Two vignetted studio bust portrait albumen CDVs. Philadelphia: W. L. Germon’s Atelier and James Cremer’s Portrait Rooms, [ca. 1861-5]. Photographer’s imprints to mount versos. Pencil research notations to mount versos read: "Robert L. Orr / Colonel, 61 PA."

This exceptional two-piece lot features two distinct sittings of Robert L. Orr, the gallant commander of the 61st Pennsylvania Infantry. Captured by two of Philadelphia’s premier wartime studios, W. L. Germon and James Cremer, these portraits offer a rare "before and after" look at Orr’s evolution as an officer. The first image shows Orr in a military fatigue blouse and forage cap with a practical, field-ready beard; the second captures him in civilian attire with the elaborate, well-groomed mutton chops of a successful veteran.

Robert L. Orr earned the nation's highest military decoration for his "conspicuous gallantry" during the final, decisive moments of the war. On 2 April 1865, during the Siege of Petersburg, Orr led his regiment in the desperate charge against the Confederate works. When the 61st Pennsylvania’s color sergeant was shot down, Orr personally seized the regimental colors and rushed forward, planting the flag upon the enemy's ramparts under a heavy fire. This act of bravery was instrumental in the Union breakthrough that forced the evacuation of Richmond and led directly to the surrender at Appomattox just days later. It also came in the shadow of Orr's wounding at another Petersburg clash just months prior. Perhaps he had something to prove. 

This is an opportunity to acquire a rare dual-portrait archive documenting the wartime and veteran likenesses of the 61st Pennsylvania’s Medal of Honor recipient.

[Civil War, Union, Confederate] [Photography, Early Photography, Historic Photography, Daguerreotypes, Ambrotypes, Tintypes, Cased Images, Union Cases, Albumen Photographs, CDVs, Carte de Visites, Cartes de Visite, Carte-de-visite, Cartes-de-visite, CDV, Cabinet Cards, Stereoviews, Stereocards]

Both images are in generally excellent condition, featuring strong tonal contrast and sharp detail across Orr’s features. The mounts remain structurally sound with clear, legible studio backmarks and research notations on the versos. The Germon mount exhibits typical period-clipped corners, while both cards show only minimal age-related toning.