Collection of 11 albumen CDVs. Various photographers and locations, largely in Maine, [circa 1861-1865]. Several mounts feature photographer's imprints, period ink inscriptions, or modern research identifications tying the subjects to the 1st Maine Cavalry.

This extensive archive features eleven cartes de visite representing the officers and men of the highly decorated 1st Maine Cavalry. The collection offers a superb visual study of cavalrymen in a variety of poses and uniforms. The images include striking studio portraits of both officers and enlisted men, with many subjects displaying cavalry sabers, boots, and distinctive headgear. The images provide a comprehensive look at the regiment's ranks. 

The 1st Maine Cavalry is universally recognized as one of the elite mounted regiments of the Union Army. Serving extensively with the Army of the Potomac, the regiment participated in a staggering number of engagements, from the Shenandoah Valley to Gettysburg, and throughout the grueling Overland and Appomattox campaigns. They famously sustained the highest number of battle casualties of any Union cavalry regiment during the entire war. The men depicted in these portraits rode in legendary charges at Brandy Station, Aldie, and Dinwiddie Court House, earning a fearsome reputation as hard-fighting shock troops.

1. Full-length standing studio portrait of Colonel Charles H. Smith. Identified on both the mount recto and verso, Smith served as the distinguished commander of the 1st Maine Cavalry, leading the fiercely engaged regiment through its most legendary battles and earning a brevet promotion to Major General.

2. Seated studio portrait of Captain Isaac G. Virgin, Company G. Identified on both the front and verso, his detailed service record on the reverse notes he originally mustered in as a 2nd Lieutenant, was wounded in action in August 1864, and mustered out that October.

3. Standing studio portrait of Lieutenant Zenas Vaughan. Identified by a period ink inscription on the front of the mount, he is posed formally wearing tall riding boots with his hand resting on his cavalry saber.

4. Standing studio portrait of Joshua Fessenden. Identified on the front and verso, the reverse notations indicate his early service as a sergeant in Company B beginning in September 1861 before being discharged in early 1862 to accept an officer's commission in the 5th US Light Artillery.

5. Studio portrait identified on the verso as Hospital Steward Samuel C. Lovejoy. As a member of the regimental medical staff, his role was critical in managing and treating the staggering number of casualties the hard-fighting regiment sustained throughout the war.

6. Studio portrait identified on the verso as E. P. Tobie Jr. Serving initially as a saddler and eventually becoming Sergeant Major, Edward P. Tobie Jr. famously survived the grueling cavalry campaigns to author the definitive and highly regarded regimental history of the 1st Maine Cavalry.

7. Studio portrait identified on the verso as "Will Elliott" by a period inscription. William Elliott served in the regiment from 1861-1865, apparently escaping unscathed. 

8. Studio portrait identified on the verso as "A. J. Colcord" by a modern pencil inscription. This refers to Albert J. Colcord of Co. C, who served with the regiment from 1862 through the end of the War. 

9. Studio portrait identified on the verso as Henry H. Folsom by a faded period ink inscription. Folsom enlisted as a musician in 1861 and served through the end of the War. 

10. Studio portrait of a cavalryman casually seated in a rustic chair holding a cigar. The reverse features extensive research notes suggesting he is possibly Corporal Charles H. Bean, Wilbur McCobb, Nathan P. Frost, or George H. Brown, based on the specific Augusta, Maine painted backdrop used during their winter 1861-1862 encampment.

11. Studio portrait of an unidentified 1st Maine cavalryman, completing the eleven-piece regimental collection.

[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, Stereographs] [Civil War, Union, Confederate]

The images range from good to very good 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 and character.