Color print of a dark brown trotting horse pulling a sulky and driver.
Description
A color print of a dark brown stallion with white nose and stockings on his back feet, and a black mane, tail, and legs. He is pulling a jockey on sulky. His equipment is light weight and designed to promote speed. The jockey wears a white shirt, long pants, and a billed cap. The track is bordered by grassy fields and woods. Low hills are in the distance.
Great Eastern was a descendant of Hambletonian bred in New York. He was one of Smuggler’s principle rivals. They faced off at Mystic Park on October 16, 1876 to a crowd of 3000 people, where Great Eastern was beaten. In the rematch scheduled for October 20, Great Eastern, driven by A.J. Feek beat Smuggler with a time of 2:21. He went on to win thirteen more times between 1875 and 1883, traveling as far as Illinois.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.
Black and white print; a broadside announcing that the race horse,Trustee, would stand for mares during the present season at a particular stable. A small view of a man holding the reins of a horse is above the text giving the details of the horse's pedigree and performance.
Description
A black and white print of a man holding the reins of a black stallion in a meadow. The broadside announces Trustee will stand for mares.
Trustee was foaled in 1837 from Trustee and Fanny Pollen, a distant mare of Messenger. Trustee’s pedigree is significant because it represents a shift from the traditional method of breeding running stallions to trotting mares to the newer method of breeding proven trotting champions together. He was famous for trotting 20 miles in 35.5 minutes in 1848.
Jared W. Bell was born in 1798 and died in 1870 from Bright’s Disease in New York. He had been married and was a painter by profession.
This hand colored lithographic print depicts the heads of three horses drinking at a water trough. The horse on the far left has his mouth in the water. The two horses on the right have raised their heads, and water drips from their mouths in a thin stream. Water flows into the trough from a stone or clay pipe on the left. A vine is on the left and a branch with leaves is in the right foreground.
The print is a copy based on an 1847 painting by John Frederick Herring Sr., which hangs in the Tate Gallery. The original painting was so popular that it was widely reproduced as a print (lithographs and engravings). The Kellogg version may have been inspired by the "Cold Water Army" a children's group who pledged to drink large quantities of cold water instead of alcohol and who were sponsored by the Connecticut Temperance Society, which was based in Hartford with the Kellogg family of lithographers and publishers. The image is also known to have been used as a basis for the children's story about the dangers of consuming alcohol. By 1917, the image was promoted as a picture for use "in schools and for schoolroom decoration."
This print was produced by lithographer Elijah Chapman Kellogg (1811-1881). He was the youngest of the four Kellogg brothers, all of whom were lithographers. The brothers were born in Tolland, Connecticut, a small town located near where the family business was established in Hartford. E.C. Kellogg was the only brother among the Kelloggs to receive his professional training in Hartford. In 1840, Elijah Chapman Kellogg, along with his brother Edmund Burke Kellogg (1809-1872), took over the D. W. Kellogg & Co. after Daniel Wright Kellogg (1807-1874), its founder, moved west. Elijah and Edmund Kellogg were responsible for most of the company’s future partnerships. Elijah Chapman Kellogg retired in 1867.
The original artist, John Frederick Herring (1795-1865) was a stage driver and painter known for attending horse races and specializing in painting horses in England.
This print depicts a scene of Union soldiers trading goods with their former Confederate adversaries in the village of Appomattox Court House, where Robert E. Lee surrendered the Army of Northern Virginia to General Grant. Captured Confederate cannons and ammunition are visible behind the soldiers. The print also contains four corner vignettes, which show a view of the Appomattox Court House in the upper left; a view of the McLean house, where Grant and Lee met to discuss the terms of surrender, in the upper right; a scene in which soldiers cut apart the apple tree under which Grant and Lee were reported to have held an initial interview in the lower right (this meeting never actually took place); and an illustration of the crossing of the Linchburg and Danville Railroads near Burksville Station in the lower left.
Elbridge Wesley Webber (1839-1914) was born in Gardiner, Maine, and served during the Civil War in the 16th Maine Volunteer Infantry Regiment. He was present at Lee’s surrender at Appomattox Courthouse, and the design of this print comes from a sketch he made of the village. After the war, he settled in Boston, paintings seascapes and scenes of sailing ships.
This print was published by the lithographer James H. Bufford. The son of a sign painter and gilder, Bufford trained with Pendleton's Lithography in Boston, 1829-1831. He worked in New York with George Endicott and Nathaniel Currier (1835-1839) before returning to Boston where he had a good reputation for printing and publishing popular framing prints, commercial work, labels, and trade cards. The company went through several iterations and name changes until about 1865. He became the chief artist for Benjamin Thayer until buying out the firm to found J. H. Bufford & Co. (1844-1851). He continued to work in the lithography and publishing business for the remainder of his life. In 1865, his sons Frank and Henry John became partners in Bufford & Sons or J.H. Bufford’s Sons Litho. Co. After his death they continued the family business as Bufford Brothers and as Bufford Sons Engraving & Lithographing Company until 1911.
The Douglas and Stanton hospitals, two of about 25 hospitals opened in the Capital and Alexandria to care for wounded Union soldiers, were located at I and 2nd Streets and opened in early 1862. “Douglas Row,” composed of the three large brick houses near the center of the print, was constructed in 1856-1857 through an investment by Senator Stephen Douglas, the Northern Democratic candidate who ran against Lincoln in the 1860 Election. Upon its completion, Douglas and his wife moved into one of the homes, and Senator Henry Rice of Minnesota and Vice President John C. Breckinridge purchased the others. Douglas died shortly after the outbreak of war, and his widow, Adele, and Senator Rice offered their homes to the government for use as a military hospital. The government accepted and also seized the home of Breckinridge, who had become a major general in the Confederate Army. Stanton Hospital was erected in the vacant square outside of Douglas Row and was named after Secretary of War Edwin Stanton.
Washington D.C. hospitals were supported by the United States Sanitary Commission, a relief agency approved by the War Department on June 18, 1861 to provide assistance to sick, wounded, and travelling Union soldiers. Nurses and inspectors belonging to commission provided suggestions that helped to reform the U.S. Army Medical Bureau. Although the leaders of the Commission were men, the agency depended on thousands of women, who collected donations, volunteered as nurses in hospitals, and offered assistance at rest stations and refreshment saloons. They also sponsored Sanitary Fairs in Northern cities, raising millions of dollars used to send food, clothing, and medicine to Union soldiers.
Charles Magnus (1826-1900) was born Julian Carl Magnus in Germany and immigrated with his family to New York City sometime between 1848 and 1850. During the 1850s, he learned the printing business while working with his brother on a German language weekly newspaper, the Deutsche Schnellpost. He later began his own lithographer firm, producing city views and commercial letterhead designs. During the Civil War, he designed pro-Union envelopes and illustrated song sheets. The firm’s Washington, D.C. branch also produced small, hand-colored scenes of Union camps and hospitals. Soldiers purchased these picturesque scenes of camp life to send home to calm the worries of anxious family members.
Color print of a bay trotting horse pulling sulky and driver.
Description
A color print of a bay horse pulling a sulky and jockey on a track. His equipment is designed for speed. The jockey wears a jacket, white shirt, long pants, and billed cap. A grassy pasture with pond and trees borders the track, with low hills in the distance.
Rarus was bred by R.B. Conklin upon his retirement in New York in the early 1800s. His dam was called Nancy Awful because she had terrible tantrums, but Conklin bred her to Rysdyk’s Hambletonian to produce a stunning bay trotting prospect. Rarus was marked as a future champion from birth, and Conklin gave him an over-abundance of attention compared to the other horses on the farm. In his first practice race at age three, Rarus trotted the mile in three minutes. Rarus won his first scrub race at age six under the training of James Meade on August 21, 1874 in Long Island, winning a purse of $800. He was then transferred to Brooklyn to train under James Page and lowered his record to 2:28 ½ in one season. His early rival, Kansas Chief, was a former cowpony, and the two went back and forth in winnings for two seasons before Conklin changed Rarus’ driver to John Splan. Rarus was then entered in the Grand Circuit, where he won continuously for two years. Conklin continually turned down offers for the horse up to $45,000 because he believed the same amount of money could be won in purses. Rarus was hailed as “King of the Turf” for a short time after beating Goldsmith Maid’s on August 3, 1878 in Buffalo. His time, 2:13 1/4, was promoted as the “Greatest Achievement on Record.” Z.E. Simmons finally purchased Rarus for $36,000, but the sale was poorly timed. Because it was to take place before an exhibition, track officials were furious and banned both Rarus and Conklin from all tracks forever. With no choice, Simmons sent Rarus to Robert Bonner’s farm. Rarus was eventually inducted into the Harness Racing Hall of Fame in 1978 as an “Immortal.”
A color print of a galloping horse and jockey. It is black with a white nose and rear stockings.
Longfellow was bred in 1867 by John Harper on Nantura Stock Farm in Midway, Kentucky. Harper also owned the famous sires Lexington and Glencoe. Longfellow’s sire was Leamington and his dam was Nantura. At 17.0 hands, he was an above-average height for a racer, so Harper had to postpone his training until the colt grew into his size. Harper claimed he named the horse after his long legs. His racing career began when Longfellow turned 3. The beginning of Longfellow’s racing career was marked by several unfortunate events. He lost his first race, and then in 1871 before a match Harper’s siblings were murdered at his estate by a jealous nephew. Harper would have been killed as well, had he not been sleeping in Longfellow’s stall. After this event, Longfellow’s career began to accelerate, and he won 13 of his 16 starts in 1871, frequenting the tracks at Monmouth and Saratoga. Longfellow eventually earned the name “King of the Turf.” The match against Harry Bassett took place in Longfellow’s last season in the Monmouth Cup of 1872 where they were the only two horses entered. Longfellow beat Harry Bassett by over 100 yards. They met again in the Saratoga Cup, but at the start Longfellow twisted his foot. He managed to catch up to Harry Bassett and only lost by a length, but it was the last race of his racing career. His total earnings amounted to $11,200. At stud, Longfellow sired two Kentucky Derby winners and became the leading sire of 1891. Longfellow died on November 5, 1893 at age 26 and his grave was the second grave in Kentucky to be erected for a racehorse. Longfellow was inducted into the Racing Hall of Fame in 1971.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based lithograph publisher, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but a year later in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they did well until they went bankrupt in 1878.
General Ulysses S. Grant, was born Hiram Ulysses Grant at Point Pleasant, Ohio, in 1822. After attending West Point, he gained distinction fighting as a captain in the Mexican-American War. When the fighting ended, he was assigned to isolated frontier posts, where his heavy drinking interfered with his duties, leading him to resign in 1854. At the outbreak of the Civil War six years later, he immediately enlisted in the Union Army, and was promoted to brigadier general in July of 1861. In July of 1863, he captured Vicksburg, an event often seen as a turning point in the war, and was given command of all Union armies in March of 1864. Brutal engagements with Confederate forces at the battles of Wilderness, Spotsylvania, and Cold Harbor decimated Lee’s Army of Northern Virginia, and the Virginian surrendered his battered force to Grant at Appomattox Court House on April 9, 1865. After the war, Grant’s fame carried him to the White House, and he served two terms of Presidency, from 1869 to 1877.
This 1884 print by Christian Inger shows Grant, surrounded by his generals at a council of war in Massaponax, Virginia, shortly his promotion to general-in-chief. The men sit on church pews removed from the nearby Baptist church. Grants sits at the base of two trees, easily recognizable by the characteristic cloud of cigar smoke rising above him. The other generals are identified by a list on the bottom margin of the print, and include Sherman, Hancock, and Meade. Behind the men, Union soldiers care for the officers’ horses, and rows of cannons are displayed in the far background, ready for transport.
This print was based on a photograph by Timothy H. O’Sullivan (1840-1882), who managed to capture the composition from the second floor of the nearby Massaponax Baptist Church. His image was printed by Scottish-born photograph Alexander Gardner (1821-1882).
The creator of the print, Christian Inger (1814-c.1895), was born in Germany and immigrated to America in 1854. He settled in Philadelphia, where he was employed by P.S. Duval from the mid-1850s to the mid-1860s. Between the 1850s and 1870s, Inger also created lithographs for the prominent firms of Herline & Hensel and Thomas Sinclair. In 1859, he also established his own firm with his son, Egmont. Inger’s work included portraits, facsimiles of paintings, Revolutionary War and Civil War scenes, and birds-eye views of Philadelphia and the 1876 Centennial Exposition.
Between the 16th and 20th of September, 1861, Federal and Confederate forces clashed in the town of Lexington, Missouri, as part of a larger effort to control the state. Following up on their victory at the earlier Battle of Wilson’s Creek, Confederate troops forced their Union adversaries to surrender, employing mobile breastworks made of hemp to provide protection as they advanced on the Federal position around the Anderson House.
This print depicts a scene of the battle from behind the Union position. On the left, Federal soldiers dressed in blue and red uniforms man a battery, while infantrymen to their right fire rifle at the Confederate forces. Through breaks in the smoke created by the Union weaponry, Confederate flags and battle lines are visible. In the foreground, a horse and its rider both lie dead and two wounded Union soldiers receive medical treatment. In the lower right corner, a mounted Union officer arrives with more infantrymen. Although the Confederates ultimately won the day, a large American remains upright, dominating the scene.
This piece was designed by the Hartford, Connecticut lithographic firm of E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were younger brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After Daniel Wright Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. They were responsible for the continued success of the family firm and involved in partnerships with Horace Thayer in 1845/1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
It was published by Phelps and Watson, a partnership of Humphrey Phelps and his nephew, Gaylord Watson. Their New York firm published maps and lithographic prints and co-published many E.B. & E.E. Kellogg prints during the Civil War. The print was distributed by Frank P. Whiting, the son of the Kellogg’s New York-based co-publisher, George Whiting. Frank Whiting took over his father’s business after his death in 1862. He stopped selling Kellogg prints in 1866, and, in 1868, he partnered with his brother, Arthur, and formed the art dealership of Whiting Brothers.
This print by John Henry Bufford shows the Army of the Potomac at the conclusion of the 1862 Peninsula Campaign. General McClellan had intended to capture the Confederate capital of Richmond in the summer of 1862, but after a series of engagements with Robert E. Lee’s Army of Northern Virginia in the Seven Days Battle, he withdrew to the James River, 20 miles from Richmond. Lincoln then called for the Army of the Potomac to return to Washington, D.C. The failure of the Peninsula Campaign crushed the morale of Union forces, who believed the capture of the Confederate capital would bring about an end to the fighting.
In the background of this print, long trains of covered wagons and troops of the Army of the Potomac retreat from Chickahominy to the James River. In the foreground, some soldiers cross Bear Creek while others rest on its banks. General George McClellan is visible at the bottom of the print on a white horse, looking out upon the withdrawal of his forces. This print is identical to another by Bufford, which has the less cynical title – “The Army of the Potomac.”
This print was published by the lithographer John Henry Bufford. The son of a sign painter and gilder, Bufford trained with Pendleton's Lithography in Boston, 1829-1831. He worked in New York with George Endicott and Nathaniel Currier (1835-1839) before returning to Boston where he had a good reputation for printing and publishing popular framing prints, commercial work, labels, and trade cards. The company went through several iterations and name changes until about 1865. He became the chief artist for Benjamin Thayer until buying out the firm to found J. H. Bufford & Co. (1844-1851). He continued to work in the lithography and publishing business for the remainder of his life. In 1865, his sons Frank and Henry John became partners in Bufford & Sons or J.H. Bufford’s Sons Litho. Co. After his death they continued the family business as Bufford Brothers and as Bufford Sons Engraving & Lithographing Company until 1911.
John Badger Bachelder (1825-1894) was born in New Hampshire and began his career as a portrait and landscape painter. During the Civil War, he accompanied the Union Army and made sketches from 1861 to 1863, and worked as a print publisher in Boston from 1863 to 1865. Union officers often commented on the accuracy of his artwork. He documented scenes of the War, particularly at Gettysburg and created a guidebook to the battle in 1873. From 1883 to 1887 he served as Superintendent of Tablets and Legends for the Gettysburg Battlefield Memorial Association, during which time he wrote a detailed history of Gettysburg from the Union perspective.
This print by John Henry Bufford shows the Army of the Potomac at the conclusion of the 1862 Peninsula Campaign. General McClellan had intended to capture the Confederate capital of Richmond in the summer of 1862, but after a series of engagements with Robert E. Lee’s Army of Northern Virginia in the Seven Days Battle, he withdrew to the James River, 20 miles from Richmond. Lincoln then called for the Army of the Potomac to return to Washington, D.C. The failure of the Peninsula Campaign crushed the morale of Union forces, who believed the capture of the Confederate capital would bring about an end to the fighting.
In the background of this print, long trains of covered wagons and troops of the Army of the Potomac retreat from Chickahominy to the James River. In the foreground, some soldiers cross Bear Creek while others rest on its banks. General George McClellan is visible at the bottom of the print on a white horse, looking out upon the withdrawal of his forces. This print is identical to another by Bufford, which has the more cynical title – “The Retreat.”
This print was published by the lithographer John Henry Bufford. The son of a sign painter and gilder, Bufford trained with Pendleton's Lithography in Boston, 1829-1831. He worked in New York with George Endicott and Nathaniel Currier (1835-1839) before returning to Boston where he had a good reputation for printing and publishing popular framing prints, commercial work, labels, and trade cards. The company went through several iterations and name changes until about 1865. He became the chief artist for Benjamin Thayer until buying out the firm to found J. H. Bufford & Co. (1844-1851). He continued to work in the lithography and publishing business for the remainder of his life. In 1865, his sons Frank and Henry John became partners in Bufford & Sons or J.H. Bufford’s Sons Litho. Co. After his death they continued the family business as Bufford Brothers and as Bufford Sons Engraving & Lithographing Company until 1911.
John Badger Bachelder (1825-1894) was born in New Hampshire and began his career as a portrait and landscape painter. During the Civil War, he accompanied the Union Army and made sketches from 1861 to 1863, and worked as a print publisher in Boston from 1863 to 1865. Union officers often commented on the accuracy of his artwork. He documented scenes of the War, particularly at Gettysburg and created a guidebook to the battle in 1873. From 1883 to 1887 he served as Superintendent of Tablets and Legends for the Gettysburg Battlefield Memorial Association, during which time he wrote a detailed history of Gettysburg from the Union perspective.
Color print of the yard in front of a carriage shed. Two horses hitched to sulkies stand on either side of a large carriage pulled by two horse. A dog and three men on horseback are in the right foreground. Advertisement for Brewster & Co., manufacturer of carriages.
Description
A color print of yard in front of a white shed with sign: “Hiram Woodruff.” There is a stir of activity as horses are hitched to sulkies. Men ride up on horseback, and two men in formal attire ride out of yard in open buggy with a high dashboard and low wheels, drawn by two horses. Dogs are underfoot. A black stable boy tends a horse. A portion of a white frame farmhouse seen to the right, with trees and grass in the distance.
Known as one of the leading lithography firms of the mid-19th Century, Endicott and Company was formed in 1852 as the successor to William Endicott and Company following the death of George Endicott in 1848 and William Endicott in 1852. The original partners of Endicott and Company were Sarah Endicott (William’s widow) and Charles mills. However, in 1853 the senior partner was Sarah and William’s son Frances Endicott. The company often did work for Currier and Ives and employed the well-known artist Charles Pearson. In 1856 the company was awarded a diploma for the best specimen of lithography at the 28th Annual Fair of the American Institute.
This political cartoon appeared during the 1856 presidential election and takes a vehement stance against the Kansas-Nebraska Act of 1854. Designed to open these territories to settlement, this act employed the doctrine of popular sovereignty to allow the people living in Kansas and Nebraska to vote these states into the Union as either slave or free. This resulted in the outbreak of violence between pro-slavery and anti-slavery factions in the Kansas Territory, earning it the nickname “Bleeding Kansas.” This print depicts scenes of violence by pro-slavery “border ruffians” from Missouri who have crossed into Kansas against the free-soil settlers living there. In the foreground, leading figures of the Democratic Party are depicted as border ruffians. The personification of “Liberty, the Fair Maid of Kansas,” wears a Phrygian cap and a cape made of the American flag, and occupies the center of the illustration. Kneeling on the ground before Franklin Pierce, under whose presidency the Act had been passed. As he stands over her, with his foot on her cape, she begs him, “O spare me gentlemen, spare me!!” Pierce, shown heavily armed and drinking from a bottle, drunkenly guarantees her safety. To their right, Lewis Cass, a Democratic Senator from Michigan, leers at Liberty and sarcastically agrees with Pierce that she will be unharmed. On the right, Stephen Douglas scalps an anti-slavery settler. Douglas had designed the Act, hoping that the settlement of the western territories would allow for the construction of a transcontinental railroad. To the left of Pierce, presidential hopeful, James Buchanan, and William Marcy, Pierce’s Secretary of State, loot the body of a killed free-soiler. Marcy’s trousers are damaged and marked with “50 cts,” referring to a joke used by his political enemies. When serving as an associate justice for the Supreme Court of New York, he had used state funds to repair his pants. In the background, various scenes of violence perpetrated by the border ruffians are exhibited. Although there was actual violence in “Bleeding Kansas,” the imagery of theft and abduction in this print speaks to the possession of pro-slavery ideology over the virgin lands of Kansas.
This print is attributed to John L. Magee, who was born in New York around 1820. In New York, he was employed by the lithographic firms of James Baillie and Nathaniel Currier. He started his own business in New York in 1850, but moved to Philadelphia sometime shortly after 1852. He was known for his political cartoons, which he produced until the 1860s.
The First Battle of Bull’s Run (also known as First Manassas) was the first major land battle of the Civil War. On July 21, 1861, the Union army, commanded by General Irvin McDowell engaged the forces of Confederate general, P.G.T. Beauregard, 25 miles southwest of the Capital. Although the Federal army achieved some early victories in the battle, Confederate reinforcements arrived, breaking the right flank of the Union lines. The Northern troops were routed as they tried to retreat. Although the Confederates won the day, they were too disorganized to pursue the fleeing Union army, which limped back to the safety of Washington, D.C. Nearly 900 men from either side had been killed in the battle, and another 2,500 wounded. Lincoln and the members of his administration now realized that the war would be a much longer and costlier affair than they had first believed.
This 1861 print depicts Colonel Michael Corcoran (1827-1863) leading the 69th New York Militia of Irish Volunteers during an assault on Confederate batteries. Corcoran, who was later captured during the battle, spent time in four Confederate prison camps before being paroled for a Confederate officer. Upon his release, he organized and led a new brigade, Corcoran’s Irish Legion, composed mainly of irish immigrants, but was soon after killed by a fall from his horse. In this print, he sits upon a dappled grey horse and points towards the enemy with his sabre, urging on his men. His troops wear red and blue uniforms and carry both an American flag and their distinctive regimental flag, which features a gold harp encircled by a wreath on a green background. Although the Irish militiamen appear to be gaining the upper hand, they were quickly pushed back by a large Confederate force and Corcoran was taken prisoner. The battle was marked by confusion, as the standard blue and grey uniforms had not yet been adopted, and soldiers were uncertain as to who was friend or foe. Contributing to this ambiguity was the similarity of the American flag to the Confederate Stars and Bars, leading to the South’s adoption of the more recognizable battle flag. Although the Union lost this first major confrontation of the war, the print emphasizes a temporary moment of Union success in order to appeal to Northern buyers.
The work was produced by the Hartford, Connecticut lithographic firm of E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were younger brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After Daniel Wright Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. They were responsible for the continued success of the family firm and involved in partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
George Whiting worked as the agent and distributor of the Kellogg brothers’ prints in New York from 1848 to 1860. In 1860, the Kelloggs closed their New York office and Whiting took over the firm, selling prints until his death two years later.
During the war, Atlanta, Georgia, served as a major hub on the railroads supplying the Confederacy. Following a victory at Chattanooga, the Union Army began an invasion of Georgia, commanded by General William Tecumseh Sherman. Several battles outside of Atlanta were followed by a four-month-long siege of the Confederate army there. On September 1, 1864, Confederate General John Bell Hood decided to withdraw his men from the city, and the mayor surrendered to Sherman the next day. This print shows the Union general’s men entering the city. Two horse drawn covered wagons process through the city. To the right of these, two mounted Union officers gaze upon the urban center. A train is situated among the buildings in the background, referencing the city’s strategic importance to the Confederacy.
Both Sherman and Grant believed the Union Army would only be victorious if it could completely break the Confederacy both economically and psychologically. From Atlanta, Sherman launched his famous march to the sea, commanding the Army of the Tennessee and the Army of Georgia on a scorched earth campaign through Georgia during the winter of 1864, destroying Southern railroads, telegraph lines, and farms. Upon leaving the city of Atlanta on November 15, he ordered that the city be burnt to the ground, sparing only its churches and hospitals.
This colored lithograph was produced by the Hartford, Connecticut firm of E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were younger brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After Daniel Wright Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. They were responsible for the continued success of the family firm and involved in partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
This print depicts a meeting between Grant and Lee near Appomattox Courthouse on April 10, 1865, one day after Lee’s surrender. In the center of the scene, the two generals sit on horseback, amicably conversing with one another. They are flanked by two groups of Union officers on horseback, many of whom are identified at the bottom of the print. Large numbers of assembled troops are visible in the background. Also featured in the background is a two-story house, presumably the McClean House, where Lee signed the terms of surrender. Below the illustration, a caption clarifies that the print was based on an “Original Picture by Lieut. Col. Otto Botticher in the Possession of General Chas. G. Halpine of New York.” The artist, however, was not present for this historic event, and the scene is purely imaginary, as Grant and Lee only met inside of the McLean House to discuss the terms of surrender.
Otto Botticher was a Prussian immigrant artist who served as an officer in the Civil War. From 1853-1854 he partnered with Thomas Benecke as a portrait painter and lithographer. Prior to the Civil War, he produced several paintings and lithographic plates of military subjects with the aid of daguerreotypes and ambrotypes, early forms of photography. His work displays precision and excellent attention to detail, indicating that he probably had formal draftsmanship training. He enlisted along with his sons, in New York City on July 22, 1861, the day after the First Battle of Manassas, in the 68th New York Volunteers Infantry (Cameron Rifles) and by August he was given the title of Captain. He was captured by Confederates March 29, 1862 near Manassas, Virginia and was in at least 2 prisoner of war camps – Libby Prison in Richmond and Salisbury Prison in North Carolina – before being paroled during a prisoner exchange. He participated in the battle at Chancellorsville, and was wounded at Gettysburg on July 1, 1863. He chronicled his activity during the early years of the war and his time in Confederate prison camps in a series of sketches.
Louis Maurer (1832-1932), a German-born lithographer, designed this print after Botticher’s original painting. Maurer settled in New York in 1851. He worked under T.W. Strong, Currier & Ives, and Major & Knapp before beginning his own firm, Maurer & Heppenheimer. The lithograph was printed by Hatch & Co., a New York printing shop. George W. Hatch, Jr, was the son of an engraver and partnered with Charles Severyn in 1853, forming Hatch & Severyn. In 1855, George’s brother Warner joined the company and it was renamed Hatch & Co. The firm produced chromolithographs, certificates, and advertising. It reorganized as Hatch Litho Co. in 1887 but was out of business by 1889.
This 1838 print depicts New York Senator Silas Wright standing in the center holding in his right hand the tail of a donkey, and in his left, the tail of a horse. Mounted on the donkey is Democratic New York Senator, Churchill C. Cambreleng, wearing a wide brimmed hat with a ribbon reading, “Loco Foco Victory,” heading towards Albany. Seated on the horse, is New York City Comptroller (at the time of this print), William L. Marcy in uniform, and also sporting a “Loco Foco Victory” ribbon on his hat, heading towards Washington. The Loco Foco faction of the Democratic Party was prominent in New York City politics, and desired an independent treasury and a break from monopolies. Both men on horseback are posed as if they are about to gallop away towards their respective destinations, but Wright is holding them back stating, “Stop my good fellows, you are going on a fool’s errand. You are counting your chickens before they have hatched!” Both men are expressing what they hope will happen with a Loco Foco victory, with hopes of being Collector (Marcy) and Governor of New York (Cambreleng), but Wright knows that a Loco Foco victory might not be a reality. Ultimately Wright was correct, and a large scale Loco Foco victory never happened. Their biggest success was in 1840 when President Martin Van Buren took their financial policies into consideration and passed the Independent Treasury Act that separated banking from the Federal government. Following 1840 though, the Loco Foco party was only relevant in New York City and had very limited power.
The artist of this print is Sheepshanks, who is most likely a pseudonym for the artist Edward Williams Clay (1799-1857). Clay was a caricaturist, engraver, lithographer, and etcher, as well as a portrait painter. Before his career as an artist, Clay was admitted to the Philadelphia Bar, but quickly left to pursue art in New York City. After losing his eyesight he retired from art and held minor office in Delaware before his death in December of 1857.
The publisher of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
This print refers to the 1838 New York City mayoral race, in which there was widespread election fraud to assure a victory of Aaron Clark, the Whig candidate. Clark is depicted upon a stalled horse while his opponent, Isaac L. Varian’s horse gallops out of the frame. Varian is holding a flagpole topped with a Liberty Cap and flying a flag that states, “Regular Democratic Nomination! No Monopoly! Down with a Monied [sic] Aristocracy!” Clark also holds a flagpole, his being topped with a sheep and a flag labeled “Lottery Office.” He is handing the pole to Conservative Democrat but Whig sympathizer, Recorder of the City of New York, Richard Riker, asking him to help get his horse going: “Take my rod Dickey, and give her another conservative poke or it will be all Dickey with me.” This is a lewd reference to Riker bringing Clark conservative Democrat’s support, and is backed up by Riker stating, “she’ll go as soon as she feels her oats! If she don’t, I’ll give her the six months,” clearly suggesting collusion between them. At the far right, a stereotyped Jewish leaning on a cane thumbs his nose and comments, "Shtop my friendsch I vill shave you shome troublesh . . . It ish moneysh vat maksh de Mare/Mayor go.!!" This print refers to the 1838 New York City mayoral race, in which there was widespread election fraud to assure a victory of Clark, the Whig candidate. Clark beat Varian in 1838, largely due to the fraud, but lost to him in 1839. During his first term as mayor Varian passed the first voter registration bill in an attempt to ensure that widespread voter fraud would not happen again.
The artist of this print is Sheepshanks, who is most likely a pseudonym for the artist Edward Williams Clay (1799-1857). Clay was a caricaturist, engraver, lithographer, and etcher, as well as a portrait painter. Before his career as an artist, Clay was admitted to the Philadelphia Bar, but quickly left to pursue art in New York City. After losing his eyesight he retired from art and held minor office in Delaware before his death in December of 1857.
The publisher of this print is most likely James Fitzsimmons. No additional information on the publisher is known at this time.
Color print of a bay trotting horse (Hambeltonian) standing in a stable with wood floor. A man with a long white beard (William M. Rysdyk) stands in front of him. "Hambeltonian" is written on a blanket on the floor beside him.
Description
A color print of a bay trotting stallion with powerful chest muscles and a narrow sensitive face standing in his finely built stable. It has a plank floor, plastered walls, and built-in water and hay troughs. His owner is a middle-aged man with a long, white beard, wearing stylish informal dress of a maroon sport jacket and white pants, and he is smoking a cigar.
Hambletonian was bred in Sugar Loaf, NY on May 5, 1849 by Jonas Seely. He was registered as Hambletonian 10 but commonly known as Rysdyk’s Hambletonian, named after the British thoroughbred of the same name. His dam was the Charles Kent Mare, or “Kent Mare”, a descendant of the Norfolk Trotter breed known for its smooth gate; and his sire, Abdullah was known for being both mean and ugly, and had been bought for only $5. Nevertheless, William Rysdyk, one of the farm hands, purchased Hambletonian for $125. Hambletonian’s unusual build allowed for his long hind legs that were the key to his success, providing more length for every push. His first race took place at the Orange County Fair in Goshen, NY and immediately stirred public attention for his appearance and his competition with his half-brother Abdallah Chief. The rivalry was finally settled in 1852 at the Union Course on Long Island when Hambletonian trotted the mile in 2:48 ¼ seconds, a full seven seconds before Abdallah Chief. Rysdyk put Hambletonian to stud for the first time at age two, when he mated with four mares for $25 a mating. During the height of his career, Hambletonian earned $500 per mating, and his Rysdyk’s total stud earnings came to $200,000. Hambletonian fathered 1,331 foals with 1,900 mares by the end of his life on March 27, 1876, and at least 40 of his progeny were able to trot the mile in less than 2:30. Hambletonian’s blood runs through most of today’s Standardbred trotters and several Morgans, earning him the title of “Father of the American Trotter.” He was inducted into the Harness Racing Hall of Fame as an “Immortal” in 1953 and the prestigious harness race, the Hambletonian Stakes, is named after him.
Henry C. Eno was a New York City lithographer and publisher, operating under his own name between 1863-1869, and as the firm Thomas and Eno (a partnership with Henry A. Thomas) prior to that from 1862-1864. Eno was born in Connecticut in 1828, and was married to Caroline Eno. He left New York City for Orangetown, Rockland, New York where he died in the early 1900’s.
This colored broadside advertises “The Great Moving Mirror of Slavery,” a travelling panoramic painting exhibited in New England in 1858. According to the inscription, it was on display in the Methodist Church. Purported to reveal “Slavery As It Is,” this poster contains two preview illustrations. One shows a young girl lying in a canopied bed attended by a doctor, as her mother and a black man sit nearby. The other image depicts a white man riding a bucking horse as three black men and a black woman watch. Headings on the poster advertise, “Scenes in Africa,” an “Auction Sale of Slaves,” and “Life-Like Scenes!” The exhibit also promises a personal appearance by Anthony Burns.
Burns (1834-1862) was born a slave in Stafford County, Virginia in 1834, became a Baptist preacher,and escaped to Boston in 1853/1854. The next year, he was captured and put on public trial, inspiring protest by thousands of abolitionists. Several people were arrested and wounded, while they attempted to free Burns and a U.S. Marshall was fatally stabbed. Under the terms of the Fugitive Slave Act, Burns was returned to his "owner" in Virginia. In 1855, Leonard Grimes, a free black Baptist minister bought Burns’ freedom. Burns then travelled north and studied theology at Oberlin College in Ohio and emigrated to Canada and worked as a non-ordained minister . In 1858, he toured with “The Great Moving Mirror,” using the opportunity to sell copies of narrative of his life to sympathetic anti-slavery Northerners. He died in 1862 of tuberculosis at the age of 28, having never regained his health after enduring several months in a Richmond slave jail.
The print was created by the firm of J.H. & F.F. Farwell & Gordon Forrest. The three men founded a Boston lithographic firm active around the middle of the 19th century. Gordon Forrest enlisted in Company G of the First Massachusetts Infantry during the Civil War. He was killed on July 18, 1861, during a skirmish at Blackburn’s Ford, Virginia, one of the first engagements of the conflict. Little is known about J.H. and F.F. Farwell. The printers were also known as Farwells & Forest.