Richard F. Outcault Buster Brown Sunday Comic Strip Original Art dated 8-15-09 (American-Journal Examiner, 1909). "At the Seashore with" Buster Brown! The King of Scamps steals an aeroplane and bombs a man with produce. That boy is trouble! Created in ink over graphite on Bristol board with an image area of 18.75" x 22.75". As was the process at the time, this is partially watercolored. Each character, scene, and item was colored the first time it turns up in the Sunday, and the printer is supposed to use that as a guide for any further appearances. The board is toned, with pinholes in the margins, and some corner damage. In Very Good condition. Comes with a tear sheet of the published comic strip, which on the reverse side has a Jimmy Swinnerton strip and Howson Lott! He Lives Out Of Town by Frederick Opper. From the Outcault Family Collection.
Richard F. Outcault Buster Brown Sunday Comic Strip Original Art (American-Journal Examiner, 1909-1915). Buster starts a babysitting business, but discovers sitting is something he can't stand. Dated only as January 17, this would have to be from either 1909 or 1915. Signed in the last panel. Created in ink over graphite on Bristol board with an image area of 18.75" x 20". As was the process at the time, this is partially watercolored. Each character, scene, and item was colored the first time it turns up in the Sunday, and the printer is supposed to use that as a guide for any further appearances. The board is toned, with rips in the side margins and corner damage. In Very Good condition. From the Outcault Family Collection.
Richard F. Outcault Buster Brown Sunday Comic Strip Original Art dated 9-9-16 (Newspaper Feature Service, 1916). It is no "Secret of Goodness" that Smitty has the measles. Sadly, its the only thing he's good at sharing! Created in ink with some watercolor over graphite on Bristol board with an image area of 18.75" x 20". As was common at the time, the strip is watercolored as a reference to the printer, but only for the first appearance of a character or scene. That's why it is only partially colored. There is a date of September 3 in the bottom margin, but we have verified that it appeared in papers on September 9. Signed by Outcault in the last panel. There are pinholes in the margins, a repaired 2.5" rip in the bottom, and a few other small marginal rips and nicks. Matted to 24" x 25.25". Overall, in Very Good condition.
A carved marble portrait bust of a gentleman in classical dress, signed to the back, L.MACDONALD. FECIT. ROMAE 1847, together with a large mahogany column, 49cm wide, 26cm deep, 65cm high (19in wide, 10in deep, 25 1/2in high) the pedestal, 46cm wide x 121cm high
War Pony inscribed and numbered 'Allan / Houser / 9/20' (on the base) bronze with dark brown patina 23 1/2in high on a 3in wood base Modeled in 1978.
Charles P. Corliss, Bradford VT, No. 1864 Rare Early Stem Wind Conversion Case: Am. Watch Co. with eagle hallmark, coin silver, 18 size, case back with engraved number 16 Dial: enamel, Roman numerals, signed Charles P. Corliss Movement: No. 1864, gilt full plate, large clear conical sapphire jewels in screw down setting, 15 jewels, bi-metallic balance with gold winding screws Presumably an early trial by Charles P. Corliss who, as an employee of the Elgin National Watch Co, obtained 5 patents for various stem winding mechanisms between 1879 and 1897. The serial number is possibly the date of the conversion.
Robert E. Lee and Joseph Johnston: Carte-de-Visite by Ryan of Savannah. Rare carte showing Johnston and Lee seated together at a small table with Lee gesturing to Johnston to look at a document placed between them. Made for the use of the Ladies Memorial Society of Savannah and taken in April, 1870. Titled at the top of the image, around the oval, "Respectfully dedicated to the Ladies Memorial Association Gels. R. E. Lee and J. E. Johnston." Credit and back mark of D. J. Ryan of Savannah. Some flyspecks concentrated along left side, some glue and paper remnants on verso from previous mounting. Nice clarity and tone. Another view being sold in this sale has an inkwell placed on the table.
Robert E. Lee: Pristine Peter Gibbs Carte-de-Visite [CDV] after Vannerson. Extremely sharp and clear example of the "floppy tie" portrait (the second in the series). Back mark of P. E. Gibbs of Richmond, likely made using the original Vannerson negative. Peter Gibbs occupied a studio previously used by Vannerson. This carte dates post-November 1866 when Gibbs changed addresses from 77 Main Street to 1427 Main Street. Gold rule borders, sharp corners. Exceptional in all respects.
Robert E. Lee: Post-Appomattox "Back Door" Carte-de-Visite [CDV]. Outdoor view of a seated Lee with son Custis on his right and aide-de-camp Walter Taylor on his left. It was taken immediately after the surrender at Appomattox in April 1865 behind Lee's home on Franklin Street in Richmond. Gold rule borders, E. & H. T. Anthony back back. Light soiling and toning, very minor bend to upper left corner. Good condition.
Robert E. Lee: "Back Door" Carte-de-Visite [CDV] by Anthony/Brady. A bold example of Brady's portrait of Lee taking in April 1865, immediately after the surrender of the Army of Northern Virginia at Appomattox Court House. This pose is the second most rare of the six known poses taken at that time. Printed from the original Brady negative with E. & H. T. Anthony of New York back mark. Gold rule borders,sharp corners, light soiling and toning.
Robert E. Lee and Joseph Johnston: "Inkwell" Carte-de-Visite [CDV]. Reduced version of larger albumen photograph produced on order for the Ladies Memorial Society of Savannah. It shows the two Confederate generals seated across from one another with an inkwell and some papers on the table. One of three poses made at this sitting in April 1870. Titled at the top of the image, "Gel's R. E. Lee and J. E. Johnston." Credit and back mark of D. J. Ryan of Savannah. Gold rule borders, coated stock mount, sharp corners. A very clean example of a hard-to-find carte.
Robert E. Lee: Full Standing "Blockade Portrait" Carte-de-Visite [CDV] by Vannerson & Jones. Post-war printing of the 1864 studio portrait by Vannerson, one of two views taken for use by E. V. Valentine as models for his sculpture. This was printed from Vannerson's original negative after he had formed a partnership with Jones. Gold rule borders, Vannerson & Jones of Richmond back mark. Excellent condition, clear and clean.
Robert E. Lee: Boldly Signed Carte-de-Visite [CDV]. A rarely seen pose which is one of two photographs made by Henry Pollock of Baltimore, Maryland in 1869 while Lee was on his way to Washington, D.C. to meet General Grant. This is the first series of photographs made of Lee while he was wearing a necktie. Blind stamped "Pollock" along the bottom. Slight trim to bottom and right edges. Stain in upper right corner. Inscribed in pencil on verso: "Genl Lee signed this card in my presence in September, 1869. A. T. Eastland."
Robert L. Rasmussen Signed Limited Edition "Naval Aviation in Space" Print, Presentation Copy, Signed by Nine Astronauts, in Framed Display, Directly from the Family Collection of Wally Schirra. A 20" x 27.75" (sight size) artist-signed and numbered color lithograph of a watercolor collage by noted artist (and Naval aviator) Robert L. Rasmussen, with scenes depicting various periods of the American space program. It is attractively double matted and framed to an overall 25.75" x 33.25". Nine naval astronauts have each signed in pencil in the bottom margin above their printed names, as follows (left to right, top row first): "Rick Hauck" (STS-7, STS-51-A, STS-26); "Alan Shepard" (Mercury 3, Apollo 14); "Neil Armstrong" (Gemini 8, Apollo 11); "Charles Conrad Jr." (Gemini 5, Gemini 11, Apollo 12, Skylab 2); "Jack Lousma" (Skylab 3, STS-3); "John Glenn" (Mercury 6, STS-95); "Gene Cernan" (Gemini 9A, Apollo 10, Apollo 17); "James Lovell" (Gemini 7, Gemini 12, Apollo 8, Apollo 13); and "Wally Schirra" (Mercury 8, Gemini 6A, Apollo 7). These prints were all signed during an event at the Naval Aviation Museum in 1989 to raise funds for the museum. A rare and desirable combination of signatures including the first American in space, the first American to orbit the Earth, the first man to walk on the moon, and also the last man to do so. Very fine. Included with this lot will be a signed Certificate of Authenticity from Wally's son, Walter.
Robert E. Lee: Boldly Signed Carte-de-Visite of Lee as President of Washington College. Seated view of Lee facing right, signed "R E Lee" below. Boude & Miley credit and back mark ("Stonewall Art Gallery"). This was made at the same time as the left oblique pose used for the composite of the faculty and staff of Washington College in 1867-68. This is the non-vignetted, non-cropped from-life view. Gold rule borders, some brown marks/loss in the negative, affecting the armchair and Lee's elbow. Light wear to corners and light soiling. Inscribed on verso: "To Miss Tula Daniel/ From her/ Friend./ Seth Shepard/ Brenham Texas May 29th 1869." Shepard was a Confederate veteran and future Federal judge. Ms. Daniel, of Harrodsburg, Kentucky was the daughter of a prominent attorney. Her brother was killed at Chickamauga. Shepard graduated in 1868 and likely asked Lee to personally sign this memento. It remained in the possession of descendants of the Daniel Family until purchased in 2015.
Robert E. Lee: Rees Signed Carte-de-Visite [CDV]. An uncommon pose, taken by C. R. Rees in late 1867, when Lee came to Richmond for his son's wedding. It was one of three poses taken at that time. One of these poses which the General did not want published is all but non-existent. He objected to it because "It made him look more like a prosperous Southern planter than a defeated warrior." Gold rule borders, Rees back mark, light soiling and fading to the signature. Paper and linen tape remnants on verso from previous mounting in an album.
Robert E. Lee: Vannerson "Blockade Portrait" Carte-de-Visite [CDV] Signed by Lee on Verso. Studio portrait of Lee in military uniform taken by Vannerson in 1864, as sent to Edward V. Valentine for his sculpture of Lee. It is the more common of two standing poses taken during this session. This was printed from Vannerson's original negative after he had formed a partnership with Jones. Back mark of Vannerson & Jones of Richmond. Signed on verso in ink "R. E. Lee". Gold rule borders, clipped corners, 2-cent revenue stamp cancelled in ink by the photographer "V J June 12, 1865". Slight fading to Lee's signature. Very good condition overall.
Robert E. Lee Autograph Letter Signed "R E Lee." One page, 8" x 9.75", Lexington, Virginia; February 9, 1869. Lee, writing to Jonathan E. Edwards, regarding an inquiry mistakenly referred to him. It reads in full: "My dear Sir. I was aware that the letter of Mr. A.S. Nesbit of S.C. had been addressed to me through mistake, & readily imagined how such mistakes occur. I receive many letters from home & abroad under the supposition that I am connected with institutions to which I do not belong. I merely referred the letter to you, that you might give the writer the information he desired. This is my habit. Wishing your company every success." At this time, Lee was serving as president of Washington College, a position he held until his death in October 1870. Condition: Usual mail folds, with some light toning around the edges. Two small separations at the edges have been reinforced with small strips of tape on verso.
Robert E. Lee: Unpublished, Boldly Signed Carte-de-Visite [CDV]. Vignetted bust of Lee, looking directly into the camera wearing a double-breasted frock coat and vest, taken during the Fall/Winter of 1865-1866 by Isaac N. White and Joseph Kelly. White & Kelly took one outdoor view of Lee atop Traveller and two indoor shots. Cancelled 2-cent revenue stamp on verso, inscribed "White & Kelley". It was held and treasured by the same Virginia family from 1866 until 2013, when sold at auction. It descended in the Alexander Family of the "Riverside" plantation in Stuart's Draft, Augusta County, Virginia and was found snugly secured inside a copy of "General Lee: Great Commander Series" by Fitzhugh Lee from the Alexander library. Sharp corners, exemplary in all respects.
Robert E. Lee:L Boldly Signed Carte-de-Visite [CDV] by Miley. An extremely fine and desirable carte of Lee, made by Michael Miley of Lexington, Virginia, in 1869 while Lee was President of Washington College. Gold rule borders, coated stock mount, back mark of "Stonewall Art Gallery Boude & Miley Lexington, Va." Great condition... about as nice as they come!
Robert E. Lee: Boldly Signed Brady Carte-de-Visite [CDV]. Portrait taken by Mathew Brady in his Washington, D.C. studio in early 1866 when Lee was attending a Senate hearing. There are at least nine known variant views taken from this sitting. Brady apparently used a 2-lens stereoscopic camera for this view and some of the others. Boldly signed "R E Lee" below the portrait. Gold rule borders, sharp corners, Brady credit and back mark. A very fine example.
Webb. C. Ball "Superior St." Hampden No. 76000 Case: nickel, 18 size display case Dial: enamel, black Arabic numerals, red five minute numbers, tulip hands Movement: nickel full plate, No. 76000, 15 jewels, adjusted, marked "Superior St." (the original location of the first Webb. C. Ball store in Cleveland Ohio
Robert E. Lee: "Floppy-Tie" Copy-Image Cabinet Card. Vignetted portrait copied from the Julian Vannerson original. Apparently made by J. W. Davies of the Lee Gallery, post-war, using the original Vannerson negative. Paper label on verso reading "Gen. R. E. Lee. From Original Negative in possession of 'Lee' Gallery, Richmond, Virginia." Pink coated-stock mount with faint rubber stamp inscription: "Collection of Ambrose Lee Williamsbridge New York City". Ambrose Lee used this image to produce photogravures which he advertised for sale in the "Confederate Veteran" magazine in 1908. Gold bevelled edges, somewhat light with slight waviness to mount and minor soiling.
Robert E. Lee: Copy-Image of Brady Carte-de-Visite [CDV]. Unmarked specimen of the standing "back door" portrait of Lee, taken by Mathew Brady shortly after the surrender at Appomattox in April 1865. Some mottling, not affecting portrait which is perfectly clear. Gold rule borders, three rounded corners, lower left corner of albumen has lifted slightly.
Robert E. Lee: Outdoor Carte-de-Visite [CDV] Taken in 1866. View of Lee astride Traveller, taken in Lexington, Virginia sometime in 1866 by White & Kelly. Top corners clipped, trimmed at bottom, as shown. Some lightness or glare along right side. A very scarce image.
Robert E. Lee: Ultra Rare Mathew Brady "Clock" Carte-de-Visite [CDV]. Portrait of seated Lee in the "Brady chair", legs casually crossed, with an ornate clock on the table next to him. Almost always seen in large format, this is one of the very few copies known of the entire photograph in CDV format. Gold rule borders, Brady credit dated 1865 (on a surplus mount), lateral crease that crosses Lee's right ankle, 2-cent revenue cent and M. B. Brady & Company back mark. Very clear with good tonality.
Robert E. Lee: "Blockade Portrait" Carte-de-Visite [CDV] Pirated by Yankee Photographer in Occupied Richmond. Vignetted "blockade" portrait originally taken by Vannerson, but apparently copied by Northern photographers in occupied Richmond. The reverse is inscribed "Genl. Lee/ Harris & Bancroft/ Richmond, Va/ July 4th 65". They likely accompanied the federal "Army of the James" to Richmond. Their business card was noted in The Commercial Bulletin of Richmond as late as November 1865 with a gallery on Broad Street, but they were not listed in the 1866 directory. The last troops of the "Army of the James" mustered out in February 1866. Gold rule borders, excellent condition with glue remnants around the perimeter of the verso.
Robert E. Lee: "Floppy Tie" Carte-de-Visite [CDV] by Vannerson. Vignetted head-shot of Lee taken sometime in 1864 by Vannerson. Back mark of Vannerson & Jones of Richmond. This, along with the cancelled 2-cent revenue stamp, indicates it was published before November, 1865. Gold rule borders, trimmed to albumen at bottom, light soiling, paper hinge remnant at top of verso.
Robert E. Lee: Confederate-Issue "Booted and Spurred" Carte-de-Visite [CDV]. 2.25" x 4" portrait on somewhat brittle mount, embossed Minnie & Cowell credit dated 1863 below. The poor quality of the paper is a reflection of the scarcity of photographic supplies and paper during the war. Two corners clipped, vertical crease running through Lee's arm, loss to lower corners, vertical tear affecting four lines of the embossed inscription. Light soiling or discoloration. Confederate manufactured presentations of this photograph have a low survival rate because of the necessary cheapness of the card mount.
Robert E. Lee: "In the Field" Salt Print on CDV Mount. Odd-size (Confederate hard-times manufacture) carte measuring 2.125" x 4.25", as made. A die-cut oval salt print of Lee is affixed in the middle. This is the "unbuttoned coat in-the-field" pose by Minnis & Cowell taken in 1863. Photographer's credit at bottom dated 1863 which was meant for use on a standard-size card, but unaltered, thereby causing some letters to go off the page. This is one of the very few examples of the "unbuttoned coat" pose to have a positive identification by Minnis & Cowell in 1863 and perhaps the only one with a printed credit rather than an embossed one. One small black "carbon spot" on Lee's moustache. Fine condition overall.
Robert E. Lee: Studio Portrait Carte-de-Visite [CDV] by Gardner. View of seated Lee taken in February 1866 during a visit to Washington, D.C. for Senate hearings. Titled on the mount "General Robert E. Lee". One of two views from this sitting showing much more of Lee, extending down to his ankles, than the much more common vignetted examples. Gardner credit and back mark with "frame" for revenue stamp. Gold rule borders, scattered staining, some of which just barely touches Lee's head.
Robert E. Lee: Plecker "Small Chest View" Carte-de-Visite [CDV]. Vignetted head-shot of Lee, one of three poses taken by Adam Plecker at Rockbridge Baths, Virginia in July 1866, made at the same time as his outdoor photographs. The absence of a revenue stamp indicates this was not made available to the public until after August 1, 1866. "A. H. Plecker Travelling Gallery" back mark. Gold rule borders, clipped corners, some light stains (one affecting Lee's forehead along with a small abrasion above his head). Any example of this photograph is rare.
Robert E. Lee: War-Time Composite Carte-de-Visite [CDV] Published in Nashville. Carte featuring Lee surrounded by eighteen of his generals. Copied from the Minnis & Cowell "in the field" portrait taken in 1863. Back mark of "A. S. Morse Department of the Cumberland Nashville, Tenn.". Published after Nashville was occupied in February 1862. A few scattered marks in the negative, affecting the portraits of Fitzhugh Lee and Hardee. Gold rule borders. Fine condition.
Robert E. Lee: Rare 1863 Carte-de-Visite [CDV] by Minnis & Cowell. 2.25" x 4.125" glazed paper mount with applied salt print portrait of Lee ... the "buttoned coat" taken in-the-field image. Rounded corners. Embossed credit of Minnis & Cowell dated 1863. Some highlighting of silver hairs to the beard. Very few examples of this photograph, especially in this format, exist. Good condition.
Robert E. Lee: Fredericks Copy-Image Carte-de-Visite [CDV]. Vignetted profile of Lee, copied from Julian Vannerson's 1863 "blockade" portrait to be used as a model for sculpture by E. V. Valentine in Europe. Photographer's credit and back mark. Cancelled revenue stamp indicates date of production between August 1864 and August 1866. Some stains in the background, as shown. Good condition overall.
Robert E. Lee: Brady Carte-de-Visite [CDV]. One of four variants now recognized as a single exposure made with a four lens camera. In this variant, the right end of Lee's necktie projects to barely across the edge of his coat. Taken in early 1866, it is affixed to a surplus Brady mount dated 1865. Some minor mottling/emulsion degradation, not affecting portrait. Gold rule borders. Brady credit and back mark. Sharp corners. Expert restoration to lower right corner. Light toning and soiling. Good condition.
Robert E. Lee: Copy-Image Carte-de-Visite [CDV] of Minnis & Cowell Work. Very clean example of carte copied from the "buttoned coat in field" portrait by Minnis & Cowell, taken in 1863. Retouched, waviness to mount, gold rule borders, Brady credit and back mark.
Robert E. Lee: "Floppy Tie" Carte-de-Visite [CDV] after Vannerson. Carte showing Lee in military uniform within an oval, part of a series of three so-called "floppy tie" portraits taken by Vannerson. No markings, likely circa 1870-1875. Two lateral creases and a cut or scratch in the upper right hand corner of the albumen. Very good clarity and tonality.
Robert E. Lee: Unique Presentation/Format of "Floppy Tie" Portrait. Albumen portrait of Lee by Vannerson, mounted to a repurposed piece of card stock with truncated inscriptions on verso, titled on the lower border "R. E. Lee - Gen'l." It has the same dimensions of a CDV but, unlike other examples, it is in the original rectangular format, not trimmed to an oval or vignetted. This example shows more of his lower torso than most other examples. That, along with the clarity of the image and salvaging of the paper used for the mount, suggests it may be a first generation copy.
Robert E. Lee: War-Time Carte-de-Visite [CDV]. Example of the "unbuttoned coat" taken in-the-field portrait by Minnis & Cowell, circa 1863. Possibly a salt print, it is a rare version of Confederate war-time manufacture. The unmarked mount is typical of Confederate "hard times" production. Insect damage to edges of mount with overall toning and soiling, the photograph largely unaffected. According to Henry Kyd Douglas in "I Rode with Stonewall", the photographer tricked Jackson into having his photograph taken at the same time as Lee's, claiming that Lee refused to have his picture taken unless Jackson did so first. After some hesitation, Jackson relented, saying that "General Lee ought to have his picture taken for the people and should not get out of it that way."
Robert E. Lee: Copy-Image Carte-de-Visite [CDV] by George Cook of Charleston. Copy of the "buttoned coat in the field" portrait by Minnis & Cowell taken in 1863. Found in an album of 50 CDVs assembled by George Cook of Charleston, each affixed to various colored coated stock mounts [unmarked]. Cook used colored card stock imported through the blockade in 1863-64. He owned part interest in several blockade runners and was known to import photographic supplies along with other necessary items. Hand tinting to cheeks, collar insignia and quatre-foil sleeve. Some retouching and slight trimming to top & bottom.
Warren G. Harding Proof of Publication Signed "W G Harding". One page, 5.25" x 4.25", Marion County, Ohio; April 15, 1896. The proof states "W G Harding....says that a printed notice...was published for five consecutive weeks in MARION STAR, a newspaper published and in general circulation in said Marion County, immediately previous to the 25th day of April A.D., 1896, and that at the time he was free of said paper." The form is countersigned at the bottom margin by the court clerk, M. Waddel. Stamped on verso, "Filed in Marion/Common Please APR 15 1896." Prior to his election as President, Warren G. Harding had owned The Marion Star. Harding had gained control of the paper in the 1880s, and worked as editor. His wife, Florence, later became the Star's business manager after the former manager quit and Harding had been in hospital. She would go on to become her husband's top assistant. Condition: Minor toning at the edges, with some small tears at margins.
Robert E. Lee: Copy-Image "Booted and Spurred" Carte-de-Visite [CDV]. Pirated version of the Minnis & Cowell photograph taken in 1863. The brazen "pirate" did not even bother to crop out the embossed photographer's credit which appears at the bottom of the image itself. An early version, as Minnis & Cowell subsequently placed their embossed credit on the blank mount. C. D. Fredericks & Company of New York back mark. Clipped corners at top. Small loss to the albumen along the right edge. Gold ruled borders.
Robert E. Lee: Composite Carte-de-Visite [CDV] by Vannerson. View of Lee, Jefferson Davis, Alexander Stephens along with generals Cooper, Bragg, Johnston and Beauregard. Inscribed "J. Vannerson Photographer" in the albumen itself. Vannerson & Jones of Richmond back mark with cancelled 2-cent revenue stamp indicating a post-war publication date. Gold rule borders, sharp corners, very clean and bright.
Robert E. Lee: "Booted and Spurred" Carte-de-Visite [CDV] after Minnis & Cowell. An early example of the 1863 portrait of Lee, thought to have been taken at Lee's headquarters near Fredericksburg. This clear photograph may have been produced by Minnis & Cowell of Richmond from their original negative which was altered to remove the base of the head support (which can be seen on rare examples with their embossed photographer's credit). Identified in ink as "General Robert E. Lee". Inscribed on verso "He needs no introduction. July 5/48. Washington D.C." Gold rule borders, two small pinholes at top with scattered abrasions, not affecting portrait.
Robert E. Lee: Mathew Brady Carte-de-Visite [CDV]. Bold half-length seated portrait of Lee, taken by Brady in 1866 when Lee visited Washington to attend Senate hearings. This is one of at least six exposures made by Brady that day. This particular one was made from the original negative which is now in the Library of Congress as evidenced by the identical identifying marks scratched into the emulsion in the upper left corner of the negative plate. This photograph, when examined alongside the negative in the Library of Congress, is shown to have been made from a 2-lens camera as do others from this sitting. Back mark of "The Brady National Gallery. Hoyt. 627 Pennsylvania Avenue, Washington, D.C." Gabriel P. B. Hoyt is listed as working at the Brady Studio in the 1877 Boyd's city directory. Excellent.
Robert E. Lee: "Floppy Tie" Carte-de-Visite [CDV] by Vannerson. Vignetted bust of Lee in uniform made sometime in 1864 by Vannerson. Trimmed slightly at top. Gold rule borders, Vannerson & Jones of Richmond back mark, paper hinge remnant at top of verso. The combination of revenue stamp and address indicates it was published before November, 1865, when Vannerson & Jones moved into a new gallery over Davies' music store.
Robert E. Lee: Mathew Brady Carte-de-Visite [CDV]. Vignetted bust view of Lee facing slightly left. Taken at Brady's Washington, D.C. studio in early 1866 when Lee attended Senate hearings. This sitting resulted in at least six exposures (this one taken with a four-lens camera) that produced nine distinct views. This is apparently one of the bottom pair based on position of his neck-tie. The images taken with the top lenses were used on a stereo view. Gold rule borders, sharp corners, photographer's credit dated 1865 (part of a leftover supply of cards) and back mark. A few scattered faint stains not affecting portrait. Bold and resonant with excellent clarity.
Robert E. Lee: Mathew Brady Carte-de-Visite [CDV]. Vignetted bust portrait of Lee taken with a two lens camera, one of six exposures that resulted in nine distinct images from this sitting. Gold rule borders, slightly trimmed at top, photographer's credit dated 1865, back mark of M. B. Brady & Company. Ink identification below portrait "Gen. R. E. Lee." One small mark on left eyebrow, mentioned for accuracy only. Good clarity and detail.