Dating to the 1790s, this sailor’s sea chest would have been one of the owner’s most important possessions. The crew on sailing ships typically owned little property—perhaps only what would fit into a chest like this one. Not only did his chest store a sailor’s personal belongings, but it also served as his table, his chair, his bank and his bureau. These chests also gave a sailor an opportunity for personal expression through carvings, paintings, and decorations.
Carvings, a name “Jan Smart” inside a heart, and the date 1799 decorate this pine chest. It is unknown whether the name refers to the owner of the chest or someone else. The chest is broader at the base than at the top, giving it greater stability at sea. Fancy brass handles at each end provide lifting points. The top displays fancy carving around the edge, and inside there are small compartments on either end.
Color print of a large number of horse-drawn carriages on the road in front of a two-story brick road house (Turner"s Hotel). Eighteen of the horses are numbered and indentified in a key below the image.
Description
A color print of a crowded road in front of a large roadhouse (Turner Hotel, Rape Ferry Rd.) filled with carriages and spirited horses. All of the carriages are occupied by fashionably dressed men. The buggies are without tops – they have flat floors and straight footboards. The roadhouse is in the colonial style. A two story structure stands with a large ring in the rear, three dormer windows above, and a veranda across the front. Here guests stand and watch. Stable boys wait outside the barn in the background. The grounds are well-kept with trees, shrubbery, and picket fences.
Point Breeze Park in Philadelphia was founded in 1855 and raced thoroughbreds for the first time in 1860. It was eventually converted into an automobile race course in the 1900s after trotting faded as a popular sport.
Pharazyn was a Philadelphia lithographer and colorist. He was born 1822 and died in 1902. He had offices at 103 South Street in 1856 and at 1725 Lombard Street in 1870. Made prints for different magazines, as well as fine prints for patrons. Created a large colored folio “Trotting Cracks of Philadelphia Returning from the Race at Point Breeze Park” in 1870. The horses are all named as usual in the subtitle, but the artists name isn’t given; this was normal as the horses were more important than the actual artists.
Although the importation of slaves was outlawed in 1807, the domestic slave trade remained a major economic establishment in America until the Civil War. Before its retrocession to Virginia, the city of Alexandria had been part of the District of Columbia and served as one of the largest slave markets in the U.S. Towards the middle of the 19th century, a number of abolitionists moved to the capital and began calling for the end of the slave trade there.
This 1836 broadside published by the American Anti-Slavery Society names D.C. the “Slave Market of America … The Residence of 7000 Slaves.” It begins by listing several passages on equality and freedom from the Declaration of Independence, the U.S. Constitution, several state constitutions, and the Bible, which the reader would find incongruent with the visible reality of the ongoing slave trade in the capital. In the first row of vignettes, a scene on the left depicts the signing of the Declaration of Independence, entitled “The Land of the Free,” and is contrasted with another on the right, “The Home of the Oppressed,” which features a group of slaves being led past the Capitol Building. A map of Washington is included between these two scenes, and contains two insets of slaves, one in a kneeling, suppliant position, and the other running from slavery, accompanied by an inscription, “$200 Reward.” The next row contains three images of prisons in Washington, built to detain unsold slaves and runaways. The broadside claims that many of these prisoners are actually free men and women, falsely accused of being slaves. The final row contains three illustrations of chained slaves leaving the slave house of J.W. Neal & Co., slaves being loaded onto a ship in Alexandria harbor, and the private slave prison of Franklin and Armfield, an Alexandria firm that was one of the largest slave traders in the antebellum South. The broadside concludes with a list of names of Congressmen and their voting record on the issue of slavery in the District of Columbia.
The broadside was issued by the American Anti-Slavery Society, an abolitionist activist group founded by William Lloyd Garrison and Arthur Tappan in 1833. By 1840, the Society had gained between 150,000 and 200,000 members. It held public meetings, printed vast quantities of anti-slavery propaganda (such as this piece), petitioned Congress, and sponsored lecturers to further the cause of the Abolition Movement in the North. Its membership was composed of white Northerners with religious and/or philanthropic convictions, but also free black citizens, including Frederick Douglass, who often delivered first-hand accounts of his life as a slave during the Society’s public meetings. This particular broadside was printed by William S. Dorr, who was based in New York City.
Considered to be the last formal image of Lincoln from life, this lithograph depicts the President in an ornate White House ballroom. Here, on March 4, 1865 from 8 to 11 P.M., over 6,000 people celebrated the second inauguration of President Lincoln. Prominent guests greeted by Lincoln and the First Lady include Vice President Andrew Johnson, General and Mrs. Grant, Gen. William Tecumseh Sherman, Gen. Joseph Hooker, Gen. George Gordon Meade, and Sen. Charles Sumner.
This well-known image was issued as an incentive for subscribers of Frank Leslie’s Chimney Corner Family Newspaper, but could also be purchased separately for $3.00. Frank Leslie (1821-1880) was a British-born publisher and engraver, who produced several newspapers and journals in the mid-19th century. Leslie's Illustrated Newspaper was popular during the Civil War for its detailed battlefield illustrations. This print was copyrighted April 8, 1865, a week prior to Lincoln’s assassination, and was dedicated to the First Lady, Mary Todd Lincoln. As an added incentive, a key indicating the identity of 37 prominent guests was issued in Volume 4 of the paper, although the assassination occurred before that issue appeared. After Lincoln’s death, the great demand for Lincoln images led rival printers to pirate the scene, altering it slightly before publishing it as their own. Lithographer Anton Hohenstein and publisher John Smith titled their controversial copy, “Abraham Lincoln’s Last Reception.”
This print was produced by Sarony, Major, & Knapp. Napoleon Sarony (1821–1896) was born in Quebec and trained under several lithography firms including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, developing his own cabinet-sized camera. In 1846, he partnered with another former apprentice of Nathaniel Currier, Henry B. Major, and the duo created lithography firm of Sarony & Major. Joseph F. Knapp joined the firm in 1857. Sarony, Major & Knapp earned a solid reputation for lithography and the company was especially known for its fine art chromolithography. Sarony departed the business in the mid-1860s to pursue photography fulltime and by the 1870s, the firm shifted it production from decorative prints to the more profitable field of advertising. It expanded to become the conglomerate known as the American Lithographic Company, which produced calendars, advertising cards, and posters. In 1930, it was bought out by Consolidated Graphics.
One of the earliest images of baseball is this hand colored lithograph of Union prisoners at Salisbury Confederate Prison. It is part of the Harry T. Peters “America on Stone” Lithography Collection at the National Museum of American History. Though various forms of baseball were played in England and America for over a century prior to the Civil War, modern rules of the game were not developed and employed until the 1850s. The evolving Knickerbocker Code or rules had its origins in metropolitan New York in 1845. Union soldiers, more familiar with the game, introduced others, including Southerners and Westerners to baseball throughout the Civil War, resulting in thousands of soldiers learning the game. Upon returning home, the game spread to friends and neighbors and soon the sport was played in every region of the country, solidifying its title as “The National Pastime."
The baseball game pictured in this print was played at Salisbury Confederate Prison in North Carolina. Between December 9, 1861 and February 17, 1865, the prison housed 10,000-15,000 Union prisoners of war and other assorted detainees. The compound was designed to temporarily hold Union officers until they could be exchanged for Confederate troops. The facility was constructed around an empty 20 year-old brick three story cotton factory on 16 acres of land near a railroad line and the town of Salisbury. For the first couple of years of its existence, the prison had wells of sweet water, adequate medical facilities and sufficient food.
Soldiers’ diaries document the detainees’ daily routines and pastimes. Prisoners from the first half of 1862 noted that baseball games were played nearly every day, weather permitting. For the first couple of years, prisoners were also permitted to whittle, read, write letters, attend lectures, perform “theatrics,” play cards such as poker, and go fishing. Prisoners also gambled as is evidenced by the dice game underway in the lower right corner of the print. Prisoners even published their own newspaper. Some prisoners were given town visitation privileges, so it was not uncommon for POWs to trade buttons and barter small personal items for fresh fruits and vegetables.
As the war continued, conditions began to deteriorate. After the summer of 1862, prisoner exchanges ceased. Records indicate that few Union prisoners were held in the prison in 1863 and early 1864, but the facility was used for Southern political prisoners, conscientious objectors, Confederate deserters and Southern civilians that ran afoul with the authorities. As the war dragged on, food and medicine became scarce for both prisoners and guards. By mid 1864, the prison filled up with Union POWs of every rank. Later that year, the camp exceeded its capacity and become overcrowded. Living conditions deteriorated further and life in Salisbury prison became as miserable as other prison camps. The mortality rate jumped from a low 2% to devastating 28%; an estimated four to five thousand men died. Finally, on February 17, 1865, the Confederate and Union governments announced a general POW exchange and more than five thousand prisoners left Salisbury.
The baseball game pictured in the print was played during the late spring or summer of 1862, before living conditions deteriorated and when prisoners still had a good chance of leaving through a prisoner exchange. The baseball players on both teams are POWs, possibly men previously held in New Orleans and Tuscaloosa, as they were known to have played at the camp during this time. Although guards occasionally joined in the games, it is not reflected in this print. Spectators included townspeople as well as guards and one seated figure with a cigar that looks suspiciously like Grant. Two guards (center and center far left) are pictured with guns. The town is depicted in the background beyond the stockade or wooden fence. A red, white and blue flag flying overhead in the center of the print is probably a Confederate regimental flag, though it could possibly be an error on the artist’s part with a reversal in the colors of the North Carolina Confederate flag. The prison compound included small cottages, a meat packing plant for the Confederate Army, a blacksmith shop and a small hospital.
The artist of the original watercolor sketch used for the lithograph was Otto Botticher or Boetticher (1811-1886). Botticher was a Prussian immigrant and held the rank of a Union captain when he was captured on March 29, 1862 around Manassas, Virginia. Prior to the war, Botticher had been a portrait painter in New York and New Jersey. He produced several paintings and lithographic plates of military subjects with the aid of early photography using daguerreotypes and ambrotypes. His work displays precision and excellent attention to detail, indicating he likely had formal draftsmanship training. Botticher may also have attended a military school and/or been a member of the army in Prussia, according to his biographer, Seward R. Osborne. He was known as Major Otto Botticher prior to the Civil War. In July 1861, Botticher joined the 68th New York Volunteer Infantry, known as the Cameron Rifles and was given the rank of captain. After his capture, he was sent first to Libby Prison near Richmond, where he sketched “Libby Prison- Union Prisoners at Richmond, Va.,” also produced by Sarony, Major & Knapp and Goupil, Co.. When he was transferred to Salisbury Prison, he produced the watercolor that was used to create this lithograph. He was released as a result of a prisoner exchange on September 30, 1862 at Aiken's Landing, Virginia, when he was exchanged for a Confederate captain from Virginia’s 7th army. Botticher rejoined his regiment, serving as captain of Company B at the Battle of Chancellorsville. He was wounded at Gettysburg while serving with his regiment in the 11th Army Corps, and was discharged in June 1864, but achieved a brevet rank of lieutenant colonel with the New York State Volunteers in September 1865. After the war, Botticher continued as an artist, illustrator, and lithographer. He also worked as a consulate agent for the North German Union before dying in 1886.
Botticher’s watercolor sketch of the Salisbury Confederate Prison baseball game was used to create the lithographic print in 1863. The lithographic firm was Sarony, Major & Knapp of 449 Broadway, New York City. The firm was founded by Napoleon Sarony and Henry B. Major in 1846; Joseph F. Knapp joined the firm in 1857. Sarony, Major & Knapp earned a solid reputation for lithography and the company was especially known for its fine art chromolithography. Unfortunately, by the 1870s, the firm shifted focus to the more profitable area of advertising. It also expanded to become the conglomerate known as the American Lithographic Company, successfully producing calendars, advertising cards, and posters. In 1930 they were bought out by Consolidated Graphics.
This print was produced and promoted 1863 by Goupil & Co. or Gouipil & Cie, a leading international publisher, printer, and fine art dealer. The company was founded in Paris by Jean Baptiste Michel Adolphe Goupil (1806-1893) and his wife Victorine Brincard. The Goupils widely promoted art and owned exclusive galleries as well as common sales rooms in New York, Paris, London, The Hague, Brussels, Berlin, and Vienna. Through various partners they had considerable resources and were able to capitalize on the interest in the newly popular American game. This ready-made market proved lucrative as the print sold well overseas. While the print does picture a pro-Southern view of leisure in a Confederate prison camp, it was also popular in the North for the images of Union officers and of course for the depiction of a baseball game in progress.
