[LINCOLN, Abraham (1809-1863)]. GARDNER, Alexander (1821-1882), photographer. CDV of Lincoln. Washington, DC, 1863. CDV on cardstock mount of a seated Lincoln looking up from his reading, spectacles in hand, taken by Alexander Gardner in Washington, DC on 9 August 1863 (O-71). With Gardner's studio imprint on verso. Property from the James Milgram, M.D., Collection of Broadsides, Ephemeral Americana, and Historical Documents
Abraham Lincoln [LINCOLN, ABRAHAM (1809-1865)]. [GARDNER, Alexander (1821-1882), photographer]. Two photographs of Lincoln conspirators Michael O'Laughlen and Thomas Jones. April, 1865. Approx. 8 3/4 x 7 in. silver gelatin prints, printed from the original negatives with penciled notations verso incorrectly identifying the photographer as Mathew Brady, with the negatives from L.C. Handy. Normally seen in carte-de-visit format, these larger negative size images are rare. Both were taken by Alexander Gardner in April, 1865 at the Washington Navy Yard where both men were held prisoner. O'Laughlen appears in manacles. Michael O'Laughlen (1840-1867) had no direct hand in the assassination plot, though he had participated in an earlier failed kidnapping plot. Nonetheless, two days after the assassination, he turned himself into Federal authorities and was subsequently tried and convicted for his alleged participation. Sentenced to life in prison, he died of yellow fever at Fort Jefferson prison in the Dry Tortugas in 1867. Thomas A. Jones (1820-1895), a Confederate sympathizer, was arrested and charged with aiding in the escape of John Wilkes Booth and Davy Herold. Imprisoned for seven weeks, he was released and lived the rest of his life in Maryland. This lot is located in Cincinnati.
Alexander Gardner Photo Print of Abraham Lincoln. Exhibited at Ford Theatre's 100 year anniversary. Attributed story on back from reliable sources report that this rare photo of Abraham Lincoln was taken by Alexander Gardner on November 15, 1863. This photo, displayed at Washington D.C.'s Paul Pearlman Bookseller, depicts Lincoln holding his spectacles and a copy of the Gettysburg address. The photo was traced to a tavern at 10th Street near Ford's Theatre. Pearlman acquired it from a lawyer in 1910 who frequented the tavern. Frame:7 1/4 x 5 5/8 in. Sight: 5 1/4 x 3 1/2 in. #3268 #3
Alexander Gardner (1821-1882), early printed photograph, dated 1867, of Hon. Lewis V. Bogy, Commissioner of Indian Affairs and Charles E. Mix in council with the Sacs and Foxes and Kaws in Washington, D.C. At the meeting, Bogy advised the Sacs and Foxes and Kaws to go to a new home, better adapted to their condition, in the valley of the Canadian River, frame - 27 1/4" x 35". Provenance: Descended in the family of Hon. Lewis V. Bogy, Commissioner of Indian Affairs under President Andrew Johnson, 1866-1867. NO in-house shipping for this lot.
Timothy H. OâSullivan (1840-1882) Timothy H. OâSullivan (1840-1882) & Alexander Gardner (1821-1882) FREDERICKSBURG, NO.1, 1863. Albumen print flush-mounted to card, negative by O'Sullivan and positive by Gardner, image/sheet size 170 x 228mm, card size 330 x 452mm. Plate 1 from the series INCIDENTS OF THE WAR, card with printed title, date attributions, and Congressional publication information lower margin recto.
[NATIVE AMERICANS]. [GARDNER, Alexander (1821-1882), photographer]. Ma-za-o-ua-ti, or Iron Nation, Head Chief of the Brule Sioux. [Washington, DC]: Hayden Geological Survey, [ca 1870s]. 7 1/2 x 5 1/2 in. albumen photograph on 13 7/8 x 10 7/8 in. mount with imprint of "Department of the Interior, US Geological Survey of the Territories. Prof. F.V. Hayden in Charge" (fading to print; toning, light spotting, light corner and edge wear to mount). Although lacking a studio credit, the image was originally taken by Alexander Gardner between 17 February and 8 April 1867, when the Brule delegation visited the president in Washington, DC. Illustrated as Plate 125 in Paula Richardson Fleming's Native American Photography at the Smithsonian: The Shindler Catalogue (Smithsonian Institution, 2003).
[NATIVE AMERICANS]. GARDNER (1821-1882), Alexander, photographer. An exceptional group of 32 Fort Laramie Treaty stereoviews. Fort Laramie, Wyoming Territory, 1868. 32 albumen stereoviews, albumen prints on square-cornered yellow mounts. The verso of each card bears a number and title in Gardner’s hand (some fading, images generally in very good to fine condition). This landmark series of Alexander Gardner photographs documents the Fort Laramie Treaty conference. The Treaty of Fort Laramie of 1868 guaranteed the Lakota ownership of the Black Hills in the Wyoming Territory. The treaty was signed by US officials and representatives of the Arapaho, Northern Cheyenne, Crow, and the Brule, Oglala and Miniconjou Dakota. Intended to stop Indian hostilities against white settlers and miners traveling the Bozeman Trail, the treaty ended Red Cloud’s War. Alexander Gardner, working for the Indian Peace Commission, was the only photographer present. Gardner arrived at Fort Laramie from Washington on 24 April and made these photographs between late April and early May 1868. The collection includes images of Native Americans from the Arapaho, Northern Cheyenne, Crow, and the Brule, Oglala and Miniconjou Dakota, all taken at Fort Laramie. Gardner’s 10 May photographs of the negotiations between the Cheyenne and Arapaho include one of the most important Indian photographs of the nineteenth century. The photograph of Man Afraid of His Horses smoking a pipe is “the only known photograph of the ritual smoking of a peace pipe among the Native Americans in the 19th century” (Fleming). Leading authority Paula Fleming notes that, of the 200 negatives Gardner produced of the treaty negotiations, about 100 were stereoscopic, and of these, 54 were of Native American subjects. Considered in this context, the collection offered here is especially noteworthy. Twenty-five of the images are of various scenes depicting Native Americans, including four images of the council tipi of Man Afraid of His Horses. These include the famous published image showing him smoking the pipe (labeled No. 88 1/2) and another image apparently taken immediately beforehand (No. 88). Eight views show Crow attendees, including one of a mounted chief. Cheyenne and Arapaho images include a full-standing view of Little Wolf, a leading Northern Cheyenne chief and a signer of the treaty. The collection also includes several images of Indian guides and interpreters, as well as the Peace Commissioners, including one showing William Tecumseh Sherman treating with Indians. This series of 32 photographs is a key documentary record in the history of Native Americans. Provenance: Cowan's Auctions, Historic Americana, 4 & 5 December 2008, Lot 299; Western Reserve Historical Society.
[CIVIL WAR]. [GARDNER, Alexander (1821-1882), photographer]. Libby Prison, Richmond, VA., April, 1865. [With:] Libby Prison relic. 9 1/2 x 7 5/8 in. unmounted albumen photograph (creasing, edge/corner losses, toning to edges). Numbered "16" in the negative to lower left. Published as Plate 89 in Alexander Gardner's Photographic Sketch Book of the Civil War. Taken in the same month as the war was ended, this view of Libby Prison, captured from Castle Thunder, shows the Union flag waving over the top of the building. Destitute persons can be seen crowded around the prison's corner door, seeking relief. [With:] Approx. 3 in. fragment of wood identified on typed label as a "rare piece of the actual flooring from the Libby Prison," mounted on distressed wooden presentation slab with photocopied book page featuring Libby Prison image and caption (separated, heavily stained). Accompanied by a period inked scrap of paper contained in plastic sleeve on verso reading, "Piece of flooring of the [indecipherable] Libby prison / War relics." This lot is located in Cincinnati.
[CIVIL WAR]. GARDNER, Alexander (1821-1882), photographer. The State Penitentiary, Richmond, Virginia. April 1865. 6 1/4 x 8 3/8 in. albumen print (rich tonality, light edge wear, diagonal crease near top left edge). Verso annotated in pencil. This lot is located in Cincinnati. Property from The Metropolitan Museum of Art, Sold to Benefit The Acquisition Fund
[CIVIL WAR]. GARDNER, Alexander (1821-1882), photographer. Ruins of Richmond and Petersburg Railroad Bridge, Richmond, Virginia. Ca 1865. 6 1/2 x 8 3/8 in. albumen print (light edge wear, few chips to lower left edge). Verso annotated in pencil. This lot is located in Cincinnati. Property from The Metropolitan Museum of Art, Sold to Benefit The Acquisition Fund
[CIVIL WAR]. GARDNER, Alexander (1821-1882). Canal and Ruins of Richmond and Danville Railroad Depot, Richmond, Virginia. 1865. 6 1/2 x 8 7/16 in. albumen print (light edge wear). Verso annotated in pencil. This lot is located in Cincinnati. Property from The Metropolitan Museum of Art, Sold to Benefit The Acquisition Fund
[CUSTER, George Armstrong (1839-1876)]. GARDNER, Alexander (1821-1882), artist. CDV of General Philip Sheridan and his staff including Generals Merritt, Forsyth, Crook, and Custer. Washington, DC: Philp & Solomons, [1865]. CDV on cardstock mount (small area of previous rip/separation to bottom portion, minor spotting/soiling to print; very minor wear to mount). Gardner's gilt pictorial imprint with publishing credit to Philp & Solomons on verso. General Philip Sheridan stands next to a seated Custer on the right side of the image, while Generals Wesley Merritt, James William Forsyth, and George Crook sit and stand to the left. Catalogued in Katz as [K-156] (p. 138). According to Katz, this image was captured on 2 January 1865 by Alexander Gardner. This lot is located in Cincinnati.
[NATIVE AMERICANS]. GARDNER, Alexander (1821-1882), photographer. -- [MA-TO-LOUSAH (“Swift Bear”) (1827-1909)]. Albumen photograph. Circa 1870. On studio mount (overall 305 x 254 mm), misprinting the photographer’s name as “Alex Gardiner”, contemporary manuscript caption at lower margin, some faint spotting or toning in margins. The photograph was taken by the famous Civil War photographer Alexander Gardner (1821-1882) who was commissioned after the War to photograph Native Americans who came to Washington to discuss treaties. Chief Swift Bear was head of the Corn Band of the Brule or Burnt Thigh Sioux located along the White and Niobrara Rivers in South Dakota. Swift Bear was present for The Treaty of Fort Laramie and at the agency when the Battle of Little Bighorn was fought in 1876.
Alexander Gardner (1821-1882), Imperial albumen photograph, dated 1867, of Hon. Lewis V. Bogy, Commissioner of Indian Affairs and Charles E. Mix in council with the Sacs and Foxes and Kaws in Washington, D.C. At the meeting, Bogy advised the Sacs and Foxes and Kaws to go to a new home, better adapted to their condition, in the valley of the Canadian River, frame - 27 1/4" x 35". Provenance: Descended in the family of Hon. Lewis V. Bogy, Commissioner of Indian Affairs under President Andrew Johnson, 1866-1867. NO in-house shipping for this lot.
Western Art and Design from Bar Cross Ranch, Wyoming Alexander Gardner 1821 - 1882 Ogalalla Sioux Indian with His Wife, Fort Laramie, Wyoming 'A. Gardner, Photographer / 511 Second Street, Washington / Scenes in the Indian Country.' in letterpress (on the mount) albumen print 9½ by 13 in. 24.1 by 33 cm. Executed in 1868.
Alexander Gardner 1821 - 1882 Portrait of Abraham Lincoln imperial albumen print, mounted, framed, 1863 image: 20 by 16 in. (50.8 by 40.6 cm.) frame: 28¾ by 23¼ in. (73 by 59.1 cm.)
Execution of the Conspirators Stereoview Alexander Gardner (1821-1882), photographer. No. 983. Execution of the Conspirators. The Suspension. Albumen stereoview on orange mount. Washington, DC: Philp & Solomons, 7 July 1865. From the series Photographic Incidents of the War. Publisherâs information label affixed to mount verso. 1865 copyright statement printed to mount recto. A grisly outdoor view showing the hanging corpses of four conspirators in Lincolnâs assassination: Mary Surratt, Lewis Paine, David Herold, and George Atzerodt at the Old Arsenal Prison. Captured by Alexander Gardner who extensively documented the aftermath of the presidentâs assassination in excruciating detail. The view here captures the corpses after âthe dropâ, with Mary, the first woman hanged in America, on the far left. Three soldiers, two in movement, can be seen on the ramparts behind the gallows. [Abraham Lincoln, Lincoln Assassination, Hangings, Executions, Civil War, John Wilkes Booth, Early Photography, Stereoviews] [Daguerreotype, Ambrotype, Tintype, CDV, Albumen, carte-de-visite, Salt print, Cabinet Card] [Civil War, Union, Confederate] [Abraham Lincoln, Abolition, Union, Confederate, Frederick Douglass, Robert E. Lee, Abolitionist, Slave, Slavery, 13th Amendment, Emancipation Proclamation, Gettysburg, John Wilkes Booth]
[NATIVE AMERICANS]. [GARDNER, Alexander (1821-1882), photographer]. Photograph of Crow Indians at Fort Laramie, Wyoming. [1868, printed later]. 7 x 5 in. period copy albumen photograph on 9 x 7 in. cardstock mount (light toning to print, light surface abrasion near lower right edge of print, light crinkled texture in some areas, and penciled border to edges of print). Image numbered "823" in the negative. "4-q. Dakota (Misc.) Group about Fort Laramie" printed on affixed paper label to mount recto. Photograph shows Fox Tail, an unidentified Crow woman, Yellow Bull, Yellow Top, Bull That Goes Hunting, Yellow Coat, Woman Who Walks on Ice, and a second unidentified Crow woman. Throughout its history, Fort Laramie's role was the primary way station on the westward journey. In 1843, close to a thousand emigrants, including children, passed by the fort and, in the years that followed, it became increasingly evident that the primary role of the fort had become supplying the westward expansion. The US government finally purchased the post in late 1849. It took on a central position in the government's relationship both with the Plains Indian tribes as well as the westward bound emigrants. In 1851, it was to host a multi-tribe treaty conference aimed at negotiating rights of free passage through Indian lands for the emigrants. In 1868, it was the site of the great Sioux Treaty Council. Troops would remain stationed at Fort Laramie until 1890, participating in nearly all the great dramas of the westward migration and settlement. This lot is located in Cincinnati.
[CIVIL WAR - BURNSIDE, Ambrose (1824-1881)]. [GARDNER, Alexander (1821-1882), attrib.]. Photograph of Colonel Ambrose Burnside and Staff of 1st Rhode Island Infantry, 1861. 13 1/4 x 9 1/2 in. (sight) albumen photograph, matted, and framed, 26 x 22 1/2 in. (very good condition, unexamined outside frame). An outdoor view featuring Colonel Ambrose E. Burnside seated at center in the midst of a group of officers and non-commissioned officers before a building featuring signs that read, "Col. Burnside," and "Welcome Home." Additional subjects include Major Joseph P. Balch at left, and Augustus Woodbury at right, the regiment's chaplain who later wrote A Narrative of the Campaign of the First Rhode Island Regiment, which was published in Providence in 1862. Captain and Commissary Officer William L. Bowers stands at far right. Information regarding the photograph obtained from the article entitled "Red Blankets & Blue Blouses: Faces of Rhode Island’s First Responders, April-June 1861," published in Military Images, 3 December 2017. Provenance: Andrew Burgess Collection (consignor notes). Andrew Burgess (1837-1908) joined Mathew Brady as an apprentice in 1855 and partnered with him in 1863. During his time with Brady, Burgess documented the Southern United States near the end of the Civil War and ventured to Mexico City to record war between Benito Juarez and Emperor Maximilian. This lot is located in Cincinnati.
[CIVIL WAR]. GARDNER, Alexander (1821-1882), photographer. CDV of Ulysses S. Grant. Washington, DC, 1865. 2 1/4 x 3 3/8 in. CDV on cardstock mount (toning to print, occasional spotting; light edge and corner wear to mount). A desirable view of "Lieut. General U.S. Grant," as identified on mount below image, casually seated in a studio setting. With Alexander Gardner's Washington, DC, imprint on mount recto and verso.
ALEXANDER GARDNER (1821-1882) What Do I Want, John Henry?, Warrenton, VA, from Incidents of the War. Albumen print, the image measuring 6 7/8x9 inches (17.5x22.9 cm.), the two-toned mount 12x16 7/8 inches (30.5x42.9 cm.), with Gardner's letterpress credit, address, copyright, series title, image title, and date, on mount recto; and with the printed caption sheet laid in. 1862 Provenance: Lee Gallery, Winchester, Massachusetts One of a seminal series of war photographs titled "Incidents of the War." Gardner had unlimited access to photograph the Union Army, producing imagery that described life in the camps and the aftermath of battles. During the war these images were circulated in exhibitions or as small-format prints. After the war, Gardner published his Photographic Sketch Book of the War, retailing for $150.
Alexander Gardner Abraham Lincoln and General George McClellan at Antietam, October 3, 1862 (two works) 1862/printed later albumen print 7.125 h x 5 w in (18 x 13 cm) 8 h x 9.875 w in (20 x 25 cm) Provenance: Private Corporate Collection | Private Collection This work will ship from Lambertville, New Jersey.
[NATIVE AMERICANS]. [GARDNER, Alexander (1821-1882), photographer]. Esa-Ha-Bith or Milky Way, Comanche. [Washington, DC]: Hayden Geological Survey, 1872. 3 7/8 x 5 1/2 in. cabinet photograph on cardstock mount (light toning, some fading to print; light corner and edge wear to mount). Title in the negative and imprint on mount below, "Department of the Interior, / US Geological and Geographical Survey of the Territories. / F.V. Hayden, US Geologist, in Charge."
[CIVIL WAR]. [GARDNER, Alexander (1821-1882), photographer. What do I Want John Henry, November 1862. Washington, DC: Alexander Gardner, 1865]. 10 x 7 1/2 in. unmounted albumen photograph (toning, edge and corner wear, including some chips, few short tears, some corner loss). Although uncredited, the photograph was produced by Alexander Gardner and published as Plate 27 in Gardner's Photographic Sketch Book of the Civil War. A camp scene featuring a group of Union officers gathered before a Sibley tent, with "contraband," a formerly enslaved African American, serving food and drink to the officer seated at far left. The officer seated at center has been identified as Captain John R. Coxe, US Army Commissary Department. The description that accompanies the scene in Gardner's Sketch Book notes, "When fatigued by long exercise in the saddle, over bottomless roads, or under the glowing Southern sun, John's master would propound the query 'What do I want John Henry?'" Alexander Gardner (1821-1882) was one of the foremost photographers of the Civil War. Gardner was born in Scotland in 1821. In 1851, Gardner paid a visit to the Great Exhibition in Hyde Park, New York, where he saw the photographs of Mathew Brady for the first time. In 1856, Gardner moved to New York and found employment with Mathew Brady as a photographer. In 1858, Brady put him in charge of the entire gallery. With the start of the Civil War in 1861, the demand for portrait photography increased, as soldiers on their way to the front posed for images to leave behind for their loved ones. Gardner became one of the top photographers in this field. After witnessing the battle at Manassas, Virginia, Brady decided that he wanted to make a photographic record of the war. Brady dispatched Gardner and other photographers to the field to record the images of the conflict. In November of 1861, Gardner was granted the rank of honorary Captain on the staff of General George McClellan. He made a number of photographs of the aftermath of America's bloodiest day, the Battle of Antietam. Gardner went on to cover more of the war's terrible battles, including Fredericksburg, Gettysburg, and the siege of Petersburg. He also took what is considered to be the last photograph of President Abraham Lincoln, just 5 days before his assassination. After the war, Brady established a gallery for Gardner in Washington, DC. In 1867, Gardner was appointed the official photographer of the Union Pacific Railroad, documenting the building of the railroad and the Native American tribes that he encountered. In 1871, Gardner gave up photography to start an insurance company. He lived in Washington until his death in 1882. Property from William H. Itoh, collector, historian and retired Foreign Service Officer
[CIVIL WAR]. GARDNER, Alexander (1821-1882), photographer. Capt. Knap's Battery, Penn'a. Artillery, (General Banks' Corps,) On Battle-Field of Antietam. Washington, DC: Gardner & Gibson, 1862. 4 1/2 x 3 in. albumen photograph on 6 x 4 1/2 in. mount (even toning to print; mounting traces on verso, not affecting applied paper label). Mount recto with Gardner & Gibson's copyright in lower margin. Verso with applied paper label including series title, "Brady's Album Gallery, No. 577," and image title. This famous image was taken by Alexander Gardner on the Antietam Battlefield two days after the bloodiest battle in American history. Knap's Battery "E" was commanded by Captain Joseph M. Knap and served with distinction at Antietam and Gettysburg. There are two monuments to this battery at Gettysburg including one at the top of Culp's Hill. This was one of the "Independent" Pennsylvania batteries assigned to Geary's Division, 20th Army Corps. General Geary's son, a lieutenant, was killed while serving in this battery. See National Park Service Antietam Battlefield website, Historic Photographs by Alexander Gardner just after the Battle, and Library of Congress image #LC-B811-577. A detailed discussion of this photo appears in William Frassanito's "Antietam." Property from William H. Itoh, collector, historian and retired Foreign Service Officer
GARDNER, ALEXANDER (1821-1882) Quarles' Mill, North Anna, Virginia, May 1864. positive by A. Gardner, likely printed before 1866. Mounted albumen print, image 7 x 8 7/8 inches (173 x 225 mm), on printed card mount, from Gardner's Photographic Sketchbook of the War, Vol. II. Good tones, small loss to lower right corner of image. C
[NATIVE AMERICANS]. [GARDNER, Alexander (1821-1882), photographer]. Cabinet card featuring Navajo Chief Mariano. 4 1/16 x 5 7/8 in. albumen photograph on cardstock mount (some blotches of light discoloration to image, light surface soiling throughout, and light wear to mount edges and corners). Mount recto inscribed, "'Mariana' Navajo Chief.'" Verso bears various pencil inscriptions including, in one hand, "Mariana," and in another, a detailed description of the subject: "Mariano by Alexander Gardner. / Navajo leader who fought at war @ Mount Taylor Member of 1874 delegation to Washington D.C. / Signed Treaty of 1855 / Born at San Juan River, New Mexico." The Navajo chief (whose name is spelled variously, with either an "a" or an "o" at the end depending on the source) is featured sitting on a chair that is covered with a Navajo blanket, and wearing a first phase concha belt and squash blossom necklace. Another example of this image was sold in 2020 by MBA Seattle Auction, bearing an ink stamp for photographer William P. Carter, Albuquerque, NM. It is possible that Carter was a later publisher of the image.
[NATIVE AMERICANS]. GARDNER, Alexander (1821-1882), photographer. Cabinet card featuring Red Cloud. Washington, DC: 1872. 4 1/16 x 6 in. albumen photograph on cardstock mount (spots of discoloration to image, with surface soil throughout, and wear to mount edges and corners). Verso bears various pencil inscriptions including "by Alex Gardner / 1872," and "Red Cloud." Red Cloud stands wearing a single feather in his hair, a wool trade cloth blanket with wide beaded blanket strip around his waist, and moccasins on his feet. He holds a beaded pipe bag in one hand. Image catalogued in Frank H. Goodyear III's Red Cloud: Photographs of a Lakota Chief (Plate 7, p. 21). Red Cloud traveled to Washington, DC in the spring of 1872 to meet with President U.S. Grant concerning his frustration with the Fort Laramie Treaty (1868). Despite assurances that the United States government would remove all military forts on the Great Sioux Reservation and uphold the Lakota's hunting rights, a new fort had been erected on Lakota territory. Before his meeting with the President, Red Cloud agreed to sit for Mathew Brady and then visited Gardner's studio two days later. Red Cloud's attempts at peaceful negotiations with Grant continued through the 1870s and 1880s, and he journeyed to Washington numerous times to lobby on behalf of his people.
[LATE INDIAN WARS]. GARDNER, Alexander (1821-1882). Imperial albumen photograph. Scenes in the Indian Country [Col. Bullock residence at Fort Laramie]. 13 x 19 in. albumen photograph (sight), mounted and framed. Lettered mount, title penciled lower right margin. Provenance: Western Reserve Historical Society (sold Cowan's, 10 May 2007, lot 631). The image shows a gingerbread-style 2-story cottage of clapboard construction, with subjects sitting and standing on the porch, wagons to the right and another building in the background. In 1843, close to one thousand emigrants passed through Fort Laramie, near present-day Uva, Wyoming, which was an important supply stop on the journey west. In 1849, the US Government purchased the post, and in 1851 it was host to a multi-tribe treaty conference aimed at negotiating rights of free passage through Indian lands for westward-bound emigrants. In 1868, Fort Laramie was the site of the great Sioux Treaty Council, during which Alexander Gardner photographed his Scenes in the Indian Country series. Property from the Collection of Dr. Brant Mittler
Attributed to ALEXANDER GARDNER (1821-1882) Headquarters of U.S. Sanitary Commission, Richmond, Virginia, April 1865... annotated in pencil (verso) 6 5/16 x 8 7/16 in. (16 x 21.5 cm.)
Attributed to ALEXANDER GARDNER (1821-1882) The State Penitentiary, Richmond, Virginia, April 1865 annotated in pencil (verso) 6 1/4 x 8 3/8 in. (15.8 x 21.2 cm.)
Attributed to ALEXANDER GARDNER (1821-1882) Richmond, Virginia, after the Evacuation, 1865 annotated in pencil (verso) 6 13/16 x 8 7/16 in. (17.3 x 21.5 cm.)
ALEXANDER GARDNER (1821-1882) Interior Courtyard of Castle Thunder (Confederate Prison), Richmond,... annotated in pencil, with Metropolitan Museum of Art deaccession stamp (verso) 6 1/4 x 8 1/6 in. (15.9 x 20.4 cm.)
Attributed to ALEXANDER GARDNER (1821-1882) Ruins of Richmond and Petersburg Railroad Bridge, Richmond, Virginia,... annotated in pencil (verso) 6 7/16 x 8 3/8 in. (16.4 x 21.3 cm.)
Attributed to ALEXANDER GARDNER (1821-1882) Canal and Ruins of Richmond and Danville Railroad Depot, Richmond, Virginia,... annotated in pencil (verso) 6 1/2 x 8 7/16 in. (16.5 x 21.5 cm.)
Attributed to ALEXANDER GARDNER (1821-1882) Ruins of the Arsenal, Richmond, Virginia, after Evacuations, 1865 annotated in pencil (verso) 6 3/4 x 8 5/16 in. (17.1 x 21.1 cm.)
ALEXANDER GARDNER (1821-1882) Northeast Suburbs of Richmond, Virginia, April 1865 annotated in pencil and with Metropolitan Museum of Art deaccession stamps (verso) 6 5/8 x 8 3/8 in. (16.9 x 21.3 cm.)
Alexander Gardner (Scottish/American, 1821-1882) , "Jericho Mills Pontoon Bridge" and "Jericho Mills North Anna, VA.", c. 1864, 2 albumen photographs, unsigned, handwritten labels with artist, title and date on backing papers, 7 1/4 in. x 9 5/8 in. and 7 1/2 in. x 9 3/4 in., framed alike. (2 pcs.) Condition: Overall poor condition
Alexander GARDNER (1821-1882) Ma-to'-nom'-pa, Two bears Lower Yanktonais - 1872 [Portrait de chef amérindien] Épreuve sur papier albuminé Contrecollée sur carton Numéro "280" dans le négatif en bas à gauche 18 x 14,3 cm Provenance : Galerie Jean-Jacques Dutko, Paris Commentaire : Albumen print Mounted on cardboard Number "280" in the negative in bottom left corner 7 x 5.6 in.
Alexander Gardner, Civil War Reporters & Illustrators, c. 1864, Albumen print, 6" x 8.75". Matted. Artist's credit and number in pencil on verso. Artist Biography: Before Alexander Gardner made the most memorable photographs of the American Civil War, he had a hard time making up his mind. As a young man in Scotland, he had been an apprentice jeweler. Then he became editor and publisher of a Glasgow newspaper. In 1856, when he came to America, he was planning to start a socialist cooperative in unsettled Iowa. But then, in New York, he found his life's work. Before leaving home, he had seen and admired photographs by Mathew Brady, who was already famous and prosperous as a portraitist of American presidents and statesmen. It was Brady that likely paid Gardner's passage to New York and soon after arriving, he went to visit the famous photographer's studio and decided to stay. Gardner was so successful there that Brady sent him to manage his Washington, D.C., studio, and soon after that, he was photographing Abraham Lincoln as the owner of his own studio, and about to produce his historic images of the nation's struggle. But there was more—after Appomattox, unknown to most of those who have praised his groundbreaking photographs of the war, he went on to record the westward march of the railroads and the Native American tribes scattering around them. When the Civil War began, Mathew Brady sent more than 20 assistants into the field to follow the Union army. All of their work, including that of Gardner and the talented Timothy O'Sullivan, was issued with the credit line of the Brady studio. Thus the public assumed that Brady himself had lugged the fragile wagonload of equipment into the field, focused the big boxy camera and captured the images. Indeed, sometimes he had. But beginning with the battle of Antietam in September 1862, Gardner determined to take a step beyond his boss and his colleagues. When he walked the field of Antietam, he realized that beyond the army and the overcrowded hospitals, the nation had never seen the brutal results of what was then modern warfare. With his primitive equipment, including glass plates, chemicals mixed by hand and a portable darkroom, he could not capture moving images or work effectively in low light. So he took his camera to the ditches and fields where thousands had fought and died, and pictured them as they lay sprawled at the moment of death. In the history of warfare, it had never been done before. The impact on those who viewed Gardner’s photos was just what he hoped. The New York Times said in 1862, "Mr. Brady has done something to bring home to us the terrible reality and earnestness of war. If he has not brought bodies and laid them in our dooryards and along the streets, he has done something very like it. . . .By the aid of the magnifying glass, the very features of the slain may be distinguished." After that, Gardner broke with Brady, and in May of 1863, he opened his own studio at 7th and D Streets in Washington. He was on the field again at Gettysburg, and again he portrayed the grisly results of massed cannon and musketry. And there, perhaps for the only time, he seems to have tried to improve upon the hard facts before him. In the album he titled Gardner's Photographic Sketch Book of the Civil War, he featured one image titled "Home of a Rebel Sharpshooter." It pictured a dead Confederate soldier in a rocky den, with his weapon propped nearby. Photographic historian William Frassanito has compared it to other images and believes that Gardner moved that body to a more dramatic hiding place to make the famous photo. Taking such license would blend with the dramatic way his album mused over the fallen soldier: "Was he delirious with agony, or did death come slowly to his relief, while memories of home grew dearer as the field of carnage faded before him? What visions, of loved ones far away, may have hovered above his stony pillow?' Significantly, as illustrated by that image and description, Gardner's book spoke of himself as "the artist." Not the photographer, journalist or artisan, but the artist, who is by definition the creator, the designer, the composer of a work. But of course rearranging reality is not necessary to tell a gripping story, as he showed conspicuously after the Lincoln assassination. First he made finely focused portraits that caught the character of many of the surviving conspirators (much earlier in 1863, he had done the slain assassin, the actor John Wilkes Booth). Then, on the day of execution, he pictured the four—Mary Surrat, David Herold, Lewis Powell and George Atzerodt— standing as if posing on the scaffold, while their hoods and ropes were adjusted. Then their four bodies are seen dangling below while spectators look on from the high wall of the Washington Arsenal—as fitting a last scene as any artist might imagine. After all Gardner had seen and accomplished, the rest of his career was bound to be anticlimax, but he was only 43 years old, and soon took on new challenges. In Washington, he photographed Native American chieftains and their families when they came to sign treaties that would give the government control over most of their ancient lands. Then he headed west. In 1867, Gardner was appointed chief photographer for the eastern division of the Union Pacific Railway, a road later called the Kansas Pacific. Starting from St. Louis, he traveled with surveyors across Kansas, Colorado, New Mexico and Arizona and on to California. In their long, laborious trek, he and his crew documented far landscapes, trails, rivers, tribes, villages and forts that had never been photographed before. At Fort Laramie in Wyoming, he pictured the far-reaching treaty negotiations between the government and the Oglala, Miniconjou, Brulé, Yanktonai, and Arapaho Indians. This entire historic series was published in 1869 in a portfolio called Across the Continent on the Kansas Pacific Railroad (Route of the 35th Parallel). Those rare pictures and the whole expanse of Gardner’s career are now on display at the National Portrait Gallery in a show entitled “Dark Fields of the Republic: Alexander Gardner Photographs, 1859-1872." Among the dozens of images included are not only his war pictures and those of the nation’s westward expansion, but the famous “cracked-plate” image that was among the last photographs of a war-weary Abraham Lincoln. With this show, which will run into next March, the gallery is recognizing a body of photography—of this unique art —unmatched in the nation’s history. (Smithsonian Magazine)
Attr. Alexander Gardner, Civil War, Union Civilians on Pontoon Bridge, VA, c. 1864, Albumen print, 6.75" x 9". Matted. Artist's credit, collector credit, and number in pencil on verso. Artist Biography: Before Alexander Gardner made the most memorable photographs of the American Civil War, he had a hard time making up his mind. As a young man in Scotland, he had been an apprentice jeweler. Then he became editor and publisher of a Glasgow newspaper. In 1856, when he came to America, he was planning to start a socialist cooperative in unsettled Iowa. But then, in New York, he found his life's work. Before leaving home, he had seen and admired photographs by Mathew Brady, who was already famous and prosperous as a portraitist of American presidents and statesmen. It was Brady that likely paid Gardner's passage to New York and soon after arriving, he went to visit the famous photographer's studio and decided to stay. Gardner was so successful there that Brady sent him to manage his Washington, D.C., studio, and soon after that, he was photographing Abraham Lincoln as the owner of his own studio, and about to produce his historic images of the nation's struggle. But there was more—after Appomattox, unknown to most of those who have praised his groundbreaking photographs of the war, he went on to record the westward march of the railroads and the Native American tribes scattering around them. When the Civil War began, Mathew Brady sent more than 20 assistants into the field to follow the Union army. All of their work, including that of Gardner and the talented Timothy O'Sullivan, was issued with the credit line of the Brady studio. Thus the public assumed that Brady himself had lugged the fragile wagonload of equipment into the field, focused the big boxy camera and captured the images. Indeed, sometimes he had. But beginning with the battle of Antietam in September 1862, Gardner determined to take a step beyond his boss and his colleagues. When he walked the field of Antietam, he realized that beyond the army and the overcrowded hospitals, the nation had never seen the brutal results of what was then modern warfare. With his primitive equipment, including glass plates, chemicals mixed by hand and a portable darkroom, he could not capture moving images or work effectively in low light. So he took his camera to the ditches and fields where thousands had fought and died, and pictured them as they lay sprawled at the moment of death. In the history of warfare, it had never been done before. The impact on those who viewed Gardner’s photos was just what he hoped. The New York Times said in 1862, "Mr. Brady has done something to bring home to us the terrible reality and earnestness of war. If he has not brought bodies and laid them in our dooryards and along the streets, he has done something very like it. . . .By the aid of the magnifying glass, the very features of the slain may be distinguished." After that, Gardner broke with Brady, and in May of 1863, he opened his own studio at 7th and D Streets in Washington. He was on the field again at Gettysburg, and again he portrayed the grisly results of massed cannon and musketry. And there, perhaps for the only time, he seems to have tried to improve upon the hard facts before him. In the album he titled Gardner's Photographic Sketch Book of the Civil War, he featured one image titled "Home of a Rebel Sharpshooter." It pictured a dead Confederate soldier in a rocky den, with his weapon propped nearby. Photographic historian William Frassanito has compared it to other images and believes that Gardner moved that body to a more dramatic hiding place to make the famous photo. Taking such license would blend with the dramatic way his album mused over the fallen soldier: "Was he delirious with agony, or did death come slowly to his relief, while memories of home grew dearer as the field of carnage faded before him? What visions, of loved ones far away, may have hovered above his stony pillow?' Significantly, as illustrated by that image and description, Gardner's book spoke of himself as "the artist." Not the photographer, journalist or artisan, but the artist, who is by definition the creator, the designer, the composer of a work. But of course rearranging reality is not necessary to tell a gripping story, as he showed conspicuously after the Lincoln assassination. First he made finely focused portraits that caught the character of many of the surviving conspirators (much earlier in 1863, he had done the slain assassin, the actor John Wilkes Booth). Then, on the day of execution, he pictured the four—Mary Surrat, David Herold, Lewis Powell and George Atzerodt— standing as if posing on the scaffold, while their hoods and ropes were adjusted. Then their four bodies are seen dangling below while spectators look on from the high wall of the Washington Arsenal—as fitting a last scene as any artist might imagine. After all Gardner had seen and accomplished, the rest of his career was bound to be anticlimax, but he was only 43 years old, and soon took on new challenges. In Washington, he photographed Native American chieftains and their families when they came to sign treaties that would give the government control over most of their ancient lands. Then he headed west. In 1867, Gardner was appointed chief photographer for the eastern division of the Union Pacific Railway, a road later called the Kansas Pacific. Starting from St. Louis, he traveled with surveyors across Kansas, Colorado, New Mexico and Arizona and on to California. In their long, laborious trek, he and his crew documented far landscapes, trails, rivers, tribes, villages and forts that had never been photographed before. At Fort Laramie in Wyoming, he pictured the far-reaching treaty negotiations between the government and the Oglala, Miniconjou, Brulé, Yanktonai, and Arapaho Indians. This entire historic series was published in 1869 in a portfolio called Across the Continent on the Kansas Pacific Railroad (Route of the 35th Parallel). Those rare pictures and the whole expanse of Gardner’s career are now on display at the National Portrait Gallery in a show entitled “Dark Fields of the Republic: Alexander Gardner Photographs, 1859-1872." Among the dozens of images included are not only his war pictures and those of the nation’s westward expansion, but the famous “cracked-plate” image that was among the last photographs of a war-weary Abraham Lincoln. With this show, which will run into next March, the gallery is recognizing a body of photography—of this unique art —unmatched in the nation’s history. (Smithsonian Magazine)
Alexander Gardner, Incidents of the War, c. 1865, Albumen print, 7" x 9", mounted 13" x 17.75". Artist's credit and title printed on mount recto. Artist Biography: Before Alexander Gardner made the most memorable photographs of the American Civil War, he had a hard time making up his mind. As a young man in Scotland, he had been an apprentice jeweler. Then he became editor and publisher of a Glasgow newspaper. In 1856, when he came to America, he was planning to start a socialist cooperative in unsettled Iowa. But then, in New York, he found his life's work. Before leaving home, he had seen and admired photographs by Mathew Brady, who was already famous and prosperous as a portraitist of American presidents and statesmen. It was Brady that likely paid Gardner's passage to New York and soon after arriving, he went to visit the famous photographer's studio and decided to stay. Gardner was so successful there that Brady sent him to manage his Washington, D.C., studio, and soon after that, he was photographing Abraham Lincoln as the owner of his own studio, and about to produce his historic images of the nation's struggle. But there was more—after Appomattox, unknown to most of those who have praised his groundbreaking photographs of the war, he went on to record the westward march of the railroads and the Native American tribes scattering around them. When the Civil War began, Mathew Brady sent more than 20 assistants into the field to follow the Union army. All of their work, including that of Gardner and the talented Timothy O'Sullivan, was issued with the credit line of the Brady studio. Thus the public assumed that Brady himself had lugged the fragile wagonload of equipment into the field, focused the big boxy camera and captured the images. Indeed, sometimes he had. But beginning with the battle of Antietam in September 1862, Gardner determined to take a step beyond his boss and his colleagues. When he walked the field of Antietam, he realized that beyond the army and the overcrowded hospitals, the nation had never seen the brutal results of what was then modern warfare. With his primitive equipment, including glass plates, chemicals mixed by hand and a portable darkroom, he could not capture moving images or work effectively in low light. So he took his camera to the ditches and fields where thousands had fought and died, and pictured them as they lay sprawled at the moment of death. In the history of warfare, it had never been done before. The impact on those who viewed Gardner’s photos was just what he hoped. The New York Times said in 1862, "Mr. Brady has done something to bring home to us the terrible reality and earnestness of war. If he has not brought bodies and laid them in our dooryards and along the streets, he has done something very like it. . . .By the aid of the magnifying glass, the very features of the slain may be distinguished." After that, Gardner broke with Brady, and in May of 1863, he opened his own studio at 7th and D Streets in Washington. He was on the field again at Gettysburg, and again he portrayed the grisly results of massed cannon and musketry. And there, perhaps for the only time, he seems to have tried to improve upon the hard facts before him. In the album he titled Gardner's Photographic Sketch Book of the Civil War, he featured one image titled "Home of a Rebel Sharpshooter." It pictured a dead Confederate soldier in a rocky den, with his weapon propped nearby. Photographic historian William Frassanito has compared it to other images and believes that Gardner moved that body to a more dramatic hiding place to make the famous photo. Taking such license would blend with the dramatic way his album mused over the fallen soldier: "Was he delirious with agony, or did death come slowly to his relief, while memories of home grew dearer as the field of carnage faded before him? What visions, of loved ones far away, may have hovered above his stony pillow?' Significantly, as illustrated by that image and description, Gardner's book spoke of himself as "the artist." Not the photographer, journalist or artisan, but the artist, who is by definition the creator, the designer, the composer of a work. But of course rearranging reality is not necessary to tell a gripping story, as he showed conspicuously after the Lincoln assassination. First he made finely focused portraits that caught the character of many of the surviving conspirators (much earlier in 1863, he had done the slain assassin, the actor John Wilkes Booth). Then, on the day of execution, he pictured the four—Mary Surrat, David Herold, Lewis Powell and George Atzerodt— standing as if posing on the scaffold, while their hoods and ropes were adjusted. Then their four bodies are seen dangling below while spectators look on from the high wall of the Washington Arsenal—as fitting a last scene as any artist might imagine. After all Gardner had seen and accomplished, the rest of his career was bound to be anticlimax, but he was only 43 years old, and soon took on new challenges. In Washington, he photographed Native American chieftains and their families when they came to sign treaties that would give the government control over most of their ancient lands. Then he headed west. In 1867, Gardner was appointed chief photographer for the eastern division of the Union Pacific Railway, a road later called the Kansas Pacific. Starting from St. Louis, he traveled with surveyors across Kansas, Colorado, New Mexico and Arizona and on to California. In their long, laborious trek, he and his crew documented far landscapes, trails, rivers, tribes, villages and forts that had never been photographed before. At Fort Laramie in Wyoming, he pictured the far-reaching treaty negotiations between the government and the Oglala, Miniconjou, Brulé, Yanktonai, and Arapaho Indians. This entire historic series was published in 1869 in a portfolio called Across the Continent on the Kansas Pacific Railroad (Route of the 35th Parallel). Those rare pictures and the whole expanse of Gardner’s career are now on display at the National Portrait Gallery in a show entitled “Dark Fields of the Republic: Alexander Gardner Photographs, 1859-1872." Among the dozens of images included are not only his war pictures and those of the nation’s westward expansion, but the famous “cracked-plate” image that was among the last photographs of a war-weary Abraham Lincoln. With this show, which will run into next March, the gallery is recognizing a body of photography—of this unique art —unmatched in the nation’s history. (Smithsonian Magazine)
Civil War Photographer Alexander Gardner Very Scarce Check Signed With Autograph of Famed Civil War Dated April 9th, 1881 ALEXANDER GARDNER (1821-1882). Scottish Photographer who moved to the United States in 1856 where he developed his profession, best known for his Photographs of the American Civil War, American President Abraham Lincoln, and the Execution of the Conspirators to Lincoln's Assassination. Document Signed. April 9th, 1881-Dated, Document Signed, "Alex Gardner," Partly-Printed Bank Check, drawn on Riggs & Co. payable to a This impressive rich blue color with black text and designs Check is to Rebecca J. Ashley in the amount of $400, Extremely Fine. Accomplished in Alexander Gardner's own hand and Signed by Gardner as Secretary of "The Masonic Mutual Relief Association of the District of Columbia". Printed on blue paper with a nice orange revenue imprint at center. Bank cut cancellation just slightly touches Gardner's signature. A very scarce and desirable autograph from this historic, important Civil War photographer, PASS-CO Certified Genuine, Graded EF and Encapsulated. Signed Checks by Alexander Gardner are very rare and are listed with a value of $2,340 in the latest 7th Edition (2009) of the Sander's Autograph Price Guide. An impressive fresh clean example with a bold signature.
18/19th Century; Original 12.5" Alexander Gardner, 6.75" William Eaton, One is monogrammed with armorial crest and the other has a tree monogram, Overall condition excellent, Please view photos, Total weight 144 grams
ALEXANDER GARDNER (1821-1882) & HENRY DEWITT MOULTON (1828-1893) Album entitled Rays of Sunlight from South America, with 68 of the 70 original plates of Lima, Peru and the Chincha Islands. Containing 68 photographs of South America, comprising 36 picturesque views of public edifices, monuments, churches, and gardens in Lima, and 32 prints of the Chincha Islands, with a focus on the guano industry. Albumen prints, the images each measuring approximately 6 3/4x8 7/8 inches (17.2x22.5 cm.), and the reverse, each with Gardner and Moulton's printed credit, the publisher's credit, the album title, and a caption, on mount recto. Oblong folio, gilt-pictorial leather; marbled end papers at the rear; all edges gilt; lacking album front cover, title page, preface, and 2 plates. 1865
[LINCOLN ASSASSINATION]. GARDNER, Alexander (1821-1882). Incidents of the War | Sic Semper Sicariis [caption title]. Washington, D. C.: Philp & Solomons, 1865. Albumen photographs on printed mounts, entitled: "Arrival on Scaffold. No. 1." -- "Reading the Death Warrant. No. 2." -- "Adjusting the Ropes. No. 3." -- "(Thus be it ever with Assassins.) No. 4." Suite of 4 albumen photographs, each approximately 6 7/8 x 8 7/8 in. (173 x 225 mm), on original printed mounts with Gardner's credit, titles, date, and copyright printed recto. (Pale dampstain on left mounts and portion of images, slight cockling to mounts, some marginal soiling, surface abrasion to first albumen photograph, small crease to fourth albumen photograph, small abrasions to mounts verso.) All mounted on stubs, bound in early 20th-century half green morocco, marbled boards (some overall wear). RARE SERIES OF IMAGES OF THE EXECUTION OF THE LINCOLN ASSASSINATION CONSPIRATORS The series of images taken by Gardner and his assistant, Timothy O'Sullivan, in the yard of the Washington Penitentiary on the morning of 7 July 1865, is considered to be one of the first examples of photojournalism. Roughly 1,000 people attended the execution of the conspirators; most were soldiers, but many journalists and members of the public. The grim images show the accused: Mary Surratt (who kept a boardinghouse where the conspirators met), George Atzerodt (charged with the attempted assassination of Vice President Johnson), David Herold (who assisted Booth on his flight from Washington) and Lewis Payne (who attempted to assassinate Secretary of War Stanton). Though a Presidential pardon was expected for Surratt, one was never issued, and Surratt became the first woman ever hanged by the U. S. Government. As Gardner's biographer Mark Katz writes, these scenes "remain the most vivid images from the assassination of Abraham Lincoln. It was the longest picture-story recording of an event to date, capturing a complex, significant series of events. Gardner and O'Sullivan's execution series was a 19th-century precursor of the kind of photo-journalism that subsequently became so important" (Witness to an Era, p.192). Individual images from this sequence of The Incidents of War are scarce, and there is little informed consensus on the actual number of images comprising the complete series. Not present in this group is the rare image of the ropes hanging empty prior to the hanging, and what can be considered adjunct images (the photograph of the executioners and the photograph of the initial grave sites). Only 3 lots containing 4 or more images from the series can be traced at auction in the last 20 years: The Laico set (containing 5 images), sold Christie's East 12 May 1999; another set (containing 7 images) sold Christie's New York, 12 September 2000; and another set (containing 4 images) sold at Swann Galleries, 17 October 2013.
Abraham Lincoln Related Mammoth Size Silver Gelatin Copy Photograph of Abraham Lincoln by Moses Parker Rice from the Gardner Negative Silver Gelatin Copy Photograph of Abraham Lincoln on Japanese Rice Paper, by Moses Parker Rice, reproduced from the original negative by Alexander Gardner taken on November 8, 1863, in Washington, D.C., Framed, Choice Very Fine. This large un-retouched Abraham Lincoln copy portrait by American Reproduction Photographer Moses Parker Rice is produced from the Original Negative by Alexander Gardner, taken on November 8, 1863, at Washington, D.C.. This huge Silver Gelatin Photograph measures 10.25" x 13.25" being matted and framed to 19" x 23" (by sight), not examined outside of frame. It has a more subdued appearance, not quite as crisp, rich looking, or sharp as the original colloidal images. An original Typed Letter Signed is matted and displayed on the back of frame protected by heavy cellophane. It reads, in full: "Studio Limited 375 St. Catherine St. West Montreal Plateau 2143 --- A Japanese Rice print from the original un-retouched negative of Abraham Lincoln, made in Washington by Moses P. Rice in 1864, at the time he commissioned General U.S. grant Lieut. General of all the Armies of the Republic, / Copyright in Washington D.C. 1891. / Moses P. Rice and Amos I. Rice, founder of the Rice Studio Limited Montreal, were in business in Washington during the Civil War. Rice Studio Limited". Moses Parker Rice" (1839-1925), possibly one of Gardner's former assistants, who copyrighted this portrait in the late nineteenth century, along with other photographs originally taken by Gardner. Scholars and enthusiasts alike believe this portrait of Abraham Lincoln which was taken on November 8, 1863, just eleven days before his famed Gettysburg Address, matted and framed under Plexiglas, ready to hang on display.
![[LINCOLN, Abraham (1809-1863)]. GARDNER, Alexander (1821-1882), photographer. CDV of Lincoln. Washington, DC, 1863.](https://stageimg.invaluable.com/housePhotos/Hindman/40/780240/H0587-L385838240.jpg)
![Abraham Lincoln [LINCOLN, ABRAHAM (1809-1865)]. [GARDNER, Alexander (1821-1882), photographer]. Two photographs of Lincoln conspirators Michael O'Laughlen and Thomas Jones. April, 1865.](https://stageimg.invaluable.com/housePhotos/Hindman/60/779860/H0587-L385282132.jpg)
![[NATIVE AMERICANS]. [GARDNER, Alexander (1821-1882), photographer]. Ma-za-o-ua-ti, or Iron Nation, Head Chief of the Brule Sioux. [Washington, DC]: Hayden Geological Survey, [ca 1870s].](https://stageimg.invaluable.com/housePhotos/Hindman/28/771228/H0587-L372101618.jpg)
![[NATIVE AMERICANS]. GARDNER (1821-1882), Alexander, photographer. An exceptional group of 32 Fort Laramie Treaty stereoviews. Fort Laramie, Wyoming Territory, 1868.](https://stageimg.invaluable.com/housePhotos/Hindman/28/771228/H0587-L372101610.jpg)
![[CIVIL WAR]. [GARDNER, Alexander (1821-1882), photographer]. Libby Prison, Richmond, VA., April, 1865. [With:] Libby Prison relic.](https://stageimg.invaluable.com/housePhotos/Hindman/28/771228/H0587-L372099968.jpg)
![[CIVIL WAR]. GARDNER, Alexander (1821-1882), photographer. The State Penitentiary, Richmond, Virginia. April 1865.](https://stageimg.invaluable.com/housePhotos/Hindman/28/771228/H0587-L372099860.jpg)
![[CIVIL WAR]. GARDNER, Alexander (1821-1882), photographer. Ruins of Richmond and Petersburg Railroad Bridge, Richmond, Virginia. Ca 1865.](https://stageimg.invaluable.com/housePhotos/Hindman/28/771228/H0587-L372099891.jpg)
![[CIVIL WAR]. GARDNER, Alexander (1821-1882). Canal and Ruins of Richmond and Danville Railroad Depot, Richmond, Virginia. 1865.](https://stageimg.invaluable.com/housePhotos/Hindman/28/771228/H0587-L372099858.jpg)
![[CUSTER, George Armstrong (1839-1876)]. GARDNER, Alexander (1821-1882), artist. CDV of General Philip Sheridan and his staff including Generals Merritt, Forsyth, Crook, and Custer. Washington, DC: Philp & Solomons, [1865].](https://stageimg.invaluable.com/housePhotos/Hindman/28/771228/H0587-L372099755.jpg)
![[NATIVE AMERICANS]. GARDNER, Alexander (1821-1882), photogr...](https://stageimg.invaluable.com/housePhotos/Potter_Potter/41/767541/H4052-L366848062.jpg)
![[Abraham Lincoln] Execution of the Conspirators](https://stageimg.invaluable.com/housePhotos/AmericanHeritage/24/750824/H22351-L336583627.jpg)
![[NATIVE AMERICANS]. [GARDNER, Alexander (1821-1882), photographer]. Photograph of Crow Indians at Fort Laramie, Wyoming. [1868, printed later].](https://stageimg.invaluable.com/housePhotos/Hindman/04/748304/H0587-L332915759.jpg)
![[CIVIL WAR - BURNSIDE, Ambrose (1824-1881)]. [GARDNER, Alexander (1821-1882), attrib.]. Photograph of Colonel Ambrose Burnside and Staff of 1st Rhode Island Infantry, 1861.](https://stageimg.invaluable.com/housePhotos/Hindman/03/748303/H0587-L332885218.jpg)
![[CIVIL WAR]. GARDNER, Alexander (1821-1882), photographer. CDV of Ulysses S. Grant. Washington, DC, 1865.](https://stageimg.invaluable.com/housePhotos/Hindman/03/748303/H0587-L332876309.jpg)
![[NATIVE AMERICANS]. [GARDNER, Alexander (1821-1882), photographer]. Esa-Ha-Bith or Milky Way, Comanche. [Washington, DC]: Hayden Geological Survey, 1872.](https://stageimg.invaluable.com/housePhotos/Hindman/67/734367/H0587-L306889730.jpg)
![[CIVIL WAR]. [GARDNER, Alexander (1821-1882), photographer. What do I Want John Henry, November 1862. Washington, DC: Alexander Gardner, 1865].](https://stageimg.invaluable.com/housePhotos/Hindman/67/734367/H0587-L306885589.jpg)
![[CIVIL WAR]. GARDNER, Alexander (1821-1882), photographer. Capt. Knap's Battery, Penn'a. Artillery, (General Banks' Corps,) On Battle-Field of Antietam. Washington, DC: Gardner & Gibson, 1862.](https://stageimg.invaluable.com/housePhotos/Hindman/67/734367/H0587-L306885583.jpg)
![[NATIVE AMERICANS]. [GARDNER, Alexander (1821-1882), photographer]. Cabinet card featuring Navajo Chief Mariano.](https://stageimg.invaluable.com/housePhotos/Hindman/39/725639/H0587-L293112064.jpg)
![[NATIVE AMERICANS]. GARDNER, Alexander (1821-1882), photographer. Cabinet card featuring Red Cloud. Washington, DC: 1872.](https://stageimg.invaluable.com/housePhotos/Hindman/39/725639/H0587-L293112063.jpg)
![[LATE INDIAN WARS]. GARDNER, Alexander (1821-1882). Imperial albumen photograph. Scenes in the Indian Country [Col. Bullock residence at Fort Laramie].](https://stageimg.invaluable.com/housePhotos/Hindman/39/725639/H0587-L293112034.jpg)
![[LINCOLN ASSASSINATION]. GARDNER, Alexander (1833-1864). Caption Title: Incidents of the War. Washington, D. C.: Philp & Solomons, 1865. 4 albumen photographs on printed card mounts.](https://stageimg.invaluable.com/housePhotos/Hindman/81/655781/H0587-L186404939.jpg)
