Photographer Mathew B. Brady at the Wheatfield in Which General Reynolds Was Shot, Gettysburg

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  Wheatfield in Which General Reynolds Was Shot, Gettysburg

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  Image of a pond in the foreground, and the wheat field beyond the split rail fence. There is a tree line in the distance.

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  Matted photographs from album

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  13. Wheatfield in which General Reynolds was shot, Gettysburg, July 1863. Photographer: Attributed to Egbert Guy Fowx, for Mathew B. Brady studio. 15. View of Mathew B. Brady at the Gettysburg battlefield, July 1863. Photographer: Attributed to Egbert Guy Fowx, for Mathew B. Brady studio. 51.Battle-Field of Gettysburg. View on the Field after Fight of First Day, July 4, 1863. Photographer: Timothy H. O'Sullivan

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  Monument honoring the 2nd Maine Artillery, Battery B, 1st Brigade, 2nd Division, 1st Corps

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  Image of the monument of Hall's 2nd Maine Battery. Monument has a bas-relief portrait of it's commanding officer, Captain James A. Hall. Behind the monument is a split rail fence. The photograph has been affixed to a card with the photographer's signature and "Gettysburg, Pa." printed in gold lettering at the bottom.

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  Photograph album (disbound)

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  A collection of 63 Civil War photographs compiled by John P. Nicholson, Civil War veteran and collector. The albumen photographs are mounted on boards and were bound into an album (now disbound). Most are undated and have little identifications, though some have faded pencil writing on back. Many images depict battlefields, primarily in Gettysburg, such as Little Round Top, Devil's Den, and others. Of particular note are photographs of war dead on the battlefield by Mathew B. Brady and Timothy O'Sullivan (1863); and an image of a dead young man, labeled a "rebel sharpshooter," by Alexander Gardner. Another image shows Brady overlooking "The Wheat Field" at Gettysburg, July 1863, attributed to Egbert Guy Fowx. There are several group portraits of soldiers and officers, often at camp, sitting or standing in front of tents; one features officers with women, presumably their wives or family members. Those identified include General Francis Preston Blair Jr. and staff; soldiers of the 8th New York State Militia at camp; 1st U.S. Cavalry at Brandy Station, Virginia; musical band of the 114th Pennsylvania Infantry (Zouaves); and artillery of the Army of the Cumberland near Chattanooga, Tennessee. Other subjects are: General George G. Meade's headquarters; men building fortifications; a government coal wharf; the Orange and Alexandria Railroad roundhouse in Alexandria, Virginia; a bird's-eye-view of Washington, D.C. with the Capitol and Smithsonian Institute Building "The Castle"; and a panoramic image of "the field over which Pickett charged" by photographer William Bell. A few images include Black men in civilian clothing. The album is disbound, and three photographs have been matted and housed in Box 2.

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  I. Matthew Brady and Alexander Gardner Photographs/Issued by Taylor & Huntington

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  The Singleton Collection is organized into four discrete yet interrelated units. The first consists of 79 photographs by Mathew Brady (1823-1896) and Alexander Gardner (1821-1882) of scenes of the Civil War taken between 1861 and 1865. Included are group portraits of generals with their staffs, important wartime sites and activities, and photographs of paintings depicting various skirmishes. While the photographs were taken by Brady and Gardner during the war, the images were printed around 1885 by John Taylor and marketed by the firm of Taylor & Huntington. These photographer-entrepreneurs hoped to capitalize on twenty-fifth anniversary war reunions and commemorations by reissuing the once-familiar views. On the verso of each image is a partial list of the photographs sold by Taylor & Huntington for 75 cents a piece. The second grouping of photographs depicts two views of Abraham Lincoln and portraits of the Lincoln conspirators and their execution. These were also taken by Brady and Gardner during the war and, as with the first group, printed and issued around 1885 by Taylor & Huntington. Of particular rarity are the fourteen photographs of the Lincoln assassination conspirators including portraits of David Herold, George Atzerodt, Edward Spangler, two views of Lewis Payne, two views of Michael O'Laughlin, and an unidentified conspirator. Additionally, there is a complete set of three images depicting the execution of Mrs. Surratt and the conspirators taken by Alexander Gardner on July 7, 1865, as well as three of the five known images documenting the execution of Captain Wirz, the notorious Keeper of Andersonville Prison. Eighty-three cabinet portraits of Confederate Generals and other Southern leaders by George S. Cook (1819-1902) comprise the third section of the collection. Cook was a friend and former employee of Matthew Brady, and he provided E.& H.T. Anthony Co. with portraits from the South, including the first portrait of Colonel Robert Anderson. These portraits may come from sources other than Cook as he purchased competing photographers negatives, issuing them on his mounts. These portraits were taken in the 1860s but printed between 1880 and 1890 when Cook operated his Richmond, Virginia studio at 913 East Main Street. The last grouping of photographs contains 210 images by William H. Tipton (1850-1929), the self-described "Battlefield Photographer." The imperial-sized photographs depict the numerous monuments erected on the Gettysburg battlefield to honor the soldiers who fought and died in this decisive battle. The photographs date from the 1880s. The Singleton Collection constitutes of one of the most complete historic archives of the Gettysburg monuments.

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  Gettysburg National Park Commission. Photographs illustrating the work of the commission

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  Ten volumes of photographs illustrating the development of Gettysburg National Military Park over the years 1893 to 1916. Photographs show work done under the direction of the federally-appointed Gettysburg National Park Commission, chaired by Colonel John P. Nicholson. Scenes include repairing of roads, stone walls, and fences; construction of new roads; general views of landscape features and terrain; and monuments and markers placed at significant battle locations. In some volumes, the images have handwritten captions. The albumen prints are approximately 9 1/2 x 7 1/2 inches, mounted on board, and some later images have the imprint of photographer W. H. Tipton.

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