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Yankee Volunteers Marching into Dixie in 1862 by

National Museum of American History

Object Details

publisher
Morse, Charles Fessenden
Morse, A. G.
lithographer
Bufford, John Henry
printer; publisher
Morse, Charles Fessenden
Bufford, J. H.
Description
This 1862 chromolithograph of Union soldiers in "Uncle Sam" costumes, parading down a road in formation, led by a uniformed Union officer with a raised sword. The costumes include striped beige pantaloons, blue tailcoats, red vests, white top hats, and jack boots, and each man carries a rifles over his shoulder. A drummer and fife player proceed at the front of the group the men behind them fly several large American flags. This patriotic print portrays the confident and smiling volunteers as righteous heroes, marching for freedom. The unrecognizable topography of the land across the river suggests that this print depicts an imagined view of either Boston, where the lithographer and publisher resided, or Washington, D.C. Visible in the distance is either the domed Massachusetts State House with wings prior to their actual construction or an anticipated vision of the completed U.S. Capitol with dome. Perhaps the indistinct setting was meant to appeal to Union supporters both in New England and nationally. Initially published as a sheet music cover, this colorful print was also used as a recruitment wall print. The image highlights the shift from Brother Jonathan, an early character representing New England and the Northern states, to Uncle Sam, a symbol of the strength of the federal government. By the end of the Civil War, Brother Jonathan had been replaced by this new personification of the American nation.
The lithographer of this print was John Henry Bufford (1829-1870/71). The son of a sign painter and gilder, Bufford trained with Pendleton's Lithography in Boston, 1829-1831. He worked in New York with George Endicott and Nathaniel Currier (1835-1839) before returning to Boston where he developed a reputation for printing and publishing popular prints, commercial work, labels, and trade cards. The company went through several iterations and name changes until about 1865. He became the chief artist for Benjamin Thayer until buying out the firm to found J. H. Bufford & Co. (1844-1851). He continued to work in the lithography and publishing business for the remainder of his life. In 1865, his sons Frank and Henry John became partners in Bufford & Sons or J.H. Bufford’s Sons Litho. Co. After his death they continued the family business as Bufford Brothers and as Bufford Sons Engraving & Lithographing Company until 1911.
The work was copyrighted by Charles Fessenden Morse of Boston. Morse joined the Second Massachusetts Volunteer Infantry in 1861, and was a friend of Robert Gould Shaw, who commanded the 54th Massachusetts Infantry, one of the first all-black regiments formed during the Civil War. Morse fought at Cedar Mountain, Antietam, Chancellorsville, and Gettysburg. After the war, he became influential in Kansas City, Missouri, where he was president of the Kansas City Stockyards.
Location
Currently not on view
Credit Line
Harry T. Peters "America on Stone" Lithography Collection
1862
ID Number
DL.60.3308
catalog number
60.3308
accession number
228146
Object Name
Lithograph
chromolithograph
Object Type
Prints
Lithograph
Other Terms
Lithograph; Pictures
Physical Description
paper (overall material)
ink (overall material)
Measurements
image: 10 in x 12 1/4 in; 25.4 cm x 31.115 cm
place made
United States: Massachusetts, Boston
depicted
United States: Massachusetts, Boston
See more items in
Home and Community Life: Domestic Life
American Civil War Prints
Art
Domestic Furnishings
National Museum of American History
Subject
Patriotism and Patriotic Symbols
Horses
Chronology: 1860-1869
Uniforms, Military
Civil War
Music
depicted
Flags
Uncle Sam
related event
Civil War
Record ID
nmah_311582
Metadata Usage (text)
CC0
GUID (Link to Original Record)
https://n2t.net/ark:/65665/ng49ca746b5-21e4-704b-e053-15f76fa0b4fa
This image is in the public domain (free of copyright restrictions). You can copy, modify, and distribute this work without contacting the Smithsonian. For more information, visit the Smithsonian's Open Access page.
International media Interoperability Framework
IIIF provides researchers rich metadata and media viewing options for comparison of works across cultural heritage collections. Visit the IIIF page to learn more.
View manifest View in Mirador Viewer

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