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If You Do Not See What You Are Seeking, Please Call, Fax or Email Your Request.
There Are Many Other Items Available, And Stock Changes Almost Daily.
Please be advised that the following items are "One-Of-A-Kind" and are subject to prior sale.
Bordered Items are Clickable for a Larger View of the Piece.
Featuring Items From Catalog 162, and more. Some of these items are featured in the Video Catalog.
There are other prints in the Garage Sale.
This Section was updated on 2 July 2009
Just Added - A Collection of LIFE STUDIES OF THE GREAT ARMY By EDWIN FORBES
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Civil War and Other Military History
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[Anti-Slavery Cartoon] [Johnson, David Claypool]. A Proslavery Incantation Scene, or Shakespeare Improved / See Macbeth. Lithograph. N.p.: (c1856). 21-3/8” x 14. |
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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! |
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(Civil War) Army of the Cumberland.
Text poster w/decorative color-printed border. N.p., n.d. (ca 1910).
18.5 x 24.5 in. overall. |
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A compilation of facts about the A.C.: lists of commanders, component corps, varying effective strength, principal battles and losses, along with a line map and overview of the "Field of Operations." Draped flag border contains b/w ports. of Genls. Buell, Thomas, Rosecrans, Stanley, McCook and Crittenden. Partly printed statement at bottom certifies that John P. Olson of the 102nd Ill. served in the A.C.
Sm. marg. tears/wrinkles (none into text), sl. soiling; remains of gilt paper seal at lower left.
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LIFE STUDIES OF THE GREAT ARMY,
BY EDWIN FORBES
“A Historical Work of Art, in Copper-Plate Etching, illustrating the Life of the Union Armies during the years 1862-‘3-‘4-‘5.”
Edwin Forbes (1839-1895) was a classically trained “special artist” (and probably the best artist-correspondent of the war) for Frank Leslie’s Illustrated Newspaper, spending two and a half years with the Army of the Potomac, covering great battles from the Shenandoah Campaign, through Second Bull Run, Antietam, Chancellorsville, Gettysburg, the Wilderness, Early’s Raid on Washington, and to the Siege of Petersburg. But daily camp life and incidents in the field were his favorite subjects to draw, and comprised the vast majority of his work.
Forbes left the army and returned to his native New York in the autumn of 1964, reclaimed his original sketches from his employer --- fewer than half of which were reproduced by Leslie, who liked action scenes best --- and began work on his greatest artistic achievement. Between 1865 and 1868 Forbes completed drawings of forty scenes based on his wartime sketches, which were then transferred into a series of copper-place etchings, Life Studies of the Great Army.
Exhibited to critical acclaim at the Philadelphia Centennial Exhibition in 1876, Life Studies won Forbes an award from the Exhibition, as well as honors from Great Britain and France, and “was a major achievement that represented a notable step forward in establishing etching as a fine art in the United States” (William J. Cooper, Jr.). In an effort to make the sketches a financial success as well, Forbes published a catalog that contained plugs from leading war figures, including President Ulysses S. Grant (to whom he had sent editions of the portfolio) and General William T. Sherman (who had bought the original portfolio to decorate his office).
We offer, from an undated edition (“Issued under the Authority, Inspection and Signature of Mrs. Edwin Forbes”.) of the portfolio, twenty-two of the etchings from Life Studies of the Great Army. Each plate (some with multiple images) is 16” x 11” sight and 17” x 12” overall, is matted in cardboard with linen finish (23 ½ “ x 19”), is signed in the lower left border by “Mrs. Edwin Forbes”, and is in excellent condition. The following descriptions of each available plate are from the original cover index (18 ¾ “ x 24”) that accompanied the portfolio.
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THE REVEILLE ON THE LINE OF BATTLE.
Representing the line of battle at daylight. The regimental bugler stands on the crest of the hill playing the reveille to arouse the troops, who are lying on the ground wrapped in their blankets. In the middle distance a battery is seen to position with ‘caissons’ and ‘limbers’ to the rear.”; TATTOO IN CAMP. “A moonlight scene. The regimental drum-corps is beating ‘tattoo’, the signal for the men to retire to their tents. ‘Taps’, the signal for ‘lights out’ follows half an hour later.” |
$475.00 |
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THROUGH THE WILDERNESS. A battery of artillery dragged through the mud during a spring rain-storm.”
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$475.00 |
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WINTER CAMP. Featuring four images: A WAGONER’S SHANTY, THE DESERTED PICKET-HUT, MUD HUTS.
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$475.00 |
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THE PONTOON BRIDGES. The army crossing a river and closing up in column on the hill, while the advance is pushing into the woods, which have caught fire from exploded cartridges.
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$475.00 |
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A THIRSTY CROWD AT THE OLD SPRING HOUSE. A scene on the line of march during a hot day.; A RACE FOR CAMP. Newsboys passing the picket station while on the road to camp with the latest news.
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$475.00 |
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THE LEADER OF THE HERD. Cattle for army use led by a Zouve butcher. Across the road, under the pine trees, can be seen the graves of two Union soldiers, who have been killed in a roadside skirmish.
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$475.00 |
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A RAINY DAY ON PICKET. An infantry-man sheltered behind a pine tree, with his rifle under his arm to protect it from the rain.; WASHING DAY. A soldier with his latest wash hung out to dry on the barrel of his rifle. In the distance the column is seen on the march. [An iconic image of the Civil War soldier!].
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$675.00 |
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A SLAVE CABIN; THE OLD GRIST MILL; ’GOT ANY PIES FOR SALE, AUNTY?’ A party straggling from the line of march in search of luxuries of the season.
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$475.00 |
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OFFICERS WINTER QUARTERS. Waiting for dinner after dress parade. In the doorway the sergeant of the guard is seen reporting to the officer of the day.
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$475.00 |
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A HALT IN LINE OF BATTLE. The line, having advance and driven the enemy, whose dead are lying in front, is ‘dressing up’ while a reinforcing column can be seen coming over the hill in the distance. Shells from the enemy’s batteries are bursting in the air.
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$575.00 |
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STUCK IN THE MUD. A pontoon wagon with boat fast in a slough. A regiment of infantry is pulling on a rope attached to head of the team, trying to drag them to firmer ground. ; A FLANK MARCH ACROSS COUNTRY DURING A THUNDER SHOWER.
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$475.00 |
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GOING INTO CAMP AT NIGHT. The fields on all sides are covered with troops who are engaged in cooking supper, the column in the road marching on and disappearing over the hill in the distance.
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$575.00 |
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ON PICKET AT THE RIVER BANK. ; AN OLD SAW MILL.; WAITING FOR SOMETHING TO TURN UP. A scene behind the breastworks during a lull in the battle. The troops defending this position on the line are sleeping under their shelter-tents or lounging under the shade of the trees and house. In a tree, beyond the house, a lookout is posted to give warning of the advance of the enemy.
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$475.00 |
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A DISTANT BATTLE. Seen at a distance of about six miles. In the foreground is an abandoned breastwork; and on the road to the left a column of troops is seen hurrying toward the sound of distant cannon.
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$375.00 |
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A CAVALRY CHARGE. An advance against the enemy’s guns, which are posted on the hill. The enemy’s line has met the charge, and is trying to save the guns which are hurrying to the rear. [One of the few battle scenes in the series, and the most dramatic!].
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$1,250.00 |
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A HOT DAY. Soldiers grouped about a gun in position, and sleeping under a shelter.; BEEF STEAK RARE; A STRAGGLER. Always sick when a fight is expected.; A QUIET NIBBLE ON THE CAVALRY SKIRMISH LINES.; A CAVALRY ORDERLY WAITING ORDERS.
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$575.00 |
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A WATCHED POT NEVER BOILS. The Captains Cook.; A HEARTY SUPPER ON THE BATTLE FIELD.; DRUMMER BOYS. Halted on the road.; PLAYED OUT. Two foot-sore and used-up soldiers have dropped out of the column and fallen asleep at the foot of a tree, while rear of the detachment is seen disappearing up the road.
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$575.00 |
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THE SUPPLY TRAIN. ’Hard tack and salt horse’ for the army.
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$475.00 |
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’GONE WITH THE YANKS.’ . A deserted cabin.; A LAND FLOWING WITH MILK AND HONEY.; A SCOUTING PARTY.; AN OLD CAMPAIGNER.
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$475.00 |
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THE OUTER PICKET LINE, WINTER . A general view overlooking the enemy’s country.
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$375.00 |
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TRAFFIC BETWEEN THE LINES. Pickets trading for coffee and tobacco between the fortified lines during a truce. The enemy’s works (protected by abattis and cheveaux-de-frise) are seen in the background, with groups of soldiers on the parapet.
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FORDING A RIVER. Infantry are wading the stream at the ford, with a line of cavalry posted below to catch any unlucky soldier who may be carried away by the force of the current.; TWENTY MINUTES HALT. A column of troops, while on the march, have been halted for rest, and are lying about under the trees and in the road.
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$475.00 |
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Ray, Frederic E., Jr. (1920-2001, American Artist/Illustrator). BATTLE OF ATLANTA . Opaque watercolor on board, 19 ¾” x 29” , signed “F. Ray – ‘64”. |
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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. |
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(--) (Sachese) LINCOLN HOSPITAL, WASHINGTON D.C. E Sachse & Co., Baltimore, MD, 21 x 14 |
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A Sachse "Birdseye View" print of Lincoln Hospital, Washington, DC. Charming and colorful detail, capitol dome visible in upper right corner.
Minor edge soiling, minor creasing, some edge chipping, tear into upper 1/2 inch of image would be easily repaired. |
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(--) (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 |
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. 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. |
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(--) (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”. |
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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! |
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Currier N. MARRIAGE CERTIFICATE. Hand-colored. 13 x 10 (sight). Accomplished 1 October 1848. Fort Smith Arkansas. D R H Stratton (?) and M L Kraufsin (?). |
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This rich and vibrantly -colored Marriage Certificate printed by Currier (before Ives) features a center illustation of a marrying couple and an offcial performing their wedding. The side panels detail the Requirements of the Husband and the Requirements of the Wife.
Overall toned, foxing, some loss and some tears and creases into the text, skuff. Adhered to backing.
When nicely framed, it would make and interesting and unique wedding gift! |
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Abraham Lincoln
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(Lincoln, Abraham) Bouclet, Francis. “PRESIDENTS
OF THE UNITED STATES.” Chromolithograph published 1861; A. Feusier, artist and lithographer. Approx. 20 x 25 in. incl.
margins. |
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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.
Professionaly
conserved: Paper replacements at two margins, not affecting the image;
light water-staining at bottom margin; a few marginal closed tears;
tear from top down through middle of image is bearly noticeable. When
framed, most problems can be matted out. GORGEOUS COLORING WITH A FINE,
FRESH APPEARANCE. PERHAPS THE MOST BEAUTIFUL OF ANY POPULAR POLITITCAL
PRINT IMAGE OF AMERICAN PRESIDENTS.
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(--) Dali, Salvador (1904 - 1989; a leader of the Surrealist Movement) “ Lincoln ” Color Lithograph, signed; framed. 25” x 19.75” sight w/ margin; 31.25” x 25.50” overall framed. |
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Lincoln is depicted in the style of an “apotheosis,” accompanied to heaven by a host of angels. As an artist, Salvador Dali was not limited to a particular style or media. The body of his work, from early impressionist paintings through his transitional surrealist works, and into his classical period, reveals a constantly growing and evolving artist. A superb draftsman, Dali's insight and symbolic complexity are apparent. |
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(--) [1861 Inaugural Lithograph] HON. ABRAHAM LINCOLN, / SIXTEENTH PRESIDENT OF THE UNITED STATES…. N.Y.: Currier & Ives, 1860. From a Photograph by Brady. 14 x 18 inches. |
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Produced by this famous firm as their sales item for Lincoln inauguration. They used the famous Mathew Brady Cooper Union image in a very pleasant and effecting manner. They did not know he would come to his inauguration sporting a beard, though, and this became difficult to sell – thus making it a most unusual print to find today.
Excellent, even with prior matting marks at the margins of the image; lt. soiling only. |
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(--) 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. |
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Price: $500.00
Standard Framing: $250.00 |
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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 snoort 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.
For more Bill Mauldin, visit our Presidential Section.
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(--) (Mourning Lincoln) [Currier & Ives - Lithograph] 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. |
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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. |
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(--) (--) (Folk Art) Watercolor of a Freed Slave Mourning the Death of Lincoln. 10 1/2 x 9 in c1865. |
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Period, original watercolor with a mourning border, of a freedmna 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 with a wonderful use of colors.
Excellent. |
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(--) Woodcut print w/ mourning rule: LINCOLN /
Born Feby. 12, 1809 / OURS THE CROSS / HIS THE CROWN / Assassination April
14, 1865 . N.Y.: H. H. Lloyd & Co., (1865).
Approx. 19 x 13-1/2 inches . |
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One of the more affecting pieces, with Union mourning before Lincoln’s
tomb, which is against a backdrop of black. Her dress, in red and blue, compliments
the colored flag at the top, while the wreath is in green. The symbol of a broken
chain represents emancipation, while two figures of a civilian and a soldier,
heads bowed, represent the nation and the army.
Expertly hand colored; colors are bright and print is
intact, save the missing lower left and upper right corners with no loss of
image. |
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(--) 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. |
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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. |
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Rocco, Keith (American Artist) JOSHUA CHAMBERLAIN. Chromolithograph, 1993. Limited Edition, signed (#406/450). |
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Chamberlain stands, proudly guarding Little Round Top during the Battle of Gettysburg.
Excellent. |
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One American Icon Illustrates Another
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(--) Rockwell, Norman. "Lincoln for the Defense." Color lithograph, signed ("Norman Rockwell") in pencil at lower right, numbered lower left (16 of 200). Image 8 x 22 in.; 19.5 x 25. in. overall. |
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As with so many of Rockwell's works, this one was painted for the Saturday Evening Post magazine in the 10 Feb. 1962 issue (illustrating 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. . This is the "truest" Lincoln Rockwell produced. |
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(--) “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). |
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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. |
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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.
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Bachman, Max
(1862 – 1921; American architectural sculptor). 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.
Life-size Beardless Lincoln Bust, signed, thumbprint. “1909” on stand. Plaster; 32” x 22” x 12”. |
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Bachman designed the allegorical figures of the continents for the Pulitzer Building in New York. His most famous Lincoln work is a bronze standing figure in Minneapolis known as “The Congressman.” It is unique in that the head is by Bachman, but the body is an exact replica of the Augustus Saint Gaudens figure in Chicago.
This beardless head is patterned after the Minneapolis statue. Excellent condition. |
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(--) (--) Life-size Bearded Lincoln Bust, signed; thumbprint. Plaster with terra cotta patina; 32” x 22” x 12”. |
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As above, with a beard.
Excellent condition. |
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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.
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A White Plaster Replica
Bust, approx. 38 x 12.5 inches.
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.] |
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Hollow-cast bronze statuette of “The Emancipator”.
15” tall, on ¾” stepped base, which bears incised sculptor’s
name and 1898 copyright; Gorham Co. foundry mark stamped on the side. Produced
in the original “lost wax” method. |
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Modeled after Bissell’s life-sized Lincoln emancipation group
in Edinburgh, Scotland, dedicated in 1893 and later replicated at Clermont,
Iowa, c1903. Three desk-top versions of this full-figure Lincoln were
subsequently produced by Bissell at the famous Gorham Company foundry
of New York, this being the largest and most impressive of the three.
This is only the third of this size that we have seen on the market
in 34 years. Lincoln is shown holding the Emancipation Proclamation
in his right hand, and the statuette’s large size allowed Bissell
to incise that heading and Lincoln’s name on the “paper.” It
displays well the sculptor’s knack for presenting his subjects
in a compelling yet delicately accomplished manner.
With its rich, dark-brown patina, this striking, even
heroic, statuette is remarkably stirring.
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(--) (--) Bissell, George (1839 – 1920; American Sculptor) Lincoln Bust. Metallic reproduction, 16.25” x 10.50” x 6”. |
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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. |
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Victor
Bochetta
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| THE RAILSPLITTER. |
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. Circa 1985. Bronze maquette for a full-sized statue (never produced).
18” high, produced in the “lost wax” method.
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Victor D. Brenner
Brenner,
David (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. |
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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 nuumber 1.
Excellent. |
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Jo
Davidson
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. |
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Bronze by “lost wax” method
taken from an original bronze of c1911. |
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Avard
T. Fairbanks
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.
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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.
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Plaster; 13” high. 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 .
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Magniadas, Franky
(19th century French Medallist). Abraham Lincoln Mourning Medal, being Silver over Bronze. [French design, Swiss struck]: 1865. A huge, plain edge, 82 mm medal.
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The obverse features a left bust of a bearded Lincoln. [A small mole and even some veins grace the image.] The reverse shows Lincoln ’s tomb flanked by a winged Victory, her head bowed in sorrow; and two freedmen, one placing a palm frond on the tomb, the other holding a long rifle. Peeking out from behind are a train, ship, ballot box titled “Vote,” and a bale of cotton. Engraved below are the words, “Liberté, Egalité, Fraternité.” The workmanship is spectacular in its intricacy, and possessing great eye appeal. A lovely example of this rare and impressive medal -- aesthetically the most impressive of the many Lincoln medals and tokens. Mary Todd Lincoln received a gold version, now in the Library of Congress and once believed melted by a financially desperate widow.
Showing light wear only; excellent. |
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Louis Mayer
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| Lawyer Lincoln |
Bronze by “lost wax” method, taken from an original bronze
of c1917. A beautiful patina makes this a warm bust for an office or
library.
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John Rogers
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.
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THE TOWN PUMP.
Rogers, John N.Y.: John Rogers. Height 13 inches; length of base 10 inches. [Rogers Group]
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| At the old wood pump and trough, a rustic but comely girl with a bucket on her arm waits for her chance to use the pump. Meanwhile, leaning on the pump and holding a tin cup, a Union soldier, wearing his poncho, kepi, haversack, canteen, and knapsack, beguiles the time with conversation.
In excellent condition with its original patina. A charming piece that is most uncommon.
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Price: $3,900.00 |
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WOUNDED TO THE REAR OR ONE MORE SHOT.
Rogers, John. Alva Museum Replica, 1961 (original of 1864). Height, 23.5 inches; length of base, 9.5 inches; salmon coloration.
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| He produced twelve war groups (called Rogers Groups), with this being one of his most popular. 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 with only a few slight, and barely noticeable, blemishes. |
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Price: $1,850.00 |
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(--) WASHINGTON, GEORGE. NY: John Rogers, (1875). Plaster: Height 20” ; Length 10” ; Depth 10” . |
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“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 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. |
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(--) (Ivory Carving) (Unknown) Hand-carved Ivory Statuette of Abraham Lincoln. Artist and date unknown, but probably from Dieppe, France near the turn of the century. 8.25 in high on base approx. 2.5 in. |
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The full standing Lincoln is holding a facsimile signed Emancipation Proclamation, while the other hand grasps his lapel.
A most unusual feature is that the figure’s chest opens on small brass hinges to reveal an interior triptych, the central panel of which is a view based on Francis B. Carpenter’s famed engraving of Lincoln reading the Proclamation to his cabinet. On either side is a standing military figure: on the right is U.S. Grant, with a plumed hat and still with his long beard; on the left is Henry W. Halleck, General-in-Chief, standing with hand in coat a la Napoleon. Considering its European origin, both Grant and Halleck are easily recognizable.
Dieppe, Franc , was the center for European trade with the Ivory Coast in the 18th century, and well known for its ivory carvings. Much of the decorative ivory from the 19th century is often attributed to Dieppe . This example – only the second of Lincoln we’ve encountered -- still bears a pleasing, soft patina. |
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(--) 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” . |
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Bachmann 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. Perhaps as little as two examples remain extant. This one 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. |
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Leonard Volk
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,
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| Abraham Lincoln. |
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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. |
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(--) Volk, Leonard W. (1828-1895). ABRAHAM LINCOLN BUST. Chicago : 1860. Height, 32 inches ; approximately 9 inches diameter at base. Cast plaster in dark bronze-colored enamel patina. |
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In 1860 Chicago sculptor Leonard Volk made the first bust of Abraham Lincoln from life, several months before Lincoln won the presidential election.
Here he presents Lincoln in neo-classical fashion, “draped” in a Roman robe. Signed in rear “ Lincoln from Life by L.W. Volk.” This, and various other versions, was patterned from Volk’s life mask, also made in 1860. Often reproduced, these original copies are of superior quality, and very scarce.
Very light mottling of enamel throughout; light surface chipping in rear is hardly noticeable; expertly restored at base. A powerful piece. |
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(--) |
| ABRAHAM LINCOLN. |
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Each approximately 13” high. Taken from the bust Volk
produced from the life mask he produced off Lincoln ’s
face while nominee for president in the summer of 1860. Certainly
this is as close as we can get to the “lawyer” Lincoln.
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