An Original Portrait Of Abraham Lincoln Circa 19thc

Abraham Lincoln’s image was among the most reproduced of the 19th century, spanning studio photographs, engraved prints, lithographs, crayon enlargements, drawings, and oil portraits. For collectors and appraisers, the challenge—and the reward—is separating truly original, period-created objects from later restrikes, facsimiles, or modern reproductions. This guide explains what “original” means for Lincoln material, how to identify key media, authentication markers to examine, common red flags, and the drivers of value.

Why Lincoln Portraits Captivate Collectors

• Historical centrality: Lincoln’s presidency, the Civil War, and emancipation ensure enduring cultural resonance.
• Early mass image-making: His likeness was disseminated just as photography and print publishing scaled, creating a complex landscape of editions and states that rewards careful study.
• Direct-from-life appeal: Works derived from life sittings—whether photographic negatives or painters’ studies—carry an immediacy and premium unattainable in later, posthumous interpretations.
• Association potential: Items with ties to key photographers (Mathew Brady studio, Alexander Gardner), engravers (J.C. Buttre), publishers (E. & H.T. Anthony), or historically significant owners can command exceptional interest.

Defining “Original” for 19th-Century Lincoln Portraits

“Original” depends on medium, intent, and era:

• Paintings and drawings

  • Original: A unique work created by hand in the 19th century, either from life or contemporaneous reference. A posthumous 1869 oil by a noted artist can be original to the period even if not from life.
  • Not original: Modern giclée prints on canvas with applied varnish to mimic brushwork; later copies without period materials or provenance.

• Photographs

  • Original: Period prints (albumen, salt) made from a period negative, typically mounted as carte-de-visite (CDV) or cabinet cards, with period imprints. “From the negative” life-period prints bring the strongest premiums.
  • Later print: A 19th-century print from a period negative but produced later in the century (still collectible, often less valuable than life-period).
  • Reproduction: 20th-century halftones or gelatin silver prints from copy negatives; digital prints.

• Prints (engraving, lithograph, wood engraving, photogravure)

  • Original print: Intended by the publisher as the primary means of distribution in the 19th century, typically with credits to artist/engraver/publisher. States and editions matter.
  • Reproduction: Later restrikes from worn plates, or modern photomechanical copies; halftone dot patterns indicate later processes.

Key takeaway: “19th-century” does not automatically mean “life-period original.” Dating within the century—and linking to a specific artist, publisher, or session—matters.

Identification by Medium: Paintings, Photographs, and Prints

• Oil paintings, pastels, crayon enlargements, drawings

  • Oils on canvas/panel: Look for layered brushwork, craquelure, and period ground and stretcher. Period canvases may show hand-loom irregularity; stretchers often have square nails or early screws.
  • Pastel/charcoal “crayon enlargements”: Popular from the 1860s–1890s, these begin with a faint photographic enlargement as guide, heavily worked with charcoal/pastel. Telltale signs: a photographic-looking underimage beneath hand media, large format, and paper laid on canvas or stretched paperboard.
  • Drawings: Pencil, charcoal, or ink likenesses, sometimes inscribed, often study heads after photographs. Paper should be period wove or laid; surface oxidation and even toning are common.

• Photographs (Lincoln’s most frequently encountered original likenesses)

  • Formats
    • Carte-de-visite (CDV): ~2.5 x 4 inches on thin card. Common 1861–1869. Early examples often have square corners; later 1860s can be rounded. Revenue stamps on the back date prints between 1864–1866.
    • Cabinet card: ~4.25 x 6.5 inches, thicker mounts, prevalent from late 1860s onward. More elaborate typography and mount colors by the 1880s–1890s.
  • Processes and clues
    • Albumen print: Glossy to semi-glossy, warm image tone, subtle micro-cracking in highlights under magnification; image may yellow. Mounted; often with printed or blindstamped imprints.
    • Salt print (earlier): Matte surface, softer image, fibrous paper feel; less common for Lincoln.
    • Tintype/ambrotype: Cased images; Lincoln’s studio work is overwhelmingly on paper rather than cased types, though period copies exist.
  • Imprints and attributions
    • Look for “Brady’s National Portrait Gallery,” “E. & H.T. Anthony,” “Alexander Gardner,” or named assistants (e.g., Anthony Berger) on mounts/versos. After 1865, Anthony published many images from Brady negatives.
    • Match poses to authoritative pose catalogs known to collectors (often referenced by “Ostendorf numbers”). Pose-matching bolsters attribution and dating.
  • Life-period vs. later prints
    • Life-period: Printed during Lincoln’s lifetime (pre-April 1865). Often the most sought-after.
    • Posthumous 19th-century prints: Common; mourning borders or memorial captions appear on some.

• Prints: Engraving, lithography, wood engraving, photogravure

  • Steel/line engravings: Crisp incised lines under loupe; commonly by engravers like J.C. Buttre. Often on wove paper with plate marks; some with facsimile signatures or publisher’s credits.
  • Lithographs: Currier & Ives and others issued campaign and memorial prints; hand-coloring appears on some. Later chromolithographs (Kurz & Allison) show layered color dots characteristic of the process, not halftone screens.
  • Wood engravings: Common in illustrated weeklies; identifiable by dense hatch patterns.
  • Photogravure/collotype: Late 19th-century photomechanical processes; continuous tone without halftone dots, often on high-quality paper; typically later than albumen photographs and valued accordingly.

Authentication, Condition, and Conservation

• Dating materials and presentation

  • CDV revenue stamps date 1864–1866 precisely. Address changes in publisher imprints can bracket years.
  • Mount thickness, corner shape, and typography styles align with rough decades.
  • On canvases, look at tacking margins, stretcher tool marks, period labels, and frame construction (composition ornament, gilding techniques).

• Magnification checks (8–10x loupe)

  • Photographs: Albumen prints should show continuous tone; no halftone dot matrix. Look for retouching on negatives (pencil in the background) rather than on paper.
  • Prints: True engraved lines are incised, with burrs and taper; lithographs show crayon grain; halftone reproductions have regular dot patterns (introduced commercially in the 1880s and common by 1890s and later).
  • Giclée fakes: Inkjet sprays look like microscopic droplets or mist; edges of lines feather unnaturally.

• Signatures and inscriptions

  • Many prints carry facsimile signatures. Under magnification, a genuine ink signature shows variable line width, ink penetration, and pressure; facsimiles are printed.
  • Authentic Lincoln autographs on portraits are exceedingly rare and typically on the mount, not the albumen surface.

• Common red flags

  • Artificial aging: Tea-stained paper, sanded mount edges, fake foxing (uniform brown spatters).
  • Modern halftone books plates or magazine clippings trimmed and mounted in period-looking frames.
  • “Oil on canvas” that is actually a modern print with varnish and textured ground to simulate brushwork.
  • Misattributed studio imprints added with modern rubber stamps.

• Condition issues by medium

  • Albumen photos: Yellowing, edge abrasions, surface scratches; occasional silver mirroring in dark passages; mount warping; adhesive staining; image fading from light exposure.
  • Paper prints: Foxing, toning, edge tears, plate mark abrasions; abrasions from over-cleaning.
  • Oil/pastel: Craquelure, flaking, grime, overpaint, sagging canvas; brittle paper on crayon enlargements.
  • Frames: Period frames add appeal, but are frequently swapped. Document frame provenance separately.

• Conservation basics

  • Do not surface-clean photographs or attempt to lift them from mounts; consult a photograph conservator.
  • Avoid direct sunlight, high humidity, and fluctuating temperatures. Use acid-free mounts and UV-filter glazing.
  • For paintings, never apply commercial cleaners; assessment under raking light and UV by a conservator helps distinguish overpaint and varnish condition.

Provenance, Valuation, and Market Expectations

• Provenance and documentation

  • Family descent, dealer invoices, exhibition labels, old collection stamps, and period inscriptions strengthen authenticity and value.
  • For photographs, retaining original albums or mounts is valuable; inscriptions identifying sitters or sessions can be important corroboration.
  • Cross-reference poses with established catalogs used by the trade; note any period publication where the image appeared.

• Value drivers

  • Medium hierarchy: Unique painted portraits by recognized artists typically lead; life-period albumen prints of desirable poses follow; 19th-century engravings and lithographs vary widely by scarcity and quality.
  • From-life connection: Items made during Lincoln’s lifetime or from direct sittings command premiums.
  • Attribution: Clear studio or artist credit (Brady studio, Gardner, Carpenter, Healy, Eastman Johnson) adds value; anonymous copies are discounted.
  • Rarity and state: Uncommon poses, early states, or publisher’s proofs can be significant.
  • Association: Presentation inscriptions, notable ownership, or use in a known publication/exhibition can move the piece into a higher tier.
  • Condition: Even scarce items suffer if heavily faded, stained, trimmed, or over-restored.

• Typical ranges seen in the market (broad guidance; exceptions abound)

  • Life-period Lincoln CDVs by major studios: commonly mid-hundreds to several thousand, depending on pose, imprint, and condition.
  • Cabinet cards (often later 19th-century) from period negatives: generally lower than life-period CDVs, with special poses or publishers bringing more.
  • 19th-century engravings and lithographs: widely available examples $75–500; scarce, large, or deluxe impressions can reach into the low thousands.
  • Period oil, pastel, or finely executed crayon enlargements: a few thousand to mid-five figures depending on artist, quality, and documentation; major, well-documented oils by significant artists can bring six figures or more.
  • Lincoln-signed portraits: exceptionally rare and typically five to six figures, with ironclad provenance.

Practical Checklist

• Record exact measurements of image and mount/canvas.
• Identify medium: oil, pastel/crayon enlargement, albumen CDV/cabinet card, engraving, lithograph, photogravure.
• Inspect for maker’s marks: studio/engraver/publisher imprints, blindstamps, plate marks, labels.
• Date clues: CDV revenue stamps (1864–1866), mount style, typography, paper type.
• Loupe test: continuous tone vs halftone dots; engraved line character; ink signature vs printed facsimile.
• Compare pose to known Lincoln pose catalogs to confirm attribution and likely date.
• Note condition comprehensively: fading, foxing, abrasions, craquelure, overpaint, mount trimming.
• Photograph recto/verso, frame details, and any inscriptions or labels.
• Gather provenance: family statements (in writing), old photos of the item in situ, bills of sale.
• Before cleaning or reframing, consult a qualified conservator or specialist dealer.

FAQ

• How can I tell an albumen print from a later photomechanical reproduction?

  • Albumen prints have a smooth, slightly glossy surface with warm image tone and continuous gradations. Under 10x magnification, you should not see a regular dot pattern. Halftone reproductions (common from the 1880s onward and ubiquitous later) show a uniform grid of dots. Collotypes and photogravures lack halftone dots but have distinct surface characteristics and are typically later than life-period albumen photographs.

• Are Currier & Ives Lincoln lithographs valuable?

  • Many Currier & Ives Lincoln prints are collectible but common; condition and specific titles drive price. Clean, original impressions with strong color and margins can bring several hundred dollars; scarce or large-format examples can do better. Later chromolithographs (e.g., Kurz & Allison) are generally later 19th-century memorial works and priced accordingly.

• What is an “Ostendorf number” and why does it matter?

  • Collectors often reference Lincoln photographs by pose numbers from established catalogs of his images. Matching your photograph to a specific pose number helps confirm the session, photographer, and approximate date, which improves both confidence and marketability.

• Did Lincoln sign photographs of himself?

  • Authentic signed Lincoln photographs or mounts exist but are exceedingly rare. Most “signatures” on prints are printed facsimiles. If you believe you have an autograph, seek expert authentication; values can be significant if genuine.

• Should I remove a photograph from its mount or reline a painting before appraisal?

  • No. Mounts and original supports carry vital evidence for dating and authenticity. Alterations can reduce value and complicate authentication. Have the piece evaluated in its current state by a qualified conservator or specialist before any intervention.

By approaching a 19th-century portrait of Abraham Lincoln with a structured eye—medium first, then maker, date, condition, and provenance—you can separate period originals from later reproductions and understand why certain examples command premium prices.