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“Broken hearts cannot be photographed”… Matthew Brady…
June 26, 2026 by TimHughes · Leave a Comment
War has always inflicted its pains and sorrows upon a nation. But the brutality and reality of war never fully struck home until the Civil War. It was different.
Many lives were lost in the French & Indian War, the Revolutionary War, and the 19th century events of the War of 1812 and Mexican War, but until the invention of photography, there was a certain amount of callousness to what war was really about.
The Civil War changed all that, and perhaps one person, Matthew Brady, did more to make that change than anyone.
The Civil War was the first war to be photographed. In 1862, famed photographer Mathew Brady exhibited a series of pictures taken by protégés Alexander Gardner and James Gibson immediately after the Battle of Antietam. Gardner and Gibson, two of the many photographers Brady hired to document the war, produced at least 95 images at Antietam. Their images were the first to show dead bodies on the field.
The October 20, 1862 issue of the “New York Times” contains one of the more moving articles on the horrors of war, brought home to the residents of New York through an exhibition of “Pictures of the Dead at Antietam” in Matthew Brady’s Manhattan Gallery.
The article is headed: “‘Brady’s Photographs” and it reports on the exhibition by comparing the brutality & reality of war, to the callousness of New York’s residents who read the daily papers but did not relate to the horrors they reported.
The article is extremely well-written, taking most of a column. The full text can be seen in the attached photos, however a few bits are worthy of noting here: “The living that throng Broadway care little perhaps for the dead at Antietam, but…they would jostle less carelessly down the great thoroughfare, saunter less at their ease, were a few dripping bodies, fresh from the field, laid along the payment…We see the list in the morning papers…but dismiss its recollection with the coffee. There is a confused mass of names, but they are all strangers…We recognize the battle-field as a reality, but it stands as a remote one…” with more.
Then: “Mr. Brady has done something to bring home to us the terrible reality and earnestness of war. If he has not brought bodies and laid them in our dooryards and along the streets, he has done something very like it. At the door of his gallery hangs a little placard, ‘The Dead of Antietam’…There is one side of the picture that the sun did not catch…It is the background of widows and orphans, torn from the bosom of their natural protectors by the red remorseless hand of Battle, and thrown upon the fatherhood of God. Homes have been made desolate & the light of life in thousands of hearts has been quenched forever. All of this desolation imagination must paint–broken hearts cannot be photographed…” and much more.
In 50 years of selling early newspapers, this issue most powerfully brings home the grief, sorrows, tragedies, realities, and unanswered questions that war inflicts upon a nation. What a difference a photograph can make.
Juneteenth… The Nuances of Slavery’s End…
June 19, 2026 by Laura Heilenman · Leave a Comment
The saying, “History is a set of lies agreed upon,” often attributed to Napoleon, reminds us how easily we can simplify the past. A few days ago, I read about the story of General Granger’s landmark announcement in Galveston on June 19, 1865. Today, while digging deeper into the same moment, I came across Colonel G.W. Clark’s follow-up order issued in Houston just three days later. Reading both orders side by side offers a fascinating window into how emancipation actually unfolded on the ground in Texas.
General Granger’s General Order No. 3 was the pivotal statewide declaration that brought the Emancipation Proclamation to the last major Confederate holdout. Addressed to “the people of Texas,” it formally informed roughly 250,000 enslaved people that they were free, stressing “absolute equality of personal rights and rights of property” and transforming the old master-slave relationship into one of “employer and hired labor.” Its importance cannot be overstated: this was the public, official moment that ended legal slavery in Texas and gave birth to Juneteenth as a day of celebration and remembrance.
Colonel Clark’s General Orders No. 3, issued on June 22, 1865, for the Post of Houston, played a more localized but equally necessary role. It provided the practical instructions needed to prevent chaos in a major occupied city, directing freedmen to remain temporarily with former owners while reassuring them that doing so would “forfeit none of their rights of freedom.” Clark added details about upcoming labor contracts and consequences for idleness, showing the administrative work required to turn grand declarations into orderly reality.
Though both orders advanced the same goal of peaceful transition, their tones on freedom differed in telling ways. Granger’s language was bold and expansive, celebrating equality and a clean break with the past. Clark’s was more measured and reassuring, carefully balancing direction with the promise that freedom remained intact. Reading them together reveals how emancipation was not a single dramatic event but a layered process—announced with inspiring clarity in one breath and managed with cautious practicality in the next. In that sense, these two orders from 1865 still rhyme with the challenges of turning high ideals into lived experience.
Who’s Who in Newspapers? Moses G. Farmer edition (1879)…
June 8, 2026 by GuyHeilenman · Leave a Comment
The 15th installment of: Who’s Who in Newspapers
When it comes to “man on the street” interviews, the lack of knowledgeable responses often received never fails to confound. We enjoy watching these—which is a bit troubling in itself—but if an interviewer asked, “Who invented the light bulb?”, I’d bet 75% would answer correctly, especially with a few “Thom… Thomas… Thomas Ed…” clues.
However, and to be fair, few of us (myself included) could name the pioneers who paved the way. Enter Moses G. Farmer. Thanks to a January 11, 1879, issue of Scientific American titled “THE FIRST ELECTRIC LAMPS,” I discovered this fascinating inventor who lit his Salem, MA, home in 1859—two decades before Edison’s breakthrough.
Using platinum filaments and batteries he had mounted for the purpose in his cellar, Farmer proved electricity could replace gas. Though the cost of platinum and the lack of a vacuum prevented commercial success, his “parlor lights” were the first to move electric light from the lab into a domestic reality – often enlightening dinner guests with his invention.
Farmer provided the “blueprint of failures” Edison needed. He proved electricity could light a home; Edison simply figured out how to make it last longer than a dinner party.
A modern sketch comparing Farmer’s and Edison’s work is shown below.
I love this collectible – and how it fuels the engine of life-long learning.
An intriguing irony of American history, only to be found in a newspaper…
June 1, 2026 by TimHughes · Leave a Comment
There are times when we browse through a newspaper and, while looking for something else, come across an unexpected little gem of American history. And from what we are able to determine, this “little gem” has never been reported to this day.
The “Boston Daily Journal” of April 14, 1865 shares the date of the Lincoln assassination, he attending a performance
of “Our American Cousin” at Ford’s Theatre in Washington, D.C. Page 3 of this newspaper has an advertisement for the Boston Theatre, noting: “This (Friday) Evening Benefit and Positively Last Night of EDWIN BOOTH who will appear as Sir Edward Mortimer…To-Morrow (Saturday Afternoon, Farewell Appearance of EDWIN BOOTH, Who will sustain his Great Character of Hamlet…”.
So what did we find? The very evening that famed actor Edwin Booth was performing in a Boston theater, his younger brother was assassinating the President in a theater less than 400 miles away.
This advertisement, logically, would only be found in a Boston newspaper.
This is similar to another of our blog posts, concerning Lincoln attending a Washington, D.C. stage performance of John Wilkes Booth in 1863, the irony being Lincoln’s assumed applause at the conclusion of the performance for the person who would assassinate him less than 2 years later.
Such tidbits of history are fascinating finds, and could only be discovered in newspapers of the day. So look carefully at the issues you purchase. Will you discover a historical gem that the world knew nothing about?
Announcing: Catalog 367 – Released (early) for June, 2026 – Rare & Early Newspapers…
May 29, 2026 by GuyHeilenman · Leave a Comment
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Reflections on Decoration Day: Honoring the Ultimate Sacrifice…
May 25, 2026 by GuyHeilenman · Leave a Comment
Ten years ago today, we shared a reflection on the holiday originally known as Decoration Day. While the roots of this observance reach back to 1861 and beyond, keeping its true purpose at the forefront of our minds is a vital act of remembrance. It is the least we can do to demonstrate our gratitude for those who gave their all so we may continue to live in a nation that embraces life, liberty, and the pursuit of happiness.
From the Archives: Our Original 2016 Post
Memorial Day is a time set aside in the United States to remember and give thanks for those who sacrificed life and limb to secure the freedoms we enjoy. These are the “self-evident, unalienable rights” bestowed upon us by the Creator, as envisioned by our Founding Fathers.
In times of peace and abundance, it is far too easy to forget the staggering cost paid by so many to ensure the freedom of others. With this in mind, I was recently struck by an article in the March 20, 1861, issue of the Western Christian Advocate out of Cincinnati, Ohio.
The piece provides moving details regarding General George Washington’s famous prayer – as well-depicted in the famous painting by Arnold Friberg: “Prayer at Valley Forge.” You can access the full text of that 1861 article via the “Western Christian Advocate” shown above.
Today, as we partake in various holiday activities, our hope is that we will all take a moment to enjoy—and truly appreciate—a blessed and meaningful Memorial Day.
Who’s Who in Newspapers? Stephen Crane edition (1891)…
May 11, 2026 by GuyHeilenman · 1 Comment
The 14th installment of: Who’s Who in Newspapers
This series typically highlights lesser-known figures who have left intriguing marks in the world of historic newspapers—individuals often overlooked by the general public. However, today’s spotlight falls on a truly famous name: Stephen Crane (1871–1900), the acclaimed American author best known for his iconic Civil War novel *The Red Badge of Courage* (1895), a groundbreaking work of literary realism and naturalism that vividly captures the psychological turmoil of battle.
So why feature such a well-known literary giant in this series? Crane exemplifies a distinguished tradition of celebrated writers who launched their careers (or sharpened their skills) as newspaper journalists—often starting remarkably young. This roster includes luminaries such as:
– Mark Twain (Samuel Clemens), who began as a printer’s apprentice and reporter in his teens and early 20s.
– Charles Dickens, whose early work included vivid sketches and reporting for London newspapers.
– Ernest Hemingway, who honed his concise, punchy style as a cub reporter.
– George Orwell, who drew on journalistic experience for his essays and novels.
– Karl Marx, whose writings appeared in newspapers like the New-York Daily Tribune.
Many of these authors were in their teens or early 20s when they first contributed to newspapers, using the medium to observe society up close, develop their voices, and earn a living while building toward greater literary achievements.
The featured newspaper clip below and to the right are from one of Crane’s earliest published pieces: a sketch titled “Tent Life at Ocean Grove”, written and illustrated by Crane at the age of just 19, which we recently unearthed in the New York Herald dated July 19, 1891.
Ocean Grove, New Jersey—often called “God’s Square Mile”—was (and remains) a unique seaside community founded in 1869 by Methodist ministers as a camp meeting site. Part of the broader 19th-century Methodist camp meeting movement, it combined intense religious revivalism with summer respite: families lived in tents or simple cottages during annual gatherings, emphasizing piety, prayer meetings, lectures, and moral recreation—while alcohol and other “worldly” amusements were strictly prohibited. At its cultural peak in the late 19th century, Ocean Grove represented Victorian-era piety at its most earnest, contrasting sharply with the lively, secular beach resorts nearby (like Asbury Park).
Crane’s article offers a sharp, observational glimpse into this world. He describes the “somber-hued” atmosphere of the tent colony, where devout “tenters” engaged in serious religious devotion amid the summer heat. With characteristic irony and wit, he contrasts this restrained, spiritual environment with the more carefree, bustling vacation spots just beyond its borders—highlighting class differences, social norms, and the peculiar blend of holiness and holiday.
For collectors and scholars of historic newspapers, the 1891 *Herald* piece stands out as an early “warning shot” of Crane’s emerging literary genius. It foreshadows the keen social observation, subtle irony, and class consciousness that would later define masterpieces like *The Red Badge of Courage*, *Maggie: A Girl of the Streets* (1893), and his war reporting. While a later 1892 article for the *New York Tribune* (on a Labor Day parade) sparked controversy and effectively ended his newspaper career in that city due to its critical tone, this Ocean Grove sketch remains a more polished, evocative example of his talent for elevating a routine travelogue or feature story into incisive social commentary.
Talk about precocious talent—Crane was already displaying the distinctive voice that would make him one of America’s most innovative writers before he even turned 20!
Who else would you add to the list?
Personal Note: I have a personal connection to this world Crane described. During our early teens in the 1960s and 1970s, my sister and I attended Chester Heights Camp Meeting in Delaware County, PA—a historic Methodist camp meeting grounds established in 1872, not long after Ocean Grove’s founding. Though more than 90 years had passed since Crane’s visit to Ocean Grove, much of the atmosphere felt strikingly similar to what he captured: the rows of simple cottages (most without running water), the focused religious services, the sense of stepping away from everyday bustle into a place of earnest devotion and quiet summer fellowship. While the world around it had changed dramatically over the decades—and Chester Heights itself has evolved in many ways—the core spirit of sincere personal faith buoyed by sold Biblical teaching and powerful worship in a communal setting endured remarkably intact during those years. Reading Crane’s sharp, ironic sketch today brings those childhood summers vividly back to life.
PS Confession: We had to take a bus to our camp meeting’s “beach” – a small public pool about 10 miles from our location.
This famous Confederate issue, with a contemporary explanation…
May 4, 2026 by TimHughes · Leave a Comment
Over the last 50 years we have sold many genuine issues of the famous “Vicksburg Daily Citizen” issue of July 2 (4), 1863. Its desirability is in the curious background of its creation. If you have received our catalogs through the years, you have likely read of at least one of our offerings, with the details as to how the July 2 issue was left on the press when the Confederates left town when the Yankee forces moved in. As the story goes, Yankee printers found the July 2 issue still on the press, changed the last paragraph to reflect the historic changes that had happened over the previous two days, and printed the paper.
We were not aware until recently that a contemporary issue of the “New York Times” told the story quite well. Page 2 of the August 5, 1863 issue has over a column headed: “The Fall of Vicksburgh” “Last Words of the Vicksburgh Citizen” “A Curious Relic of the Siege”.
The report begins: “When Grant took possession of Vicksburgh, a detachment of the Fifteenth Illinois cavalry visited the office of the ‘Daily Citizen”. They found the number intended for July 2 in type, and the paper all ready for printing, but circumstances had prevented its issue…the paper was very poor wall-paper. The matter was wholly editorial, with the exception of a column and a half of: “Yankee News from all Points” copied from the Memphis Bulletin, a paper which the Citizen says is ‘edited by a pink-nosed, slab-sided, toad-eating Yankee, who is a lineal descendant of Judas Iscariot…” with much more.
Further on, it explains how the last paragraph of the Vicksburg issue came to be: “The Illinois men who visited the office of the ‘Citizen’ thought that this admirable number ought not to be withheld from the subscribers. They set to work at once to print it off, but as it was now the Fourth of July and some changes had taken place since the original editor made up his sheets for the 2d, they brought up the news to date in the following postscript…” , which is the famous paragraph at the bottom of the page that begins: “Two days bring about great changes…”.
The Times article notes in conclusion: “…The copy from which we print the foregoing extracts was furnished to us by Col. Jas. Grant Wilson, of the Fifteenth Illinois cavalry, according to whose request, we have presented to the New York Historical Society.”
Although there are many issues in the realm of rare newspapers that are curious, unusual, or perhaps exceedingly historic in a very unusual way, rarely are collectors treated to a contemporary account of how they came to be. This is one.
Announcing: Catalog 366 – Released (early) for May, 2026 – Rare & Early Newspapers…
May 1, 2026 by GuyHeilenman · Leave a Comment
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Nothing New Under the Sun… Thomas Nast Calls Out Government Fraud…
April 20, 2026 by Laura Heilenman · Leave a Comment
Thomas Nast’s 1875 wood engraving “This Tub Has No Bottom to Stand On,” published in Harper’s Weekly, stands as a searing indictment of Gilded Age graft. In the cartoon, blindfolded Justice hoists a washtub labeled “Public Corruption” by its handles. The metal rings binding it—each stamped with the names of notorious syndicates such as the Tammany Ring, Whiskey Ring, Canal Ring, Indian Ring, and City Ring—snap apart under the strain. The tub’s false bottom, emblazoned “Tammany Hall 1872,” plummets to the floor, spilling a cascade of documented crimes: bribery, internal-revenue frauds, Custom House swindles, Crédit Mobilier scandals, Treasury embezzlement, and Post Office graft. Nast, fresh from dismantling Boss Tweed’s machine, used the image to declare that these interlocking networks of political and corporate plunder possessed no legitimate foundation; once challenged by law or public scrutiny, the entire edifice collapsed, emptying its ill-gotten contents for all to see.
Nearly 150 years later, the United States still contends with systemic corruption that echoes those same structural weaknesses. Transparency International’s 2025 Corruption Perceptions Index gave the country a score of 64 out of 100—its lowest mark on record—ranking it 29th globally and marking a continued slide amid partisan polarization and regulatory capture.
The parallel between Nast’s era and our own is therefore not merely stylistic but substantive. Both periods feature explosive economic growth, technological upheaval, and extreme inequality that lubricate the machinery of graft; historians routinely describe the present as a “second Gilded Age” precisely because corporate-political fusion and fee-based governance have reemerged in updated forms. Yet important differences exist: today’s watchdogs, independent prosecutors, and digital transparency tools act as faster-acting surrogates for Nast’s allegorical Justice, rapidly exposing and clawing back billions that once vanished into obscurity. The enduring lesson of the cartoon therefore persists undiminished: corruption’s tub still has no bottom to stand on. When accountability is applied—whether by cartoonist’s pen or federal indictment—the contents inevitably spill, reminding every generation that vigilance and impartial justice remain the only forces capable of dismantling rings that otherwise appear impregnable.