Collection of 25 albumen CDVs. Various photographers and locations, ca. 1861-5. Several mounts feature photographer's imprints, period ink inscriptions, modern research identifications and canceled US Internal Revenue stamps.

This expansive collection features 25 cartes-de-visite presenting a superb visual cross-section of Union military leadership. The archive includes an impressive array of identified staff officers, cavalrymen and infantry commanders. The images showcase a tremendous variety of field and regulation uniforms, from the heavily armed cavalryman to the polished aide-de-camp. The reverses of the mounts offer a wealth of information, including period inscriptions, modern research notes and prestigious photographer's backmarks from Washington, D.C., Boston, New York and Philadelphia.

This 25-piece grouping is heavily anchored by officers who saw significant action in the Eastern Theater. It features aides-de-camp who rode with prominent generals, cavalrymen from elite units like Rush's Lancers and commanders who fought at the absolute vortex of battles like Antietam and Gettysburg.

This lot includes: 

1. Standing portrait inscribed to Capt. J. Hibbert, Assistant Adjutant General, Cavalry Corps, Army of the Potomac.

2. Standing portrait of Maj. Clinton H. Meneely, 7th New York Cavalry and aide-de-camp.

3. Bust portrait of Capt. Craig H. Wadsworth, aide-de-camp.

4. Standing portrait of Capt. William Jay, aide-de-camp, wearing a distinctively plumed hat.

5. Bust portrait of Capt. Daniel K. Cross, 5th New Hampshire Infantry and aide-de-camp to Gen. Caldwell. The 5th NH suffered legendary casualties at Antietam and Gettysburg.

6. Standing portrait of Capt. Walter Mitchell, 6th Pennsylvania Cavalry (Rush's Lancers).

7. Standing portrait of Maj. Austin S. Cushman, 47th Massachusetts Infantry.

8. Standing portrait of Daniel L. Robinson, 16th New York Heavy Artillery.

9. Standing portrait of Maj. Frederick N. Cruso, 1st New York Volunteer Engineers.

10. Standing portrait of an unidentified captain (possibly another view of Capt. Hibbert).

11. Seated portrait of an unidentified officer (H.F. Warren, Waltham, MA, backmark).

12. Bust portrait of Lt. D. W. Emery, 3rd Maine Infantry, a regiment that fought desperately in the Peach Orchard at Gettysburg.

13. Bust portrait of Gen. Alfred T. A. Torbert, the famous cavalry commander who led the 1st New Jersey Brigade and later served as Chief of Cavalry for the Army of the Shenandoah.

14. Seated portrait inscribed to Isaac F. Hoyt, 32nd Massachusetts Infantry.

15. Seated portrait of Stuart Donaldson (S. Masury, Boston backmark).

16. Bust portrait of an unidentified officer (Martin's Gallery, NY, backmark).

17. Standing portrait of Lt. A. W. Sampson, 13th Massachusetts Volunteer Militia (noted on the reverse as serving under Col. Leonard).

18. Bust portrait of Edward Moore, 17th Maine Infantry.

19. Bust portrait of Brvt. Brig. Gen. James A. Hall, famously known for commanding the 2nd Maine Light Artillery on McPherson's Ridge during the first day of Gettysburg.

20. Bust portrait of an unidentified officer, possibly of the 3rd Maine (Rockland, ME, backmark).

21. Bust portrait of Capt. Stephen Rich, 32nd Massachusetts Infantry.

22. Seated portrait of Charles Gulager, 6th Pennsylvania Cavalry (Rush's Lancers).

23. Standing portrait of Lt. Col. John B. Murray, 198th Pennsylvania Infantry.

24. Bust portrait of Lt. Robert Davis, 2nd U.S. Infantry, highly noted on the reverse as being severely wounded at both Antietam and Gettysburg.

25. Bust portrait of James Lupton, Paymaster of the Army.

[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]

The images range from good to excellent condition. The albumen surfaces exhibit varying degrees of age-related fading, minor surface wear and the soft tonality typical of period photography, but all retain strong clarity. The mounts remain structurally sound, with several featuring revenue tax stamps and clear photographer imprints on the versos alongside vital period and research identifications.