business and worked on life-sized statues. Later he produced his famous Soldiers and Sailors monument for the town of Waterbury , CT.
  (--) Lincoln Bust. White Plaster Replica Bust, approx. 38 x 12.5 inches.
Price: $3,500.00

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

  (--) Lincoln Bust. Metallic reproduction, 16.25” x 10.50” x 6”.
Price: $1,850.00

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

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

With MFA copyright indicia, 1989.

Brenner, Victor D.
(1871-1924). Brenner, a Jewish Russian immigrant, became one of our country’s finest medalists.
  (--) Bronze Plaque on green onyx backing. “Copyright 1907 by V. D. Brenner.” Marked #1 on the brass stand affixed to rear. 8-1/2 x 10-5/8 overall.
Price: SOLD

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

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


Buberl, Casper
(1834-1899) American sculptor. Casper Buberl emigrated to America in 1854 from Bohemia, now the Czech Republic.

(--) Rare bronze bust of Abraham Lincoln circa mid-1880s, titled "LINCOLN" on the obverse and signed on verso by the artist with his signature in script, "Caspar Buberl/Sc.," 10-5/8" high, 7" across at the shoulders, 4" deep. In fine condition, with original rich, dark, brown/black, jewel-like patina.

Price: $15,000.00

Buberl's bust of Abraham Lincoln is rare. We have never seen or handled another example. Unknown to most collectors of Lincolniana, it is absent from even most advanced collections. An, early, beautiful, and highly detailed rendering of Lincoln the President that preceded the later and more familiar20th century Lincoln sculptures by French, Weinman, Bissell, St. Gaudens and others.

In 1882 Montgomery Meigs, former quartermaster general of the Union Army during the Civil War, was selected to design and build the new Pension Building in Washington, D.C.  This huge structure was designed to administer the pension claims of hundreds of thousands of Civil War veterans.  (Today the Pension Building is a national historic landmark, and is occupied by the National Building Museum.)  Meigs commissioned Buberl to design a 1200-foot long sculptured frieze, or bas-relief, which wrapped around the entire building.  Buberl created 28 different scenes of infantry, cavalry, artillery medical and navy units, as well as quartermaster wagons driven by African Americans.  Meigs ordered that each of these teamsters must be “a plantation slave, freed by war.”  Buberl’s breathtaking frieze is the most monumental Civil War art memorial ever undertaken, and it remains his masterpiece.

Additionally, Buberl sculpted a number of monuments on the Gettysburg Battlefield, including for the 5th, 9th and 10th  N.Y. Cavalry; the 4th N.Y. Independent Battery of Artillery; the 41st, 52d, 54th, 111th and 126th New York Infantry Regiments; and the Cemetery Hill New York State Monument with its wonderful bas relief depicting the death of General Reynolds.  In addition, Buberl designed a number of Confederate memorials, including the A.P. Hill Monument in Richmond, Virginia; the Howitzer Monument in Richmond; the Confederate Monument at the University of Virginia Cemetery at Charlottesville; and the Confederate Memorial in Alexandria, Virginia.

Buberl also sculpted the  bas-reliefs for the President James A Garfield Memorial at Lake View Cemetery, in Cleveland, Ohio, which included the panels of Garfield as “The Educator,”  “The Civil War Hero,” and “The Martyred President.”  His later works include the Soldiers and Sailors Memorial Arch in Hartford, Connecticut (1890), and in New York City the Dewey Triumphal Arch (1899), to commemorate the Spanish American War.

Bearing the foundry mark "H.B.B.CO." surrounded by a diamond-shaped border and the code number "2345." The Henry Bonnard Bronze Company in New York City was one of the great 19th century American art foundries, and the firm cast many of Remington's famous bronze Western sculptures.

A rare and little known bronze by an important American artist, perfect for display on the desk, mantle or shelf.


Burroughs, Edith Woodman
(1871-1916) At only 15 years old, she became a protégé of Augustus St. Gaudens, at the Art Students League of New York.  By the time she was 18, she was supporting herself through design commissions for Tiffany and Company as well as many churches. She was elected to the National Academy of Design in 1913. She won a Silver Medal at the 1915 Panama-Pacific International Exposition in San Francisco, for her Fountain of Youth sculpture. Her works are held by the Louvre, The Metropolitan Museum of Art, the Corcoran Gallery, San Simeon, and elsewhere. She passed away at the very young age of 45.


(--) Large Bronze Plaque, Roman Bronze Works, NY Copyright 1909 12-2/4 inches diameter; 5/8 to 13/16 inches depth


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Price: $5,500.00

Perhaps submitted as a design for the penny, which was re-designed in 1909 for the Lincoln Centennial. The competition was ultimately won by Victor David Brenner, whose design had the backing of Theodore Roosevelt.

She produced a similar medallion for Edgar Allen Poe that same year, and for Roger Fry in 1911. However, this is the ONLY example of Abraham Lincoln we have ever seen!

The image at the left has been modified to illustrate the details more clearly. Please click on it to see an enlarged image that more accurately depicts the rich patina of this plaque.


Davidson, Jo
(1883-1952) was one of the most prolific and sought-after sculptors in America. He is so important that his bust portraits have been given an entire room in the National Portrait Gallery. Presidents, literati, and all manner of popular personalities sat for him throughout his long career.

Central to Davidson's artistic philosophy was the belief that outward appearances reflect the inner spirit of the individual; hence his style is forthright and free of mannerism. The surface of the bronzes retain the suggestion of the original clay, so his style has been called "Impressionistic." His style contributes to the almost life-like quality of his portraits.


(--) Bronze bust, 11" tall in 1" marble base.

Price: $3,900.00

Created using the “lost wax” method, taken from an original bronze of c1911.


Fairbanks, Avard T.
(1897 - 1987) taught in Portland, Ann Arbor, and Salt Lake City. He studied under Injalbert in Paris and is renowned for his plaster and bronze works. His body of work includes statues of historical figures, impressive bronze doors, memorials, and fountains. Reflecting his life-long admiration for Lincoln, his statue, "The Frontiersman," standing in Oahu, is a masterpiece; and his four "Heads of Lincoln," showing Lincoln from youth to president, grace the Ford's Theatre museum.

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


(--) Plaster bust, 13" high.

Price: $3,500.00

According to Fairbanks’ son, about 10 were made -- though this is the very first we have seen!

Fairbanks was known for his Lincoln statues and busts, with four gracing Ford’s Theatre’s museum in Washington, DC .


Iannelli, Alphonso
(1888 - 1965) Italian-American sculptor, artist, industrial designer and architect. Often referred to as a sculptor-builder, he was a student of Gutzon Borglum. From 1910 to 1915, Iannelli designed posters for the vaudeville acts appearing at the Orpheum Theatre in Los Angeles. In 1914, he moved to Chicago to work with Frank Lloyd Wright on the Midway Gardens and is the man behind the still-popular Sprites. He designed several plaques and a sculpture for the Adler Planetarium in Chicago as well as many of the structures at the Century of Progress Chicago World's Fair. Later he opened studio with his wife, Margaret. Together, they expanded into commercial design, advertising, product design and architectural interiors. Local venues, including his studio, and two theatres designed by him still stand today. Visitors to Chicago can see his work at the Adler Planetarium and the Prudential Building on Randolph St., just east of Michigan Ave.


(--) Plaster Bust, 26" x 18" x 20". Circa 1925.


Price: $10,000.00

Featuring his drawings and sculpture, Iannelli's one-man show opened at the Institute in 1925. This is the model for the Study for Head of Lincoln.

Soiling in the crevices, plaster chipping at the base, otherwise in very good condition.

Mayer, Louis
Louis traveled extensively and moved to New York in 1913, living in Fishkill, about fifty miles from New York City on an estate he named “Joyous Mountain”. His sculptural works include hundreds of busts and bas reliefs of historical figures, such as his friend Albert Schweitzer, which are scattered in public and private collections around the United States.

(--) Bronze bust, 13" tall.

Price: $2,000.00

By “lost wax” method, taken from an original bronze of c1917.

A beautiful patina makes this a warm bust for an office or library.

Mills, Clark
(1810 - 1883) was an American sculptor, best known for three versions of an equestrian statue of Andrew Jackson located in Washington, DC, Nashville, TN and New Orleans, LA. Ironically, Senator Stephen Douglas was the keynote speaker at the Washington, DC unveiling.

(--) Lost Wax Bronze Life Mask taken from an original 1865 bronze casting.  [Chicago: c2011]. Approx. 11 x 8 in.; 11.5 pounds; with nuts soldered onto the inside for mounting.

Price: $3,850.00

On February 11, 1865, Mills made the second life mask of Lincoln, Leonard Volk’s 1860 beardless casting being the first – there never was a “death” mask. 

This casting was made off one of the 15 original castings extant, using the exact same methods and techniques as was used in 1865. 

Extremely detailed: one can almost imagine the eyes abruptly opening and the nose is clearly curved, where a horse had kicked him “out cold” as a youth.  As new.

These are made-to-order. Please inquire about lead time.

Muller, Hans
(1873-1947) was a pupil of the sculptor Edmund Hellmmer at the Vienna Academe of Art.  Although he is best known for his portraits and busts of  the more famous of Viennese society, he  modeled a few animal sculptures mostly of hunting dogs. Very little is known or has been written about this talented Austrian artist other than the many works he produced.  Much of his work is on permanent display in the Simu Museum in Bucharest, Hungary.
  (--) Bronze bust, Signed "H. Muller."  16" x 14" (at shoulders)
Price: $8,500.00

A beautiful, mid-size bust comparable in quality to the classic Lincoln sculptures by George Bissell. Muller was known for his captivating portrait busts and figures of the common man at work.  Here he captures an imposing Lincoln as president at the height of his power, gazing directly at the viewer.  The bronze possesses a rich, dark patina.

A substantial and impressive piece that we have never offered before.

Nock, Leo F.
(1873-1949). Not much is known about him except that he worked for the Roman Bronze Works in New York City and was known for his animal sculptures.
  (--) Abraham Lincoln & George Washington; A rare set of matching bronze sculpture, 11 " tall (sight); circa 1930.
Price: $15,500 (price for the set)

A gorgeous piece in which the contemplative Lincoln glances down, in a pose reminiscent of Daniel Chester French’s sculpture of a thoughtful, standing Lincoln.  Nock’s fine modeling, with its exquisite detail to Lincoln’s face, hair and clothing, makes this one of the most lifelike Lincoln bronzes ever made.  Over the last two decades, we have handled only two examples of his Lincoln.


Nock’s rare and hitherto unknown matching bronze bust of George Washington.  Clearly made as a match to Nock’s bust of Lincoln, this sculpture portrays Washington as the defiant commander in chief gazing forward with confidence.  The attention to detail, including the sumptuous, three-dimensional ruffling of Washington’s shirt, equals the quality of the Lincoln piece.  Hitherto unknown and unlisted, and possibly unique, we have never seen another example of Nock’s Washington. 

This is a wonderful pairing of the father and of the savior of their country.  Abraham Lincoln idealized George Washington, once saying of the first president: “Let us believe, as in the days of our youth, that Washington was spotless.  It makes human nature better to believe that one human was perfect – that human perfection is possible.”   Later, in his Springfield Farewell Address on February 11, 1861, Lincoln declared that he journeyed to the nation’s capital to face a task greater than the one that confronted his hero, George Washington.

Both have a handsome, dark chocolate brown/black patina.  The surface of each sculpture matches the other perfectly.  each signed “L.F. Nock  Sc(ulptor] and Founder.” 


St. Gaudens, Augustus
(1848 - 1907) An Irish-born American sculptor of the Beaux-Arts generation who most embodied the ideals of the "American Renaissance". Raised in New York City, he traveled to Europe for further training and artistic study, and then returned to major critical success in the design of monuments commemorating heroes of the American Civil War, many of which still stand. Saint-Gaudens also maintained an interest in numismatics and designed the $20 "double eagle" gold piece, for the US Mint in 1905-1907, still considered the most beautiful American coin ever issued[1] as well as the $10 "Indian Head" gold eagle, both of which were minted from 1907 until 1933. In his later years he founded the "Cornish Colony", an artistic colony that included notable painters, sculptors, writers, and architects.


(--) with Richard Gilder; Lincoln Life Mask and Hands Bronze Life Mask and Hands of Abraham Lincoln.  (New York): February 1886, from the original plaster casts made in 1860 by Leonard W. Volk, in the “lost wax” method .Mask: 19.6 cm x 22.1 cm x 14.3 cm; Left Hand: 16.8 cm x 11.1 cm x 6.3 cm; Right Hand: 16.8 cm x 13 cm x 9.2 cm

Price: $26,500.00

Augustus St. Gaudens produced this set, cast for Subscribers to the project of purchasing the original plaster life mask for the National Museum (now the Smithsonian).  Thirty-three subscriber’s (including author Bram Stoker of Dracula fame) obtained either a bronze or plaster casting of the mask and hands – each taken off molds made directly from the original first castings. 

Out of Series: On the rear of the mask and on the cuffs of the hands, the text explains why these were made and, on the mask, the subscriber’s name would appear.  This set uniquely has no name attached to the explanatory description on the back of the mask – only a hole where the next subscriber’s name would be placed, making it an unused, “out of series” set – perhaps the last to have been completed.

Leonard Volk had sent the first plaster copy of the original plaster cast of the mask to the French painter Jean-Leon Gerome, who was the teacher of his son, Douglas Volk. Then given to Douglas, he later gave the original plaster casts of the mask and hands to a fellow art student, Wyatt Eaton. In 1886 Richard Watson Gilder, editor of the Century Magazine, formed a committee to raise money through subscription to purchase the casts from Eaton for presentation to the National Museum (Smithsonian Institution). Though other sets were later produced commercially, this bronze set is unique, having been taken off the earliest versions of the casts.  Excellent condition, with a dark, rich patina.  The mask is mounted to a later, plain wooden base.
Schnittman, Sascha
(1913-1987) Schnittman studied at Cooper Union Art School, New York, and the National Academy of Design. He taught at Washington University and Fontbonne College. He produced several commissions for the St. Louis area, including the classic Art Deco facade of the Dorsa Building in the Washington Avenue Loft District and the American Legion Founding Commemorative Monument. Eventually moving to California, Schnittman is represented in the Triton Museum Sculpture Garden.
  (--) Hollow Bronze Bust of Abraham Lincoln on green marble base; 10" x 7" (approx). Signed SSS dated 1924.
Price: $8,500.00

Brilliantly rendered bust of Abraham Lincoln. Romanesque in quality, it dates from the era when Lincoln was beginning to be recognized for his place in American mythology.

Schnittman's first bronze, he would have been around 11 years old when this was cast.

Rich patina and finish, pristine conditon. The only one we have ever seen!


Unattributed Works
Abraham Lincoln is an inspriation to artists and craftmen; both professional and self-taught. This piece is unsigned.

  (--) Cast metal bust, 13" high.
Price: $2,000.00

This cast metal bust of Abraham Lincoln in his lawyer years has a rich bronze patina.

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


Volk, Leonard
(1828-1895), after studying sculpture in Rome, he opened a studio in Chicago in 1857. Volk met Lincoln during the 1858 debates and, in early 1860, persuaded him to sit for a life mask on March 31. From this mask, Volk made several different versions of busts. In May of that year, he produced Lincoln's hands.

Both the mask and the hands provided models for many other Lincoln statues by many other sculptors. Volk also produced life-size statues in Springfield, IL and Rochester, NY.


(--) ABRAHAM LINCOLN BUST. Chicago: 1860. Height, 32 inches; approximately 9 inches diameter at base. Cast plaster. Signed "Lincoln from life / by L. W. Volk" on the rear.

Price: $3,500.00

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

In unusually excellent, bright condition.


Other Sculpture

John Rogers
(1829-1904) created groups from 1859 to 1892 on the subjects of everyday life, the theatre, Shakespeare, the Civil War and horses. At a time when it was in vogue to have parlor statuary in one’s home, Rogers provided appealing high quality durable plaster statuary which was well within the financial reach of many for whom marble or bronze statuary was not. “Rogers’ Groups” were a staple in many households in the 19th century. He was mostly self-taught, his whose work was most popular from 1860 to 1880. A middle class home of the Victorian period would not have been complete without a Rogers Group, framed by lace curtains, sitting in the front window.

(Rogers, John) COUNCIL OF WAR. New York: 1868.  Signed “John Rogers, New York Patented March 31, 1868.” 24 inches high, approximately 15 inches at base. Cast plaster.

Price: $7,850.00

Council of War portrays Lincoln, seated, studying a military map, with Secretary of War Edwin Stanton and General Ulysses S. Grant.  Grant points to the map, while Stanton wipes his glasses.

Stanton wrote, “In form and feature [the Lincoln Statue] surpasses any effort to embody the expression of that great man which I have seen. The whole group is very natural and the work, like others from the same hand, well represents interesting incidents of the time.” Robert Todd Lincoln called Rogers’ effort the best likeness of Abraham Lincoln he had ever seen.

Modeled in clay by Rogers himself; then cast in bronze…from which molds were made for the saleable groups in plaster.  Then covered with oil paint, usually tan putty color but sometimes darker brown or lighter gray.

In a manner of speaking, he was the Norman Rockwell “Saturday Evening Post Cover” – but in clay sculpture:  thousands of the 80 different published groupings (12 Civil War themed) sold!

This original is professionally and artistically resurfaced in a beige patina that does not in any way compromise the clarity of detail that was a hallmark of Rogers' work. In fact, it mimics the original presentation quite well. This is seldom found in this condition; with no chipping!


(--) WOUNDED TO THE REAR OR ONE MORE SHOT. Alva Museum Replica, 1961 (original of 1864). Plaster statuette; Height, 23.5 inches; length of base, 9.5 inches; depth from front of base, 10 inches; salmon coloratio

Price: $875.00

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

Excellent; clean with no chipping.

  (--) (Washington, George) WASHINGTON, GEORGE. NY: John Rogers, (1875). Plaster: Height 20” ; Length 10” ; Depth 10” .
Price: $12,500.00

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

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

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

Lily Tolpo (1917 - )
has worked from her Illinois studio for over six decades.  As a sculptor her works grace private and public sites, including the Freeport IL Lincoln and Douglas in Debate monument and a sculpture series of Great Americans.  In addition Tolpol is known for her oil portraiture.  She is listed in the Smithsonian National Portrait Gallery Catalog of American Portraits.

First Lady Mary Todd Lincoln Sculpted Bust, Cast in Resin. 10" high, 7 1/2" wide, 5 1/2" deep on 4" sculpted pedestal; overall height is 14".

Price: SOLD

Depicting this nation's first presidential wife to be called "First Lady," First Lady Mary Todd Lincoln,  depicts strength, strong mindedness and courage. It is a tribute to strong women everywhere.

Excellent condition, as new.


Other Art

  Libby Prison Medal. Chicago: 1893. 2 34", heavy white medal.
Price: $875.00

Minted in honor of the acquisition of the notorious Libby Prison, which was moved block-by-block from Richmond to Chicago at the time of the Columbian Exposition.

Front shows the old warehouse turned prison as it appeared during the war, with A-frame tents arranged in front of it. Verso features an engraved history of the Libby Prison building, and around the edge the inscriptions "No Sectionalism / 1861 / No North / No South / 1865 / No Animosity."

This example in very good condition with a few nicks; a scarce find as the few still known to exist tend to be dented and gouged around the edges.

  (U.S. NAVY: Great White Fleet; In Memory of my Cruse In/Phillipines, China, Japan/R. Morris. Japan: c1908. Commemorative silk embroidery with glass eagle’s eye. 22-1/2 x 18-1/4 inches (sight); framed.
Price: $2,800.00
The Great White Fleet (named for its white-painted vessels) consisted of 16 of the best Navy battleships, sent on a world cruise in 1907 by President Theodore Roosevelt as a gesture of strength (or, as he saw it, his “most important service” to peace). The fleet covered 45,000 miles in 14 months, with its most important stop at Tokyo. This memento was doubtless made there, to judge not only from its material but its stylized design.

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

Excellent condition, with colors still bright.

  (--) Japan: c1908. Commemorative silk embroidery with glass eagle’s eye. 22-1/2 x 18-1/4 inches (sight); framed.
Price: $1,850.00

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

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

  WORLD COLUMBIAN EXPOSITION SOUVENIR Myriopticon: World's Fair 1492 - 1892. 6 1/4" x 5" x 4 1/4" inches. An ingenious miniature theater, which allowed children to replicate the popular oversize painted theatrical panoramas of the day.
Price: $1,850.00

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

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

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

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