Harold Holzer

The Lincoln Family Album offers a rare and revealing glimpse into the private life of Abraham Lincoln and the first family. Showcasing original and previously unpublished photographs collected and preserved by Mary Todd Lincoln and four generations of descendants, the volume includes pictures displayed in a family album when the Lincolns lived in the White House. Chronicled are the lives of the Lincolns' three sons, including the tragic death of Willie in 1862, the rapid change of Tad during the war, and Robert's marriage, children, and political career. Soldiers and statesmen of the Civil War, period figures such as Tom Thumb and Henry Ward Beecher, and even the family dog also graced the album that became the nucleus of the Lincolns' personal collection. This updated edition, which provides both additional pictures and new introductory materials by renowned Lincoln scholars Mark E. Neely Jr. and Harold Holzer, paints a portrait of the Lincolns' rise to prominence and the exclusion of poorer relations after the family moved to the nation's capital. With 150 illustrations and detailed captions, this authoritative and enlightening nineteenth-century history also includes capsule biographies of the Lincolns' friends and relatives. In such images as the First Lady in mourning or the assassin John Wilkes Booth, the pictures cannot disguise the painful truth about a family that suffered as many tragedies as triumphs. Willie's death at the age of eleven abruptly ended Mary and Abraham's personal collecting, but Lincoln descendants continued the tradition. The last pages of ""The Lincoln Family Album"" conclude with the death of Robert Lincoln's last grandchild, Robert Todd Lincoln Beck - with, in 1985, ending the direct line of Abraham and Mary Lincoln.

Winner of the Lincoln Prize Lincoln at Cooper Union explores Lincoln's most influential and widely reported pre-presidential address -- an extraordinary appeal by the western politician to the eastern elite that propelled him toward the Republican nomination for president. Delivered in New York in February 1860, the Cooper Union speech dispelled doubts about Lincoln's suitability for the presidency and reassured conservatives of his moderation while reaffirming his opposition to slavery to Republican progressives. Award-winning Lincoln scholar Harold Holzer places Lincoln and his speech in the context of the times -- an era of racism, politicized journalism, and public oratory as entertainment -- and shows how the candidate framed the speech as an opportunity to continue his famous "debates" with his archrival Democrat Stephen A. Douglas on the question of slavery. Holzer describes the enormous risk Lincoln took by appearing in New York, where he exposed himself to the country's most critical audience and took on Republican Senator William Henry Seward of New York, the front runner, in his own backyard. Then he recounts a brilliant and innovative public relations campaign, as Lincoln took the speech "on the road" in his successful quest for the presidency.

How printmakers chronicled and influenced Lincoln's transfiguration into an American icon

During the 1880s, a German-born, Boston-based picture publisher successfully commissioned the most ambitious series of battle prints ever published. Louis Prang, best known as the "father of the Christmas card," hired noted military and marine artists to create original scenes of combat, and then reproduced their works in a wildly popular portfolio of chromolithographs. He called the set Prang's War Pictures. They were offered to an eager public accompanied by "descriptive texts" that told the story of each engagement through eyewitness recollection by the heroes of each action. The set proved both appealing and influential, selling vigorously in various editions for a generation, and elevating the stature of military illustration in America. For 20 years, Civil War prints for the masses had featured uninspired, one-dimensional views of armies in hand-to-hand combat. Prang and his artists demonstrated genuine skill and imaginative perspective. They showed both real carnage and important technological advances, revealing both the broad sweep of panoramic battlefields and the intimate action of individual combatants. These famously sepia-toned chromos went on to become familiar illustrations in books and magazines-often offered as definitive examples of Civil War art. But until now, the complete set of 18 chromos has never been collected in a single volume. And the original "Descriptive Texts" first offered Prang's customers as marketing brochures to boost sales-a priceless historical archive in and of themselves-have never been published since, anywhere. Holzer reunites pictures and texts in an authoritative, milestone volume orchestrating prints and descriptions that resurrect Prang's original conception of battle art for the masses for a new generation. The book also features reproductions of the original works of art that inspired the prints, created on commission by battle painter Thure de Thulstrup and naval specialist Julian Oliver Davidson-now housed in art collections around the country-but seldom seen since they were commissioned by Prang as models for his ambitious chromolithographs. This long-needed complete Prang portfolio will undoubtedly become an essential collectible for Civil War aficionados in the country, as well as for libraries and university collections increasingly aware of the importance of art and iconography in defining the Civil War experience and the impact of Civil War memory.

Abraham Lincoln remained a controversial figure up to the time of his assassination. In this book, the author probes the development of Lincoln's image and reputation in his own time. He considers a wide range of images to reveal what they say about the American President.