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A BRIEF HISTORY 
 
 OF.. 
 
 P. B. Balling's 
 
 ORIGINAL OIL PAINTING OF 
 
 General aiv$$e$ 1 Grant 
 
 'Mn tbe trenches Before Uicksburg" 
 
 ...AND A DESCRIPTION OF... 
 
 3a$. Tagan's magnificent etching 
 
 HERMAN LINDE, Art Publisher, 
 
 NEW YORK, 31 NASSAU ST. 
 

 
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Letter of John Russell Young. 
 
 LiBKAKY OF CoXGRKSS, 
 
 Washington. 
 
 October 14, 1897. 
 My T)eak Gkant: — 
 
 I liave your letter of Tlie 12tli. enclosing me photo- 
 graph of the picture of your father. It seems a 
 striking i)icture, although, of course, tlie original is 
 much more faithful thaii this copy. I like the pose 
 very much and the earnestness of the face. I will 
 keep the engraving and hie it away, and when the 
 time comes, do my best to secure the picture for the 
 Library. 
 
 We are all well, although the adjustment of the 
 Library has been a very serious summer's Avork 
 
 Remember me to all at home, and believe me 
 Ever vours affectionatelv. 
 
 Hon. Fredekick D. Graxt, 
 No. 25 E. 62d St., New York. 
 
 
Letter from Mr. P. H, Balling. 
 
 CinnsriAXiA. Xoijwav. Aj»ril 11*, 1898. 
 Prof. IIkh.maxx Lixde. l^ittsburu-. Pa, 
 
 Mv Dear Sik: — 
 
 Let me first tliaiik you for tlie good photo of my 
 l)oi'tniit of Grant, with his shiuch liat, in the trenches 
 before A'icksburg. It is strikingly like liim. too, as I 
 remember him sitting by the ('am[)-lire before his tent 
 at City Point Headquarters, the day we returned from 
 Fort Harrison, when he inspired me by telHng me of 
 liis meeting with Sherman and the Avork around 
 Yicksbiirg. You know that I asked him that day to 
 do me the favor to take Richmond wliile I was his 
 guest ar City Point, and that he took but some 
 ground and Fort Harrison. That same evening he 
 admitted that he always smoked his cigar walking 
 about, but never on horseback. Hence my i)icturing 
 liiin with liis cigar in luind. 
 
 I congratulate you on having become the owner of 
 that historical and. in my opinion, the most charac- 
 teristic portrait of the great General. When Grant 
 visited me, the 21st of Novembei', 180;"), lie wrote in 
 my book'"- of visitors: 
 
 ''Visited ]\rr. P)alnng*s excellent composition on 
 this date. 
 
 " U. S. Ghan'i-. Lieul.-Gen. I'. S. Army. 
 
 "Nov. 21st. Xew York City." 
 
 The Xatiuiial Trihiuie. of AVashington, D. C., 
 June 17, 1880, will tell you all about that painting 
 
 * The album here referred to coutaius comments ou lii.s work, aud 
 many expressions of good -will and the like from distinguished people. 
 
and my introduction l)y Abraliani Lincoln. I sliall 
 put into luy albiTUi the first and last one of your kind 
 letters. The remarkable book shall not be many 
 years in my possession, hnt it will be preserved by 
 somebody that knows how to value it. The King of 
 Denmark wrote in it, the 22d of May, 1877, and now 
 on the 23d of April, next Saturday, I am going to 
 shake hands with him, as I am going to Copenhagen, 
 being invited by the Secretary of War as his guest at 
 the lifty years' jubilee of the battle of Schleswig. 
 
 I am old, but strong enough (although the Inillet 
 I carry in my shoulder troubles me sometimes) to 
 work on my last commission, a painting for an altar 
 in a church, in which was l^aptized Private John 
 Widness, of Brooklyn, once a volunteer in Company 
 I, 1st Reg. X. Y. A ., proud of having his own colonel, 
 he says, to Avork for iiim at his old church, SkilHvedt 
 pr. Spydeberg Station. 
 
 ^^^ ^>^— ^ 
 
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Subscriptions 
 
 have been opened at the offices of Mr. Hermann Linde, 
 pnl)lLsher, New York, ;n Nassau Street, for copies of 
 a limited edition of one of the largest and most bril- 
 liant etchings ever produced in this country. 
 
 By James Fagan, 
 
 directly fiom the life-sized ])()rtrait of Gen. U. S. 
 Urant l:)y 
 
 P. H. Balling, 
 
 representing 
 
 Gen. Grant in the Trenches Before Vicksburg, 
 
 and painted l)y that great artist during the memor- 
 able siege from life, the painter having brought 
 Gen. Grant a letter of introduction from President 
 Lincoln. 
 
 It can he said, with absolute truth, that for the first 
 time an adequate picture is offered of Gen. Grant as 
 a soldier; it is not only a truthful and artistic |)icture, 
 but the only one that was taken of him at this 
 supreme moment of his career. 
 
 The etching is a splendid work of ait, 24x19' 
 inches, and is strictly limited to an 
 
 Edition de Luxe of 350 Remarque Proofs Only, 
 
 each copy signed by the etcher and printer. 
 
 These 350 proofs are issued in the fcdlowing manner,, 
 and at the following prices. 
 
3^ Tfje jilare will ire 
 
 f!"*^,;^-,' cur info ^ 
 
 * 350 pieces. 
 
 U. S. GRANT IN THE TRENCHES BEFORE VICKRBTTRG. 
 
To Subscribers Only : 
 One hundred oil iiarcliineiil ;ir . . . S250 each 
 
 {irltli o fOiKiffjues). 
 
 One liuiidred niid lifty on India paj)er at f^2i)0 each 
 
 [nilh 3 reuKirques), 
 
 One liiiiKlit'd oil Japan paper at . . . $250 each 
 
 {ivifJi ,i reniarquc's). 
 
 The entire edition is issued in luxurious style, as 
 fine as it can be made, and worthy of the sul)ject and 
 the i^ainting itself. 
 
 We absolutely g-uarantee 
 
 The Destruction of the Plate, 
 
 and will furnish to each subscriber a print of the 
 destroyed plate, with the affidavits required. 
 
 We will also, after the editioti has been printed, 
 cut the entire coiyper-ijlate into ^iriO pieces, and send 
 to each subscriber one piece (which will ])e about 
 li in. square) as a souvenir, bearing the same num- 
 ber as tlie etching for which lie has subscribed. 
 
 A number of copies have already been bespoken, 
 and the term for subscription expires with December 
 1, 1899, after which date we reserve the right to 
 advance the price for the remaining copies. 
 
 It has been found that the value of costly editions 
 of this kind increases Avitli each sale, and the final 
 price will be largely controlled by the coiiiix'iitive 
 demand. 
 
 Care has been taken to give the etching extraor- 
 dinary value as a work of art. Moreover, the picture 
 stands alone as a priceless (•oiilribiitiou t»» the iiiemory 
 of the great command:-!-. The history of the painting 
 
is also iincoiiniionly interesting, tlie great name of 
 Lincoln being connected with it, and being painted 
 by a Norwegian, then the most celebrated portrait 
 painter in America, Avho served as a brave and dis- 
 tinguished officer in the army, and was the personal 
 friend of Gen. Grant. 
 
 Description of the Picture. 
 
 The i)ortrait represents Gen. Grant standing 
 
 In the Trenches Before Vicksburg^. 
 
 Artistic verity and lidelit}" to the character of the 
 subject are the qualities that strike one in the picture 
 at once. Balling understood the man, and demon- 
 strated his appreciation of the fitness of things by his 
 entire simx^licity of treatment. There is in it no trace 
 of artificiality, conventionalism, or sensationalism. 
 Balling lias fallen 
 
 Little Short of Rembrandt 
 
 in the power to convey character to canvass. 
 
 It is for his unstudied simplicity of character that 
 Grant will be lovingly admired in history. The 
 picture represents him as standing in the trenches, 
 his right hand thrust loosely in his j)ocket, his left 
 arm hanging almost loose by his side, with a cigar 
 between his fingers. There is a certain carelessness 
 in the dress, the plain uniform of a general, the vest 
 being partly unbottoned at top and bottom. His hat 
 is the slouch felt of that period, unmarked by 
 ornament. 
 
There is no painting of Grant of any jieriod that 
 has such a winning countenance. There is great 
 firmness in that aspect, and yet a judicial mildness. 
 There is something strangely fascinating in the pic- 
 ture as a type of 
 
 The American Genius 
 
 in the critical days of strife— simple, strong, un- 
 swerving. 
 
 Gen. Grant was not a X)Oser, and, until peace came, 
 subjected himself Avith reluctance even to the camera. 
 In later days, when the gratitude of the nation had 
 exalted him to the supremacy, a few artists of distinc- 
 tion secured sittings from liim. l)ut 
 
 This is the only Painting 
 
 that exists of him of the i)eriod that may be described 
 as the 
 
 Turning Point of His Own Destiny and that of 
 the Nation. 
 
 Balling's work was accomplished to the accompani- 
 ment of tlie bursting of shells of the memorable 
 siege of Vicksburg, and the paint of it was hardly 
 dry when Grant entered the town as victor on the 
 Fourth of July, a reference to which date will be seen 
 in a letter from Balling herewith published. 
 
 It is the One Typical Picture of Grant as a 
 Soldier. 
 
How the Painting was Conceived. 
 
 The artist, P. H. Balling, was a Norwegian, Init lie 
 was a soldier in the American canse. He had the 
 regard of Abraliani Lincoln, and it was the President's 
 letter of introduction to Grant that secured a consent 
 that might have been otherwise denied. Balling was 
 in no sense employed in a mercenary ventui'e. His 
 heart was in it. It was also the ardent wish of Abra- 
 ham Lincoln that Balling might succeed in getting a 
 fine iDortrait of the great general. 
 
 Lincoln's Heart was in the Venture 
 as well as the artist's. Balling realized, as if by 
 inspiration, the destiny of Grant, and was conscious 
 that he was identifying himself with a fame that 
 was to grow and to l)e lasting. The artist could fore- 
 see the greatness of his subject, but he could not 
 foresee the unique value of his picture, Avliicli was to 
 be without competition. 
 We cite from 
 
 Scribner's " Cyclopaedia on Painters and Paintings," 
 Vol. I, in order to give the reader a concise sketch 
 of the life and works of the artist Balling: 
 
 "Ole Peter Hansen Balling was born at Christiania, 
 Norway, Aju'il 23, 1823; began early the study of art, 
 and was a pupil of Johann ^Vunderlich and of the 
 Berlin Academy; visited Copenhagen in 1840, Paris 
 in 1854, and New York in 1856. At the outbreak of 
 the Civil War he joined the 1st N. Y. Y. Regiment 
 as captain of a Swedish company, and afterwards 
 com.manded the 145th Regiment, N. Y. Y., as lieu- 
 
tenant-colonel. In 1863 he resigned, and devoted 
 liinisell" to art. Among his notable ])i('tnres of Ameri- 
 can subjects are Gen. Sedgwick, now at West Point; 
 Admiral Farragut, at the Annapolis Naval Academy; 
 Gen. George 11. 'riiomas and Gen. Eeynolds, at the 
 Union League Club, Philadelphia; and a group of 
 twenty-seven generals on horseback." 
 
 He is spending his old age in his native country, a 
 man of distinction and achievements, of none of 
 which is he prouder than his association witli (Uni. 
 Grant and the struggle for our national life. 
 
 Who Could Etch this Famous Painting 
 Best? 
 
 It was first contemplated to have an etching made 
 after this remarkable painting l)y one of the European 
 etchers. However, in looking around and scrutin- 
 izing the ground, there was found available talent in 
 our own country, and from all the artists there was 
 selected James Facjax, who occupies the very first 
 rank among living etchers, and who had already etched 
 a creditable smaller Grant portrait, and also two por- 
 traits of Generals Sherman and Sheridan; also many 
 other i)lates of acknowledged merit, among whicli is 
 that of Chief-Justice Marshall and that of Napoleon I. 
 
 But it is freely confessed by every art critic, who 
 has seen these plates and admired them, that this 
 etching of 
 
 U. S. Grant by Jas. Fagan 
 is so far the crow ning effort of this American artisf s 
 life, and that no living etcher could have reproduced 
 
this historical painting by Balling in a stronger and 
 more artistic way. 
 
 Congress Passes a Bill to Acquire the 
 Great Painting for the Nation. 
 
 A bill has since been passed in Congress, to buy 
 from Mr. Hermann Linde the original painting, 
 
 " In the Trenches Before Vicksburg," by Balling, 
 for the Nation, 
 
 and to give the great picture a suitable place in the 
 new Congressional Library. 
 
 The Painting is Now Valued at $50,000 by 
 Competent Experts. 
 
 The Three Remarques, 
 
 which the etcher has chosen, are very appropriate, 
 they are the three chief dwellings of tlie hero. The 
 llrst is the house of his birth, the humble shanty at 
 Galena, 111. This remarque is placed in the center 
 below the picture. 
 
 The one to the left is his second important dwell- 
 ing, namely the White House, where he lived for tlie 
 two terms of his presidential career. 
 
 The third one, toward the right, is his last resting 
 jDlace, the costly Mausoleum, erected in his honor by 
 contributions of the whole nation at a cost of over 
 $600,000. 
 

 
 
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 AirnsT HIMSELF. 
 
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Affidavits. 
 
 THIS INDENTURE, iiuide this thirty-first day of 
 May, 1899, between Hermann Linde, of 31 Nassau 
 Street, New York City, party of the first part; James 
 Fagan, of Fordhani, New York, party of the second 
 part; and Kimmel <S: Yonrr, of No. 242 Canal Street, 
 New York City, i)arties of the tliird part. 
 
 Whereas the party of the first part is the owner of 
 the orio-inal oil-painting, entitled " U. S. Grant in the 
 Trendies Before Yicksburg," painted by P. H. 
 Balling, and is about to publish an etching of the said 
 painting; and, 
 
 Whereas the party of the second part has made an 
 etching of said painting; and, 
 
 Whereas the party of the third i)art is about to 
 print the plate for such etching: 
 
 Nolo, therefore, in consideration of tlie mutual 
 covenants hereafter set forth, and the sum of one 
 dollar each to the other in hand paid, it is agreed and 
 covenanted as follows: 
 
 First: The total luimber of copies to be printed 
 from said plate will be three hundred and fifty (350), 
 of which one hundred Avill be on parcliment, one 
 hundred and fity on India paper, and one hundred on 
 Jajxin paper. 
 
 Second: All of the said three hundred ami lilty 
 (350) copies shall l)ear the autograph signatures of the 
 party of the second part and the ]tarties of the thiid 
 part. 
 
 Third : The plate is to remain in the custody of tlie 
 
party of the tliird part until the said three liiindred 
 and tifty (Si^O) copies have all been printed, and there- 
 after immediately be destroyed in the presence of a 
 notary public of the County and State of New York, 
 and said plate is thereupon to be divided into three 
 hundred and hfty (350) i^tieces, each subscriber to the 
 etching to receive one of said pieces. 
 
 Ill loitness lohereof the parties have hereunto set 
 their hands and seals the day and rear first above 
 
 Avritten. 
 
 /^^yj/f{c/u*'*x^<i^^^^^ 
 
 
 STATE OF NEW YORK. 
 
 County of N 
 
 EW YORK. ) 
 Vp:w York, ) 
 
 On this thirty-tirst day of May, 1899, before me, 
 a notary public in and for the county of New York, 
 duly appeared Hekmanx Lixde, James Fagan, and 
 Henry F. E. Yoigt, a member of the firm of Kimmel 
 & Yoigt, the 2:)arties described in and who executed 
 the foregoing instrument, wlio, being l)y me duly 
 sworn, each for himself did acknowledge the forego- 
 ing instrument for the purposes and uses therein 
 
 mentioned. 
 
 ^,^*-'*''-*.<,^ NOTARY RtTBLIC. 
 
 ■/^ ^ VV. ^ffjiS^ KIMG5C0.,CEHT.IfLEDHr.C0. 
 
 
 I 5 NOTARY g I 
 •i "!; PUBLIC •" I 
 
 
 
 V 
 
No. 1. 
 
 No. t?. 
 
 THIS IS THE Af'TUAL SIZE OF TWO OF TlIF 350 
 I'IKCKS OF THE DFSTROYKO I'LA'I'K. 
 
 Valuations of Historical Portraits. 
 
 AVe are living in nil age in whicli tlie value of a rare 
 portrait is probably more appreciated tlian at any 
 X^revious period; yet it is safe to say that there are 
 few portraits in tin's country whicli have attained to a 
 liigher \aluaTion aiuoiii:," histoi'ical painliiiiis than lliis 
 one. The fact that it was conceived and executed by 
 Balling on the battlefield, himself a great artist, who 
 at the time was the commander of a regiment, and 
 X)ainted at a period when the fate of oiii' whole nati(m 
 depended on the victory about to 1)e achieved by the 
 very man Avhoni ihe painting repivseiits as standing 
 in the trenches l)efoie \'icksbui'g\ must naturally 
 enhance its vnlu(>. 
 
 The Sum of $100,000 Has Been Paid 
 
 in New York Dy an art lovei- for a itoiiraii of Kem- 
 brandt, rvprcsentiu<i irlidin no one ii-i/Ji certainly 
 linou-is. It is known as •• The (iililei/' because some 
 one had written upon llu- baclc of it this title, and 
 this haphaShrd description will ri'iimin attached to it. 
 
Its history can be traced to Rembrandt, but not to 
 tlie j)erson represented. It is nevertheless a wonder- 
 ful creation by that great master, and it is well worth 
 $100,000; nay, more, for even a much larger sum has 
 been offered for it to the present owner. Why ? On 
 account of its \ustoricalcmt7ie?iticity audits intrinsic 
 value as a genuine work by Rembrandt, and as repre- 
 senting beyond doubt a living contemporary of the 
 master. This warrants the estimate of its value. 
 
 Rembrandt's Generals and Admirals. 
 
 For Rembrandt was, without doubt, the greatest 
 portrait painter of his time, and liis historical por- 
 traits, which often represent admirals and generals of 
 Holland, are worth still more than $100,000 each; in 
 fact, such portraits now owned, in most cases, by the 
 government, are simply i^riceless, for, we may be sure, 
 that these admirals and generals were x)ortrayed by 
 Rembrandt not only correctly and true to nature, but 
 also with eminent artistic skill; and endowed with 
 the hnest quality of the art of painting, they are 
 accepted by connoisseurs and in tlie oj)en market at 
 these enormous valuations. 
 
 So in this case. P. H. Balling was undoubtedly 
 the greatest artist in this country at the time of the 
 Civil War. He was, so to speak, the Rembrandt of 
 this historical j^eriod, Jind, therefore, his portrait of 
 the great general will live throughout the history of 
 our nation as one of the most truthful and priceless 
 memorials of Gen. V. S. Grant. 
 
The Intrinsic Value of this Portrait. 
 
 must naturally increa.se from yeai' to ynai'. Just as our 
 estimation of Gen. Cxrant's greatness lias increased so 
 far, and -will increase more and more. With every 
 bron/e statue which our pi-oud cities add to the 
 memory ol" the i!,reat liero, and with every new biog-ra- 
 phy winch serves to ramiliari/e us with his _<;-i'eatness, 
 and with every year that hipses into the eternal space 
 of time, there is naturally added an absolute certainty 
 as to the historical as well as to the intrinsic value of 
 this li'reat jiaiutinu,-. 
 
 Valued at the Present Time at $50,000. 
 
 At the present time tlie portrait I'epi'esenting Gen. 
 U. S. Grant in the trenches before Yicksburg is valued 
 by comi)etent experts at $50,000. And why should it 
 not reach the valuation of slOO.OOO. and why not 
 more '. 
 
 And what about the actuiil value of this mautiih- 
 cent etching, which is now, for the first and oidy time, 
 in a limited edition of 850 co[)ies, distril)uted among 
 a nation of seventy-live nnllion of peopled 
 
 Valuation of Etchings of Historical Interest. 
 
 AVe have to go back to Rend)randt again in order to 
 make it clear how the value of a single etching may 
 increase to a fabulous amount. A small ])ortrait 
 etched by Keml)randt. and of historical value, which 
 was sold during his lil'etime for less than forty cents 
 a copy, brought a while ago, at the sale of Cai)tain 
 Halford's art treasures in London, the sum of 
 
$20,000. Wliy'^ Because there are ill existence only 
 a few of these historical etchings. Only a limited 
 number were printed in tlie beginning, and naturally 
 this liniited number diminished from year to year 
 through loss and damage, and the increasing scarcity 
 of the etching, combined with the increasing fame of 
 Rembrandt, caused the price of less than forty cents 
 to rise to the enormous tigure of s2().()0(). 
 
 Value will Increase From Year to Year. 
 
 This only ])y Avay of illustratio]i, l)ut, to a certain 
 extent, a similar ai)preciation in value will certainly 
 occur in the case of this etcliing of Gen. Grant. 
 There is only this limited nund^er of 350 copies 
 printed and distributed in a country, which is a hun- 
 dred times larger and riclier rhan Holland, the native 
 land of Rembrandt. 
 
 The painting is co})yrighted, and so is the etching. 
 No other copy outside of this limited number of 
 etchings can ever be obtained, and so it stands to rea- 
 son, that the value of this etching must increase 
 rapidly from year to year, and must tinally become a 
 priceless treasure and valual)le object of art. Why 
 may it not attain to a similar value, in connection 
 with the fame of Grant, to the etching of historical 
 interest sold from Captain Halford's collection^ 
 
 And why not even more ? 
 
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