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Author: Publisher: ISBN: Category : Devil Languages : en Pages : 0
Book Description
A collection of 104 illustrated "postal covers" (envelopes) from Northern states during the United States Civl War. About 1/3 of the covers have a publisher or printer identified; most are from New York City or Philadelphia. Boston, Baltimore, Washington D.C., Indiana, and Connecticut are also identified. Only two have addresses written on the the front. Ten of the covers have illustrations filling the entire front, leaving no room for an address. About 1/3 are printed with two or more ink colors. Size varies from 11 x 6 cm to 22 x 14 cm; typical size 14 x 8 cm.
Author: Publisher: ISBN: Category : Devil Languages : en Pages : 0
Book Description
A collection of 104 illustrated "postal covers" (envelopes) from Northern states during the United States Civl War. About 1/3 of the covers have a publisher or printer identified; most are from New York City or Philadelphia. Boston, Baltimore, Washington D.C., Indiana, and Connecticut are also identified. Only two have addresses written on the the front. Ten of the covers have illustrations filling the entire front, leaving no room for an address. About 1/3 are printed with two or more ink colors. Size varies from 11 x 6 cm to 22 x 14 cm; typical size 14 x 8 cm.
Author: Steven R. Boyd Publisher: LSU Press ISBN: 0807137960 Category : Antiques & Collectibles Languages : en Pages : 169
Book Description
During the Civil War, private printers in both the North and South produced a vast array of envelopes featuring iconography designed to promote each side's war effort. Many of these "covers" featured depictions of soldiers, prominent political leaders, Union or Confederate flags, Miss Liberty, Martha Washington, or even runaway slaves -- at least fifteen thousand pro-Union and two hundred fifty pro-Confederate designs appeared between 1861 and 1865. In Patriotic Envelopes of the Civil War, the first book-length analysis of these covers, Steven R. Boyd explores their imagery to understand what motivated soldiers and civilians to support a war far more protracted and destructive than anyone anticipated in 1861. Northern envelopes, Boyd shows, typically document the centrality of the preservation of the Union as the key issue that, if unsuccessful, would lead to the destruction of United States, its Constitution, and its way of life. Confederate covers, by contrast, usually illustrate a competing vision of an independent republic free of the "tyranny" of the United States. Each side's flags and presidents symbolize these two rival viewpoints. Images of presidents Davis and Lincoln, often portrayed as contestants in a boxing match, personalized the contest and served to rally citizens to the cause of southern independence or national preservation. In the course of depicting the events of the period, printers also revealed the impact of the war on females and African Americans. Some envelopes, for example, featured women on the home front engaging in a variety of patriotic tasks that would have been almost unthinkable before the war. African Americans, on the other hand, became far more visible in American popular culture, especially in the North, where Union printers showed them pursuing their own liberation from southern slavery. With more than 180 full-color illustrations, Patriotic Envelopes of the Civil War is a nuanced and fascinating examination of Civil War iconography that moves a previously overlooked source from the periphery of scholarly awareness into the ongoing analysis of America's greatest tragedy.
Author: Publisher: ISBN: Category : Agricultural implements Languages : en Pages : 0
Book Description
A collection of twenty-seven Union postal covers with caricatures, depicting various themes related to the Civil War from 1861 to 1865. Envelope [1]: A man in a hat and long coat, a soldier turned hobo, holds a bottle in his right hand and a sack on the end of a can in his left hand; a tag hangs from his hat. Caption below the image reads: "An officer in King Cotton's army addressing his constituents." Image is printed in red ink. Envelope [2]: A pair of glasses depicting the capture and death of Jefferson Davis. The left lens contains a scene of Jefferson Davis arriving in Washington, D.C. under arrest, while the right lens depicts him hanging from the gallows. The scene is titled: "A pair of spectacles. J.D. Arrives in Washington from the 'Sunny South.' J.D. departs from Washington for a warmer climate." Image is printed in black ink. Envelope [3]: General Henry A. Wise blows through a tube into a device while McClellan looks on with a drawn word. The caption reads: "A Blower. Gen. McClellan--I say, Wise, put that thing up; everybody knows you're a good blower, but you can't fight!" Imprint of S.C. Upham, 310 Chestnut St. Image is printed in blue ink. Envelope [4]: A Southern gentleman wearing a straw hat points a revolver at a well-dressed Englishman. The Southern gentleman holds a cat o'nine tails in the crook of his left arm, as does a second Southern gentleman in the background overseeing enslaved persons. Also in the background are a Confederate flag, a palmetto tree, and a bale of cotton. The caption reads: "A new way to pay old debts, practiced by the 'Southern chivalery.'" Imprint of D. Murphy's Son, Print. 65 Fulton & Pearl Street, N.Y. Image is printed in red and blue ink. Envelope [5]: A Confederate soldier with a whip, bottle of rum, sword and Confederate flag. The caption reads: "A member of the C.S.A. alligator rangers, who is to make 5 of the "Northern mudsils" run." We don't see it. Imprint of D. Murphy's Son, Print. 65 Fulton & Pearl-Sts, N.Y. printed vertically to left of image. Image is printed in black ink. Envelope [6]: A well-dressed man turns a spinning wheel with the words "Hemps for traitors, North or South" written on it. To his left is a field of grain and to his right is a gallows. The words "Agriculture," "Manufactures," and "Fine Arts" are written below the grain, the man, and the gallows, respectively. Imprint of J. Nash printed in very fine type below the image. Image is printed in black ink on gold cover. Envelope [7]: A farmer wearing a wide-brimmed straw hat with a sword attached to his belt. He carries a rifle and drags a cannon. The caption reads: "Agricultural implements going South." Image is printed in black ink on cream cover. Envelope [8]: Children dressed in finery gather around a witch with a pointy hat, cloak, and cane. The caption read: "Commissioners of C.S.A. at the foreign courts." The image is printed in red ink. Envelope [9]: A heavy-set woman wearing bonnet and apron dress, one hand on her hip and the other extended. The caption read: "Did'nt I tell you so? Jeff. Davis." The image is printed in red ink. Envelope [10]: Two groups of troops are marching along railroad tracks. Above each is a bubble with the caption "Only 9 miles to the junction." The second bubble is missing the "l" in "only" as printed. The caption below reads: "Dedicated to the 71st Regiment and the Rhode Island boys." Imprint printed vertically to the left of image, John H. Tingley, 154(1/2) Fulton St., N.Y. Image is printed in blue ink. Envelope [11]: "Death to Traitors" printed on the top of the envelope and along its entire length. Each letter is composed of images such as a lynching, gallows, guns, soldiers, and flags. In the background are several tents and more soldiers. Imprint of E. Cogan, 48 N. Tenth Street, Philadelphia on flap. Image is printed in black ink. Envelope [12]: Jefferson Davis hanging from a noose, Zouaves standing at attention with bayonets next to a large Union flag. "Jeff. Davis" above his head. The caption reads: "Fate of Traitors!" Image is printed in red and blue ink.
Author: Publisher: ISBN: Category : African Americans Languages : en Pages : 0
Book Description
Set of ten Union Civil War postal covers with caricatured images of enslaved persons. Envelope [1]: Three well-dressed male house enslaved persons sit at a small table, one with two legs of this chair off the ground and his legs on the table's edge. "See-Session" printed above the scene with a hand pointing a finger in place of hyphen. The caption beneath the scene read, "Twill take all Massa's money and more too." Image is printed in black ink, words in red. Envelope [2]: An enslaved person stands holding a leash with a dog wearing a collar engraved "Jeff," a mule looks over a fence and says, "Jeff has the feelings of a Prince of Wails." Image is printed in blue ink. Imprint of Magee, 316 Chestnut St. Phila. printed vertically to left of image. Envelope [3]: The "Peculiar institution" printed above the bare feet of an enslaved person. Beneath is the caption, "Secession's moving foundation. Tendency due North—via Monroe." Imprint at lower bottom: "Harpel, 3d & Vine Sts. Cincinnati." Impage is printed in black ink. Envelope [4]: "Jeff the dictator" printed over a rope in figure eight configuration. In the top loop is a picture of Jefferson Davis in uniform, holding his sword and a flag with skull and crossbones. The words, "As he is" printed to the right. The lower loop depicts Davis shirtless and shoeless with only a torn pair of pants, hoeing for an African American overseer. The words, "As he should be" printed to the left. "Jeff the dig-tater-er" printed at the bottom. Impage is printed in red and blue ink. Imprinted vertically: "D. Murphy’s Son, Print. 65 Fulton & 372 Pearls Sts. N.Y." Envelope [5]: Jefferson Davis is held in the talons of a flying eagle with the "Jeff" printed to his left and words, "Oh! Lord! Let me alone!" coming from his mouth. A flag with skull and crossbones in his hands. Three enslaves persons--a woman and two young men--stand beneath him. The woman says, "Golly, Mas’a Jeff! You’s in a bad fix sure enough!" Caption at the bottom: "Uncle Sam sends his bird after traitor Jeff." Image printed in red ink. Envelope [6] is a variation of no. 5; image is printed entirely in black ink. Envelope [7]: Caption at the bottom: "The latest contraband of war." A working enslaved person stands confidently: "Whar is Massa Jeff, now dat's what's de matter." Image is printed in black ink. Envelope [8]: A white boy holds an African American baby. Printed at bottom of illustration: "Him fader's hope, him moder's joy, him darling little contraband boy." Image is printed in red ink. Envelope [9]: A bottle labeled "Black drop" with an African American's head sticking out the neck. Caption reads: "A popular medicine used by the C.S.A. aristocracy, that cannot be obtained in any Northern apothecary shop, being com-pounded-ed exclusively on the sacred soil." Imprint of S.H. Zahm, & Co. printed vertically to left of image. Envelope [10]: An African American man polishes boots in a house. Referring to Ben Butler’s capture of New Orleans, he says "By golly Mass Butler. I like dis better dan workin' in de field for ole sesesh massa." Image printed in black ink.
Author: Smithsonian Institution Publisher: Smithsonian Institution ISBN: 1588343901 Category : History Languages : en Pages : 358
Book Description
Smithsonian Civil War is a lavishly illustrated coffee-table book featuring 150 entries in honor of the 150th anniversary of the Civil War. From among tens of thousands of Civil War objects in the Smithsonian's collections, curators handpicked 550 items and wrote a unique narrative that begins before the war through the Reconstruction period. The perfect gift book for fathers and history lovers, Smithsonian Civil War combines one-of-a-kind, famous, and previously unseen relics from the war in a truly unique narrative. Smithsonian Civil War takes the reader inside the great collection of Americana housed at twelve national museums and archives and brings historical gems to light. From the National Portrait Gallery come rare early photographs of Stonewall Jackson and Ulysses S. Grant; from the National Museum of American History, secret messages that remained hidden inside Lincoln's gold watch for nearly 150 years; from the National Air and Space Museum, futuristic Civil War-era aircraft designs. Thousands of items were evaluated before those of greatest value and significance were selected for inclusion here. Artfully arranged in 150 entries, they offer a unique, panoramic view of the Civil War.
Author: Thomas Lera Publisher: Smithsonian Institution ISBN: 1935623346 Category : Antiques & Collectibles Languages : en Pages : 600
Book Description
A quiet philatelist, George H. Kaestlin joined the original Rossika Society in 1935 along with the better known Theo B. Lavroff and K. Szymanowski. Whereas Lavroff contributed significantly to Russian philately as an author and researcher and Szymanowski was an avid collector, Kaestlin collected privately. Born in Moscow, circa 1893, Kaestlin arrived in England in 1939. After World War II, When the original Rossika dissolved, he did not join the newly reconstituted Rossica Society of the United States. He never wrote for any philatelic magazine, never joined the London-based British Society of Russian Philately, and never showed his material at any exhibition. Thus he managed to elude notice in the literature of the times and receded into obscurity. Kaestlin’s exceedingly remarkable contribution, however, is found in the quality and scope of his collection and in the preservation of the treasures he acquired (many from the legendary Fabergé collection). Kaestlin’s attention to detail and fastidious collecting habits are evident in the layout and handwriting in his albums. His collection, donated to the Smithsonian Institution in 1984 by his niece Vera Madeleine Kaestlin-Bock, includes more than 1,250 album pages on which he organized more than 14,000 Imperial Russian and zemstvo stamps. The quality of the stamps is outstanding. With the publication of this book, Kaestlin can finally take his place among the greats of Russian philately. The G.H. Kaestlin Collection of Imperial Russian and Zemstvo Stamps is one of the greatest museum collections outside of Russia.
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Author: Patricia A. Kaufmann
Author: Smithsonian Institution
Author: R.A. Siegel Auction Galleries
Author: Richard C. Frajola
Author: Deane R. Briggs
Author: Thomas Lera