American as (apple) pie. Winslow Homer's depiction of a hungry Union soldier is acquired by SoCal museum, which will show it off Sunday in revamped galleries

Winslow Homer's 1863 painting "The Sutler's Tent" debuts Sunday (Courtesy The Huntington)

A Civil War camp scene painted by Winslow Homer – who captured war’s fury at the front and documented soldiers’ lives behind the lines – will debut Sunday as part of the relaunch of an American art gallery at a Southern California museum.

Homer (below) was in his mid-20s when he became an artist-reporter for Harper’s Weekly, embedding with the Union army in Virginia. While most of his work about the conflict was illustrations, he did produce several paintings, including “The Sutler’s Tent,” which was acquired by The Huntington.

The San Marino, Calif., institution recently announced the acquisition of the work, which was purchased for an undisclosed amount from a New York-based gallery. The Ahmanson Foundation funded the acquisition in honor of the 250^th anniversary of the founding of the United States, officials said.

The 1863 painting, only 16-1/4 inches by 12 inches, shows two Yankee cavalry troopers near a tent, one munching on what appears to be a slice of pie (another theory has it as bread and cheese).

The blog Los Angeles County Museum on Fire points out the celebrated artist first depicted the subject in an 1862 sketch, which shows more than a half dozen members of the 3^rd Pennsylvania Cavalry standing near a tent. One of them is sitting on a rail, enjoying a snack.

The drawing was modified for publication in Harper’s Weekly and entitled "Thanksgiving in Camp."

“Harper's Weekly reproduced Homer's war art as wood engravings. ‘The Sutler's Tent’ is related to a Thanksgiving-themed illustration that ran in November 1862,” according to William Poundstone’s blog. “That means the engraving came before the painting, dated 1863. The horizontal-format print shows many more figures than the painting and clearly shows the tent. … Homer evidently felt the tight cropping of the painting made a stronger composition.”

Homer's 3rd Pennsylvania Cavalry (National Gallery of Art) and Harper's Weekly version (Metropolitan Museum of Art)

Homer honed his craft during the Civil War. A 2015 article in Yale News describes how the self-taught artist had to work quickly and be an astute observer. The young man grew a beard like many soldiers and also wore worn and dirty clothing.

“Homer, like other war correspondents, considered what he did to be a public service and felt as though he endured some of the same kind of experiences as soldiers did,” Keely Orgeman, a curator with the Yale University Art Gallery, told the publication. “When Homer was stationed in Yorktown on the front, he was unable to eat for three days, along with all of the soldiers. According to his mother, he was completely changed by that experience.”

Homer’s other well-known Civil War works include “Prisoners from the Front,” “Home, Sweet Home” and “A Sharp Shooter on Picket Duty.”

Homer's "Prisoners from the Front" is owned by the Metropolitan Museum of Art and displayed in New York.

The purchase of “The Sutler’s Tent” was first reported by the Los Angeles Times.

Annabel Adams, vice president of communications and marketing for The Huntington, told the Picket the reasoning for acquiring the museum’s first Homer painting was “especially important as we set to launch a reinstallation of American art galleries on December 7 as part of our ‘This Land Is’ initiative.”

The multiyear effort includes the reinstallation of seven galleries in the Virginia Steele Scott Galleries of American Art.” One reopened in September; six will debut Sunday.

As Poundstone reported, “The Sutler’s Tent” will be the centerpiece of a room about the Civil War and Reconstruction. On display will be a signed copy of the Emancipation Proclamation from The Huntington’s Library and Jean-Baptiste Carpeaux’s scultpure "Why Born Enslaved!," The Huntington said in a news release.

Adams said the institution’s Civil War holdings are renowned. Among them:

-- Papers relating to President Abraham Lincoln’s bodyguard Ward Hill Lamon;

-- Ciphered communications between Abraham Lincoln and army commanders;

-- Lincoln memorabilia and manuscript collector Judd Stewart;

-- Scrapbooks made by war correspondent and illustrator James E. Taylor (left, courtesy The Huntington);

-- Alfred R. Waud’s 1863 drawing of Rebel prisoners at Brandy Station.

Christina Nielson, the Hannah and Russel Kully Director of the Art Museum at The Huntington, said “Sutler’s Tent” expands the dialogue between the art and library collections.

“As we look toward the 250th anniversary of the United States, the painting invites reflection on a pivotal chapter in our nation’s history -- one that continues to shape the American experience,” she said in the news release.

The Huntington also features botanical gardens and a research center.

These Vermont soldiers staved off further defeat at Chancellorsville. The return of a 'lost' painting depicting them is a win-win for Green Mountain State, Texas students

Lyman Orton surrounded by Vermont Civil War Hemlocks (Photo courtesy Mary Admasian)

The story of a 155-year-old Civil War painting and its return to Vermont involves a compelling cast of characters, including a rich Texas oilman, a prominent businessman and an intrepid teacher who discovered the whereabouts of the work.

The canvas depicting soldiers in the Chancellorsville Campaign was produced by Medal of Honor recipient Julian Scott, a 3^rd Vermont Infantry fifer and drummer who took up the brush after the war.

Dubbed “The Fourth Vermont Forming Under Fire,” the painting joins four others made by Scott (below) -- all featuring soldiers from the Green Mountain State – on display in the Cedar Creek Reception Room in the State House in Montpelier. The unveiling occurred Oct. 29.

Remarkably, this is the first time “The Fourth Vermont” has been in the state since shortly after its creation.

Lyman Orton, who heads up The Vermont Country Store and is an avid art collector, purchased the work at auction earlier this year for $110,000. Orton has loaned it to the state for a year. Orton was on hand that day with the Vermont Civil War Hemlocks, a reenactment group.

Vermont historians and others enlisted Orton’s help after Champlain Valley Union High School social studies teacher Tyler Alexander learned the University of Houston was planning to sell the painting to create an endowed scholarship.

The painting’s journey involved several parties, so let’s start from the beginning.

Julian Scott was dedicated to showing valor of soldiers

Scott, a native of Johnson, Vt., received the Medal of Honor for helping to rescue wounded men at Lee’s Mill in Virginia while “under a terrific fire of musketry.” The soldier was just 16 during the April 1862 battle.

Scott was known to make battle and camp sketches during the war. He mustered out in 1863, enrolled in art classes, studied in Europe and became a professional artist upon return. He had a keen eye for detail and dramatic depictions of blue-clad Vermonters.

Lewis A. Grant is believed to be at far left, wearing broad hat and holding sword (Vermont State Curator's Office)

State curator David Schutz provided some context.

“His career as a painter took off with an 1869 battle scene, ‘Rear Guard at White Oak Swamp’ which was purchased by the Union League Club of New York City. That in turn led to a commission by the Vermont Legislature for the large painting (‘The First Vermont Brigade at the Battle of Cedar Creek’) and completed four years later, to be hung in the Vermont State House."

The recently acquired painting apparently features the valor of the 4^th Vermont Regiment as it helped counter Confederate Gen. Robert E. Lee’s attempt to wipe out the rest of the Union army as it retreated from the 1863 defeat at Chancellorsville.

The plucky Vermonters protected the 6^th Corps, led by Maj. Gen. John Sedgwick, as it fled across the Rappahannock River at Bank’s Ford, Schutz said.

Click to enlarge text and illustrations (Courtesy Vermont State Curator's Office)

An interpretive panel below the painting says First Vermont Brigade – which included the 4^th Infantry – fought a rearguard action and was the last to cross to safety, “as dawn came to the smoky countryside with artillery striking all around.”

The painting, Alexander and others learned, was commissioned by wealthy New York patent attorney and diplomat Edwin Stoughton to honor his nephews, Charles and Edwin Stoughton, both of whom commanded the 4^th Vermont Regiment. The painting seems to feature brevet Maj. Gen. Lewis A. Grant, commander of the First Vermont Brigade, standing on the left with his drawn saber, according to officials.

Vermonters rallied around plan to buy painting

The painting stayed in the Stoughton family into the 20^th century, said Schutz, adding its provenance is unknown until Texas oilman and cattleman Patrick R. Rutherford bought it for his Houston home in 1983.

A University of Houston spokesperson told the Picket the estate of Rutherford, who died in 2020, donated the “Fourth Vermont” to its Department of History. The aim was for it to be displayed for a time in the department’s office before it could be sold to fund history student scholarships.

The school placed it on auction earlier this year.

Enter Alexander, the school teacher and author.

He was looking for suitable image for the cover of his new book, “If I Can Get Home This Fall: A Story of Love, Loss, and a Cause in the Civil War,” based on letters from Dan Mason, a soldier from the state’s Northeast Kingdom.

Alexander became aware of the painting but apparently no one else in Vermont knew where it was, said Schutz, the state curator.

The University of Houston history department gave Alexander permission to use the image, but told him they planned to sell the original work.

“He alerted us -- and we gathered a group of supporters to come up with a plan that would bring the painting to Vermont,” said Schutz.

That group included Vermont historians Howard Coffin and Kevin Graffagnino. There was no time to secure state funds, so Orton came through with the winning bid.

The businessman is the benefactor of the "For the Love of Vermont" art collection.

Auction proceeds will benefit UH history students

The university had commissioned Simpson Galleries of Houston to sell the work.

Online, the painting was entitled “Vermont Division at Battle of Chancellorsville,” but as Coffin points out, there was no Vermont Division. Instead, the First Vermont Brigade comprised the 2^nd, 3^rd, 4^th, 5^th and 6^th Vermont regiments.

Grant (right), the brigade commander, won plaudits for his leadership in the Peninsula Campaign, Fredericksburg, Gettysburg, Cedar Creek, the Wilderness and Petersburg.

He received the Medal of Honor for “personal gallantry and intrepidity displayed in the management of his brigade at Chancellorsville and in leading it in the assault in which he was wounded” on May 3, 1863.

The University of Houston spokesperson told the Picket gains from auction will be used to create an endowed scholarship, “which means it will benefit students in perpetuity.” The first recipients should receive funds in 2027-28, once the endowment fully vests. 

Prof. Catherine F. Patterson, chair of UH's Department of History, said in a statement: “The University of Houston History Department is pleased that this generous gift will both provide scholarships for our students and return this important painting to Vermont, where it holds ties to the state’s Civil War history.

Scott is best known for his depiction of the Battle of Cedar Creek (NPS photo)

James Longstreet was here: Civil War veterans often mailed or gave out calling cards at reunions and meetings. Manassas has one that belonged to the general

One of the general's calling (visiting) cards (Manassas National Battlefield Park)

William Adams Longstreet was born in 1897 to a family noted for its celebrity -- and controversy. His grandfather, Confederate Lt. Gen. James Longstreet, was in his final years, bloodied but unbowed after decades of defying the South, as a biography describes him.

William was just 6 when his grandfather, 82, died in January 1904 in Gainesville, Ga. Like others related to the general, William grew up in the town with a purpose.

“He was a jovial man who was dedicated to clearing the general’s name,” nephew Dan Paterson said of William.

James Longstreet was pilloried by foes for his performance at Gettysburg and, later, support for Reconstruction, black suffrage and the Republican Party. Recent books, however, have brought him a good measure of vindication.

William (second from left), half-sister Jamie (behind stone) and Dan Paterson at Alta Vista Cemetery in 1969

As the last direct descendant with the surname Longstreet, William felt an extra obligation by taking up the mantle and defending “OId Pete” whenever he could. William – who worked for the U.S. Postal Service and lived in Washington, D.C. -- made appearances at battlefields and joined a Sons of Confederate Veterans camp named for his grandfather.

The descendant in 1959 donated a Gen. Longstreet calling card and an unframed print of a painting of the general to Manassas National Battlefield Park. Park museum specialist Jim Burgess told me the painting was made by renowned artist Howard Chandler Christy.

I learned of the calling card after a recent visit to the park, and I decided to delve into the topic. Such cards were the equivalent of today’s business cards, though most did not include contact information.

That’s because they were often mailed or given out, such as the likely case with Longstreet, at battlefields, veteran reunions and public events. The general (right) dispensed them as a sign of goodwill, rather than the pursuit of business.

Calling cards (or visiting cards) were popular with members of the Grand Army of the Republic (Union), United Confederate Veterans and other organizations.

“The heyday was in in the 1880s and 1890s during their highest membership,” said Everitt Bowles, who sells calling cards on his “Civil War Badges” website. “They’re not hard to find if you're involved with Civil War events. The higher prices are usually because of the elite regiments or for how famous the soldier was. Of course, there were a lot more common soldiers in the war versus the generals.”

Such cards can go for as little as $10 to several hundred dollars.

“Longstreet was such a famous person. He would give them out at reunions,” said Vann Martin of the online shop “The Veteran’s Attic.”

General was warmly welcomed at reunions

Longstreet was all about national reconciliation after the Civil War and he famously traveled to Gettysburg and to all manner of meetings and reunions.

His card simply read “James Longstreet, First Corps Army of Northern Virginia, ’61-’65. The top left featured the third national flag of the Confederate States of America.

“I am not familiar with how extensive James Longstreet calling cards might be. Given his longevity, it wouldn't surprise me if he didn't use several different styles over the years,” said Jim Ogden, historian at Chickamauga and Chattanooga National Military Park. “I'd say this definitely has to be postwar, probably, given the stylized Third National, very postwar.”

The original Christy painting of the general hangs in Chickamauga and Chattanooga visitor center (Picket photo, left).

Longstreet’s widow, Helen Dortch Longstreet, a tireless advocate, commissioned the painting. A second version of the subject is on loan from Gettysburg National Military Park to the Longstreet Society, based in Gainesville.

Ogden cites Longstreet as an example of recent interest in Civil War memory.

Scholars and authors in recent decades have brought new interpretations of the man, finding he was not the “Southern Judas” he came to be called.

Many collectors love postwar reunion items and calling cards

Dan Paterson (right), William’s nephew and a great-grandson of James, said the general made numerous postwar journeys, including Fredericksburg in 1884; Knoxville, Tenn., circa 1893; Chickamauga for the 1899 dedication of the Georgia monument; Chicago; Gettysburg twice; and Richmond, Va., for the 1890 unveiling of its Lee monument

The general must have carried his calling cards to these and reunions.

Martin, with “The Veteran’s Attic,” said he has collected a few calling cards bearing a photograph, but they are somewhat unusual.

Longstreet’s card, he said, would have been treasured by those who received one. “He had people writing him all the time. They wanted his signature.”

Union veterans were more likely to have them printed “because they had more money. The South had to go through Reconstruction,” said Martin.

T.J. Jones of the 41st Tennessee (The Veteran's Attic)

Calling cards draw some interest, but they are not a priority, said Martin.

His website includes a card made for T.J. Jones of the 41^st Tennessee Infantry (above). The private was wounded captured twice during the war. He later worked for the railroad. He died in 1910. The card includes a photo of the bearded Jones as a veteran. The card is on sale for $335.

Some collectors focus on pennants, badges and pins from Civil War reunions. A more unusual item was one made of seashells in the 1890s for a GAR post in Buffalo, N.Y., Martin said.

Cards and portraits of Bowley, Lord and Wolff, click to enlarge (Library of Congress)

The Library of Congress has a few online images of Civil War calling cards, among them one for nurse Helena E. Miller Wolff, 1^st Lt. Charles P. Lord of the 6^th Massachusetts Infantry and 1^st Lt. Freeman Sparks Bowley of the 30^th U.S. Colored Troops.

Bowley, a white officer, is remembered for a vivid account of the battle of the Crater at Petersburg and its aftermath and his memoir.

Hated by many in the South, beloved at Gettysburg meeting

When I visited and interviewed people about Longstreet some 15 years ago, his story was little-known to most Americans. The novel “The Killer Angels” and the film “Gettysburg,” coupled with scholarship by historians, helped to usher in a reassessment of the general. More favorable books have followed.

At the Longstreet Society’s annual memorial at the general's grave at Alta Vista Cemetery this year, president Richard Pilcher gave a brief summary of the general’s life, mentioning his military prowess, public service and courage away from the battlefield – working for reconciliation after the war. “Many Southerners considered him a traitor to the cause, and blamed him for the Confederacy’s defeat,” he said.

Longstreet in postwar years voiced his opinion that Gen. Robert E. Lee should not have launched the disastrous Day Three attack at Gettysburg. Advocates of the romantic Lost Cause myth lashed out at him, and said he failed Lee at Gettysburg by delaying the execution of orders. Some of the general's writings in various newspapers often backfired on him.

Many Confederate veterans lionized him and he was popular at reunions, including a notable gathering at Gettysburg in 1888.

Civil War blogger John Banks has written about Longstreet’s trip to Pennsylvania and the general’s friendship with former foe Dan Sickles and other Union luminaries.

“The most celebrated man at the event sported massive, white whiskers and a cleanly shaven chin: James Longstreet, who commanded the Confederates’ First Corps at Gettysburg on July 1-3, 1863. Nearly everywhere Robert E. Lee’s ‘Old War Horse’ went he drew appreciative, and often awestruck, crowds,” Banks wrote a few years back.

Longstreet (center) and Sickles (right) during the 1888 reunion (Gettysburg NMP)

As the blogger points out, the general was more popular in the North than the South because of his alignment with President Ulysses S. Grant and the Republican Party. Former colleagues in gray savaged him for daring to criticize Lee’s decisions at Gettysburg.

The main hallway at the Piedmont Hotel in Gainesville, home to the Longstreet Society, has copies of documents on his appointment to federal offices, including postmaster, U.S. marshal and minister to Turkey. He also served as a railroad commissioner.

I recently asked Banks to describe Longstreet’s personality.

“Seems like guy I’d want to have a beer with -- good dude. Not a loudmouth.”

As for Sickles?

“Loudmouth”

William A. Longstreet was an ambassador for his grandfather

Dan Paterson’s late mother, Jamie Louise Longstreet Paterson (left), was crucial in the fight to vindicate the general’s conduct, during and after the Civil War.

Jamie was born 25 years after the death of James Longstreet, who had moved to Gainesville in 1875 and operated a hotel.

She was born in Gainesville to Fitz Randolph “Ranny” Longstreet – one of the general’s sons -- and Zelia Stover Longstreet.

Randolph’s first wife, Josie, died in 1904 and he remarried in 1929. William A. Longstreet’s mother was Josie and Jamie was his much younger half-sister.

Jamie grew up in Gainesville, married the late William D. Paterson and they lived in Washington and Bowie, Md.

Dan Paterson, now in his mid-60s and living in Centreville, Va., said the calling cards were passed on to Ranny, who kept them in a metal box. That container survives today and remains in the family.

Dan used the card as a template for his own business card.

Ranny Longstreet was a farmer and loving father, said Dan Paterson. “My grandfather was  … easy-going, he did not go into the military.”

William with book by James Longstreet, with Herman Leonard and in 1969 (Courtesy of Dan Paterson)

Paterson recalls his time with William in Georgia and elsewhere. They joined the same Richmond-based SCV chapter that was named for James Longstreet.

Paterson, a member of the Bull Run Civil War Round Table, has defended James his entire life. So did Herman Leonard, a family friend who gave talks about the general.

Paterson keeps a copy of a photo  (below) of William Longstreet and Leonard taken at Gettysburg in 1965. They stand in front of a shack that was labeled as Longstreet’s headquarters, which actually was a short distance away.

William A Longstreet and Herman Leonard (Courtesy of Dan Paterson)

“It was a tourist attraction from a leftover bunch of buildings in the area that were vendors.  I have the sign hanging in my basement,” said Paterson. The building no longer stands.

“That shack, much like that portrait, were my landmarks at Gettysburg when we were kids.”

William Adams Longstreet died in 1973 at age 76. He and his wife Gladys left behind no children.

He rests near Jamie, his parents and the general in the family plot at Alta Vista.

A U.S. flag flutters above them.

For decades, Gordon Jones has bridged Civil War scholarship and the public. Emerging Civil War has honored Atlanta History Center curator for his efforts

Gordon Jones has been an historian and storyteller for decades (Picket and AHC photos)

Affable and engaging, Gordon L. Jones, the senior military historian and curator at the Atlanta History Center, has for decades been instrumental in telling the story of the Civil War and its impact on place, people and memory.

Whether it has been through talks or artifacts he has researched and curated, Jones is considered the consummate public historian, according to Emerging Civil War.

He led the relocation and restoration of “The Battle of Atlanta,” the breathtaking cyclorama painting depicting the July 1864 battle, and has overseen “Turning Point: The American Civil War,” the AHC’s permanent Civil War exhibit that soon will be overhauled. Another project was the restoration of the locomotive Texas, famous for its role in the 1862 "Great Locomotive Chase."

Emerging Civil War, a collaboration of about 30 historians, recently bestowed its 2024 Award for Service in Civil War Public History to Jones at its annual meeting in Spotsylvania County, Va., saying he has had a significant impact on the field of public history by helping connect everyday people to America’s defining event.

Focal point of the Atlanta Cyclorama shows a brief Rebel breakthrough (Picket photo)

Those who know Jones say the historian richly deserves the recognition by making the history center one of the best Civil War museums in the country. He’s been on the staff since 1991. 

“Gordon's knowledge of the history, the material culture and both the history of and the practice of interpretation has meant that the museum and its exhibits haven't just been a bunch of ‘old stuff on display’ but a place of history, education, context and provocation -- the muse in museum,” Jim Ogden, historian at Chickamauga and Chattanooga National Military Park, told the Civil War Picket in an email.

“So much of Atlanta's, the Civil War's story wouldn't be accessible today if it weren't for Gordon's hard and thoughtful work,” said Ogden.

Chris Mackowski, editor in chief of Emerging Civil War, said Jones has ensured the AHC tells “a full, balanced, and remarkably rich story.”

Over the years, Jones has ensured people hear different perspectives, including those that may challenge long-held beliefs.

Jackson McQuigg and Jones in North Carolina for a 2017 talk about restored Texas (AHC)

“This means a lot to me because it comes from colleagues who are involved in the same kinds of work,” Jones said of the honor in an email Friday.

“Scholarship is essential, but so is engaging the wider public. We stand on the shoulders of giants – all those collectors, scholars, teachers, reenactors, friends and comrades who came before. I've learned so much from them over the years, and that's the greatest blessing of all,” he wrote.

Jones holds a master of arts in public history from the University of South Carolina and a Ph.D. from the Institute for the Liberal Arts at Emory University.

The curator has been a fixture at Civil War shows, AHC events and the Atlanta Civil War Roundtable, which he joined in 2001 and served as president in 2016-2017. His interest in the conflict grew as he took part in reenactments as a young man.

“At a high level, Gordon’s transformational work at the Atlanta History Center has elevated their Civil War exhibitions to world-class heights, and his leadership here at the Atlanta Civil War Round Table has connected our group to original research and opened doors to other leading authorities in the field,” said Sam Moses, president of the organization, which meets monthly at the AHC.

The dark-lit "Turning Point" exhibit is a longtime Atlanta History Center fixture

“But the thing that makes Gordon a truly one-of-a-kind educator is his unique ability to bring even the most casual observer into direct contact with history,” Moses said. “Gordon leverages artifacts -- often rare (and sometimes seemingly trivial) -- to weave a thread of importance that connects through time to the present day. Without leaning on over-dramatization, his presentation style builds steadily on fundamental themes, using good humor and carefully curated objects to help audiences relate to the people of the past, and even share in their experiences so many years afterward.”

A current priority for Jones is remaking the AHC’s “Turning Point,” its core but somewhat dated Civil War exhibit. Space for exhibits will jump from 9,200 square feet to 15,400 feet.

“Among (others) things, that allows us to exhibit collections acquired since ‘Turning Point opened in 1996, including the George Wray Collection and the rest of our U.S. Colored Troops artifacts," said Jones. "All this is due for opening in 2026. Yes, much still to do.”

Flag of the 127th USCT is in the AHC collection (Photo: Morphy Auctions)

The AHC’s collection of USCT items includes a regimental flag, knapsack, swords, soldier badges and a soldier manual. The Wray collection provides a fascinating look at Confederate weapons, some well-made, and some not so much.

Jackson McQuigg, vice president of properties for the AHC, has worked with Jones for three decades, notably on the Cyclorama and Texas projects.

“One thing I've noticed is that Gordon's deep knowledge of Civil War and military history is always accompanied by a desire to learn more. Not one to rest on his existing knowledge base, Gordon remains genuinely interested in historical research, especially if it will make him a better storyteller.”

“Further, Gordon is accessible -- always. His outgoing, friendly demeanor is genuine, real and available to all. He's never met a stranger. These are qualities which make him a joy to work with and a worthy recipient of this honor.”

The Picket, which has spoken with Jones about numerous topics over 15 years, reached out to other historians and Civil War experts for their reaction to the honor:

Jones in 2021 with a rare Whitworth sniper rifle used by the South (Picket photo)

Charlie Crawford, president emeritus of the Georgia Battlefields Association

“Gordon deserves every public history award there is.”

Michael Shaffer, author of “Day by Day Through the Civil War in Georgia

“Very well-deserved. Gordon is always eager to share his wealth of knowledge with others, and remains a trusted member of the Civil War community.”

W. Todd Groce, president and CEO of the Georgia Historical Society

“This award is a well-deserved recognition of all that Gordon has accomplished over a long and productive career. He is a skillful public historian who knows how to effectively make scholarly history relevant and accessible to wide audience. I’m proud to be his friend.”

Past recipients of the ECW public history award include Civil War Trails, American Battlefield Trust; historian and author Gary Gallagher; Dave Ruth, former superintendent at Richmond National Battlefield; and the late D. P. Newton, founder of the White Oak Civil War Museum.

Emerging Civil War also honored Patrick Young, author of the Reconstruction Era blog, with the Stevenson Award for outstanding service to the organization.

Military miniatures galore this weekend at Gettysburg as part of flag conservation effort. A painting class gets things started

Joshua Chamberlain, 20th Tenn., 146th NY (Courtesy of Mike Stelzel)

Visitors to Gettysburg National Military Park this weekend will see up to 300 military miniatures at an exhibition that will support efforts to conserve the park’s 2^nd North Carolina Infantry flag.

The park, the Gettysburg Foundation and the Artist Preservation Group (APG) are putting on the event at the museum and visitor center on Saturday and Sunday.

The APG – made of historical artists who support preservation efforts – will donate nearly $15,000 at the end of the weekend to cover all conservation costs.

“The main effort of the miniatures exhibition will focus on educating visitors about the history of the Civil War, the interpretation of the conflict through miniature art, and the material culture used by both sides in the conflict,” the park said in a news release.

A large part of the flag funding will come from a sold-out miniatures painting class that kicks off the four-day event. Funding also comes from raffles, sale of other art work and donations, founder Mike Stelzel told the Civil War Picket. (The APG has invited artists to exhibit their work during the Gettysburg event).

A new Berdan’s Sharpshooters figure (left) and supplies will be sold to 30 participants in the Thursday and Friday painting class, Stelzel said. “Artists like to paint the uniform as it is different than the normal ACW (American Civil War),” he said. “It's also a popular unit with many ACW miniature enthusiasts.”

The class, sponsored by Scale 75 USA, will feature artist Julio Cabos as instructor.

“Julio is one of the best in the world,” Stelzel said. “(He) paints a piece and donates that to us for one of our auctions. His work demands a very high price at auction.”

Stelzel said the nonprofit APG wants to promote the miniatures hobby to the public.

“We all enjoy engaging with the public taking about our art form. The most common remark we here is, ‘I had no idea something like this exists.’ We hope, too, that this might draw people to the park and (expose) them to our American history. Everyone wins.”

Officials said the 2^nd North Carolina likely carried the flag at Gettysburg in July 1863. The regiment brought 243 men to the field and suffered 61 casualties in three days of fighting.

Park spokesman Jason Martz says the current condition of the banner “is fair, yet stable.”

The flag was likely issued shortly before the battle  (GNMP)

“Older stabilizations from the 1980s, however, detract from the presentation of the flag while on exhibit due to their age and color. This project will vastly improve the stabilization and appearance on exhibit,” Martz said in an email.

The flag has typical characteristics of third bunting issue flags produced by the Richmond Clothing Bureau (RBC) from British-produced wool bunting for issuance to the Army of Northern Virginia in May 1863.

It was on exhibit at the park from 1987 until 2008 and then briefly from 2010 to 2012.  It has been on rest and in storage since 2012. Officials say conservation will allow for future display at the visitor center museum. (The flag will not be shown this weekend).

“A new conservation treatment will include unmounting the flag from its current support, removal of old encapsulation and underlays, documentation, (and) custom dying of new underlays/overlays for improved appearance and protection,” the park said.

The flag lists some of the battles in which the 2^nd North Carolina fought. The appearance of the Chancellorsville battle honor suggests an issuance of this flag to replace the regimental flag captured at Fredericksburg, the park says.

The regiment, formed in 1861, was part of the Confederate surrender at Appomattox.

Cushing's battery in action at Gettysburg (Mike Stelzel)

The late Angela Rosensteel Eckert and Lawrence Eckert donated the flag to Gettysburg National Military Park in 1987. The couple operated the Gettysburg National Museum and Electric Map for many years.

The exhibition will take place Saturday and Sunday at the Gilder Lehrman Institute Special Exhibits Gallery in the visitor center. Combination tickets for the film, museum and Cyclorama are $18.75 for adults, $17.75 for seniors and veterans, and $13.75 for children 6-12. Children 5 and under and active military have free admission.