CIVIL WAR]. [GRANT, Ulysses S.]. BRADY, Mathew B., photographer . Portrait photograph inscribed and signed, taken at City Point, Virginia in June 1864. Albumen silver print, affixed to Brady's original mount (image: 7 3/16 x 5 in., with mount: 10½ x 7½ in.), printed caption "Brady: and Washington" along lower edge, neatly matted and in a fine giltwood frame. The image pale; image, inscription and signature professionally conserved . SIGNED ON THE MOUNT: "U.S. Grant Lt. Gen. U.S." The image pale. Image, inscription and signature professionally conserved. GENERAL GRANT AT CITY POINT, 1864. In the Spring of 1864 Grant launched his long-expected campaign, thrusting south and south-east into Virginia in a series of bloody battles with Lee's defending army. Brady successfully petitioned Grant to be allowed to travel behind the Union lines with his cameras and teams of cameramen, in search of the portraits and battlefield scenes for which he had already won considerable fame. One of the most memorable images from this campaign is Brady's informal, standing portrait of General Grant. In front of a large canvas tent and an empty campaign chair, Grant, in full field uniform, rests one forearm against a tree trunk, gazing slightly to the left. M. Panzer, Mathew Brady and the Image of History , Washington, 1997, plate 32.
CIVIL WAR]. [GRANT, Ulysses S.]. BRADY, Mathew B., photographer . Portrait photograph inscribed and signed, taken at City Point, Virginia in June 1864. Albumen silver print, affixed to Brady's original mount (image: 7 3/16 x 5 in., with mount: 10½ x 7½ in.), printed caption "Brady: and Washington" along lower edge, neatly matted and in a fine giltwood frame. The image pale; image, inscription and signature professionally conserved . SIGNED ON THE MOUNT: "U.S. Grant Lt. Gen. U.S." The image pale. Image, inscription and signature professionally conserved. GENERAL GRANT AT CITY POINT, 1864. In the Spring of 1864 Grant launched his long-expected campaign, thrusting south and south-east into Virginia in a series of bloody battles with Lee's defending army. Brady successfully petitioned Grant to be allowed to travel behind the Union lines with his cameras and teams of cameramen, in search of the portraits and battlefield scenes for which he had already won considerable fame. One of the most memorable images from this campaign is Brady's informal, standing portrait of General Grant. In front of a large canvas tent and an empty campaign chair, Grant, in full field uniform, rests one forearm against a tree trunk, gazing slightly to the left. M. Panzer, Mathew Brady and the Image of History , Washington, 1997, plate 32.
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