A complete table of contents for the Spring 2023 issue of Military Images magazine, and information about how to purchase single issues and subscriptions.
Cover A quarter-plate tintype from the Dan Schwab Collection pictures a soldier standing beside the “Jeff. Davis and the South!” placard.
Table of Contents(p. 1)
Editor’s Desk(p. 2) Previously unpublished images of a man with the “Jeff. Davis and the South!” sign and Union musicians illustrate the ongoing voyage of photographic discoveries.
Mail Call(pp. 3-4) Feedback includes praise for the recent Iowa issue and Adam Ochs Fleischer’s backdrops column, and a correction for a misidentified portrait.
Military Anthropologist(p. 4) An 1861 newspaper report lists the number of ambrotypes sent by soldiers to their families at home, and from the families to the soldiers in camp.
Passing in Review (pp. 6) A review of “Emancipation,” starring Will Smith, Charmaine Bingwa, Ben Foster and Mustafa Shakir (Apple TV).
Photo Sleuth by Kurt Luther (pp. 8-10) A Civil War portrait is identified, and the photographer is connected to William Henry Jackson of the 1871 Hayden Geological Survey to Yellowstone.
Antebellum Warriors(p. 12) Connecticut’s early mobilization was carried out by Maj. Gen. Thomas Guyer, who kept men and materials moving to the front lines throughout hostilities.
Most Hallowed Ground(p. 14) Frank Wheaton began his service as an officer in the 2nd Rhode Island Infantry and ended it as a brigadier. He fought in 41 engagements. Here’s his story.
The Honored Few(p. 16) Henry Alanson Barnum, colonel of the 149th New York Infantry, received the Medal of Honor for his courage and leadership at Lookout Mountain.
The Citizenry by Elizabeth A. Topping(p. 18) In “America’s First Sex Symbol,” the adventures of actress and poet Adah Isaacs Menken’s life and career takes center stage.
Jeff. Davis and the South! Victory or Death! 15 takeaways from a new survey by Rick Brown and Ronald S. Coddington (pp. 20-28) The recent discovery of a Confederate soldier posed with a “Jeff. Davis and the South!” placard inspired a fresh look at a rare group of Civil War portraits.
Men of War: Selected image groupings from the Phil McCoy Collection (pp. 30-43) Inspired by Confederate military history in his native Kentucky, Phil McCoy focus his collection on Southern Civil War portrait photography. Here’s a sampling.
“The Armless Hero of Fredericksburg” by Mark Savolis and Ronald S. Coddington, featuring images from Mark’s collection (pp. 46-50) The courage and compassion of Medal of Honor recipient Thomas Francis Plunkett includes seven wartime and postwar portraits of him.
An Inside Look at Baltimore’s Sanitary Fair by Dione Longley and Back Zaidel (pp. 52-59) A cache of unknown images by a 19-year-old photographer comes to light in this gallery, and a history of the fair, which was visited by Abraham Lincoln.
From Yale to Yorktown by Joe Bauman and Ronald S. Coddington (pp. 62-66) In youth, Eneas Munson served in George Washington’s elite Light Infantry Corps. In old age, he reminded new American generations of freedom’s fight.
Q&A with William P. Jones: Behind the Scenes with one of Find-A-Grave’s Dedicated Contributors (pp. 68–69) Who are the stalwart individuals working with little fanfare to post portraits and other relevant information to Find-A-Grave pages? One of them is Bill Jones.
Material Culture(p. 70) Only about 20,000 Colt Second Model Dragoon Revolvers were produced, and they are rarely seen in Civil War portraits. Here’s an example.
Behind the Backdrop: Origins, artistry and photographers by Adam Ochs Fleischer (pp. 72-73) “The Harp Backdrop of Camp Graham” is unique to a single regiment, the Zouave 23rd Pennsylvania Infantry, at Washington, D.C., in 1861-1862.
Vignette: Episodes of the Civil War by Scott Valentine (p. 74) In “My Darling Clementine,” Capt. Chauncey Harris, 14th New Jersey Infantry, is wounded at the Battle of the Monocacy and finds love during his recuperation.
Stragglers(p. 76) Union soldier portraits include groups of two pards and an unpublished stereo card of the 3rd Vermont Infantry band.
The Last Shot (p. 80) A study in Southern soldier portrait photography features and ambrotype of a man armed with Bowie knife and a Colt Root Model 1855 revolver.
The holiday season is always a time to pause and reflect on the year, and its been a great one for Military Images magazine. I am grateful to subscribers, collectors, contributors from across the United States and the world, and our advertisers. All of you make Military Images magazine possible. I want to take a moment here to highlight some of the images we shared and stories we told in 2022.
A complete table of contents for the Winter 2023 issue of Military Images magazine, and information about how to purchase single issues and subscriptions.
Cover A sixth-plate tintype from the Michael Huston Collection pictures John Wesley Morton of the 19th Iowa Infantry.
Table of Contents(p. 1)
Editor’s Desk(p. 2) “Connoisseur” is usually applied to the art historian or the sommelier. It is also an apt term to describe collectors of historic images.
Mail Call(pp. 3-4) Feedback includes praise for the recent Illinois issue, a possible Mississippi uniform identification, and a note about Confederate Brig. Gen. Lloyd Tilghman.
Military Anthropologist(p. 4) A survey of advertisements of photograph albums in newspapers.com from 1860 to 1869 shows the rapid rise in popularity of these items.
Passing in Review (pp. 6) A review of The Atlanta Daily Intelligencer Covers the Civil War by Stephen Davis and Bill Hendrick (University of Tennessee Press).
Photo Sleuth by Kurt Luther (pp. 8-10) A portrait of a soldier in the 48th New York Infantry in the Library of Congress collection had two legacy identifications. Which is correct? The author investigates.
Antebellum Warriors(p. 12) An ambrotype of a seafarer wears a uniform that may be that of a Revenue-Marine Service sailor. Revenue-Marine became today’s U.S. Coast Guard.
Most Hallowed Ground(p. 14) Andrew Geddes of the 8th Iowa Infantry made captain at age 18 and lieutenant colonel at 21. He went on to a regular army career that tarnished his reputation.
The Honored Few(p. 16) 1st Lt. James Hill of the 21st Iowa Infantry crossed into rebel lines and encountered enemy pickets. How he managed to escape resulted in the Medal of Honor.
The Citizenry by Ross J. Kelbaugh(p. 18) In “a Forgotten ‘Veteran’ Remembered,” the author pays tribute to Elizabeth Fairfax, an escaped slave connected to the 26th Iowa Infantry.
Fakes, Forgeries and Frauds by Perry M. Frohne (p. 20) A dealer’s wishful thinking to turn a portrait of a Union captain to Brig. Gen. John Buford is a lesson in getting a second opinion.
Hawkeyes! Faces and stories of Iowa Volunteers in the Civil War curated by Michael Huston and introduced by Robert Welch (pp. 23-45) Representative portraits and stories of Iowa men who served in the Union army and fought at Shiloh and other Western Theater battles.
A Captain for a Captain: A forgotten act of honor connects two prisoners of war, one from Georgia and another from Iowaby Laura Elliott (pp. 46-48) In 1871, a Southern captain told a fantastical tale of being released from prison on his honor to find a captured Union captain. Here’s the rest of the story.
Small Miracles: Abbottypes were a bold experiment in mass-produced wearable melainotypes and a unique snapshot of the Civil War in 1861by Ronald S. Coddington and Nick Penachio (pp. 50-60) Anson and Charles Abbott sold 1860 presidential campaign photo buttons. It went well. After the Civil War began, they tried with military and political figures.
The Army Education of John D. Billings: A letter by the author of Hard Tack and Coffee reveals how his wartime military experience helped him become an educator by Mike Fitzpatrick (pp. 60-62) After the Civil War ended, Union veteran John D. Billings pursued the education that eluded him before the war. Here’s how he got it, and what it meant to him.
Reminiscences of Collecting Cased Military Images, 1978-2002: Q&A with Kean Wilcox (pp. 64–67) A large number of Civil War photos from the Kean Wilcox Collection can be found in early issues of Military Images magazine. Here’s the backstory.
Material Culture (p. 70) The Zouave jacket worn by veterans of the 28th Iowa Infantry has its origins in New Orleans in 1863, suggests a survey of 16 surviving soldier portraits.
Behind the Backdrop: Origins, artistry and photographers by Adam Ochs Fleischer (pp. 72-73) The author examines Civil War period portrait photographs, with the United States Capitol building and its new dome, in the background.
Vignette: Episodes of the Civil War By Scott Valentine (p. 76) In “The Water Tiger vs. the Long Board With a Hogshead,” an Indiana soldier describes the 1862 clash of ironclad warships Monitor and Virginia.
Stragglers (p. 78) Portraits of an uncommon cobalt blue-glass ambrotype, three coatless Union soldiers, and a photograph of a military man of unknown loyalties.
The Last Shot by Michael Huston (p. 80) The author recounts how Civil War living history helped him pinpoint and unravel the mystery behind the identity of an ancestor in a wartime image.
It’s contest season! The call for entries for the Army Historical Foundation’s annual Distinguished Writing Awards competition is out, and I’m pleased to announce four nominees from 2022 issues of Military Images magazine. They are:
Illinois Facesof the Civil Warintroduced by Austin Sundstrom and featuring portraits from the image collecting community (Autumn 2022) Representative portraits and stories of Illinoisans who participated in the Civil War includes 45 images, most published for the first time.
“Life in the Civil War Research Trail” is hosted by Ronald S. Coddington, Editor and Publisher of Military Images magazine. Learn more about our mission to showcase, interpret and preserve Civil War portrait photography at militaryimagesmagazine.com.
On a bright, beautifully clear Indian summer afternoon about a hundred invited guests attended the unveiling of the new interactive memorial to Mathew B. Brady in Congressional Cemetery. The memorial was erected on a double plot right next to Brady’s final resting place and features state-of-the-art photography displays. The expansive memorial was the creation and personal contribution of photographic historian Larry West of Washington, D.C. From its inception the site was designed to engage and inform visitors about Brady’s heroic efforts to record the history of his era through the enduring power of photography. West’s tribute to Brady evolved gradually over a period of four years. The central element incorporates a granite wall 8 feet high by 8 feet wide that tells in detail Brady’s life story. On the back side of the wall are two bronze plaques with Brady’s biographical information about his photographic career, his success, financial disasters and his relegated obscurity.
Overview of the Mathew Brady Memorial showing the photo gallery wall, the statues of Lincoln and Frederick Douglass and the life size photograph of Brady posed with his camera. Congressional Cemetery, Washington, D.C. Photograph by Jack Krainik
On the front of the wall are positioned eighty-five fired porcelain reproductions of Brady photographs, mostly by Brady and his photographers. A group of fourteen portraits of Brady, his wife Julia and his nephew and business associate, Levin Handy are displayed in one section. Another grouping of a dozen or so images portrays Abraham Lincoln, his assassin, the conspirators and their execution. Twelve images of African Americans grace the Brady display including the likenesses of Sojourner Truth, Harriet Tubman, Frederick Douglass, and William Still, “Chief Conductor” of the Underground Railroad. Of course Brady’s portraits of famous personalities from all walks of life are here too among them Generals Grant and McClellan, First Lady Dolly Madison, writers Walt Whitman, and Charles Dickens, P.T. Barnum and Tom Thumb, Thomas Edison, Oglala Lakota leader Red Cloud, General Custer and “The March King” John Philip Sousa who, incidentally, reposes not very far from the Brady Memorial. To illustrate how many important Brady photographs are of an iconic nature, part of the display presents United States postage stamps with the portraits of famous Americans taken by Brady including presidents Zachary Taylor, Abraham Lincoln, U.S. Grant, Rutherford B. Hayes plus Clara Barton founder of the American Red Cross and the artist and inventor Samuel B. Morse. In a final acknowledgement to Brady’s connection to the U.S. Postal system, Larry West fashioned a section of portraits relating to the Pony Express. Shown are the likenesses of Buffalo Bill Cody who rode the Pony Express at age fifteen, a group of the first riders, Richardson, Fry, C & G. Cliff and a fine likeness of Sophia Hollenberg, co-founder of the Kansas Station– all portraits taken by Brady.
State-of-the art, life size, fired porcelain photograph of Mathew Brady. The original portrait of Brady wearing a duster and straw hat, was taken shortly after his return from the ill-fated sojourn to the battlefield of Bull Run, July 1861. His likeness is position next to a bronze rendering of a large format, circa 1860s wet-plate view camera. Photograph by Jack Krainik
Facing the wall with its multitude of imagery is a state-of-the- art, full-length, life size fired porcelain photograph of Mathew Brady. The original portrait of Brady wearing a duster and straw hat, was taken shortly after his return from the ill-fated sojourn to the battlefield of Bull Run, July 1861. His likeness is position next to a bronze rendering of a large format, circa 1860s wet-plate view camera.
Approaching the Brady and camera ensemble are two life size heroic statues of President Abraham Lincoln and the great American social reformer and statesman Frederick Douglass. Lincoln holds a sheet of paper in hand with a written excerpt from the Emancipation Proclamation – “All persons held as slaves shall be then, thenceforward and forever free. Done at the city of Washington, this first day of January in the year of our Lord one thousand eight hundred and sixty three. By the President Abraham Lincoln” Frederic Douglass, the most photographed man of the 19th century, holds a walking stick given to him by Mary Lincoln after the assassination of the president. The bronze cane is an exact replica copied from the original owned by the National Park service on display at Cedar Hill, Frederick Douglass’s estate in Anacostia. Both statues were cast at the Matthew Foundry near Venice, Italy then shipped to Georgia for assembly before installation at Congressional Cemetery.
Larry West expressed his thoughts about Mathew Brady on two bronze plaques attached to the memorial:
Two bronze plaques with Brady’s biographical information about his photographic career, his success, financial disasters and his relegated obscurity are placed on the reverse side of the Memorial Wall. Photograph by Jack Krainik
“THE CAMERA IS THE EYE OF HISTORY Mathew Brady was one of the most outstanding early photographers in American history, with his work from 1844 to 1895. He is credited today as the Father of Photojournalism. This memorial was erected to honor him. His photography, as well as his other attributes & accomplishments. From the 1840s, through the 1860s, and for decades thereafter, he photographed the rich and famous; politicians & soldiers; & everyday men and women—across the races. His telling images impacted society; they still resonate with us. The bronzes of Abraham Lincoln and Frederick Douglass standing here are based on his images. He was an entrepreneur, photo-innovator, and leader – enabling him to develop teams of assistants, in the field and gallery, including Alexander Gardner, Timothy O’Sullivan, George Barnard and Anthony Berger. These employees, in his New York and Washington galleries, and field teams, often performed actual camera operation, due to his deteriorating eyesight, but he was always a strong supervisor and posing artist. His brand, “PHOTO BY BRADY”, in both America and Europe, was established by his ability to secure sittings, capture the essence of the subject matter, innovate as photo-technologies changed – & managed people.”
Larry West of Washington, D.C., the creator of the Brady Memorial, points to a photograph of Red Cloud and a delegation of Oglala Lakota who visited Washington after the Civil War. Photograph by Jack Krainik
Another plaque is placed on the right side of the columbarium furthest from Brady’s grave. The inscription reads: “Mathew Brady was a risk-taker from gallery financing to battlefields with cannons. He and his team jeopardized life and limb to capture the horror of Civil War brutality and death, and then bring it into public view. In the actual self-portrait of him standing opposite you, next to the bronze of his camera, he wears the sword given him for self-protection, at the devastating 1861 battle of Manassas – occurring only 30 miles from this spot.
Mathew is buried in the Handy family plot close to us here. Next to him is his lifelong loving wife, Julia Handy. Also here is Levin Handy, his nephew, who learned from & worked for Mathew for decades. Levin also became very successful, later photographing the Library of Congress construction. When Mathew was in extreme financial hardship in later year, Levin financed and housed Mathew and Julia, and was even a Brady bankruptcy creditor. Levin eventually inherited the Brady photography business.”
Larry West created and gave the Mathew Brady Memorial for generations to understand the importance of Brady’s photographs. Larry is flanked by life size bronze statues of President Abraham Lincoln and statesman Frederick Douglass. The statues were cast in Italy and brought to Congressional Cemetery during difficult pandemic times. Photograph by Jack Krainik
At three in the afternoon as the sun arched westward radiating the acres of stones at Congressional Cemetery, Larry West stepped up to the podium and thanked all for attending. He recounted his lifelong interest in historic photography and spoke about the important collection of antebellum images, mostly daguerreotypes, made by talented African American photographers that he assembled and sold to the Smithsonian American Art Museum. He told about his admiration for the visionary Mathew Brady and how he felt compelled to help educate the current generation of school children about the legacy that Brady had given to them. In turn he introduced the three speakers for the occasion: Cliff Krainik of Warrenton, Virginia, a photographic historian gave a brief account of Brady’s life. He spoke about the visit to Brady’s New York gallery by the Prince of Wales, the future King of England, Edward VII (Queen Elizabeth II great grandfather) and how Brady received a gold ring from the Prince. Cliff related how Brady in 1863 photographed a delegation of Southern Plains Indians who came to visit President Lincoln in the White House. Yellow Bear chief of the Kiowa died a few days after the group photograph and was buried in Congressional Cemetery just a short distance from Brady’s grave. Next, Grant Romer, a world authority on early photography and former Conservator of Photography at the George Eastman House spoke about the lasting quality of photography and how important Brady’s work was in creating an historic memory for the present day; and lastly David Kent, President of the Lincoln Group of the District of Columbia, gave an account of the significant role Mathew Brady’s Cooper Union portrait of candidate Abraham Lincoln played in the election of 1860 and of the several Lincoln portrait sessions in Brady’s Washington gallery during the Civil War.
Speakers at the dedication of the Mathew Brady Memorial. Left to right: David Kent, President of the Lincoln Group of the District of Columbia, Grant Romer, an international authority on early photography and former Conservator of Photography at the George Eastman House, and Cliff Krainik of Warrenton, Virginia, photographic historian, dealer and appraiser of 19th century photography. Photograph by Jack Krainik
After the presentations were made the congenial group assembled around the memorial and a rollicking toast was offered to the great Civil War photographer – Happy Birthday Mathew Brady ! In the glow of the ebbing afternoon I felt Brady’s presence and imagined him among us directing his assistants where best to position their cameras to record the event. “See over there” whispered Brady –“ That grave stone is the prefect height. Please have Mr. West sit there – I’ll tell you how to take his portrait.”
A complete table of contents for the Autumn 2022 issue of Military Images magazine, and information about how to purchase single issues and subscriptions.
Cover image A sixth plate tintype from the Allen Cebula Collection pictures Charles W. Thompson of the 15th Illinois Infantry.
Table of Contents(p. 1)
Editor’s Desk(p. 2) Brisk sales of top-tier images are an indicator of a healthy collector’s market. However, we do need affordable images to sustain growth in the hobby.
Mail Call(pp. 3-4) Feedback includes praise for stories in the last issue, including a profile of Lafayette Curry Baker, and support for a Mississippi image identification.
Military Anthropologist(p. 4) A survey of 190 identified Confederate portraits published in Military Images reveals format variations in six Southern states.
Passing in Review (p. 6) We recommend two books: Colonels in Blue by Roger D. Hunt (McFarland) and White House Renovation Souvenirs by Wayne Smith (Glade Valley History Press).
Photo Sleuth by Kurt Luther (pp. 8-10) A review of a grouping of U.S. Colored Troops officer photos in the American Civil War Museum collection reveals partial and misidentifications.
Antebellum Warriors(p. 12) A sixth plate tintype of an axe-wielding sapper, the 1850s military equivalent of the Corps of Engineers of the Regular Army.
Most Hallowed Ground(p. 14) Edward Bancroft Williston of the 2nd U.S. Artillery distinguished himself and his battery on the front lines during the 1864 Battle of Trevilian Station.
The Honored Few(p. 16) Charles Henry Smith led his 1st Maine cavalrymen against Confederate Maj. Gen. Wade Hampton’s troopers, and later received the Medal of Honor.
The Citizenry (p. 18) Daughters of the Regiment played an important role during the early days of the war, rallying recruits and appealing to patriotic impulses.
Fakes, Forgeries and Frauds by Perry M. Frohne (p. 20) The must-have piece of fake detection equipment in your toolkit is this 10x magnifier.
Illinois Faces introduced by Austin Sundstrom and featuring portraits from the image collecting community (pp. 23-41) Representative portraits and stories of Illinoisans who participated in the Civil War includes 45 images, most published for the first time.
Birthplace of the American Zouave by Ron Field (pp. 42-50) The origins of Elmer Ephraim Ellsworth and how he fostered Zouave mania first in Chicago, Ill., and through the rest of America.
Beddo’s Bravery by Ronald S. Coddington, featuring artifacts from the Paul Denver collection (pp. 52-57) At Shiloh, Sgt. Ira Beddo of the 11th Illinois Infantry proved his valor when, though badly wounded, he carried the colors in a memorable charge.
Hannibal’s Freedom by Ronald S. Coddington (pp. 58-61) During the waning weeks of the war in North Carolina, the 12th Illinois Infantry mustered a new recruit into its ranks—am enslaved man.
Women Photographers of Illinois by Henry A. Pomerantz (pp. 62–63) The author has recorded more than 550 photographers operating in Illinois during the Civil War years, including 14 women.
Getting a History Fix Behind of and In Front of the Camera: Q@A with Will Eichler(pp. 64-66) Will Eichler discusses his work in the film industry, passion for the Civil War, and history-related projects including short films and HistoryFix.
Material Culture by Ronald S. Coddington (pp. 70-71) The Dimick Target Rifle, produced in St. Louis, appealed to hunters in peacetime. During the Civil War, sharpshooters in the 66th Illinois Infantry used it.
Behind the Backdrop: Origins, artistry and photographers by Adam Ochs Fleischer (pp. 72-73) “The Cavalry and Cannon backdrop” was used at Camp Hendershott in Iowa, and likely Illinois, by photographer Charles S. Newberry.
Vignette By Scott Valentine (p. 76) Charles Augustus Oliver ran away from home and joined the 11th New Jersey Infantry. He suffered wounds at Fredericksburg and Gettysburg.
Stragglers (p. 78) Portraits of a Virginia soldier, a Confederate who likely hailed from Alabama, and an officer in the 13th New York State Militia.
The Last Shot(p. 80) Eli F. Chittenden had a passion for printing. After joining the 14th Illinois Infantry, he utilized his skills as publisher of a camp newspaper, the Skirmisher.
The search for portrait photographs of specific Civil War veterans can be challenging and time-consuming—and incredibly rewarding when you look upon the face of the person you’ve been seeking.
Military Images might be able to help you in your quest. We are building a database of all the identified U.S. and C.S. soldiers, sailors and other participants that have appeared in the magazine since our founding in 1979.
Each entry in the database includes five major categories of information:
Individual’s name
State, unit and branch of service
Issue and page number of Military Images (and a link to the archived version on jstor.org)
Image format and information about the photographer
Relevant notes
This database is a public service for collectors, researchers, genealogists and others interested in Civil War portrait photography. Visit the database. We encourage your feedback.
A complete table of contents for the Summer 2022 issue of Military Images magazine, and information about how to purchase single issues and subscriptions.
Cover image A quarter-plate ambrotype from the Mathew L. Oswalt M.D. Collection of pictures a Mississippi soldier.
Table of Contents(p. 1)
Editor’s Desk(p. 2) Can an original Civil War photograph become a non-fungible token (NFT)? Should it? The editor created one in an effort to answer these questions.
Mail Call(pp. 3-4) Feedback includes information about Missouri’s Schofield Hussars and notice of the passing of Cary Delery, longtime proprietor of The Historical Shop.
Military Anthropologist(p. 4) A survey of 869 identified Civil War military portraits reveals that ambrotypes dominate in the South, and cartes de visite were most popular in the North.
Passing in Review (pp. 6-8) Bill Hendrick reviews Ends of War: The Unfinished Fight of Lee’s Army after Appomattox by Caroline E. Janney (University of North Carolina Press).
Photo Sleuth by Kurt Luther (pp. 10-12) The National Portrait Gallery’s Civil War collection includes an image of three unidentified U.S. officers. The author investigates and identifies them.
Antebellum Warriors(p. 14) A daguerreotype of a soldier ornately dressed in gold braid reminds one of “Old Fuss and Feathers,” Winfield Scott. He may be a photographer-militia officer.
Most Hallowed Ground(p. 16) Artworks picturing David Farragut lashed to Hartford’s rigging at Mobile Bay are accurate. The man who secured him is profiled here: John Crittenden Watson.
The Honored Few(p. 18) Edward Washburn Whitaker of the 1st Connecticut Cavalry received a Medal of Honor for an 1864 act of courage, but it best know for Appomattox.
The Citizenry by Elizabeth A. Topping(p. 20) In “Heroines of the Hearth,” the author pays tribute to women who contributed in many ways to support the troops and the country during the Civil War.
Fakes, Forgeries and Frauds by Perry M. Frohne (pp. 22-23) Results of our “Fake Radar Contest” — a chance to test your knowledge of fake cartes de visite and win a prize!
Mississippi Faces: Portraits from the Matthew L. Oswalt, M.D., Collection (pp. 24-37) Representative portraits and stories of Mississippi men who served in the Confederate army and fought in the Eastern and Western Theaters of the Civil War.
A Scottish Blockade Runner: The life and times of Joannes Wyllie, commander of the Ad-Vance by John F. Messner (pp. 38-41) Much is known about the exploits of the blockade runner Ad-Vance, but very little about its captain, Joannes Wyllie — until now.
“How They Went Forth to the Harvest of Death”: A concise account of the U.S. Regular Infantry at Gettysburg by Charles T. Joyce, featuring images from the author’s collection (pp. 43-51) The story of the diehard U.S. Regulars at the Battle of Gettysburg has been largely overlooked. This account reveals the trials and tribulations they endured.
Under the Banner of Emancipation and National Unity: The Woman’s National Loyal League and the call to political activism by Ronald S. Coddington, featuring an image from the Mike Werner Collection (pp. 52-57) In 1863, loyal Union women led by Susan B. Anthony and Elizabeth Cady Stanton formed a new organization to support the war and lobby for a human rights agenda.
Scoundrel: The rise and fall of Union spy chief Lafayette Curry Baker by David B. Holcomb (pp. 59–67) Lafayette C. Baker’s journey took him from San Francisco vigilante to Allen J. Pinkerton adversary to controversial spy chief and captor of Booth. His story.
Behind the Overlooked Stories of the Untold Civil War: Q@A with Paul Hoza(pp. 69-71) The host of the popular podcast Untold Civil War talks about his fascination with history, the 79th New York Highlanders, and his media journey.
Material Culture by Frank Graves (p. 72) The Walch Navy revolver is a rarity. By one estimate, only 200-300 were produced. Images of soldiers armed with the weapon are equally as rare. Here’s one.
Behind the Backdrop: Origins, artistry and photographers by Adam Ochs Fleischer (pp. 74-75) In “House Near the Susquehanna,” Fleischer examines the distinctive painted canvas featured in photographs by Kern & Gaugler of Selinsgrove, Pa.
Vignette By Scott Valentine (p. 76) In “Alone in His Glory,” we meet Lt. Col. Henry H. Pearson of the 6th New Hampshire Infantry. He made the ultimate sacrifice at Petersburg in 1864.
Stragglers (p. 78) Portraits of a Texas officer, a Modoc War veteran, and a rare late Civil War daguerreotype of a U.S. soldier wearing a corps badge on his cap.
The Last Shot(p. 80) Hardtack and coffee were standard fare for most U.S. soldiers in the Civil War — and the subject of ridicule to weary troops craving a varied diet.
Congratulations to Paul Russinoff for winning an award of excellence in the prestigious Army Historical Foundation Distinguished Writing Awards. The annual competition honors books and articles published in 2021.
Paul won the top award in the Journals and Magazine category for “A Savior of the Capitol,” the cover story in our Spring 2021 issue. Paul tells the story of Benjamin Franklin Watson, a New Hampshire native who settled in Lowell, Mass., before the war. He served in the 6th Massachusetts Infantry when the regiment received orders to report to Washington, D.C., during the days following the rebel attack on Fort Sumter. Paul details Watson’s rise from a respected leader in Lowell to his leadership of the regiment as it journeyed through hostile mobs in Baltimore to sleeping in the U.S. Capitol and beyond. The story is illustrated with portraits of Watson and others. The honor includes a plaque and $250 cash award.
Historic Congressional Cemetery in Washington, D.C., the final resting place of Mathew Brady, will be home to a new memorial honoring the Father of Photojournalism. The Mathew Brady/Levin Handy Memorial is the culmination of the vision of Larry J. West, a collector of 19th century photography. The Smithsonian Institution acquired 286 items from West’s collection last year.
The new memorial will be adjacent to Mathew Brady’s burial plot at Historic Congressional Cemetery.
The new memorial is a unique interactive space featuring bronze statues of Abraham Lincoln, Frederick Douglass, and Brady’s camera. It also features more than 80 fired porcelain, artisanal Italian ceramic images, including a life-size ceramic of Brady. As Larry notes, the memorial honors Brady as a “pioneer photographer, technical innovator, entrepreneur, photo team leader and recorder of American history.”
It will be unveiled later this year.
For more information about the memorial and the dedication ceremony, contact BradyMemorial200@gmail.com.
