Posts Tagged With: Relics

A Filthy Fortunes “Find”

While chatting on the phone today with my mom, she told me about seeing a show on the Discovery Channel recently called Filthy Fortunes. The reality show revolves around a team of people who clean out extremely cluttered rooms and homes, selling the items contained to hopefully pay for the clean up and make some profit. It’s essentially the TV show Hoarders but with an emphasis on looking for some treasure in the rough.

My mom said that in the episode she watched, the crew came across a John Wilkes Booth card of some sort that they were very excited about. She said it was signed by him and apparently went for a lot of money. I decided to look into the show and see what treasure they had found.

Here’s a clip from the show that they put on social media showing the discovery of the Booth card:

As I had suspected, what the clean-up crew found was a carte-de-visite photograph of John Wilkes Booth. These are not all that rare, as Booth was a famous actor who regularly had his picture taken. While there was a temporary halt on the sale of Booth’s photographs after the assassination, when this order was rescinded, many photographers flooded the market with photos of the assassin. There are many pictures of Booth, and the pose found by the cleaners, where he is wearing his fancy jacket, is one of the most common images of him.

The host of the show was very excited because he said the photo was signed by Booth at the bottom. Now, a genuine signed CDV of John Wilkes Booth would be worth quite a lot of money. An oversized clipped signature of Booth’s sold for over $17,000 a decade ago. Unfortunately for the host, this is clearly not signed by John Wilkes Booth. The writing looks nothing like Booth’s handwriting and is in print, not cursive. This isn’t the first person to confuse a labeled image of John Wilkes Booth with a signed one; they regularly pop up on eBay and other places. There is also some random text written on the top of the card, but again, not in Booth’s hand. This writing actually detracts from the value of the otherwise average Booth CDV. On eBay, you could maybe get $100 for it.

I found the rest of the episode online and got to the point where the host was revealing to the homeowner how much money they made selling the things they found in the house. The host documented the other things they had sold from the home, including misprinted stamps, a Mustang, and a coin collection. He then stated to the homeowner:

“The item that really put us over the hump was a signed John Wilkes Booth card. We sent it to auction and they estimated that it’ll be worth $10,000.”

He then stated that with the cash sale of the other items and the auction estimation, they made $28,000 from the items in the house. The cleaning cost was $10,000, leaving $18,000 profit. This was then split between the homeowner and the cleaning crew, 60-40. The host handed over a stack of cash to the homeowner, saying it was her $10,800 share. She was, of course, ecstatic to not only have her house cleaned out but to have made $10k in the process.

But did she?

Well, let’s look and see how much that “signed” John Wilkes Booth CDV actually brought when it was sold at auction in July of 2024.

It sold for $80. Not $8,000. Not $800. $80. And, actually, that is a pretty fair price for an average Booth CDV with random writing on it. Interestingly, the auction house that sold it did not attempt to portray this as a signed CDV. The description documents that John Wilkes Booth’s name on the bottom is “(not in his hand).” We can also see that the starting price for this CDV was set at $40, hardly an amount you would start at for a priceless relic like a genuine signed Booth item. So, where in the world did the host get the estimation of $10,000?

My guess is that when they shot the end of the episode, the production company had not yet reached out to any auction house. Instead, they just looked at some recent auction prices of genuine Booth signatures and letters and made a guess. If they did reach out to a real auction house, the auctioneers must have given them the $10k valuation sight unseen. I have a hard time believing any legitimate auctioneer would have thought this photograph had a genuine signature. Even a quick Google search would show that the printed name has nothing in common with the assassin’s autograph. You have to wonder how that homeowner felt when the production company eventually informed her that she was getting less than half of what they told her on camera since their $10,000 item only sold for $80.

This Booth CDV makes an appearance in the pilot episode of Filthy Fortunes. When I was trying to find a video of the show online, I came across a few interviews the main host had with media people and YouTubers during the promotional period before the show debuted. In some of those interviews he makes mention of this great John Wilkes Booth find. But his recollections of the actual item are wildly incorrect. The biggest issue is that the host clearly does not know the difference between a picture and a playbill. Here’s an assortment of his comments on the item from different interviews:

“…the most interesting thing we found this season was a John Wilkes Booth playbill, like an actual picture of John Wilkes Booth that he signed like not too long before he shot Lincoln…”

“…it’s a play- it’s a picture, basically like a tintype, so like a Polaroid, of John Wilkes Booth. It’s dated. He signed it. Cause he was an actor at the Ford theater there in D.C. And so we found like a playbill, with John Wilkes Booth’s signature, like three months before he shot Lincoln…”

“…a John Wilkes Booth card…it’s a playbill from the Ford’s theater with a picture signed by John Wilkes Booth and it was like six months before he shot Lincoln…Let me tell you that’s worth some real money…”

“…the coolest thing for me this season was a John Wilkes Booth playbill that was signed by John Wilkes Booth at the Ford theater…When I found the John Wilkes Booth card, I was like ‘I got a guy’ [to sell it to]…”

Perplexingly, in a far more casual and expletive-laden interview the host gave to a Twitch streamer, he recounts how he sold the Booth CDV to a private individual for $40,000. I’m going to embed that video below, but I am warning everyone that there is a lot of cursing throughout (because that’s how you get in cool with the youths, apparently). The video should start right at the beginning of their discussion of the Booth item:

I honestly have no idea what to make of this video and the claim that the host sold the CDV for $40,000. Fraudulent and fake things sell all the time in the auction world to people who don’t know any better. I know of one eBay seller who regularly has CDVs of Booth, the other Lincoln conspirators, and other famous people for sale that are terrible forgeries made by putting a modern printed picture in between two halves of genuine portrait or vignette-style CDVs with the original images removed. I highly doubt the Filthy Fortunes host acted in a malicious way like that. It’s far more likely that he truly thought he had a genuine signed Booth CDV when he found it because he doesn’t have the expertise to know the difference. His confusion over what a playbill looks like demonstrates that this area is not his forte.

In the end, all I can do is point to the auction listing showing that this labeled but not signed John Wilkes Booth image sold for $80. If the host actually sold it for $40,000 to a private individual, then he made the deal of a lifetime off of a real fool who didn’t do any due diligence. But I suspect that all of this story is bluster, intended to make the show seem more exciting by having an item appear far more valuable than it is. To borrow a phrase the youths on Twitch will understand, “it’s cap, fam.” (For my fellow non-Gen Zers, “cap” apparently means “a lie.”)

The lesson here is, as always, don’t believe what you see on “reality TV.”

Thanks, Mom, for giving me something to gripe about on the internet.

Categories: History, News | Tags: , , , | 3 Comments

Become a Patron!

When this blog first started in March of 2012, it was little more than a shelf where I could show off small research oddities and tidbits of information I came across during my own exploration into the subject of Abraham Lincoln’s assassination. I was still very new to the history field and unsure whether this hobby would turn into anything constructive. Since then, the community around this site has grown far beyond what I ever expected. As my followers have grown, I have worked hard to provide new and varied content, all with the aim of educating others about the events surrounding Lincoln’s assassination. I am very proud of what I have accomplished here on LincolnConspirators.com and, particularly, of the growing scholarship behind the posts and videos I have produced.

LincolnConspirators.com is not a commercial entity. I make no money to write or produce content for this site. I do not make any money from advertisements. In fact, I actually pay to keep ads off of this site. This website is a hobby and truly a labor of love for me, but there are real costs associated with owning, maintaining, and producing content for LincolnConspirators. In webhosting fees and research subscriptions alone, I spend $850 a year. This does not include the costs of new (and old) books or research and duplication fees from historic sites and museums. In addition, some of my special projects, especially my recent documentary series about the life of the Lincoln assassination conspirators at Fort Jefferson, have been quite costly to put together.

As many of you know, my background is that of an elementary school teacher. This is why LincolnConspirators.com is, and always will be, an educational resource open to all. Knowledge is power and even our uncomfortable past should be accessible to all. As I told my students when I was teaching, everyone has the capacity to enrich the world around them by sharing their unique knowledge, abilities, and stories with others. Over my career, I taught first, second, and third grades in Illinois and Maryland and worked as a reading interventionist here in Texas. Unfortunately, my teaching career ended when I was fired from the private school I worked at here in Texas because I spoke out against the banning of LGBTQ+ books at our local public library during a library board meeting. Since then, I have become a stay-at-home dad while trying to make some money on the side to help support our family.

To help offset the cost of running this website and to financially support my goal to write a book about the Lincoln assassination, I have launched a Patreon page for LincolnConspirators.com. Patreon is an online system that allows followers to provide financial support for the work being done by their favorite creators. The website operates a bit like TV  infomercials where you pledge to donate a certain amount each month. Patrons choose whatever amount they would like to give, and once a month, Patreon will charge that amount to your credit card and give it to your chosen creator. In essence, Patreon is a subscription service where your chosen monthly payment goes to a specific creator whose work you enjoy.

By becoming a patron of LincolnConspirators.com you will provide financial support for the work that I do. A pledge of any amount would help lift some of the financial burden of creating content for this site and help provide me with some financial breathing room as I actively work on my book. I am not expecting that I will ever be able to break even regarding the costs of my work, but every little bit would make it easier to continue sharing with you all the history that we find fascinating.

“But what’s in it for me?”

The great thing about Patreon is that it is more than just charity. The platform allows creators to provide exclusive, patron-only content for those who make a recurring monthly donation. By becoming a patron, you will receive access to content you won’t find anywhere else. This is a way for creators to thank the people financially supporting them and ensure they receive something in return for their support.

Patreon allows for a tiered system of support. Creators can provide more exclusive content based on how much a patron gives monthly. For my Patreon, I have created three tiers of support at different price points. Note that the tiers are cumulative, meaning that if you give at the highest priced tier, you not only receive its unique benefit, but all the benefits from the tiers below it. Here is a breakdown of the different tiers and the benefits patrons receive in each:


Tier 1: Family Circle

For $3 a month, you are a member of the Family Circle level of support. Patrons in the Family Circle will gain access to a weekly post on Patreon called, The Telegraph Office, in which I curate and share recent news stories relating to the Lincoln assassination from the past week and beyond. You’ll be well-informed of different talks, articles, auction items, and other connections being made out in the world to the death of Lincoln and the hunt for John Wilkes Booth. This post will be different each week as I comb through the news to find interesting stories to share and recount some upcoming anniversaries for the week ahead. For a free dispatch example from The Telegraph Office, click here.

Tier 2: Dress Circle

For $7 a month, you are a member of the Dress Circle level of support. In addition to the weekly offering from Telegraph Office, you will receive access to The Vault, a fortnightly post that highlights an artifact relating to the Lincoln assassination story. Objects in the vault are often more than they appear to be, so learn the history behind some of the hidden objects locked away in museums, private collections, or even those lost to time. Every so often, you will find yourself visiting a different kind of vault altogether, as the curator takes you on a field trip to the grave of a person connected to Lincoln’s death. The Vault is open to all for just the price of admission.

Tier 3: Orchestra Chairs

For a recurring donation of $15+ a month, you are a member of the Orchestra Chair level – the top tier of supporters to LincolnConspirators.com. Not only will you receive weekly dispatches from The Telegraph Office and fortnightly tours of The Vault, but you will also gain exclusive access to monthly videos from me, Dave Taylor, as I discuss my ongoing research for my book and other projects. You will receive exclusive early access to information and new historical discoveries well before anyone else. In addition, you can submit your own questions about the Lincoln assassination, which I will answer as a sort of community Q&A. At this tier of support, you will be an invaluable member of my history team.


Now, some of you longtime followers might be thinking this seems a bit familiar. That is because back in 2018, I started a Patreon when this website was still called BoothieBarn. Shortly after starting that Patreon, I was accepted into a Master’s degree program. The combination of my own classes on top of my job as an elementary school teacher significantly curtailed my ability to provide content to my patrons. I started to feel guilty for accepting donations when I just didn’t have the time to provide much in return. So, after only nine months, I shut that Patreon down.

It is now six years later, and I am in a much better position to provide consistent and valuable content to those who choose to support me financially. In these preliminary stages of my book research and writing, I’ve already come across many interesting side characters and stories I would love to share, especially since I don’t know when (or even if) my book will come to fruition. Having some financial support will help me and my family greatly as I devote so much of my time to a book project with so much uncertainty.

Thank you for considering becoming a patron of LincolnConspirators.com. To learn more, please click the “Become a Patron” button below to be taken to my Patreon page to read my story. There you will find information on how the Patreon system works and how to sign up to become a patron.

Even if you don’t have the means to contribute, I appreciate your continued support of my efforts exploring the history of the Lincoln assassination.

Sincerely,

Dave Taylor

Categories: History, News | Tags: , , , , , | 9 Comments

Manhunt Review: Episode 6 Useless

I am (still) conducting an ongoing review of the seven-part AppleTV+ miniseries Manhunt, named after the Lincoln assassination book by James L. Swanson. This is my historical review for the sixth episode of the series “Useless.”  This analysis of some of the fact vs. fiction in this episode contains spoilers. To read my reviews of other episodes, please visit the Manhunt Reviews page.


Episode 6: Useless

At the Garrett farm, Julia Garrett is concerned about her absent father finding her alone with Booth and Herold. She tells the men they have to spend the night in the tobacco barn, and no amount of flirting by Booth is able to shake her resolve. Once inside the barn, Julia locks the men in, leading Herold to immediately fear the worst. Booth, meanwhile, is unphased and tells stories to Herold in an attempt to convince him that he has been through worse scrapes than this.

Back at the Star Hotel in Bowling Green, Secretary Stanton is being cared for by a doctor after the recent collapse that prevented him from riding off with the 16th New York Cavalry. Eddie Stanton and Thomas Eckert lament the toll the manhunt has taken on Stanton and worry about the Secretary’s health.

After another interlude between Booth and Herold in the barn, the 16th NY come riding up to the Garrett house. At the point of Boston Corbett’s gun, Julia Garrett admits that the fugitives are hiding in the tobacco barn and produces the key. Booth and Herold see some cavalrymen approaching the barn and debate opening fire when the barn door is opened. Everton Conger and Luther Baker step partly inside and order the men to surrender.

Booth refuses to surrender and instead offers to settle things with a duel. Baker tells the men that they have five minutes to come out or else he will force them out. The barn door is closed again. Booth fruitlessly attempts to break through the back wall, all while cursing at Herold for being useless to him.

Outside the barn, Corbett offers to attack the barn alone in order to draw Booth’s fire. Conger reminds Corbett that they have all survived the war and that he will not lose another man now. He then orders the other soldiers to lay brush around the barn. The barn is then lit on fire, much to the chagrin of Julia Garrett.

Inside the barn, Herold decides to give up. Booth opens the door and proclaims Davy innocent of the assassination saying that he alone planned it and made his escape. Herold exits the barn and is immediately tied to a tree, while Booth remains inside the smoke-filled barn.

In Bowling Green, Eckert comes into Stanton’s room with the news that Booth will not surrender and that the cavalry is smoking him out. Despite his still weakened condition, Stanton insists on heading out to the Garrett farm to see that Booth’s capture is done right. Stanton, Eckert, and Eddie head out en route to the Garrett farm.

Even though the barn continues to burn, Booth refuses to come out. Conger approaches David Herold and asks him to go back into the barn and convince Booth to surrender. Davy finds a coughing and weakened Booth, who has seemingly accepted his fate to go out in a blaze. Davy pleads with Booth to live, even if it is only one more day. Booth appears to agree, and Davy helps lift him up.

On the outside of the barn, Boston Corbett discovers a small hole and peers through it at the men inside. Davy leads Booth towards the door of the barn when Corbett aims his pistol through the hole and fires, striking Booth and causing him to collapse. Davy turns to Booth and announces that he has been shot. Conger and Baker pull Booth from the barn as Booth deliriously states that Jefferson Davis will save him. Corbett appears, stating that Booth was about to shoot, so he fired first. Herold screams that this is a lie as Corbett looks to the heavens in amazement for having become God’s instrument.

Booth is moved further away from the flames and placed on the porch of the Garrett house. Though Julia Garrett does not want him inside, she still provides a pillow for his head and laments that a “great man deserves the hospital.” The soldiers state that Booth won’t survive the hour. Booth spits up blood, makes a few statements, and dies.

The next scene shows Stanton’s arrival at the Garrett farm after daybreak. Luther Baker apologizes to the Secretary for not taking Booth alive but repeats Corbett’s story that Booth was about to fire. Stanton is led to Booth’s body, which is wrapped in a blanket and lying on a cart. He pulls the blanket off of Booth’s face and sees his quarry face-to-face for the first time. Everton Conger appears and shows Stanton all of the items found on Booth, including his diary, which piques the Secretary’s interest. After Eddie covers Booth’s face back up, Stanton orders Eddie to have Booth’s body fully identified by a coroner and then disposed of in a place that even he doesn’t know.

We then cut to the White House, where Stanton and Judge Advocate Holt prepare to inform President Johnson of their plan to try the remaining assassination conspirators using a military tribunal rather than a civilian court. Johnson is in favor of the idea. Stanton also announces his intention to formally charge Confederate president Jefferson Davis with Lincoln’s death, drawing an uncomfortable look from Holt. President Johnson agrees but tells Stanton he better be able to prove it.

The hunt is then on for crucial witnesses to be used in the trial. In Bryantown, Oswell Swann refuses Luther Baker’s request to testify, countering with, “Talk to me when I’m considered more than three-fifths a man.” From Dr. Mudd’s cell, he pleads with his visiting neighbors to testify on his behalf and tell of his good deeds as a neighbor. Later, Edwin Stanton meets with Mary Simms at a freedmen’s camp in Arlington, telling her how important her testimony would be against Dr. Mudd.

At the War Department, Holt and Eckert express their doubts to Stanton about their ability to prove a grand conspiracy plot against Lincoln involving Jefferson Davis, George Sanders, and the Confederate government. They beg Stanton to reconsider, but he refuses, saying that the trial is his call. A visit to David Herold, looking for a connection to something bigger, proves fruitless. There is a scene showing the capture and arrest of Jefferson Davis and a discussion in the War Department about how to share it with the press.

Near the end of the episode, Eddie Stanton informs his father that the inquest over Booth’s body is finished. Before departing with Luther Baker, Eddie notices his father reading Booth’s diary and inquires about it. The Secretary tells his son not to worry about it and dismisses him to his task. Once alone in the room, Stanton tears pages from Booth’s diary and throws them into the fire.

The episode ends with the Secretary announcing his readiness to prepare the next witness, while Eddie Stanton and Luther Baker are shown disposing of three bodies.


Here are some of the things I enjoyed about this episode:

  • The Final Dream

This episode opens with a dream sequence that shows Edwin Stanton walking up to Booth’s horse as it grazes in a wood. The Secretary is moving slowly with a pistol drawn and cocked. As he approaches a large tree, Stanton puts his ear close to it before his mouth turns into a wide smile. As we rotate around the tree, we see Booth on the other side, with a revolver in his hand, but his face showing signs of concern. The scene ends with the dreamer, Booth, waking up in bed at the Garrett house. This is the third episode to begin with a dream sequence. Episode 2 started with Stanton dreaming of stopping Booth at Ford’s Theatre. While successful in the dream, the assassin reacted to Stanton’s punches by laughing in the Secretary’s face. In episode 3, Booth dreamed of his ascendance to the Presidency of the Confederacy. His swearing-in ceremony was interrupted by real-life Oswell Swann, who quickly brought Booth out of his fantasy. It’s interesting how the dream in this episode is so different than the ones that came before. Booth is no longer in control or wrapped up in his own glory. Here, near the end, Booth’s dream tells him how closely tracked he truly is. His unconscious mind is telling him the end is near, even if he doesn’t want to accept it. Just a scene later, he reassures Davy that their success is assured and that a night in a barn is nothing. But that is his ego talking. Booth’s subconscious appears to know the truth. I enjoyed all three dream sequence openings.

  • Booth and Henrietta

This episode pleasantly surprised me for a bit during Booth and Herold’s time locked in the Garrett barn. Immediately after the title sequence rolls, we see Davy banging on the locked barn door like a caged animal, convinced that the pair are done for. Booth, still ignoring his subconscious mind, assures Davy that he’s gotten out of worse scrapes. To prove his point, Booth shows off a scar on his left cheek. He tells Herold the wound was given to him by a “dancer by the name of Henrietta,” who attacked him with a knife after she found Booth in bed with her sister.

This is a true story of an event that occurred on April 26, 1861, exactly four years prior to the events in the Garrett barn. The 1860-61 theatrical season marked JWB’s first tour as a leading star actor. Theater manager Matthew Canning acted as Booth’s agent and started him in the Southern states before moving north to New York in January of 1861. After arriving in Rochester, Booth met his leading lady for the engagement, an actress by the name of Henrietta Irving.

Henrietta Irving in 1864

Five years older than Booth, Henrietta was a native of New York and said to be a niece of author Washington Irving of “The Legend of Sleepy Hollow” fame. I have tried to verify this with genealogical records but haven’t been able to prove it. Still, there may have been some family connection. Henrietta made her stage debut in 1855. Now six years into her career, Henrietta wasn’t a big household name but was still an accomplished working actress. Henrietta was most appreciated in smaller-sized cities across the country that were bereft of true “star” power. She played the leading parts well and wasn’t above playing supporting roles or sharing billing.

In 1859, Henrietta’s younger sister, Marie, made her debut on the stage. When the next season began, Henrietta and Marie joined forces and were advertised as the Irving sisters. While Henrietta’s career in the theater would last decades before her death in 1905, Marie’s foray only lasted a couple of seasons.

On January 21, 1861, John Wilkes Booth made his debut in Rochester, playing Romeo to Henrietta Irving’s Juliet. After the Shakespearean play was done, Marie Irving starred in the comedic afterpiece, the Rival Pages.

The engagement proceeded normally for two weeks, with Booth and the Irving sisters performing various plays together in different combinations while supported by the local theater company. Booth was very well received in Rochester, with the newspapers comparing him favorably to his revered father, Junius Brutus Booth. Booth’s time in Rochester ended on February 2, but his next engagement in Albany didn’t begin until February 11th. His whereabouts during this week are unknown, but he may have stayed in Rochester. It has been claimed that during this period in Rochester, Booth was engaged in a tryst with his leading Juliet, Henrietta Irving.

The details of Booth and Henrietta’s romance are difficult to know for certain. It is the stuff of gossip with conflicting sources. In the years after Lincoln’s assassination, columnist George Alfred Townsend (GATH)  dug up as much dirt about Booth’s life and career as he could. In his 1865 book, The Life, Crime, and Capture of John Wilkes Booth, GATH described Booth and Henrietta’s relationship thusly:

“They assumed a relation creditable only in La Bohéme, and were as tender as love without esteem can ever be.”

Years later, GATH interviewed Matthew Canning, Booth’s agent during this tour. Canning stated that Booth’s “chief passion was for women.” We must remember that Booth was a rising star during this period. Womanizing and sex followed naturally from his growing success. During the same period in Edwin Booth’s life, the elder brother had also lived the Bohemian lifestyle of casual sex. In 1858, Edwin wrote a letter to his brother, June, bragging about bedding a supporting actress at the theater, saying, “can’t brag on her acting so much as what we do in secret.” The fact that Dr. Ernest Abel was able to write an entire 400+ page book about John Wilkes Booth and the Women Who Loved Him demonstrates that JWB was also not short on female companionship during his brief 26 years of life.

Without naming names, Canning recalled to GATH that Henrietta was “Booth’s temporary mistress” during their time in Rochester. Eventually, Booth had to leave for Albany. He performed at the Gayety Theatre in Albany from February 11 through March 16, with one week off during the run. After this engagement ended, JWB headed to Portland, Maine, just as  Henrietta arrived in Albany for her own engagement at the Gayety Theatre. Even though Marie is not listed in the newspaper advertisements, she likely appeared alongside her sister in Albany.

Lucille and Helen Western

John Wilkes Booth was in Portland from March 18 through April 13. During the first week, he performed alongside another pair of acting sisters, Lucille and Helen Western. Booth had acted alongside the pair a year earlier when he was still a lowly stock actor in Richmond, Virginia. The “Star Sisters,” as the Westerns were known, made ample use of their good looks. They often put on more exotic shows with costumes that showed off their figures or even saw them dressed as men. Some of their regular plays were filled with sexual innuendo, and they thrived on courting controversy.  However, as successful as the “Star Sisters” had been, the duo was at the end of their time together. Their engagement with Booth marked the last time the Western sisters would appear on stage together. In his book, Dr. Abel writes that John Wilkes Booth likely made a “temporary mistress” out of seventeen-year-old Helen Western during their time in Portland together, but the evidence to support this claim is lacking.

After his time with the Western sisters in Portland was over, Booth returned to Albany for a repeat engagement at the Gayety Theatre starting on April 22. Henrietta Irving had just concluded her own run at the theater and had last appeared on April 19. Whether she performed supporting roles to Booth in April is unknown. The newspaper advertisements for this engagement only mention Booth sharing billing with “Signor Canito, the Man Monkey.” The “signor” was a New York actor by the name of Samuel Canty, who dressed as a monkey and performed in acrobatic plays he wrote himself.

Booth’s engagement with the monkey man was going well until April 26, 1861, when Henrietta Irving made her attack. The details are unclear, but the incident occurred at the Stanwix Hall hotel in Albany, where both Booth and Irving were staying. Irving stabbed at Booth with a dagger, aiming at his face – the stock and trade of any handsome actor. Booth managed to parry the blow, but not before receiving a bloody gash on his cheek. Having failed in her attack, Irving returned to her own hotel room at the Stanwix and stabbed herself. The attempt at suicide proved non-fatal, and both the victim and the attacker survived their knife wounds.

The newspaper articles that popped up about the incident were vague. Most seemed to believe that Henrietta Irving’s attack on Booth was due to a love affair gone wrong. The short blurbs that popped up in papers about the incident blamed the stabbing on “disappointed affection,” “misunderstanding,” “jealousy,” “or some little affair of that sort.”

Henrietta Irving

The miniseries suggests that the stabbing may have been due to Booth taking an interest in Henrietta’s sister, Marie, during this time. There is some evidence to support this. In the same 1886 interview between GATH and Matthew Canning, Booth’s former agent recalled:

“There were two sisters in the company [in Albany], and neither of them very considerate. One of them was Booth’s temporary mistress, and he got a fancy for the other one, and the first sister kept watch on him, and as he was coming out of the other one’s room she jumped on him and stabbed him.”

This recollection from Canning implies that Booth had shifted his desires from Henrietta to her sister Marie and that Henrietta attacked him as a result. Whether this attack was from jealousy on Henrietta’s part or an attempt to protect her sister from a lothario she knew all too well is uncertain.

The incident marked the end of Booth’s debut touring season. The wound was not severe, but the latest of several misfortunes that had befallen the novice star, and Booth was ready for a break. From Albany, he returned home to Maryland and spent ten weeks at the family home of Tudor Hall memorizing and practicing plays for his next season.

Henrietta Irving

Henrietta Irving’s career was not hampered by the bad press. She continued to act and married fellow actor Edward Eddy in 1867. We’ll probably never know her true motivation for stabbing Booth and then turning the knife on herself in 1861. In an autobiography she wrote before her death in 1905, Henrietta Irving makes no mention of John Wilkes Booth.

  • The Favorite

While in the barn talking with Davy before the authorities arrive, Booth goes into a monologue regarding his relationship with his mother and father. I’ll cover more of this in the sections that follow, but I did enjoy one part of it. During his monologue, Booth recounts that his mother “didn’t play favorites like my father.”

Despite Booth’s claim that Mary Ann Booth “didn’t play favorites,” it was well-known among the Booth children that she did and that Wilkes was the favorite. Granted, this had not always been the case. The original favorite had been Henry Bryon Booth, the fourth of the Booth children. He had been named after the famous poet Lord Byron, whose words helped Junius woo Mary Ann into leaving England with him. Henry Byron died of smallpox at the age of 11 in December of 1836, while the family was on an extended visit to England. The Booths were devastated by the loss of this boy, with Junius writing back to his father in America:

“We have at last cause and severe enough it is, to regret coming to England. I have delayed writing till time had somewhat softened the horror of the event. Our dear little Henry is dead! He caught the small pox and it proved fatal – he has been buried about three weeks since in the chapel ground close by. Guess what his loss has been to us – So proud as I was of him above all others.”

John Wilkes Booth was the first child born after the death of Henry Byron. When he came in May 1838, it helped put the light back into a still-mourning Booth household.

In addition to the timing of his birth, John Wilkes possessed a strong loyalty to his mother. He acted as the man of the house while his older brothers, June and Edwin, traveled west on their acting careers. After Junius, Sr. died in 1852, John Wilkes tried his best to work the family farm and provide for his mother and siblings. Eventually, a successful Edwin came home and saved the family from their poverty, but it had been Wilkes who had stuck by his mother’s side during these hard times.

The fact that Mary Ann favored Wilkes over her other children was not resented by the other siblings, either. In her own book about her brother, Asia wrote that she was closer to John than any of her siblings. When Mary Devlin Booth, Edwin Booth’s wife, died in 1863, John Wilkes canceled his engagements to rush to his grieving brother’s side. He regularly corresponded with his eldest brother, June, and took a great interest in the lives of his nieces and nephews. Wilkes even tried his best to provide some guidance and structure to his youngest sibling, Joe, whose lack of purpose and melancholy greatly worried their mother. As historians William Edwards and Edward Steers, Jr. concluded: “John was everyone’s favorite.”

With all this being said, I actually enjoy this part of Booth’s monologue in which he relates that his father played favorites, but his mother did not. Wilkes is either purposefully misrepresenting or completely ignorant of the fact that he is his mother’s favorite child. The former would demonstrate Booth’s manipulative nature and ability to lie to make himself look better, while the latter would show how selfish and narcissistic Booth was. The entire family knew and acknowledged that Wilkes was his mother’s favorite child, but his own self-pity and hurt ego over the idea that he wasn’t also his father’s favorite blinds him to the truth of his elevated status. I like this line as it is yet another example of something the miniseries accidentally gets right when you know the true context.

  • His Mother’s Prophecy

In the same monologue mentioned above, Booth recalls being the victim of a cutting insult on the part of his father and that his mother then came to his aid. Mary Ann looked at the palms of Booth’s “beautiful hands” and predicted that one day, her son would do something important with those hands. To Booth, his shooting of Lincoln was the fulfillment of his mother’s words, and that prophecy, not the soothsayer’s prophecy from episode 3 predicting his early demise, gave him comfort now.

This little story of Mrs. Booth having a vision of her son’s future actually has some basis in fact, though it comes from well before Wilkes could speak. In Asia Booth’s book about her brother, she recalled a family story told to her by her mother. It revolved around a night, not long after the birth of John Wilkes, when the mother was trying to coax her newest child to sleep as they both sat in front of a fire. According to Mary Ann, while thinking about the future of her young boy, she witnessed a vision. The story of what she saw was repeated so often that, in 1854, Asia wrote the story as a poem and presented the piece as a present for her mother’s birthday. Asia’s poem of “The Mother’s Vision” is as follows:

THE MOTHER’S VISION

Written 1854, June 2nd, by A.B., Harford Co. Md.

‘Tween the passing night and the coming day
When all the house in slumber lay,
A patient mother sat low near the fire,
With that strength that even nature cannot tire,
Nursing her fretful babe to sleep –
Only the angels these records keep
Of mysterious Love!

One little confiding hand lay spread
Like a white-oped lily, on that soft fair bed,
The mother’s bosom, drawing strength and contentment warm –
The fleecy head rests on her circling arm.
In her eager worship, her fearful care,
Riseth to heaven a wild, mute prayer
Of foreboding Love!

Tiny, innocent white baby-hand,
What force, what power is at your command,
For evil, or good? Be slow or be sure,
Firm to resist, to pursue, to endure –
My God, let me see what this hand shall do
In the silent years we are tending to;
In my hungering Love,

I implore to know on this ghostly night
Whether ’twill labour for wrong or right,
For – or against Thee?
The flame up-leapt
Like a wave of blood, an avenging arm crept
Into shape; and Country shone out in the flame,
Which fading resolved to her boy’s own name!
God had answered Love-
Impatient Love!

The story of Mary Ann Booth seeing the flames of a fire spell out “Country” and then John Wilkes Booth’s name is a compelling one that would have been perfectly suited for a dramatic recreation. While I wish that the miniseries had been more exact in recounting the details of this vision, I appreciate their hint at the family story.

  • Explaining the Trial

In the second half of this episode, we see Secretary Stanton preparing for the trial of the Lincoln conspirators. The series actually does a good job of showing Stanton’s strong belief that Jefferson Davis and other leaders of the Confederate government were behind the actions of John Wilkes Booth. We’ll talk more about this belief and how Stanton’s devotion to this theory ended up compromising the government’s case in the review for the final episode of the series.

However, I did appreciate how well the series showed a fictitious yet conceptually accurate discussion between Sec. Stanton, Judge Advocate General Joseph Holt, and President Johnson regarding the way in which the trial of the conspirators was to be conducted. The participants aptly explained the “danger” of attempting to try the conspirators in a civilian court where a jury of their peers might rule in their favor. JAG Holt explained how a panel of military judges would be better suited to the task and, of course, explicitly chosen by the War Department for the task. The scene also had Johnson lay out a basic but historically correct argument for why the conspirators should be tried by a military court for their assassination of the commander-in-chief. The whole scene was well written and explained a controversial decision using very human and understandable terms.

I also appreciate how Both Stanton and President Johnson were shown to be united in this area. One of my critiques has been how the series has shown the two to be at odds far too often this early in their relationship. Johnson wanted vengeance for Lincoln just as much as Stanton did. It was only as Johnson’s presidency went on that his deviations from his predecessor’s actions and beliefs caused an irreconcilable fissure between the men.

  • Will Harrison as Davy Herold

Back in my review for episode 3, I recounted how much I was enjoying how the writers managed to make David Herold a complex figure and how impressed I was with Will Harrison’s performance of this often-overlooked conspirator. My admiration for both Harrison’s acting and the interpersonal writing of his character only increased with the stand-out performance in the penultimate episode of the series. Herold experiences a whole gamut of emotions in this episode. In the barn, he finally refuses to entertain Booth’s ego and delusion any longer, and he is the only one of the two who truly acknowledges the severity of their circumstances. Herold is then noticeably wounded when Booth turns on him and projects his own inadequacies onto the pharmacist’s clerk, who had been nothing but loyal to the assassin up to now. Even though Booth is not worthy of his devotion, he still begs the assassin to live and not give up his life unnecessarily. Then, from his lonely prison cell, Davy acknowledges the powerful influence Booth had on him, yet is still unable to completely free himself from it, begging to read Booth’s diary once more.

Both Herold and Sec. Stanton reflect on their friends Booth and Lincoln, and how they made each feel important. Yet Herold fails to realize that his relationship was one-directional and with a narcissist who could only take. Though Tobias Menzies’ Sec. Stanton was correct that David Herold can’t be forgiven for what he did, Will Harrison’s portrayal of the conspirator in this episode returns a much-needed humanity to this historical figure.

  • An Equivocal Code

I was pleasantly surprised by part of the scene in the War Department where both JAG Holt and Thomas Eckert expressed their concerns to Stanton about the strength of the evidence to support the idea of a grand conspiracy involving the Confederate government. Stanton manages to acknowledge these shortcomings but is still unwilling to change his mind. He relates how the other side has shown its willingness to bend the rules and suggests his team do the same (as if trying the conspirators in front of a military court wasn’t bending the rules enough already).

As part of their equivocal evidence connecting Booth to Jefferson Davis is a coded message from Davis to John Surratt stating, “Come Retribution,” and the discovery of a cipher table in Booth’s room. As Holt and Eckert note, they can’t prove that the coded message related to the assassination or that Booth ever even saw it. To this, Stanton responds, “Very few, if any, understand how code works,” before ordering Eckert to “make it sound more definitive than it is.”

While I was not a fan of the miniseries creating a fictional coded message from Jefferson Davis to John Surratt just for the sake of intrigue, I am very happy that they are explicitly showing that the existence of Booth’s cipher table has been greatly misconstrued as being evidence of a connection between Booth and the Confederacy. I wrote as much in a blog post here back in 2019 entitled Booth’s “Confederate” Cipher (which you should all read). Given how very few others have ever written about Booth’s cipher table, I’d like to think one of the writers of this series read my post. In summary, the cipher table found in Booth’s room is in no way evidence of connection to the Confederate secret service. If you want to learn more, read the post.


Let’s dig now into the fact vs. fiction of this episode and learn about the true history surrounding these fictional scenes.

1. Booth’s Other Wound

In addition to mentioning the stab wound he received from Henrietta Irving, Booth shows Davy another wound he survived in the past. He points to a scar on his right hip and tells Davy that it was caused by a crazed fan who shot him in Columbus, Georgia. Booth then goes on to state that if Davy were to visit Columbus, he might hear some gossip of, “Booth’s own pistol going off in his pocket.” But Booth denies this story and assures Davy it was a deranged fan who shot him “demanding an autograph while I was taking home an ingenue.”

I appreciated how the miniseries clearly shows that Booth is making up a story to protect his vanity. However, even the “true” story that we are supposed to infer from this exchange – that Booth accidentally shot himself with a gun – is not exactly accurate.

The event in question happened on October 12, 1860, during Booth’s ill-fated debut season that would end with him being stabbed by Henrietta Irving. A concise version of what occurred can be read in this newspaper article.

I’ve written at length about Matthew Canning accidentally shooting his lead actor in a 2012 blog post entitled “Shooting Booth,” which I encourage you to read if you want to know the full story. While Booth may have had a hand in his own shooting, it would not be accurate to say that his own pistol went off in his pocket.

2. “Boy, you are useless.”

In the part of Booth’s barn monologue where he talks about his relationship with his parents, he recounts a time when he approached his father and asked the elder tragedian to train him as an actor. According to Booth, Junius responded cuttingly with, “Boy, you are useless,” dashing his hopes.

In this way, the miniseries is once again returning to the idea that Booth’s choice to assassinate Lincoln was motivated by an intense inferiority complex. While I have no doubt that the Booth family dynamic had an impact on John Wilkes Booth, I still find the belief that Booth did what he did because his father and brother were better actors than he was to be too contrived and simplistic.

I would agree that Booth likely felt that his father played favorites and that his brother Edwin had been given chances he had not. Part of this, however, was due to the age difference between Edwin and Wilkes. Their father’s alcoholism increased greatly in his later years, deeply impacting the family’s income stream. In earlier years, Mary Ann traveled with Junius to keep him sober, but her household was far too big for this to continue. She assigned her eldest boy, June, to the role of his father’s guardian for a time, but soon, June had a family and life of his own. In 1848, Junius needed a new traveling companion. The options were limited. While daughter Rosalie was 25 years old, it would not have been deemed appropriate for a daughter to become her father’s keeper. The only remaining Booth boys were Edwin, Wilkes, and Joe.  Of these, Edwin was the oldest at 14, followed by Wilkes, who was 10. By necessity and by age, Edwin became his father’s assistant. Wilkes was no doubt jealous of the opportunity and theatrical education his brother received in watching their father perform in cities across the nation. However, he was also ignorant of the immense struggles Edwin endured trying to keep their father out of the bottle and on the stage night after night. For both brothers, the grass was greener on the other side. While Wilkes was jealous that Edwin got to travel with their father, Edwin lamented his lost childhood and his lack of a formal education.

There is no evidence that Junius ever called Booth “useless.” The idea that Junius did not want to train Wilkes as an actor might be true, but likely not because of the old man playing favorites. In reality, Junius attempted to dissuade all of his sons from pursuing acting as a vocation. Junius knew firsthand the difficult lives actors lived. They were constantly away from their homes and families, and even the most successful of actors often struggled to make ends meet. Junius desperately desired for his children to go into respectable careers with stability. Actors were celebrated for their histrionic talents, but the applause was fleeting. It wouldn’t be until Edwin Booth established The Players Club in his later years that actors were welcomed as equals amongst men of power and influence.

In truth, had Junius been able to control his drinking and manic bouts, he may have been successful in preventing his sons from becoming actors. Without a need for a guardian, his two sons, June and Edwin, could have continued their studies and found other careers. Instead, they had to accompany their father, and their education and job training became that of the theater to which Junius was bound. While John Wilkes Booth was never tasked with being his father’s keeper in this way, his rose-colored interpretation of his brothers’s experiences led him to also want to be an actor.

3. The Garrett Family

One of my particular interests in the Lincoln assassination story is John Wilkes Booth’s time at the Garrett farm right before his death. He interacted quite a bit with the Garrett family, who were ignorant of his identity and agreed to take him in under the belief that he was merely a wounded Confederate soldier in need of assistance. The assassin spent about 39 hours at the Garrett farm before meeting his demise. He spent the first of his two nights sleeping comfortably in a bed inside the Garrett home as the family did not yet have any reason to suspect their houseguest was anyone other than what he claimed to be. It was only after the re-arrival of Davy Herold on the second day and the two men’s subsequent reaction to members of the 16th NY Cavalry riding by the farm that gave the family pause and resulted in the men’s banishment to the tobacco barn for Booth’s second night. Practically all documentaries and dramatic series fail to accurately portray this timeline. They all make it appear as if Booth showed up at the Garrett farm and was almost immediately condemned to the barn, where the troops cornered him a few hours later.

In truth, I had high hopes for Manhunt to finally show an accurate representation of the Garrett farm, Booth’s interaction with the family, and his death. Unfortunately, most of what is shown in this episode regarding the events at the Garrett farm is fictitious and only loosely based on fact.

The episode opens with Julia Garrett, fresh off of her awkward “bathing Booth” duty from the prior show, telling the men that they can’t stay overnight as her daddy will question her honor if they are found in the house. After some wooing by Booth, Julia agrees to let Booth and Herold take their horses in the morning, but only if her daddy approves. Julia leads them to the barn, and Booth once again tries to work his awkward magic on her, but she rebuffs him and locks the men in the barn, leading to the barn discussions between Booth and Herold that were previously mentioned.

Apparently, Julia’s daddy never comes home, as she remains the only member of the Garrett household that we ever see. While one of the children born to Richard Henry Garrett was named Julia, the real Julia Frances Garrett died in 1851 when she was less than a year old. The miniseries never shows the many other Garrett family members who interacted with Booth during his time at the farm, nor does it cover the actual series of events that led to Booth and Herold being locked into the barn and guarded by Jack and Will Garrett. The Garrett family did not know the true identity of the man they had been entertaining until he was already shot and dying on their porch. Booth was locked into the barn because he and Herold told the Garretts that they had gotten into a scrape with the Union cavalry over some horses, and so the Garretts were fearful the men might be horse thieves. They were locked into the barn to protect the Garrett horses, not because the Garretts suspected they were involved in the assassination of Lincoln.

4. The Fire Is Started Too Quickly

As is common in these types of dramatic portrayals, the miniseries shows the troopers lighting the tobacco barn on fire seemingly within minutes of their arrival at the Garrett farm. In reality, quite a lot of time took place between the arrival of the 16th NY Cavalry and the act of actually setting the tobacco barn housing the fugitives on fire. The act of dismounting the horses in groups of two and situating the horses away from where the blaze was planned took over a half hour as the cavalry was careful to maintain an unbroken line around the tobacco barn. Even after the dry brush was placed next to the barn in preparation to smoke them out, another hour went by as the soldiers tried to convince Booth to give himself up. The whole affair was a relatively patient one, as the soldiers wanted to capture Booth alive and were not out to destroy the Garrett property if it could be avoided. In the end, though, the trooper’s patience wore thin, and Luther Baker told the men that the barn would be set on fire in five minutes if they did not surrender themselves.

It was after this final ultimatum, given over an hour and a half after the arrival of the troopers, that David Herold finally surrendered himself. He did so before the barn was set on fire, and he came out alone with Booth verbally downplaying Herold’s involvement to the troopers as a way to protect his trusted conspirator. It was only after Herold’s surrender and his being secured to a nearby tree that Everton Conger lit the barn on fire, and Booth was shot within a matter of a minute or two.

5. The Shooting and Death of Booth

In the miniseries, David Herold is sent back into the burning barn in order to convince Booth to live another day by giving himself up. After telling Booth that his only chance is a day in court, Booth rises and begins to walk out of the burning structure with Davy leading the way. At this moment, Corbett finds a hole in the side of the barn, aims his pistol through it, and fires. The bullet strikes Booth, causing him to collapse. From Davy’s entreaties for help, the soldiers pull him from the barn, and Corbett appears to take credit for his actions, noting “what a fearsome God we serve” when told he struck Booth in the back of the head, “just like Lincoln.” The delirious and partially paralyzed Booth asks about Jefferson Davis before being placed on the porch of the Garrett house. Julia Garrett places a pillow behind Booth’s head and says he needs a hospital, but a soldier notes that he won’t survive the hour. In reality, the assassin doesn’t survive the minute as he chokes and spits up blood while calling for Davy. Booth then turns to Julia, mistaking her for his mother, and tells her, “Don’t look at my hands.” After a few more gasps, Booth mutters, “Useless, Useless,” and dies.

From a global view, this portrayal of the shooting and death of Booth is fine. They have most of the highlights from the story: Booth is shot by Boston Corbett as he heads towards the barn door, the mortally wounded assassin is placed on the Garrett house porch, and Booth says, “Useless, useless” before he dies. All of these things happened, but not so quickly, and, of course, many other things also happened.

John Wilkes Booth was shot at around 4:00 am on April 26th and died a bit before 7:00 am. During the last three hours of his life, he regularly floated in and out of consciousness. While lying on the porch of the house, a mattress was placed under him, and the soldiers and Garrett family members took care of him as best they could. On more than one occasion, Booth asked the soldiers to kill him, but they refused, saying it was their hope he would recover. The detectives emptied Booth’s pockets and took stock of his valuables. A doctor was sent for and arrived from Port Royal to examine Booth and announced his wound as mortal. After making his prognosis, the doctor departed. Talking was difficult for the assassin as the bullet had passed through the back of his neck. Booth’s final conscious act was to ask the soldiers to raise his hands in front of his face so that he could see them. It was to his hands that he directed his final words of “Useless, useless.” After this exchange, he fell back into unconsciousness and died not long after.

6. The Disposition of Booth’s Body

At the Garrett farm, Edwin Stanton entrusts his son Eddie with the disposal of John Wilkes Booth’s body. He orders that a coroner fully document the body first and for Eddie to then dump it into a body of water. The Secretary states he doesn’t even want to know where the body is dumped. He insists that there should be no place where people could go to honor the assassin and tells Eddie to also dispose of decoy corpses in case he is followed. While mention is later made that an autopsy has been performed, we never see this on camera. However, we do witness Eddie following his father’s disposal instructions at the very end of the episode as he and Luther Baker dump a body in a river and then bury two others in random locations.

In reality, Booth’s body was never condemned to a watery grave. After an autopsy was performed, his body was placed in a boat and rowed to the grounds of the Old Arsenal Penitentiary, the same place where the conspirators would shortly be imprisoned and tried. Booth’s remains were buried under the floor of a storeroom. Edwin Stanton, himself, kept the key to this storeroom. In 1867, that part of the old building was slated to be demolished, so Stanton sent the key and men over to move Booth’s remains. Booth was buried in a different warehouse on the grounds, in a common grave in which David Herold, Mary Surratt, Lewis Powell, and George Atzerodt were also reburied. During the final days of Andrew Johnson’s presidency in 1869, the lame-duck president authorized the removal of the bodies and turned Booth over to his family. They transported him to Baltimore and buried him in the family plot at Green Mount Cemetery. While John Wilkes Booth does not have his own headstone in the plot, his name does appear on the back of the Booth obelisk, noting him as a child of Junius Brutus and Mary Ann Booth.

To be fair to the miniseries, there was a lot of misinformation out there about the final disposition of John Wilkes Booth. So many rumors swirled that Booth really was sunk into the Potomac that Frank Leslie’s Illustrated Newspaper devoted the cover of their May 20, 1865 edition to a supposedly “authentic sketch” of the deed. In the decades that followed, more than one former sailor/soldier claimed to newspapers that he was the last remaining member of the “sinking detail.” However, the actual whereabouts of Booth’s corpse have been well documented, and we can rest assured that he lies in Green Mount Cemetery, not at the bottom of the Anacostia or Potomac Rivers.

7. A Reluctant Baptist Washington

There is a brief scene in which Dr. Mudd is shown conversing with a group of his neighbors and his brother-in-law, Jeremiah Dyer, asking which of them would be willing to testify on his behalf at his trial. Dr. Mudd correctly recounts that he is not permitted to testify on his own and that he needs them to swear to his good character.

After making his appeal, each of the gathered crowd raised their hand in support of the doctor, save one. This lone holdout is Baptist Washington, the only Black man present among his white neighbors. Wordlessly, Dr. Mudd signals to Jeremiah, and the doctor’s brother-in-law slips Washington a collection of dollar bills. After pocketing the bribe, Washington raises his hand in support like the rest.

Baptist Washington was an actual person who testified at the trial of the Lincoln conspirators. Washington had been enslaved by Jeremiah Dyer before emancipation came to Maryland in November of 1864. While he was still enslaved to the Dyer family, Washington had been hired out to Dr. Mudd and worked at the Mudd farm during carpentry work between January and August of 1864. Washington was one of the few African Americans who testified on behalf of Dr. Mudd, mainly to counter the claims of the real Mary Simms, who stated that Dr. Mudd had harbored Confederate agents like John Surratt at the farm. There is no evidence that Baptist Washington was paid for his testimony.

However, as I wrote in my piece recounting the Formerly Enslaved Voices in the Lincoln Assassination Trial, there were reasons other than monetary why people like Baptist Washington may have felt pressured to testify in favor of an enslaver like Dr. Mudd. While many Black residents left the regions where they had been enslaved when emancipation came, many others did not have that option. Even when freedom came, people like Baptist Washington, his wife, and his children remained living among the people who had once enslaved them. Washington faced difficult choices in 1865 and beyond. Even if he didn’t want to testify on Dr. Mudd’s behalf, failing to abide by the wishes of his white neighbors in Charles County would have had lifelong negative repercussions for him. Many other formerly enslaved people who didn’t move away after freedom likewise chose appeasement rather than conflict. This appeasement became misconstrued by white authors as the “loyal slave” and “good master” narratives, contributing to the myth of the Lost Cause. But Dr. Mudd was far from the oxymoronic good enslaver, as evidenced by Elzee Eglent, who testified about Dr. Mudd shooting him in the leg for not working hard enough. It’s not surprising then that Baptist Washington and many others spent their whole lives appeasing the white folks around them and telling them what they wanted to hear. During Reconstruction and beyond, such appeasement was sometimes the only way to survive.

8. Burning the Diary Pages

Near the end of the episode, we see Edwin Stanton reading through the pages of Booth’s diary, which was recovered from his body at the Garrett farm. Eddie Stanton sees his father reading it and asks him, “Did Booth write down his motives?” followed by, “Is there anything in there that could stain your reputation?” The elder Stanton tells his son not to worry about it, and Eddie leaves. We then watch as Sec. Stanton approaches the room’s fireplace, kneels down in front of the flames, rips pages from the diary, and burns them to ash.

This scene was actually previewed in one of the teaser trailers for the series, so I knew it would come eventually. Still, it was my fervent hope that this series would not indulge this completely unsupported conspiracy theory that Stanton altered John Wilkes Booth’s diary. It is a truly baffling choice on the part of the writers of the series to include this completely fictional scene, especially since it has been their goal to show Edwin Stanton in a noble and heroic light.

The idea of Stanton destroying pages of Booth’s diary is based on the writing of chemist-turned-author Otto Eisenschiml. In 1937, Eisenschiml wrote his most famous work, Why Was Lincoln Murdered?, in which he claimed that Edwin Stanton was the chief architect of Lincoln’s assassination. According to Eisenschiml, Stanton worried that Lincoln was going to be too lenient with Confederate leaders after the war was over, so he had his boss killed as a result. Much of the “evidence” Eisenschmil provides to support his thesis is blatantly false or highly circumstantial. Still, the controversy over his claim grabbed the attention of the public, and there are still those today who falsely believe that Stanton had a hand in Lincoln’s murder and that he destroyed the pages of Booth’s diary that incriminated him.

In reality, there is no evidence that Booth’s diary was altered after it was recovered from him. Booth’s diary, as we know it, is actually a pocket date book for 1864. The pages that have been removed from the book correspond with the pages for January 1 – June 10, 1864. It is important to remember that, during the first half of 1864, John Wilkes Booth was still a working actor, traveling from city to city performing on stage. This book was likely used by the actor to keep track of his engagements, travel expenses, his percentage of the box office, and other assorted personal affairs. This diary was never intended to be his last manifesto. Booth had written his true motivations and given the papers in a sealed envelope to his friend John Mathews with instructions to turn the papers over to the newspapers the next day. After Mathews witnessed his friend assassinate the President, the Ford’s Theatre actor read the manifesto and then burned it out of fear it would incriminate him in Booth’s plot. While on the run, Booth was distraught to find that his words had not been published in the papers. He attempted again to make his thoughts known and was forced to make do with this otherwise forgotten 1864 datebook, which he still had tucked in his coat pocket. The most likely and logical reason for the missing pages in Booth’s diary is that the assassin ripped them out himself in order to remove the mundane details of a traveling actor in 1864 and ensure a clean slate for his last manifesto.

If you’re interested in reading the text of John Wilkes Booth’s diary, I transcribed it in a post here.

No reliable evidence supports the idea that Edwin Stanton, or anyone other than John Wilkes Booth, altered his 1864 datebook. This miniseries does a great disservice to history by portraying this completely fictitious scene, which only succeeds in spreading a long-debunked and baseless conspiracy theory to the masses. I’m still shocked that this otherwise pro-Edwin Stanton miniseries embraced the ugliest of conspiracy theories against him. I’m no Edwin Stanton fan, but he deserved better than this.


Quick(ish) Thoughts

  • While I really liked the opening dream sequence, the shots of Booth’s horse grazing in the woods reminded me that there was never any follow-up to Davy’s horse galloping away from the pair in episode 3. You’ll remember that Booth shot his horse in the pine thicket and ordered Davy to do the same to his. But Herold was unable to kill the animal, and it ran off. At the time, I was convinced that the horse would be found in a later episode. But this never came to be, likely because the following episode had nothing to do with the actual manhunt and dealt with the fictional George Sanders intrigue. I supposed it’s all for the best anyway since, in reality, both horses were shot and sunk in the Zekiah Swamp by Davy Herold and Franklin Robey.

  • When Booth shows Davy the scar from his 1860 Columbus gunshot wound in his right hip, Davy suggests that this wound was why Booth’s “leg broke on that side” when jumping from the box at Ford’s Theatre because the “bones were still fragile.” We’ve already discussed that the real Booth broke his left leg, not the right, as the miniseries portrays. But even overlooking this fact, a bullet in the hip would not make the bone in your lower leg just above the ankle “fragile.” I know Davy was not a doctor, just a pharmacy clerk, but this claim makes no sense. Even the miniseries Booth seems to think this suggestion is nonsense, dismissing Davy’s idea with a “yeah, possibly.”
  • Booth recounts to Davy that his “mother had many children. Four passed away. Three to cholera. One fell swoop.” It’s true that out of the ten children born to Mary Ann and Junius Brutus Booth, four died before reaching adulthood. They were Henry Bryon, Mary Ann, Frederick, and Elizabeth. But it was only two children who died of cholera at the Booth family farm in “one fell swoop.” These were Mary Ann and Elizabeth, who both died within days of each other in 1833 at about the ages of 5 and 2, respectively. Both sisters had been predeceased by their brother Frederick, who died in Boston in 1828 at the age of 16 months. In December of 1836, eleven-year-old Henry Byron Booth died of smallpox while the family was visiting England. With the exception of Henry Bryron, who was buried in England, the other three Booth siblings were buried at the family farm of Tudor Hall. In 1869, after the government agreed to release John Wilkes Booth’s body to his family, Mrs. Booth had the remains of her three young children disinterred and moved to Green Mount Cemetery, where Edwin had purchased a large plot. The remains of Frederick, Mary Ann, and Elizabeth were placed in a single coffin and buried on top of their younger brother, John Wilkes, in the family plot.

  • While I still enjoyed the portrayal of William Mark McCullough as Boston Corbett in this episode, I feel that the writers made him a bit too zealous in this, his big climatic episode. Corbett, the lowly sergeant, single-handedly leads the cavalry, busts down the Garrett House door, pulls a pistol on and then chokes Julia Garrett, and later offers to go on a suicide mission into the barn to draw Booth’s fire until the assassin is out of ammo. Corbett certainly was a zealous and eccentric man, but he did not have a death wish. Nor would he have overstepped his role as a sergeant. The miniseries never shows Captain Edward Doherty, the leader of this detachment of cavalrymen, but even without him, Everton Conger and Luther Baker were in charge. Corbett is just a bit too crazy in this episode.
  • After the barn is set on fire, Julia Garrett rushes towards it and tells the soldiers they have to get Booth out of there. Again, the Garretts never knew that Booth had been their guest until after he was shot. After this comment, Corbett tells Julia, “This is a federal investigation. You’re obstructing.” These words sound painfully modern and out of place in this historical context.
  • As quickly as the troopers in Manhunt are to set fire to the tobacco barn, the structure itself burns at an amazingly slow pace, and the fire never seems to catch on anything inside the barn. For a barn that was filled with dried tobacco leaves and hay, this is beyond belief. But I suppose an asbestos-lined barn was necessary so that the news of the barn being lit could reach Stanton back in Bowling Green and for him to think he could make it to the Garrett farm before it was over.

  • When looking over the corpse of John Wilkes Booth at the Garrett farm, Edwin Stanton touches Booth’s hair as he states, “You’re no one now.” This is reminiscent of the many locks of hair that were cut from the assassin’s head. While lying on the Garrett porch, one of the Garretts cut a lock of Booth’s hair, and part of that lock was later sent to Mary Ann Booth. When Booth’s body lay on board the USS Montauk during his autopsy, locks of hair were snipped by visitors who identified him. Just before his final burial in Green Mount Cemetery in 1869, more hair was cut from his head as a keepsake for his family. Keeping locks of hair of the deceased was a very common Victorian mourning custom.
  • Oswell Swann is partially redeemed in this episode. After Booth’s death, there is a scene in Bryantown between Swann and Luther Baker. Swann tells Baker that Booth and Herold had passed that way, with Baker replying, “Yeah, we got your tip,” implying that Swann had alerted the authorities at some point. However, Baker next complains that this tip did not come earlier, leading Swann to defend himself and the dangers posed to him living in an anti-Lincoln community. While this sentiment is fair enough, I still don’t feel this redemption is enough to undo the damage done to the real Swann in prior episodes in portraying him as an active agent for the Confederate underground.
  • After this episode features the capture of Jefferson Davis, there is a scene between Eckert and Stanton in the War Department where Stanton orders that the press be told Jefferson Davis was captured while wearing his wife’s dress rather than just her shawl. According to Stanton, the reason for this is because, “they humiliated Abe when he wore women’s clothes to avoid death threats in Baltimore.” It’s a bit unclear who the “they” are in Stanton’s sentence. It could be a reference to Confederate plotters like Davis or perhaps even the press itself. Regardless, the point is moot, as Abraham Lincoln never dressed in women’s clothing, nor was he said to have dressed in women’s clothing to avoid assassination. The event references an event in 1861 to possibly assassinate President-elect Lincoln as he made his way by train to Washington for the first time. There were threats that an attempt might be made on Lincoln’s life in Baltimore, so he changed his plans at the last minute and essentially snuck through Baltimore ahead of schedule and arrived safely in D.C. After this was learned, Lincoln’s political enemies ridiculed him for cowardice. One reporter basely claimed that Lincoln moved through Baltimore wearing a scotch cap and a long cloak. While Lincoln was never disguised in such a way, this lie stuck, and many political cartoons were made of the new President slinking into or panic-strickenly dashing into Washington. The event did damage Lincoln’s ego a bit and may have contributed to his later distaste for guards and security.

I apologize for the six-month delay between my review of episode 5 and this one. In truth, my frustration with the series really zapped my motivation to continue with these in-depth reviews. Since Booth’s time at the Garrett farm and subsequent death is my favorite aspect of the story, seeing how much the miniseries botched this aspect really made the prospect of writing this review seem like an unwanted chore. However, I made a commitment to review all seven episodes of the series, and that is what I am going to do, even if I have to take lengthy breaks between each one. I will do my best to write my review of the final episode before another six months go by. I would really like to cross this project off my to-do list. Thanks for sticking with me.

Dave

Categories: History, News | Tags: , , , , , , , , , , , , , , , , , , , | 3 Comments

An Assassination Playbill Goes to Auction

Update: This playbill sold for $85,000. After adding the 25% Buyer’s Premium, the total cost of the playbill was $106,250. At the same auction, a John Wilkes Booth wanted poster sold for $105,000 ($131,250 with Buyer’s Premium).

This Saturday (9/28/2024), R.R. Auctions is set to sell an iconic and rare Lincoln assassination-related item: a Ford’s Theatre playbill from the night of Abraham Lincoln’s assassination.

While there are a plethora of period reprints and modern replicas of assassination playbills, genuine playbills are very elusive things, and examples rarely come up for auction. One of the most recent sales of a genuine Ford’s Theatre assassination playbill was by Christie’s auction house. In 2003, they sold a second issue playbill (those included an added section near the bottom advertising the planned singing of “Honor to Our Soldiers”) for $31,000.

Normally, I don’t post about all the interesting items that come up for auction, but this playbill is different. If you check out the auction listing for this playbill, you might notice a familiar name:

It turns out I have a little history with this specific playbill.

One of my earliest posts on this blog concerned the assassination playbills and how you can tell real playbills from fakes and replicas. In addition to regularly being asked my opinion on possible “new” John Wilkes Booth photographs, I have been sent pictures of a few playbills in the past. Each time I have had to break it to people that they have a reprint or a forgery. Last year, I received an email from a couple who had read my post and were hoping to get my thoughts on a Ford’s Theatre playbill that they owned. I happily agreed to take a look at it while mentally preparing to let down yet another disappointed replica owner.

As I looked at the pictures sent me, I was surprised to see that I was not able to instantly discount the playbill. I scoured over the small details of typography, spacing, and printing, and each seemed to align with genuine bills. I sent some follow-up questions to the owners, not tipping my hand that I was getting excited by what I was seeing. I asked about the provenance behind the piece and set to work investigating that. After a few days of research, I came to the astonished conclusion that this was a genuine first-issue playbill for Our American Cousin.

In my excitement, I went about writing up a research report for the owners explaining my conclusions. Never one for brevity, that report ended up being nine pages long. In advance of the sale on Saturday, I asked the owners if I could publish my report for them on this blog. They agreed, so I have published my report below. For the privacy of the current owners, I have redacted their names from the report and replaced them with John and Jane Doe.


Report on an April 14, 1865 “Our American Cousin” playbill owned by John and Jane Doe

By Dave Taylor
LincolnConspirators.com

Introduction: On April 25, 2023, I was contacted through my website, LincolnConspirators.com, by Jane Doe. Several years ago, I published an article on my site discussing the different playbills issued by Ford’s Theatre on the night of Lincoln’s assassination. Given my experience in analyzing authentic and fraudulent Lincoln assassination playbills, Jane asked me if I would look at a playbill owned by her and her husband, John, and give my opinion of it. I accepted and was provided with several images. The following is a report of my research process and ultimate conclusions regarding the playbill in question.

Background: Abraham Lincoln was shot by assassin John Wilkes Booth on the evening of April 14, 1865, while the President and his party were attending a performance at Ford’s Theatre in Washington, D.C. The play they were attending was a comedy entitled Our American Cousin, with actress Laura Keene as the lead star. After the shooting of Lincoln, the theater was shut down and would not see another performance for over 100 years. Very shortly after the tragedy, there was a demand for playbills of the last play Lincoln saw. This demand led to a secondary market of replica and forged playbills. Some of the fraudulent bills were so convincing that they even managed to fool those who were present at the assassination into swearing to their authenticity. In 1937, researcher Walter C. Brenner privately published a monograph entitled The Ford Theatre Lincoln Assassination Playbills: A Study. Brenner analyzed several variations of bills housed in different collections in an attempt to definitively determine which version or versions of playbills were actually printed and present on the night of Lincoln’s assassination. Through his research, Brenner was able to locate proven examples of legitimate assassination playbills in the Harvard Theatre Collection. He published his findings and included a chart noting the small details that can prove or disprove a suspected assassination playbill. In 1940, Brenner published a small supplement to his original research, reproducing an 1898 article that narrated the history of the playbills and why there were two different, but both equally legitimate, versions of playbills used at Ford’s Theatre on April 14, 1865. During my own analysis of the Doe playbill, I heavily referenced Brenner’s work.

Visual Analysis: The Doe playbill measures approximately 18.5” long and 5.5” wide. It is currently matted inside of a frame with a handwritten piece of provenance below it (Fig. 1).

Figure 1: Framed playbill

On the left edge of the bill near the name of Laura Keene is written in pencil the words “Genuine bill – [illegible] J H Brown” (Fig. 2).

Figure 2: Notation reading “Genuine Bill – [illegible] J H Brown”

The paper of the bill is browned. There are some discolorations and mild defects around the visible edges. A circular shaped defect about ¼” in size can be seen about 7 inches from the top near the name of John Dyott (Fig. 3).

Figure 3: Small defect near the name of John Dyott

There is evidence that the bill was previously folded with a light horizontal crease through the line containing the text “Buddicomb, a valet” (Fig. 4).

Figure 4: Faint horizontal crease through the entry for “Buddicomb, a valet”

Minor discoloration can be seen in other places. Still, overall, the bill is very clean, albeit browned from prior display. The bill was not examined out of the frame.

Compositional Analysis: At first glance, this bill represents an example of the first issue playbill for April 14, 1865. Bills of this sort were initially the only bills in production by printer H. Polkinhorn and Son in preparation for the evening’s show. After it was ascertained that President Lincoln was going to be attending the theater that night, it was decided that the singing of a patriotic song that was planned for the following evening was to be included. As a result of this change, the type of the printed bill was adjusted to include a paragraph about the now-planned singing of “Honor to Our Soldiers.” The Doe bill does not contain this paragraph, thus making it a possible first-issue playbill.

The Huntington Library in San Marino, CA, owns a genuine first-issue playbill for Our American Cousin. They have digitized this playbill at a high resolution, and it is available to view here: https://hdl.huntington.org/digital/collection/p16003coll6/id/5034/rec/1 Using this bill as an example, I then conducted a detailed comparison between it and the Doe playbill.

During my comparison, I looked for the different details documented by Brenner as those present on a genuine first-issue playbill, all of which are borne out on the Huntington playbill. Among those details are:

  • A space between the digits 9 and 5 in the text “NUMBER OF NIGHTS, 49 5”
  • The condition of the final E in the name of “LAURA KEENE”
  • The condition of the final R in the word “MANAGER”
  • The alignment of the letter H in the name “H. CLAY FORD”
  • The alignment of the letter S in the words “Supported by”
  • A small interior misprint on the letter C in “COUSIN”
  • A small circular defect on the letter N in “COUSIN”
  • The spelling of “Sensation”
  • The word “Chairs” after the word “Orchestra”
  • Several breaks in the horizontal lines separating different blocks of text

For each point of comparison, I found that the Doe playbill matched the details of the Huntington playbill. Everything was compositionally correct and in the right place to match a genuine first-issue bill.

I then looked for evidence of duplication. There have been other bills that I have examined in the past that have had the correct content, but they have distinct evidence that were merely copies of a legitimate bill. When copies of bills are made, there is a distinct drop in quality and detail. This is very noticeable in the font of “THE OCTOROON,” where the small details are lost. In addition, duplication removes the minor irregularities present during the original printing process. In addition to examining the font of “THE OCTOROON,” I requested and was provided with close-up images of the word “COUSIN” so that I could assess the natural deviations in this boldly printed word.

In my opinion, this bill does not show signs of being a duplicate. The fine details are present and consistent with an original printing, not a copy done by modern means.

Based on my visual and compositional analysis, I believe that the Doe playbill is a genuine first issue from April 14, 1865. It matches all points of comparison as laid out by Walter Brenner in his study of genuine assassination playbills, and there is no evidence of the bill being a period of modern reproduction.

Provenance Analysis: From my communications with Jane, I learned that this playbill has been in her husband’s family for over a hundred years. Mr. Doe’s great-grandfather was named Frederick S. Lang, the owner of a sizable Lincoln collection. According to Jane, this playbill and some other materials are what remains of the former Lang collection of Lincolniana.

In June of 1919, C. F. Libbie and Co. auctioned off what was advertised as a “Lincoln Collection formed by Frederick S. Lang, Boston.” Mr. and Mrs. Doe still retain two copies of this auction catalog. A digitized version of the catalog, housed on the Internet Archive, can be viewed here: https://archive.org/details/catalogueoflinco00libb. In examining the catalog, we find the following lot description:

“1129 Play Bill. Ford’s Theatre, April 14, 1864[sic]. One of the original play bills, first issue. Neatly matted in a narrow oak frame. Folio. This is one of the original play bills purchased from the Estate of John B. Wright, who was stage manager, by J. H. Brown.”

This lot appears to describe the playbill still in possession by the Does. Jane sent images of the original frame the playbill was housed in before it was reframed by her in-laws. One of these images is included below. This frame appears to match the description of “a narrow oak frame.”

Given the presence of the playbill with a descendant of Frederick Lang today, it would appear that this lot did not sell in 1919. Perhaps the misprint in the auction catalog of 1864 rather than 1865 caused it to fall under the radar.

In addition to the playbill’s entry in the 1919 auction catalog, the bill is framed alongside a small handwritten note. This note is faded and brown but is still legible. It states, “I purchased this Bill from the Estate of John B. Wright who was Stage Manager / J H Brown”

Further information about the bill is included in a transcript of a circa 1909 typewritten essay or article about Frederick Lang’s collection. This transcript is owned by Mr. Doe. Jane provided a picture of a page from this essay that mentions the playbill. The text is as follows:

“occupying[sic] a prominent place on the wall is the exceedingly rare, genuine play-bill of Ford’s Theatre, April 14th, 1865 the night of Lincoln’s assassination. The attraction was Laura Keene, in Our American Cousin, and in the cast were many players well known in Boston, among them being W. J. Ferguson, Harry Hawk, and Geo. G. Spear. This play-bill was obtained from the collection of the late J. H. Brown, one of the best known theatrical collectors in the country. It is accompanied by his affidavit that it was purchased from the estate of J. B. Wright, the stage manager of Ford’s Theatre at the time of the tragedy. Mr. Wright was well known in Boston, as he was for many years connected with the National Theatre of this city, as stage manager and lessee. Mr. Lang also has a copy of the fac-simile of the genuine bill, copyrighted 1891, with affidavit by R. O. Polkinhorn who was pressman at the time of the assassination, and certificate from J. F.[sic] Ford, proprietor of the threatre[sic]. Accompanying this is a copy of this bogus bill which had a wide sale before the fraud was disclosed. This bill contains the following announcement, ‘This evening the performance will be honored by the presence of President Lincoln.’ As it was not known at the time of printing the bills, that Lincoln would attend the threatre[sic], this alone stamps the bill as spurious, but as this fact was not widely known, many of them were disposed of at fancy prices. This bogus bill is seldom met with now, and the three items make a rare and interesting collection in themselves. The latter two are not framed but are in a Booth portfolio.”

Through research, I determined that the J. H. Brown mentioned in the provided provenance was James Hutchinson Brown, a Massachusetts theatrical collector who lived from 1827 to 1897. In 1898, C. F. Libbie and Co. sold off Brown’s extensive collection of dramatic books, autographs, and playbills over the course of three different auctions. The third and final of these auctions occurred on June 15 and 16, 1898. This auction contained a collection of around 180,000 American and English playbills, “formed by the late James H. Brown, Esq., of Malden, Mass.” A digitized version of this auction catalog, housed on the Internet Archive, can be viewed here: https://archive.org/details/cu31924031351533. In examining this catalog, we find the following lot description:

“999 Washington, D. C. Ford’s Theatre, 193 play-bills for the entire Season of 1864-5 (with the exception of two bills during one of Forrest’s engagements), commencing Aug. 29, 1864, and ending with TWO BILLS of April 14, 1865, the night of the ASSASSINATION OF PRESIDENT LINCOLN, including the one of March 18, 1865, of J. Wilkes Booth last appearance (as an actor) on any stage: as ‘Pescara,’ for the Benefit of John McCullough. Inserted are four a.l.s. of John T Ford, Manager and Proprietor, one a.l.s. of John B. Wright, Stage Manager, one a.l.s. of William Withers, Jr., Leader of the Orchestra, two a.l.s. of members of the company on the fatal night, and a large panel photograph of J. Wilkes Booth and numerous clippings. Narrow folio, half roan. This collection of Bills was made by Mr. John B. Wright, the stage manager, and is most interesting and rare, if not unique. ‘The fact that there were two variations of the play-bill of April 14, 1865, the night of the assassination of President Lincoln is not generally known, one with a stanza of a Song, ‘Honor to our Soldiers,’ and the other without it. ‘Mr. J. B. Wright, the stage manager at the time, and who witnessed the deed, wrote Mr. Brown the following facts: Early in the forenoon of that day, learning that the President intended visiting the Theatre that evening, Mr. Wright went personally to Polkinhorn, the printer, and ordered the insertion in the bills for that night of this stanza, intending to have the song sung that night, although it was originally intended to have it sung on the next night, which was to have been the Benefit of Miss Jennie Gourlay. Polkinhorn stopped the press which was printing bills, made the change in the form, and printed the remainder of the bills with the stanza inserted, and not desiring to lose those printed without the stanza, he included them in those he sent to the theatre, and both kinds were used that night.’ – J.H.B., 1893.”

Interestingly, while the assumption would be that Mr. Lang purchased this lot of Ford’s Theatre playbills at auction in 1898, we know that not to be the case. This lot was purchased by another collector named Evert Jansen Wendell (1830 – 1917). After Wendell’s death, this specific collection of Ford’s Theatre playbills was donated to Harvard University. It was this same collection of playbills that Walter Brenner consulted for his 1937 study. At the time of Brenner’s research, the collection still had the two April 14, 1865 bills mentioned in the Brown auction catalog, making it impossible for Lang to have purchased this lot of 193 playbills.

John B. Wright, former stage manager at Ford’s Theatre

However, this auction catalog does confirm that James H. Brown had dealings with the estate of John Burroughs Wright, the former stage manager of Ford’s Theatre. Wright was a Massachusetts native who maintained a home in the Boston area even when he was working for John T. Ford in Baltimore and D.C. during the Civil War years. After the shooting of Lincoln, Wright returned to Boston. After several seasons touring with star Edwin Forrest and managing theaters in New York, Wright retired from the theater business in 1880. He died in 1893. His wife Annie, who had been present in the audience on the night Lincoln was assassinated, outlived her husband and eventually died in 1924.

The catalogs for the Brown auctions contain several pieces associated to John B. Wright, showing that Brown’s purchases from the Wright estate were more than just the collection of Ford’s Theatre playbills from 1864 – 1865, which eventually went to Evert Wendell. It is, therefore, reasonable to assume that John B. Wright possessed more than one copy of the first issue playbill used on the night of Lincoln’s assassination and that James H. Brown purchased it along with the rest of the materials he acquired from the Wright estate. From there, this specific bill was purchased by Frederick Lang, a collector not of theater memorabilia but of Lincolniana.

The framed note, along with the Frederick Lang auction catalog, conclusively traces this playbill back to Ford’s Theatre stage manager John B. Wright. Two other genuine playbills from the Wright collection exist in the Harvard Theatre Collection, demonstrating that Wright retained genuine playbills after the assassination of Lincoln.

In my opinion, the provenance associated with the Doe playbill is strong.

Conclusions: The Doe playbill has all the marks of a first-issue Ford’s Theatre playbill from the night of Abraham Lincoln’s assassination. By looking at the minute details, it can be seen that the bill is not a period reproduction, nor is there any evidence of modern duplication. The provenance demonstrates an unbroken line of ownership from John B. Wright, stage manager of Ford’s Theatre, to the current owners, John and Jane Doe. The claims of provenance can be backed up with supplementary evidence in prior auction catalogs.

It is my opinion that the Doe playbill is a genuine playbill from the night of April 14, 1865. As such, it is a rare and unique piece of American history.

Dave Taylor

List of sources and references used in this research:

  • Bogar, Thomas A. Backstage at the Lincoln Assassination: The Untold Story of the Actors and Stagehands at Ford’s Theatre. Washington, D.C.: Regnery, 2013.
  • Brenner, Walter C. The Ford Theatre Lincoln Assassination Playbills: A Study. Philadelphia: Privately Printed, 1937.
  • Brenner, Walter C. Supplement for insertion in The Ford Theatre Lincoln Assassination Playbills: A Study. Philadelphia: Privately Printed, 1940.
  • Catalogue of a Lincoln collection formed by Frederick S. Lang, Boston. Boston: C. F. Libbie & Co., 1919.
  • Catalogue of the valuable collection of play-bills, portraits, photographs, engravings, etc., etc., formed by the late James H. Brown, Esq., of Malden, Mass. Boston: C. F. Libbie & Co, 1898.
  • The Huntington Library, Art Museum, and Botanical Gardens
  • Harvard Theatre Collection
  • Emails with Jane Doe

I hope you enjoyed a dive into the research and provenance behind the Ford’s Theatre playbill that will be sold by R.R. Auctions. If you’ve always wanted to own one of the rarest pieces of assassination history, you might want to keep on eye on Saturday’s auction. But be prepared to shell out quite a nest egg to add this to your collection. At the time of this writing, during the pre-auction bidding period, this playbill is already up to $55,000 and will likely go much higher before the gavel falls.

Even if you’re like me and will never have the scratch to own something like this, I hope you still enjoyed learning about the playbill and its history. And, if anyone else has any cool priceless artifacts you’d like me to look at, I’m happy to give my opinion. This genuine playbill just goes to show that there are still treasures to be found out there.

Categories: History, News | Tags: , , , , | 10 Comments

A Genuine Garrett Farm Relic? Patrick Tighe and the Patrols of the 16th NY

My friend Carolyn Mitchell alerted me to this lot currently up for bid from Raynor’s Historical Collectible Auctions. It is a collection of materials from a Civil War veteran by the name of Patrick Tighe.

The lot includes some of Tighe’s possessions including his Grand Army of the Republic medals and badges, his pocket watch, a memorial ribbons for President Lincoln, and also some CDVs and books which are not pictured. The most interesting part of the lot, and the likely reason that the starting price is $3,500, is the large piece of wood that has a replica wanted poster affixed to it. According to the lot description the piece of wood is from the Garrett house, on the porch of which John Wilkes Booth died on the morning of April 26, 1865.

The lot description states, in part:

“Patrick Tighe, (The CW Date Base spells it TIGH) at age 38, enlisted September 3, 1864 at Avon New York, mustering into Company H, 16th NY Cavalry and mustered out May 29, 1865. Tighe was a member of of the detachment of the 16th New York that had the distinction of killing Lincoln assassin John Wilkes Booth and apprehending accomplice David Herold. Post war, Tighe joined GAR post #235, Avon New York. The impressive 13″ x 18” barn wood has two period labels, “GAR Post 235, H.C. Cutler, Avon New York” where Tighe was a member and the donor of the piece. The second label “This barn siding was from the Garnett House where John W. Booth was killed”. When the Post closed, c1930, the siding was returned to the Tighe family. The siding has a reproduction April 20, 1865 Reward Poster for the Assassins, 11″ x 15″…”

Carolyn knew this lot would pique my curiosity due to my interest in the death of Booth at the Garrett farm. But the name of Patrick Tighe did not ring a bell. With some research I confirmed that Pvt. Tighe was a member of the 16th NY Cavalry. As we know, a detachment of the 16th NY were the ones who tracked down John Wilkes Booth. However, when I consulted a list of the soldiers of the 16th NY present at the Garrett farm when Booth was shot and killed, Tighe’s name is not included. Nor did Tighe receive any reward money for the capture of Booth. Tighe wouldn’t be the first member of the 16th NY Cavalry to later claim to have been at Booth’s death even though he wasn’t. Several others who were part of the 16th NY but not at the Garrett farm embellished and lied about their role in hunting down Booth in the decades that followed. I was ready to chock up Patrick Tighe’s piece of Garrett farmhouse wood as yet another fake, just like the replica wanted poster attached to it.

But I decided to dig a little bit more on Mr. Tighe. Though Tighe never received any money for Booth’s capture, I was surprised to find that he did make an application to the government for a share of the reward. Here are the microfilm scans of Tighe’s official application for reward money followed by a transcription:

“Avon, Dec. 8th 1865
To/ The Adjutant General of the Armies of the U.S.

Your petitioner, Patrick Tighe private in Co. H. 16th Cavalry N.Y.V humbly represents that he was one of the Cavalry detailed to arrest, seize, and if necessary kill the Assassin of Abraham Lincoln, and his accomplices.
As the Government has set apart a sum to reward those engaged to secure such arrest, I hereby put in my claim for such part of the reward as I may be entitled to – being myself, Patrick Tighe aforesaid, one of party detailed. My residence is Avon, N.Y. and the Commander of my detachment was Lieutenant Peter McNaughton, then in command of Co. H. 16th Cavalry N.Y.V.
An early answer from your department would much oblige.

Yours with high Consideration
Patrick Tighe”

I was a bit perplexed by this reward application. It is carefully worded to imply that Tighe was with the group that arrested Booth and Herold, but it doesn’t explicitly state that. It just states that Tighe was detailed with attempting to find the assassins. Hundreds of men were put in the field to search for Booth and his accomplices and many of them filed reward claims only to be denied, as Tighe was. But his ongoing connection to the 16th NY was intriguing.

I contacted Steve Miller who is THE expert on Boston Corbett and the 16th NY. He stated Tighe’s name didn’t ring any bells but the commander Tighe mentioned, Lt. Peter McNaughton, did. Steve reminded me about how different detachments of men from the 16th NY Cavalry were all over the place during the manhunt. John M. Lloyd, the renter of Mary Surratt’s tavern who became a key prosecution witness against her, was arrested by men of the 16th NY. On April 21st, Dr. Mudd was arrested by Lt. Alexander Lovett of the Veteran Reserve Corps. accompanied by Lt. William Farrell (and men) of the 16th. At the same time Booth was shot and killed a separate detachment of men from the 16th NY claimed to have been on his trail and only four miles from the Garrett farm. Lt. Peter McNaughton, in his own reward application, claimed to have been one of the men present at Dr. Mudd’s arrest.

Lt. Peter McNaughton
Courtesy of Steven G. Miller

McNaughton was also one of the leaders of what Steve calls the second Garret farm patrol. The first Garrett farm patrol is the one we are familiar with. Those were the 26 guys led by Lt. Edward Doherty, along detectives Everton Conger and Luther Baker, who tracked and killed Booth at the Garrett farm. All of those participants received a share of the reward money. After Booth’s body was transported by these men up to Washington, it was determined that a second patrol was needed to return to the northern neck of Virginia in order to retrace and determine Booth’s route through the region. This second Garrett farm patrol consisted of 20 Cavalry men of the 16th NY guided by detective Luther Baker, who had been present at Booth’s death. The soldiers were commanded by Lt. McNaughton.

The group was also accompanied by a reporter for the New York Herald, a man by the name of William N. Walton. How Walton managed to gain access to this detachment is unknown. Late on April 29th, the group set out from D.C., steamed south, and then headed overland to the Garrett farm. They arrived back at the Garrett farm just before sundown on April 30th. Several members of the detachment remained at the Garrett house overnight as did William Walton. During this time, Walton sketched the Garrett house and the remains of the burned down barn. These sketches would later be turned into woodcuts and published in the May 20 edition of Harper’s Weekly.

As the bulk of the second Garrett farm patrol rested at the farm, some men were ordered out in search of Willie Jett, the Confederate private who had dropped John Wilkes Booth off at the Garrett farm in the first place. Jett had originally been arrested by the first Garrett farm patrol. He was the one who led the soldiers from Bowling Green back to the Garrett farm where Booth was hiding out in the barn. Jett witnessed Booth’s death and then traveled northward with Luther Baker, a couple soldiers, and Booth’s body. However, during the trek north through Virginia, Luther Baker released Jett and allowed him to go home. When the party arrived in D.C., the Secretary of War was angry at Baker for releasing Jett and immediately ordered his arrest.

An arrest order for Willie Jett dated April 28th.

Recapturing Jett was a key part of the second Garrett farm patrol’s mission. Earlier on April 30th, Mr. Garrett had visited Willie Jett in Bowling Green and attempted to get Jett to sign a statement attesting that he had brought Booth to the farm under an assumed name. Jett had decline to sign the statement. When the troopers attempted to find Jett in Bowling Green, they discovered he had departed. Eventually they hunted him down to the home of his father in Westmoreland County and placed him under arrest.

Over the course of the next couple of days, the second Garrett farm patrol retraced Booth and Herold’s movements backwards. They spoke with several people who interacted with the fugitives during their escape and arrested several of them. They seemed to be especially keen on arresting folks with the first name of William. In addition to Willie Jett, the patrol rounded up William Rollins, the fisherman in Port Conway who had agreed to take Booth and Herold across the Rappahannock River before Jett and the other two Confederates arrived, William Lucas, the free Black man that Booth essentially evicted from his home after being turned away by Dr. Stuart, and William Bryant, the man who transported the fugitives from Mrs. Quesenberry’s to Dr. Stuart’s home of Cleydael. The group also interviewed Mrs. Quesenberry and her daughter who had spoken with David Herold after the pair made landfall in Virginia.

On May 3rd, the second Garrett farm patrol arrived back in D.C. and deposited their detainees in the Old Capitol Prison. They also passed along the information they had gained from their Virginia sojourn. The next day, William Walton published a lengthy article in the New York Herald documenting what he had learned about the escape route of John Wilkes Booth as a result of his trip with the second Garrett farm patrol.

From Walton’s article, it appears that the second Garrett farm patrol was very successful in establishing JWB’s escape route through Virginia. However, it was decided by the authorities in Washington that the second patrol had not done an adequate job in acquiring all of the witnesses that were needed. As a result, a third patrol of men from the 16th NY was quickly assembled in order to make a return trip. Detective Baker did not join this group and it was, instead, solely led by Lt. McNaughton who was now familiar with the territory. Reporter William Walton later wrote about this third trip but it’s difficult to tell if he was speaking from his own firsthand experiences with this third patrol or if he was relating things that were told to him by Lt. McNaughton, whom he appears to have befriended.

The third group of men from the 16th NY Cavalry departed D.C. late on May 4th. Rather than going to the Garrett farm, however, this detachment was tasked with finding and arresting Absalom Bainbridge and Mortimer Ruggles, the Confederate soldiers who ran into Booth with Willie Jett at the Rappahannock River. The posse traveled to Friedland, the home of Confederate General Daniel Ruggles, in King George County, Virginia. There they found and arrested Mortimer Ruggles, who was Gen. Ruggles’ son. Friedland plantation was also the home of Absalom Bainbridge as his mother and Mortimer Ruggles’ mother were sisters. Bainbridge was not at the home when Lt. McNaughton and his men got there but, according to Walton’s account arrived back about a half hour later. The two cousins were transported and placed on a waiting steamer while the group then traveled to Dr. Stuart’s home of Cleydael. While the second Garrett farm patrol had interviewed Dr. Stuart a few days earlier, they had not taken him into custody. This time, however, he was compelled to come with the men. On May 6, the whole detachment, with their three prisoners in tow, arrived back in D.C.

As stated, William Walton wrote about this third expedition for the New York Herald. You can read that article here.

Now that we have a handle of the different patrols of 16th NY Cavalry that visited Virginia, let’s return to the subject of Patrick Tighe and his alleged piece of wood from the Garrett house. As we have established, Pvt. Tighe was not one of the soldiers of the 16th NY Cavalry present in the first Garrett farm patrol that cornered and killed John Wilkes Booth on April 26, 1865. The third patrol which traveled into Virginia on May 4th did not stop at the Garrett farm but stayed in King George County the whole time. Therefore, the only way for this relic to be genuine and to have been  personally acquired by Pvt. Tighe is if he was a member of the second Garrett farm patrol that arrived at the farm on April 30th.

The problem is, there’s no way to prove that Tighe was part of that patrol. The only reason the specific members of the original Garrett farm patrol are known is because of the fight for the reward money. Lt. Doherty made a list of the men under his command in order to ensure each one received their fair share. There are no rosters of the second or third group of 16th New Yorkers who traveled into Virginia during the subsequent visits. Patrick Tighe’s application for reward money is vague. He might have been with Lt. McNaughton and the second Garrett’s farm patrol, or he might have been with him at the arrest of Dr. Mudd or another part of the manhunt. Without more information, we can never be sure.

Patrick Tighe’s grave in Avon, NY.
The stone is incorrect. Patrick Tighe died on April 3, 1907.

While the relic being genuine is an intriguing possibility, I’ll admit that the size of the wood piece and the corresponding lot description gave me some pause. Why would the Garretts allow a solider to take such a sizable piece (13″ x 18″) of wood from their house, which was their main residence and undamaged from the fire that consumed their barn? The Garretts continued to reside in the farmhouse for decades after Booth’s death and while a sneaky soldier might be able to break off a small relic, it seems improbable that Tighe could have walked off with a large piece of the house without any of the Garretts noticing and objecting. The phrasing of the lot description is also confusing as it is refers to the relic as “barn wood” from the “Garnett [sic] house”. Why would the siding of the house be called barn wood?

It appears that there are some quality control issues over at this auction house. I zoomed into the small label affixed to the wood. It’s a bit pixelated as the original image isn’t all that big. Still, in my opinion, this label reads, “This barn siding was from the Garrett barn where John W. Booth was killed.”

The wood relic coming from the remains of the burned down barn makes more sense than a piece pried off of the Garrett house. I wish the auction house had more images of the wood piece. It would be interesting to see if it bears any evidence of having been charred or blackened.

At the end of the day, however, this lot is far too pricey for a centerpiece item whose authenticity is only a “maybe”. Two of the claims in the lot description, that Tighe was there when Booth was killed and that the wood came from the Garrett “house” have been disproven. While it’s still possible that the piece is genuine and something that Pvt. Tighe acquired as a member of the second Garrett farm patrol, without further evidence, such claims would be impossible to prove. Still, this relic served as an illuminating jumping off point to learn more about the different patrols of the 16th New York Cavalry that were sent into Virginia in order to retrace the steps of John Wilkes Booth. And, hey, if anyone wants to purchase the lot before it ends on August 27th, I certainly wouldn’t say no to a gift.

Many thanks to Carolyn Mitchell for making me aware of this auction item and to Steve Miller for sharing his picture of Lt. McNaughton and his expertise with the 16th NY Cavalry with me. 

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The Lincoln Assassination on this Day (December 12 – December 31)

Taking inspiration from one of my favorite books, John Wilkes Booth: Day by Day by Art Loux, I’ve been documenting a different Lincoln assassination or Booth family event each day on my Twitter account. If you click on any of the pictures in the tweet, it will take you to its individual tweet page on Twitter where you can click to make the images larger and easier to see. Since Twitter limits the number of characters you can type in a tweet, I often include text boxes as pictures to provide more information. I hope you enjoy reading about the different events that happened over the last week.

NOTE: After weeks of creating posts with multiple embedded tweets, this site’s homepage now tends to crash from trying to load all the different posts with all the different tweets at once. So, to help fix this, I’ve made it so that those viewing this post on the main page have to click the “Continue Reading” button below to load the full post with tweets. Even after you open the post in a separate page, it may still take awhile for the tweets to load completely. Using the Chrome browser seems to be the best way to view the tweets, but may still take a second to switch from just text to the whole tweet with pictures.

Continue reading

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How the ALPLM lost the Taper Collection

On May 1, 2007, the Abraham Lincoln Presidential Library Foundation, the non-profit fundraising partner of the Abraham Lincoln Presidential Library and Museum in Springfield, Illinois, purchased a collection of approximately 1,500 artifacts, documents, and photographs from noted Lincoln collector Louise Taper. The collection was purchased by the Foundation for a little over $23 million through the use of a bank loan. The acquisition of the Taper collection was a huge boost for the fledgling state-run library and museum. For while the ALPLM already housed the impressive manuscript collection of the Illinois State Historical Library, the organization at that time lacked a sizable collection of tangible artifacts and relics about the 16th President. The purchase of the Taper collection by the Foundation helped to elevate the collection of the ALPLM, securing its place as a world-class museum. The Taper collection was housed and loaned to the ALPLM until such time as the Foundation paid off the bank loan, and the collection would then be officially donated to the museum and the people of Illinois.

The Taper collection has so many wonderful pieces. This is especially true of its assassination-related items. For while some Lincoln collectors shy away from objects relating to Lincoln’s assassin, Louise Taper collected Booth and Booth family material to the same degree she hunted down Lincoln items. Louise was truly interested in the Booth family and is a coauthor of the edited volume, “Right or Wrong, God Judge Me”: The Writings of John Wilkes Booth. Among the assassination-related treasures in the Taper collection are:

A pair of gloves purported to have been carried by Lincoln in his pockets to Ford’s Theatre on the night of his assassination

One of Lincoln’s cufflinks that he was wearing when he was assassinated (the matching one is in the Library of Congress)

A series of signed letters written by John Wilkes Booth in 1864 to his then-love interest, Isabel Sumner of Massachusetts. Included in the set are photographs (one of which is signed) and the above pearl ring inscribed “J.W.B. to I.S.”

Strands of John Wilkes Booth’s hair encased with his photograph

A rare $30,000 reward poster for Booth, issued by D.C. before the federal reward was created

Also amongst the Taper collection’s papers and manuscripts are countless playbills and likely the largest collection of Booth family letters outside of Edwin Booth’s NYC club, The Players, and the collection of Asia’s letters in the Maryland Historical Society.

Over the years, several pieces in the Taper collection were highlighted in special exhibits in the museum’s Treasures Gallery, which bears the subtitle “Presented by the Louise and Barry Taper Family Foundation”. I was fortunate to see just a bit of the Taper collection when I conducted research at the ALPLM in 2018. The sheer vastness of the collection precluded me from seeing everything I wanted to see, but knowing that it was all in Springfield, just a research appointment away, was reassuring.

However, on October 31, 2022, the loan agreement between the Foundation and the ALPLM ran out. On that day, all 1,500 items in the Taper collection were loaded into boxes and departed. Newspaper articles out of Springfield reported that the items were taken to Hindman Auctions located in Chicago. At this point, the future of the Taper collection is very much unknown, with worries that part, or all, of the collection might be sold. UPDATE: On May 21, 2025, 144 lots of the former Taper Collection will be sold by Freeman’s | Hindman Auctions.

This stunning news begs the question: How did this happen? What caused the ALPLM to lose such a historical gem of a collection?

Well to answer that, we need to understand the history between the Foundation and the ALPLM, how the Foundation came to purchase the Taper collection, how actions over several years caused an irreconcilable rift between the two former partners, and how one specific artifact in the Taper collection, a stovepipe hat said to have belonged to Abraham Lincoln, was weaponized by those in charge of the ALPLM, ultimately leading to the loss of the whole collection.

It’s a complicated and lengthy story. To explain it all, I am relying heavily on a report written in 2019 by Dr. Samuel Wheeler, the Illinois State Historian. Dr. Wheeler was tasked with researching the provenance of the Taper stovepipe hat, as well as the Taper acquisition as a whole. At the end of this post, I will link to Dr. Wheeler’s full, 54-page report, and I highly encourage you to read it for yourself for more details.

For those who don’t have the time to read the full story right now, you can click here to jump down to the tl;dr (Too Long; Didn’t Read) bullet point summary at the end.


The Purchase

Before there was an ALPLM, there was the Abraham Lincoln Presidential Library Foundation. The Foundation was established in June 2000. Its main task was to fundraise for the creation of the future museum and Presidential library. In 2001, wealthy Lincoln collector Louise Taper became a Foundation board member, using her connections to help solicit donations and advise on possible acquisitions that were coming up at auction. When the ALPLM was opened in 2005, Taper loaned some of her pieces to the museum for their opening exhibits. The centerpiece item from Taper’s collection was a stovepipe hat said to have belonged to Abraham Lincoln.

The hat was touted as one of only three confirmed Lincoln stovepipe hats known, the other two belonging to the Smithsonian and Robert Todd Lincoln’s estate home of Hildene in Vermont. Perhaps no other object personifies the iconic Lincoln than the stovepipe hat. Having a Lincoln hat back in his hometown of Springfield was a celebrated event, even if it was only on temporary loan. Meanwhile, the Foundation continued to be the museum’s main fundraising arm, supplementing the funds provided by the State of Illinois, which owns and operates the site. They also began looking at acquiring more objects and artifacts to strengthen the museum’s physical collection.

A few months after the museum’s opening, Louise Taper informed the Foundation that she was interested in selling her Lincoln collection and that she felt the ALPLM was the perfect place for these items to reside. The Foundation was definitely interested. Acquiring Taper’s items would be a major boost for the museum’s collection. Taper started the process of having her collection cataloged and appraised in order to decide a fair value for the items.

Louise Taper in 2011

It is important to point out that during these initial years, the executive directors of the ALPLM also served as the executive directors of the Foundation. Historian Richard Norton Smith served in both roles until he resigned in March of 2006. His successor, Rick Beard, took over the dual roles in November of that year. Shortly after taking the reins of both organizations, Beard and other board members of the Foundation traveled to Taper’s home in California to view her full collection. During that time, Taper informed the Foundation members that her collection had been appraised at $25 million by appraiser Charles Sachs. She was willing to donate $2 million worth of the collection if the Foundation would purchase the rest for $23 million. Taper also informed the Foundation that another party was interested in the collection and had the funds, so she requested the Foundation work swiftly to determine if they wanted to pursue the purchase.

During the next board meeting, the Foundation decided to form a committee to explore their fundraising capabilities for the future in order to determine whether they could afford to purchase the Taper collection. They promised to get back to Taper about it in early 2007. During the interim, the Foundation requested access to the appraisal Taper had received from Sachs, but Taper stated they would not get access to it until after a purchase agreement was reached. This put the Foundation in an uncomfortable position. They were given the right of first refusal on a world-class collection of Lincolniana, but the clock was ticking, and their ability to be thorough was now severely limited.

Dr. Thomas Schwartz

Dr. Thomas Schwartz had worked for the State since he was hired in 1985 as the Lincoln Curator for the Illinois State Historical Library. He became the Illinois State Historian in 1993 and was the interim director of the ALPLM before Rick Beard was hired. Schwartz had also worked closely with Louise Taper on a number of exhibits. He thoroughly supported the acquisition of the Taper collection, composing a six-page document enlightening the board about some of the artifacts in Taper’s collection. As the State’s lead historian, his opinion carried a lot of weight.

Schwartz suggested the Foundation hire their own appraiser to look at the Taper collection in order to judge the accuracy of Sach’s valuation. This suggestion was agreed to, and the Foundation hired appraiser Seth Kaller for $25,000. Kaller traveled to California and spent several days appraising Taper’s collection. Due to the time constraints in place to reach a possible deal, Kaller was not tasked with delving into the provenance of the pieces in the collection. Dr. Schwartz was content with the provenance of the pieces, and so Kaller was only there to determine the approximate value of the items. In the report Kaller presented to the Foundation board in February of 2007, he wrote, “The Abraham Lincoln Presidential Library and Museum has indicated that, based on prior in-depth research, it is comfortable with the provenance and descriptions provided. I have therefore made my valuations based on accepting the provenance information provided to me at the start of this project.” In the end, Kaller agreed that $23 million represented a fair value for the items in the collection.

After hearing Kaller’s report, Rick Beard, the director of both the ALPLM and the Foundation, strongly encouraged the Foundation board to support the purchase of the Taper collection. Several board members were concerned about their ability to afford a $23 million debt. Financing options were discussed, and the Foundation acknowledged that purchasing the collection would mean the bulk of their fundraising for the next few years would have to go towards paying down their bank loan. Some board members didn’t like that this would detract from their other activities in support of the museum. In the end, however, the Foundation decided to proceed with the purchase of this once-in-a-lifetime collection.

For the next three months, the Foundation hammered out a purchase agreement and was subsequently given access to Taper’s appraisal from Charles Sachs. That appraisal valued the Lincoln stovepipe hat, the centerpiece of the collection, at $6.5 million, which represented over a quarter of the entire purchase price. At the Foundation’s board meeting of May 1, 2007, they unanimously voted to purchase the Louise Taper Collection of Lincolniana for $23,018,025. Louise Taper, still a board member of the Foundation, recused herself from the vote.

The acquisition was rightfully celebrated as a major achievement, and the Foundation was lauded for its commitment to supporting the ALPLM. Over 1,500 artifacts relating to Lincoln and his life were now destined to become the property of the State of Illinois, once the debt was paid off and the Foundation could legally donate them. Until then, the Taper collection was on loan from the Foundation to the ALPLM with paperwork in place to renew the loan agreement every few years until the debt was paid off. The museum housed the collection, exhibited it, and allowed outside researchers to use it all with the blessing of their partner.

For a brief time, everything was great. The Foundation continued to fundraise, with most of its money now going towards paying down the debt on the Taper collection while still providing some money to the ALPLM for programs and other needs.

Then came the recession of 2008. Both the Foundation and the ALPLM found themselves strained with less money coming in. Since the ALPLM was a government agency funded by the State of Illinois, they felt their belts tighten more as budgets were cut. Then, in October of 2008, Rick Beard was removed as the director of both the ALPLM and the Foundation due to multiple shoplifting arrests. Both organizations were without a permanent director for over two years. While the Foundation continued to work to pay down its debt, the two organizations became aloof as both felt the want of leadership and started griping about money.

A major point of contention came up due to a misunderstanding on the part of the Illinois Historic Preservation Agency (IHPA), the then-governing body of the ALPLM. Members of the IHPA board were under the impression that the Taper Collection was to be donated to the ALPLM in pieces. They believed that for each million dollars the Foundation paid off on the debt, a million dollars worth of the collection would be formally donated. The Foundation made it clear that this was an error and that they could not release any of the collection until the full debt was paid, as the bank considered the whole collection as collateral. Despite this explanation, members of the IHPA board publicly expressed frustration with the Foundation, causing more issues between the two partners.

Also during that time, the American Alliance of Museums conducted an assessment of the museum to determine if it was worthy of accreditation. Their report cited several areas that needed improvement. They made the recommendation that the ALPLM and the Foundation should not be directed by the same person. This recommendation was to help prevent possible conflicts of interests between the two separate organizations. During the time when Richard Norton Smith and Rick Beard headed both groups, there was a blurring of responsibilities that the Alliance found fault with. The two organizations should have always been headed by two different directors who worked collaboratively, but separately.

The director of the ALPLM is a political appointment and serves at the will of the Governor. In December 2010, Governor Pat Quinn appointed Eileen Mackevich to be the new director of the ALPLM. Dave Blanchette was the Public Information Officer for the IHPA and deputy director of the ALPLM. In an oral history recording with Blanchette from 2015, he related how, early on, those working for the ALPLM learned that they were in for a rough time with their new director. Mackevich was known to be difficult to work for, taking duties away from managers who had good relationships with lower-level staff in order to freeze them out and consolidate her power. Within a year of her hiring, several members of the staff had resigned, including Dr. Thomas Schwartz, who left to head the Herbert Hoover Presidential Library. Mackevich began having conflicts with the ALPLM’s governing agency, the Illinois Historic Preservation Agency. Using her own political connections, Mackevich began pushing for legislation to separate the ALPLM from the purview of the IHPA.

In March 2011, the Foundation found its own new director, Dr. Carla Knorowski. While Mackevich’s disputes with the IHPA took a few years to come to a head, there was immediate animosity between the ALPLM and the Foundation after Dr. Knorowski’s hiring. Mackevich and Dr. Knorowski had worked together years before in Chicago. Though details remain vague, their relationship had not been a good one. Despite public claims of trying to bring people together, Mackevich was quickly at odds with Dr. Knorowski in Springfield.

By April 2012, it had been almost five years since the purchase of the Taper collection for $23 million. Even during a tough economic period, the Foundation had managed to lower its debt to $13.5 million. At this point, however, employees suspected Mackevich was working behind the scenes to sabotage the Foundation’s fundraising efforts by encouraging questions about the provenance of the stovepipe hat. According to Dave Blanchette, Mackevich contacted the members of the press to tell them that the hat was possibly not what it seemed.

Before discussing the ensuing newspaper article that lit the fuse, let’s look at the provenance of the stovepipe hat for ourselves, using the research done by Dr. Samuel Wheeler in his 2019 report.


The Provenance

The stovepipe hat in the Taper collection is accompanied by a 1958 affidavit signed by Clara Waller. Mrs. Waller recounted that the hat had belonged to her late husband, Elbert Waller, who had received it from his father, William Waller. According to Clara’s affidavit, William Waller traveled to D.C. and met Abraham Lincoln during the Civil War. Discovering they wore the same hat size, the two men exchanged hats. Waller returned home to Illinois and kept Lincoln’s stovepipe hat as a treasured memento until his death in 1891.

In addition to Clara Waller’s signed affidavit, there was also a letter Clara wrote expanding a bit on the story. She stated that William Waller had worked as an agent of sorts during the Civil War, helping to root out anti-Union activities in Illinois. It was due to that course of work that he traveled to D.C. and met Lincoln. During his 2019 research into the hat, Dr. Wheeler could not confirm that William Waller had been employed as either an official spy or civilian informant, but recommended more research into documents held by the National Archives to explore the possibility.

The hat also came with a 1958 letter from John W. Allen, who had served as the curator for the Southern Illinois University museum. Allen wrote that he had heard the same story told by Ms. Waller from her late husband, Elbert, and that he was “inclined to give it full credence.” These notes are the entire provenance behind the hat.

After the death of Elbert Waller in 1956, Clara went through the process of selling his things. He was an antique collector, so Clara had her work cut out for her. Clara took several of her late husband’s pieces to the Tregoning Antique Shop located in Carterville, Illinois. While there, she sold the hat to the owners of the antique store after learning that they were planning on starting a small museum about Southern Illinois. She sold them the hat for $1.

James T. Hickey

The hat stayed at the Tregoning Antique shop until 1958, when it was purchased for an unknown amount by James T. Hickey. Earlier that same year, Hickey had become the first Curator of the Lincoln Collection at the Illinois State Historical Library. The antique store gave Hickey the contact information for Mrs. Waller, and he wrote to her about the hat. He also wrote to John W. Allen at Southern Illinois University. Their responses to Hickey constitute the aforementioned provenance for the hat.

While one might expect that the new Lincoln curator would purchase the stovepipe hat for his library, Hickey actually bought it for his own collection. Hickey had gotten his job due to his expertise as a Lincoln collector, and he remained an active buyer of Lincoln items for decades to come. This, of course, presented a huge conflict of interest with his role as curator of the State’s Lincoln collection and is now considered unethical behavior. Still, nothing was done about this issue at the time.

Hickey was proud of his newly acquired Lincoln stovepipe hat, and it was obviously a treasure in his collection. He loaned the hat out to a traveling exhibition during America’s bicentennial in 1976. In 1981, the hat was used by the Illinois Secretary of State to settle a dispute over new legislative districts. The winner was literally pulled from the stovepipe hat.

In 1988, Hickey allowed the hat to travel internationally as it held a place of prominence in an exhibit in the National Museum of History in Taipei, Taiwan. Hickey was happy to loan out his unique piece of American history so that the masses could see it and be in awe.

During his time as the Lincoln curator, Hickey befriended Louise Taper, who had once worked a part-time job for a rare book dealer in Beverly Hills, where she was paid in books and manuscripts. After acquiring her first Lincoln signature in this way, Taper was hooked. In 1985, Louise married Barry Taper, the son of a wealthy California developer, and her passion for collecting increased tenfold. Taper began buying practically everything she could find relating to Lincoln and often consulted with James Hickey and his expertise about Lincoln artifacts. The two became good friends as a result.

Over the years, several trustees of the Illinois State Library questioned Hickey’s close involvement in the Lincoln trade and disliked the conflicts of interest that existed when he went to acquire things for the library, only for them to go to his own collection instead. Hickey also made money on the side appraising the value of Lincoln collectables, which bothered the trustees. Still, it wasn’t until 1984 that Hickey was required to sign an agreement stating that he would no longer engage in the purchase or appraisal of Lincoln items over $100. Hickey signed the agreement, but then retired as the Lincoln Curator five months later.

James Hickey, Thomas Schwartz, and Barry Taper (husband of Louise Taper) circa 1993

Thomas Schwartz was hired in 1985 as Hickey’s replacement as the Lincoln Curator of the Illinois State Historical Library. He found things at the ISHL in poor shape. The collection was disorganized and without an inventory. Provenance records were vague or incomplete. Even though Hickey had retired, he still returned to the ISHL often to visit with his former co-workers. Hickey befriended Schwartz, and the new curator realized the benefit of Hickey’s almost 30 years of institutional knowledge about the collection. Due to his conversations with Hickey, Schwartz was slowly able to help put the ISHL’s collection in some semblance of order. In this way, Hickey also became a mentor to Schwartz, who was still only a graduate student at that time.

Like his mentor, Schwartz quickly became familiar with Louise Taper. Like Hickey, Schwartz similarly conversed with her about Lincoln artifacts that sprang up for auction, though Schwartz never had his own Lincoln collection and was not allowed to appraise any Lincoln items. Still, the two became close.

Thomas Schwartz (r) with Louise Taper (c) on a visit to Beverly Hills see her Lincoln collection in 1993.

Near the end of his life, James Hickey started to sell off parts of his own Lincoln collection. During his career as the Lincoln Curator, he had befriended Robert Todd Lincoln Beckwith, the last confirmed descendant of Abraham Lincoln, and had received several items from him personally. Some of those items went to the ISHL, while others went into Hickey’s collection. He sold some of the items he got from Beckwith, along with other pieces in his collection, to his friend Louise Taper. In 1990, Hickey sold the Lincoln stovepipe hat to Taper for an unknown sum. Hickey died in 1996.

Thomas Schwartz (l) and James Hickey (c) in 1995

How much Louise Taper investigated the provenance of Hickey’s stovepipe hat is unknown. During the 1990s, Taper twice loaned the hat to major exhibitions regarding Abraham Lincoln, working alongside Thomas Schwartz in the process. Dr. Schwartz later stated that he was unaware of the exact provenance of the hat, but knew that it had come from the collection of his former mentor, Hickey. Apparently, Hickey’s belief that the hat belonged to Lincoln was all the assurance Dr. Schwartz needed.

After the Foundation purchased the entire Taper collection in 2007, Dr. Schwartz was involved in the initial packing of Taper’s collection in Beverly Hills. He would later state that it was during that time that he first saw provenance for the hat. He had assumed Hickey had been given the hat by Robert Todd Lincoln Beckwith and was surprised to read the Clara Waller statements. Still, it appears that Dr. Schwartz’s trust in his now deceased mentor remained, and he did not raise any alarms to the Foundation as he continued to catalog the vast collection.

A few weeks after the collection arrived at the ALPLM, Dr. James Cornelius, the recently hired Lincoln Curator, appears to have begun the research process on the stovepipe hat. An internal email revealed he emailed the in-house staff of the Papers of Abraham Lincoln Project, asking if they had any information on William Waller. The Papers didn’t have anything in their files regarding Waller, but did provide an 1850 census record containing him and suggested Dr. Cornelius consult some local county histories to look for more.

However, before Dr. Schwartz departed the ALPLM in 2011 to head the Herbert Hoover Presidential Library, he and Dr. Cornelius decided to revise the hat’s provenance. On September 15, 1858, opposing candidates for Senate, Abraham Lincoln and Stephen Douglas, engaged in the third of their now-famous Lincoln-Douglas debates. This debate occurred in Jonesboro, Illinois, which was located just a few miles from the home of William Waller. Drs. Schwartz and Cornelius posited that it made more sense that the Southern Illinoisan farmer attended this debate and exchanged hats with Lincoln then, not in D.C. during the Civil War.

While their theory of candidate Lincoln giving away a hat in 1858 may be more plausible than President Lincoln trading hats in the midst of the Civil War, no evidence has been found to prove that William Waller even attended the Jonesboro debate. The Jonesboro theory dismisses the little provenance that the hat actually has going for it – Clara Waller’s statements.

Items with shaky, family-statement type provenance exist in every museum’s collection. In the world of Lincoln collecting, it is not unusual to come across many items where the provenance is solely based on family lore. However, it’s hard to find an item with comparable provenance still being valued at $6.5 million. That value, given by Taper’s appraiser, was agreed upon by Seth Kaller in his appraisal for the Foundation based on the understanding that the hat’s provenance was unquestioned. Clearly, however, there is a lot to question about this hat’s provenance.


The Press

ALPLM director Eileen Mackevich knew about the questions regarding the hat’s provenance. In her mind, it was the perfect weapon to use in her feud against her rival, Foundation director Dr. Knorowski. According to David Blanchette, the former Communications Manager for the Illinois Historic Preservation Agency and Deputy Director of the ALPLM, Mackevich fed information to Bruce Rushton at the Illinois Times regarding the questionable provenance of the hat and the conflicting theories about it. Similarly, Blanchette noted that Dave McKinney at the Chicago Sun-Times was also getting information from “a very limited scope of individuals who had very specific knowledge… very, very far inside” the ALPLM. Armed with this insider information, McKinney interviewed Dr. Cornelius and, on April 18, 2012, published the article, “Was famous stovepipe hat really Abe Lincoln’s?”

This article publicly discussed the provenance of the hat for the first time and highlighted the contradictory nature of the Jonesboro theory when compared to Clara Waller’s statement. Dr. Cornelius still supported the Jonesboro theory but did provide some room for retreat:

“In a court of law, there are different levels of assurance,” said James Cornelius, curator of the museum’s Lincoln Collection. “The Scottish legal system has guilty, not guilty and not proven. We elected in this country not to take that third option, in which the presumption of guilt is kind of heavy. I guess, if you want to be pushy about the hat question, you’d have to judge it in the not-proven category of Scottish law because it cannot be proven or disproven.”

Other articles with similar questions about the hat followed. This became a bad time at the ALPLM, with some questioning whether their director was fueling the media’s speculation, while others went into damage control mode to salvage the hat’s provenance. Around this time, a document titled “Lincoln Stovepipe Hat: The Facts” was produced by the ALPLM, which laid out nine claims about the hat. This document was to be used when dealing with press and visitor inquiries about the hat, with staff being told not to deviate from it. The text of the document is as follows. I have numbered the list for ease of discussion:

Lincoln Stovepipe Hat
The Facts

  1. The hat comes from the Springfield store run by Josiah H. Adams, where Lincoln bought other hats and clothing. A check from Lincoln to Adams still exists.
  2. The hat is the same size that Abraham Lincoln wore: 7 1/8
  3. The interior of the hat shows evidence that someone stuck documents in it, as Lincoln frequently did.
  4. The hat was owned for a century by the Waller family. William Waller was a prominent southern Illinois farmer who left the Democratic Party and became a Lincoln supporter, angering his Democratic neighbors.
  5. Waller would have attended the 1858 Lincoln-Douglas debate in Jonesboro, a town just a few miles away from his home.
  6. Waller’s son Elbert, a state legislator and author of two books on Illinois history, said his father obtained the hat from Lincoln.
  7. Elbert Waller’s widow said in a sworn statement in 1958 that her father-in-law had gotten the hat from Lincoln. She said that her husband, when he inherited the hat, considered it a prized possession.
  8. Southern Illinois historian John Allen said he had discussed the hat with Waller’s son Elbert and gave “full credence” to the hat’s authenticity.
  9. Noted Lincoln collectors James Hickey and Louise Taper were each confident enough in the hat’s origin to buy it in later years.

In his report, Dr. Wheeler broke down these claims and found several of them to be incorrect. Here is a summary of his findings:

  1. There is no evidence inside the hat that connects it with hatmaker Josiah Adams or any hatmaker in Springfield, Illinois.
  2. Dr. Wheeler could find no documentation in the file showing that the hat had been measured. During his own research, Dr. Wheeler and two others each measured the hat. They all came with a measurement of 7 1/4″, not 7 1/8″. This makes the hat a bit larger than the Smithsonian and Hildene Lincoln hats.
  3. Lincoln was known to keep documents in his stovepipe hat, and in a video recorded for ALPLM about the hat in 2011, Dr. Cornelius similarly claimed that there was evidence that Lincoln stored documents in this hat as well. However, Dr. Wheeler’s examination of the hat found that the silk band on the inside was loose, “but there is no opening in the lining where one might place a document for safekeeping.”
  4. This claim appears to hold up to the limited biographical material we have on William Waller, mostly written by his son.
  5. As discussed earlier, there is no confirmation that William Waller attended the Jonesboro debate. (The question that arises in my mind is that, even if Waller did attend the Jonesboro debate, why would the still staunch Democrat and Douglas supporter want anything to do with Lincoln, or his hat?)
  6. Claims 6 – 9 are essentially correct, though claim 7 leaves out the fact that Clara Waller stated her father-in-law got the hat from Lincoln in D.C.

Dr. Wheeler was surprised at the content of this guiding document, as the first three points were demonstrably untrue. As Dr. Wheeler summed up in his report:

“In response to the provenance issues that were raised in 2012, ALPLM did not respond like a responsible museum. Instead of conducting an honest inquiry and perhaps seizing on the opportunity to educate the public about provenance-related issues, ALPLM assumed an overly defensive position. The 2013 document, “Lincoln Stovepipe Hat: The Facts,” contains untruths and appears to have been issued solely to combat critics.”

In response to the press reports, the Foundation also undertook an investigation into the hat. The hat’s provenance was casting a shadow on the whole collection and its authenticity, impacting their ability to pay off the Taper debt. The Foundation created a special committee to investigate. They started by analyzing the purchase of the Taper collection. The internal committee upheld that they had acted properly in purchasing the collection as they did so on the recommendation of Dr. Thomas Schwartz, the expert most qualified to speak on the collection. In November 2013, the Foundation asked two museum representatives to come and look at the hat and assess its provenance. The individuals were Harry Rubenstein from the Smithsonian and Russell Lewis from the Chicago History Museum. Both men agreed that the existing provenance from Clara Waller was, “insufficient to claim that the hat formerly belonged to President Abraham Lincoln,” and recommended the museum, “take a less defensive position” regarding it. It’s worth noting that Rubenstein and Lewis had experience with Lincoln hats. The Smithsonian has the hat Lincoln wore to Ford’s Theatre, which was collected by the War Department after the crime, while the Chicago History Museum has a hat supposedly given by Lincoln to his footman, Charles Forbes. The provenance behind the Forbes hat is weak, and the Chicago History Museum is upfront about this. The hope was that the ALPLM would be more realistic about the hat going forward, which would lessen the controversy.

But the Foundation was not made up of historians. Just as they relied on Dr. Schwartz when the Taper collection was purchased, they relied on Dr. Cornelius now when it came to researching the provenance. In many ways Dr. Cornelius was an ally for the Foundation while it continued to be at odds with his boss, Director Mackevich. In 2015, the Foundation worked somewhat clandestinely with Dr. Cornelius to have the hat DNA tested. On two separate days in March 2015, agents with the F.B.I. came in and took samples from the hat. This was without the knowledge of anyone at the ALPLM except for Dr. Cornelius. Attempting to find DNA on the hat had actually been suggested by a trustee of the IHPA, the ALPLM’s governing body, back in 2013, but Dr. Cornelius had advised against it, saying it was unlikely any period DNA would be present. It is unknown what caused Dr. Cornelius to change his mind and support the Foundation’s DNA test two years later. Still, his original opinion proved correct. When the FBI gave their report to the Foundation in 2017, the only DNA they found on the hat matched an individual who had recently handled it, likely Dr. Cornelius himself. There is no nineteenth-century DNA left on the hat.

Before the results of the DNA were known, the Foundation’s special committee had determined that they “did not find any additional evidence to strengthen the provenance of the hat” but that they had also not found “any evidence to the contrary” to discredit it as Lincoln’s. They were content with the Waller affidavit (at least part of it) and the expertise of Dr. Cornelius, who continued to support his interpretation of the provenance.

In 2016, the Foundation published a book entitled Under Lincoln’s Hat: 100 Objects that Tell of His Life and Legacy. The book highlighted pieces from the ALPLM’s collection, several of which came from the Taper purchase. The authors of the book were Dr. Cornelius and Dr. Knorowski, the director of the Foundation. Board member Louise Taper wrote the preface. The hat is featured prominently on the cover of the book. The page that specifically discusses the hat shows the conflict and defensiveness that still existed on the part of the Foundation and Dr. Cornelius. While the book recounts the provenance that Lincoln gave the hat to William Waller and that it was passed down in his family, it fails to mention where this occurred. Most frustratingly, the text near the middle of the page states definitively that Lincoln bought the hat, “for about four dollars,” from “a millinery shop owned by Josiah H. Adams”. It appears that the authors have doubled down on claim (1) from the “Lincoln Stovepipe Hat: The Facts” document from 2013, connecting the hat to the Springfield hat maker. Again, however, Dr. Wheeler’s 2019 report states that there is no identifying maker’s mark in the hat aside from an unidentified faded floral motif. In addition, while the 2013 document just noted that, “[a] check from Lincoln to Adams still exists,” the authors of this book imply that documentation of Lincoln purchasing this hat specifically exists, which is untrue.

Another claim that is made in the book, which was verbally repeated by many at the ALPLM, concerns the two marks of wear on the brim of the hat. This was attributed to Lincoln repeatedly taking his hat off in order to politely gesture to passersby. At one point, it was thought that the two finger tip marks could be measured and compared with another person of Lincoln’s height for comparison. However, as Dr. Wheeler notes in his 2019 report, it strains believability that a person would grab the two exact same spots on a hat every time they took it off. Wear on account of repeated doffing of the hat would result in a larger worn area around the same side of the hat, not two distinctive finger holes.


The Politics

Eileen Mackevich resigned as the director of the ALPLM in October 2015. But the damage she had done during her almost five years in the position remained. Questions about the hat had derailed the Foundation’s fundraising efforts. They had to refinance the loan at a higher rate, causing them to owe more money due to increased interest. Also, as has been demonstrated, both the Foundation and the ALPLM took an extremely defensive position on the stovepipe hat, which, based on the provenance they had, was a serious mistake.

Alan Lowe was appointed by the Governor to head the ALPLM in July 2016. He had previously been the founding director of the George W. Bush Presidential Library. Like Mackevich before him, Lowe formed an adversarial relationship with the Foundation. This became especially true in 2018, as the Foundation was lobbying the Illinois General Assembly for an appropriation to help settle the remaining $9 million Taper debt. In January 2018, Lowe first became aware of the clandestine FBI investigation on the part of the Foundation and Dr. Cornelius. He was angry that the Foundation had had the results since 2017 but had not shared them with him. In March of that year, Dr. Cornelius was put on administrative leave from the museum for reasons unrelated to the hat investigation and later resigned from his position. In August 2018, Lowe first became aware of the 2013 investigation by Harry Rubenstein of the Smithsonian and Russell Lewis of the Chicago History Museum when one of the authors emailed it to him. He again was upset with the Foundation’s lack of transparency. It was at this time that Director Lowe tasked Dr. Wheeler with conducting research into the hat and the Taper purchase. However, Lowe did not alert the Foundation about the new research.

On September 19, 2018, reporter Dave McKinney, the same Springfield journalist who had first reported on the hat’s provenance back in 2012 due to a tip from “very, very far inside” the ALPLM, published an article entitled “Report: Existing Evidence ‘Insufficient’ To Prove Hat Belonged To Lincoln”. The article recounted the 2013 findings of Rubenstein and Lewis, along with the failed F.B.I. DNA test. The story was also picked up by the New York Times, which published its own article on the matter a few days later.

Lowe was quoted in the New York Times as feeling duped by the Foundation in regards to the hat:

“I was assured everyone thought it was real,” Mr. Lowe said. “I became that guy, saying, ‘I think that hat is real. I think it’s authentic.’”

In October 2018, Lowe announced to the Associated Press that he had dissolved his $25,000-a-year consultancy contract with the Foundation. The Governor had asked the Foundation to offer the contract to Lowe in 2016 to help supplement his State salary and incentivize Lowe to take the ALPLM director position. In regard to ending the contract, Lowe was quoted as saying, “I don’t want there to be any question about my priorities.”

Under Lowe’s leadership, the relationship between the ALPLM and the Foundation deteriorated rapidly. He had publicly accused the Foundation of lying about the hat, even though his own employee had been a major part of the endorsing and disseminating of unsubstantiated provenance. Lawmakers in Springfield were dismayed that their State institution was being raked through the mud in the pages of the New York Times. In April 2019, Lowe took the next step in attempting to cut out the Foundation. He ordered that all direct communication between ALPLM staff and members of the Foundation was to cease. Instead, all of their communications were to be funneled through the ALPLM Chief of Staff.

Alan Lowe (l) and Dr. Samuel Wheeler (r) in 2018

In May 2019, Dr. Wheeler requested that a textile expert be brought in to consult on the hat. He contacted the Foundation with his request. The Foundation responded with surprise, as they were unaware Director Lowe had ordered new research on the hat. In the same way Lowe had criticized the Foundation for not having been transparent with their investigations of the hat, now the Foundation was upset that they had not been informed of efforts on the ALPLM’s part. The Foundation requested that Lowe meet with them to discuss the investigation taking place so that they could work collaboratively on the project. Lowe never responded to the Foundation’s letter.

A few days after this, the Foundation failed in its lobbying effort to secure funds from the Illinois General Assembly to pay off the remaining Taper loan. Likely due to the recent uproar over the hat’s provenance, the Governor had given his opinion that it was not appropriate to use State funds to settle the non-profit’s debt. The next day, Director Lowe told Dr. Wheeler to stop his research into the hat and Taper collection, citing his frustration with the Foundation for not bringing in a textile expert. However, this was due to Lowe’s own refusal to update the Foundation about the work being done.

With the bank loan due in October, the Foundation was forced to renegotiate with its bank. While the bank had every right to seize the collection due to insufficient payment, no one at the bank wanted the bad press of forcibly repossessing Lincoln treasures from the museum. The Foundation was successful in refinancing their loan agreement and were given more time to pay off the debt, but faced a much higher interest rate going forward.

In June of 2019, Director Lowe sent an email to Deputy Governor Jesse Ruiz stating, “It appears from my discussion with the state historian that he and his team have found no evidence confirming the hat belonged to President Lincoln.” Through a Freedom of Information Act request, this email was received by reporter Dave McKinney. In his report, Dr. Wheeler implies that ALPLM administrators likely tipped off McKinney about the email, leading him to file his FOIA request. One wonders if the FBI and Rubenstein/Lewis reports arrived in media hands through similar channels. In September 2019, McKinney published an article titled “Illinois State Historian Finds ‘No Evidence’ Disputed Hat Belonged To Abraham Lincoln.”

The article recounted the continued sniping between the ALPLM and the Foundation, with the hat controversy at the center. Lowe accused the Foundation of preventing a textile expert from coming in, while the Foundation stated that Lowe refused to meet with them to discuss the research so far, while also cutting them off from ALPLM staff members. Dr. Wheeler disagreed with the conclusion and headline of the article. While he had not found any new evidence so far, the research was still incomplete, having been halted by Director Lowe in response to his feud with the Foundation.

In another unexpected twist, Alan Lowe was fired from the ALPLM on September 20, 2019. Working from an anonymous complaint, the Office of the Executive Inspector General had determined that Lowe had violated museum procedures by loaning out the museum’s copy of the Gettysburg Address written by Lincoln to political personality Glenn Beck. The Gettysburg Address was hastily loaned to a pop-up exhibit Beck put on in Dallas in exchange for Beck helping to fundraise to pay off the Taper debt. Beck’s organization sent Lowe a check for just over $50,000 in exchange for the loan. The Inspector General agreed with the whistleblower’s complaint that Lowe had “pimp[ed] out” the ALPLM’s most precious artifact, which resulted in his removal by the Governor.

Lowe’s firing left the ALPLM without a director. Chief of Staff Melissa Coultas was made Acting Director in the interim. Power was also shared by Toby Trimmer, the ALPLM’s Chief Operating Officer, and the museum’s General Counsel, Dave Kelm. Immediately after taking over, the three administrators ordered Dr. Wheeler to write a report that summarized his findings on the hat. Dr. Wheeler countered that his research was not complete and that he didn’t want his incomplete work used in the media as further evidence against the provenance of the hat. He suggested that he instead make a verbal update at a shared meeting with the ALPLM and Foundation. After making this suggestion, Dr. Wheeler was ordered to a meeting with ALPLM administrators and Deputy Governor Jesse Ruiz. Dr. Wheeler once again suggested a joint meeting between the Deputy Governor, ALPLM officials, and the Foundation to explain his research and collectively come up with a plan. ALPLM administrators disagreed with Dr. Wheeler’s suggestion. In the end, Dr. Wheeler was ordered to have a written report turned in on November 25, 2019. The report would be reviewed by ALPLM administrators Coultas, Kelm, and Timmer, then given to the newly created ALPLM board (the ALPLM was no longer under the purview of the IHPA due to the actions started by Mackevich and completed under Lowe). The ALPLM board would then give the report to the Foundation (cited as the ALPLF in the document). Dr. Wheeler was also informed that he would give a verbal report to all three parties, plus the Deputy Governor, on November 26.  I quote now from Dr. Wheeler’s report:

“During the ensuing conference call I learned that no one had received a copy of the report I had submitted to ALPLM administrators the previous day. For the next 40 minutes, I summarized the report, detailing the steps I took during the research, the new information I was able to uncover, and advocated for restarting the research process so I could reach a definitive conclusion and write a report that would put the issue to rest. When discussion turned to whether my report would become a public document, Coultas said ALPLM might redact some of the material I had written, specifically my claim that the hat had been weaponized by ALPLM administrators. I objected to any redactions, especially this one, because it was an essential part of the story. As far as I was concerned, everything that has happened regarding the stovepipe hat since it was acquired in 2007 is part of the hat’s history and helps inform the current troubled relationship between ALPLM and ALPLF.”

At the end of the call, the Foundation suggested that Dr. Wheeler may benefit from consulting their files on the negotiations that took place between the ALPLM, the Foundation, and Louise Taper prior to the purchase. Dr. Wheeler was thus given an extension on the final draft report and given access to these files. He turned in his report on December 16, 2019, which he titled “Status Update: Provenance Research on the Stovepipe Hat (TLR 001)“.

Dr. Wheeler maintains throughout the report that he had made no definitive conclusion about the hat and that more research was necessary. He still wanted to bring in a textile expert to try and date the hat and wished to conduct research at the National Archives to see if he could find William Waller among a list of Union agents or civilian informants, which would give credence to Clara Waller’s statements.

Dr. Wheeler concluded his report with five recommendations:

  • First, further research into the stovepipe hat is abundantly warranted, but ALPLM and ALPLF should work collaboratively to outline next steps.
  • Second, ALPLM should improve its current acquisition process to ensure adequate research is completed prior to adding an item to its collection or advising ALPLF to acquire an item on its behalf.
  • Third, ALPLF should reexamine its conflict of interest policy to ensure it conforms with national standards and engage its board members in regular conversations about the importance of putting the interests of the board ahead of their own.
  • Fourth, the weaponization of the stovepipe hat must end immediately, and both the ALPLM and ALPLF must rededicate themselves to working collaboratively.
  • Fifth, ALPLM and ALPLF should rededicate themselves to truth, transparency, and strive to achieve “excellence.”

Dr. Wheeler essentially begged the two organizations to set aside past disputes and come together. Both were guilty of acting poorly toward each other over the past few years, but the in-fighting needed to stop if they were to move forward in partnership. In his own way, Dr. Wheeler embodied the appeal Lincoln made in his first inaugural address, stating, “We are not enemies, but friends. Though passion may have strained, it must not break our bonds of affection.”

On January 15, 2020, Dr. Wheeler presented his updated report to the new ALPLM board. For a brief moment, there was hope. The board agreed with Dr. Wheeler’s recommendations and decided to appoint a joint committee with members of the ALPLM and Foundation board to come together to form a plan. The COVID-19 pandemic slowed down the formation of the joint committee, but on July 7, 2020, the joint committee of the ALPLM and Foundation board members was held. Dr. Wheeler presented an oral report to that joint committee. The joint committee agreed with Dr. Wheeler’s recommendation to bring in a textile expert, and the two groups agreed to split the cost evenly. The next ALPLM board meeting reported favorably on the committee hearing. Finally, the two partners were working together in a common cause. However, this instance of cooperation didn’t last.

Less than ten days later, on July 15, 2020, Dr. Samuel Wheeler was removed from his position as the Illinois State Historian. Since he served at the will of the Governor, no reason was given for his removal. However, it seems clear that his criticism of ALPLM leadership and his refusal to let his research be used as a weapon in a war between the ALPLM and its partner Foundation led to his removal.


The Predictable

The day after his removal, ALPLM administrators Coultas, Trimmer, and Kelm seized Dr. Wheeler’s stovepipe hat research material. The ALPLM/Foundation joint committee that had agreed to work together and approved bringing in a textile expert never followed through, and no further updates were given. The brief period of cooperation was gone, and the ALPLM continued their war against the Foundation. They accused the Foundation of not being fiscally transparent and felt that the Foundation was not giving enough money to the ALPLM. The Foundation responded that they had given the museum almost $42 million since the ALPLM opened, including acting as vendor for their gift shop and restaurant, and providing the grant funding for the Papers of Abraham Lincoln Project. In short, the Foundation took offense at being accused of not providing for their partner museum. The ALPLM leaders claimed it wasn’t enough and that all of the money raised by the Foundation should be going directly to the museum. The Foundation countered that some of their fundraising efforts had to go to paying off the Taper loan, which ALPLM administrators had repeatedly weakened their ability to do. In addition, it takes money to raise money. The Foundation had a staff of their own that they needed to pay.

The operating agreement between the ALPLM and the Foundation was due to expire in January of 2021, but was extended as the two were in talks about its replacement. In previous years, the agreement had always been renewed without any real changes. This time, however, the ALPLM interim directors wanted significant changes to increase their oversight and control of the Foundation. The Foundation refused these changes, saying that they were not a department of the State of Illinois and that they were supposed to be a separate partner. The Foundation thought they were still in talks with the ALPLM when, on April 1, 2021, the ALPLM publicly declared that they were no longer affiliated with the Foundation.

Despite the public declaration, the Foundation still hoped that a reconciliation could occur, especially since a new, permanent director of the ALPLM was set to start in June. Unfortunately, even after the new director, Christina Shutt, took over the ALPLM, no reconciliation occurred.

The ALPLM essentially divorced the Foundation, and so the Foundation moved on. In 2022, they rebranded themselves from the Abraham Lincoln Presidential Library Foundation to the Lincoln Presidential Foundation. Their mission of supporting the education of Abraham Lincoln’s legacy remained the same, but they now opened themselves up to working with multiple sites and organizations. Their updated website states, “the Lincoln Presidential Foundation…will support, sustain, and provide educational and public programming, research, and access to historic places and collections, all related to the life and legacy of Abraham Lincoln, with new partners and collaborators near and far.” The first of the Foundation’s new partners is the National Park Service, with the Foundation currently providing financial support to the Lincoln Home National Historic Site in Springfield.

Thus, we finally reach October 31, 2022. That was the date that the loan agreement for the Taper collection between the Foundation and the ALPLM was set to expire. While in previous years the loan to house the Taper collection at the ALPLM was renewed with no issue, the situation had now drastically changed. Those in power at the ALPLM had battered the Foundation for years and then publicly divorced them the year before. The only thing left for the Foundation to do was to pick up their things from their ex’s house. The cruel irony of it all is, if the different directors of the ALPLM hadn’t sabotaged the Foundation’s efforts to pay off the Taper loan, there likely would have been nothing for the Foundation to take. Once the loan was paid off, the items would have been officially donated to the ALPLM, and the Foundation would have no more claim to them.

However, because the Foundation still owed the bank, the entire 1,500-piece collection was theirs to take back. What the Foundation will do with the Taper collection now, especially since they still owe several million dollars on the loan, is unknown. Some of the non-Lincoln-related parts of the collection were actually already sold off at one point to help pay down the loan, so it’s possible the Foundation might sell off some more to pay off the remaining debt.


The Pointlessness

None of this needed to happen. The Taper collection would be sitting in the ALPLM and owned by the State of Illinois right now if it weren’t for people in political patronage positions fighting for power at the expense of history. Mistakes were certainly made at the beginning of all of this. Louise Taper shouldn’t have put the time pressure on the Foundation board (of which she was a member) to purchase her collection while also preventing them from seeing her full appraisal until after they had a buyer’s agreement. Despite having worked with part of it for years, Dr. Thomas Schwartz failed to properly vet and research pieces in his friend’s collection. He, therefore, did not accurately advise the Foundation on its contents. If proper research had been done on the hat prior to the purchase, it is very unlikely the Foundation would have paid $6.5 million for it.

And yet, someone overpaying for a questionable historic artifact is no great crime. Auction houses make their living on artifacts with all sorts of provenance. While the Foundation overpaid for the hat (and perhaps a few more items with similar provenance), the majority of the Taper collection was still worth the purchase. The hat was a sloppy mistake, but didn’t have to be a fatal one. Unfortunately, the ALPLM failed to be honest about the hat after its acquisition. Dr Schwartz and Dr. Cornelius, not being able to find supporting documentation for the provenance they had, decided to replace it with a story they found more plausible. Their failure to be honest about the hat’s questionable provenance and their devotion to their unsupported theory provided the ammunition for the political attacks that followed.

ALPLM administrators were unceasing in their war against their own Foundation. Evidence indicates they leaked information to the press in an effort to weaken their enemy, not understanding that they were cutting off their own nose to spite their face. Not only have their actions led to the removal of a truly remarkable collection of artifacts, but they have also irrevocably damaged the ALPLM going forward. The Foundation provided tens of millions in supplemental funds and support to the ALPLM, whose only other funding is the taxpayers of the state of Illinois. Until the divorce, the Foundation was always there helping to purchase artifacts, fund special exhibits, buy replacement equipment for the museum’s stage shows, and enact special programming to draw in donors and volunteers. The Foundation’s sole job was to be a partner to the ALPLM and help it get more money. And yet, leaders of the ALPLM couldn’t accept that the Foundation had to keep a lot of the money they raised to pay for their own expenses (like the Taper debt). In the end, the leaders of the ALPLM wanted all the money the Foundation raised, which just isn’t possible. Rather than being thankful and appreciative of what their partner could provide, the leaders of the ALPLM took the drastic action of attacking and eventually divorcing the Foundation. Now, more than ever, they will be deeply impacted by the whim of the State of Illinois’ often precarious budgets. They now also lack a strong ally to help them successfully fund expensive building improvements and exhibit redesigns, something the 17-year-old museum will have to do sooner rather than later if they are to remain relevant.

All of this makes me extremely sad. I love the ALPLM. It is a truly remarkable museum with amazing staff and volunteers. Unfortunately, those in power have, time and time again, acted against the best interest of the museum and its mission to educate and preserve the legacy of Abraham Lincoln. Unless the ALPLM is able to clean house of its toxic political patronage element, I worry about its future as an institution.

As far as the Taper collection goes, I hope the Foundation can find a home for it, and worry that some of it will be sold to pay off the remaining debt. As an assassination historian, I fear that if push comes to shove, the Booth-related objects might be selected as the things the Foundation might be willing to part with due to their connection to Lincoln’s assassin. It would be a loss to future assassination historians and researchers for these items to be scattered into private hands once again.

In conclusion, I invite you to click here or on the image below to view a partial list of the items in the Taper collection. This was part of the original transmittal document that the ALPLM received from Taper after the purchase. The Booth materials span pages 55 – 104. Unfortunately, the document cuts off right at the Assassination materials, so I do not have a full accounting of those materials.

In addition, the ALPLM has about 600 documents from the Taper collection digitized and still up on their Chronicling Illinois website. I feel it is likely this collection will come down in the future, so I recommend looking through and saving parts of it now, before it is removed. You can click the image below to view the digitized documents.

Reading through the list and seeing the digitized documents really demonstrates how much the ALPLM lost due to their leaders’ feud with their own Foundation. For now, all we can do is sit back and see what the Foundation decides to do with the Taper collection and what action they think is best to help settle the remaining debt. My sincerest hope is that they will find a way to keep the collection together and accessible.

Only time will tell the true fate of the Taper collection.


TL;DR (Too Long; Didn;t Read) Summary

  • The Louise Taper collection contains about 1,500 artifacts and documents relating to Abraham Lincoln.
  • One of the items in the collection is a stovepipe hat, said to have belonged to Abraham Lincoln. However, the only supporting provenance is an affidavit from a woman named Clara Waller who stated her father-in-law exchanged hats with Lincoln in D.C. during the Civil War.
  • Louise Taper put the board of the Abraham Lincoln Presidential Library Foundation under a time crunch to purchase her collection in 2006/2007, citing another interested party who had the capital ready to go.
  • Both the Foundation and the ALPLM were headed by the same individual who had a vested interest in acquiring the collection for the museum,m which, at that time, had a lack of physical artifacts.
  • The appraiser sent by the Foundation to look at the Taper collection was not tasked with looking into the provenance of the items due to the time constraints and because he was informed the collection had already been historically vetted by historians at the ALPLM.
  • Dr. Thomas Schwartz, the ALPLM historian who vouched for the collection as a whole, was a friend of Louise Taper and did not know the item-by-item provenance of every item in her collection at the time of the sale.
  • The hat had been loaned to the ALPLM and other exhibitions around the country (and the world) prior to the purchase, with no one looking into its provenance.
  • Dr. Schwartz knew that the Lincoln stovepipe hat had been owned by his mentor, James Hickey, the former Lincoln Curator. Dr. Schwartz trusted Hickey’s expertise in Lincoln and assumed that he would only have purchased the hat if its provenance was not in question.
  • The Taper collection was bought by the Foundation for $23 million and loaned to the ALPLM until such time as the bank debt was paid, at which time the collection was to be formally donated to the museum.
  • Initial research into the provenance was conducted by Dr. Schwartz and Dr. James Cornelius, the Lincoln Curator at the ALPLM, with no new information found.
  • The pair of historians decided, without evidence, that it was more plausible for the Southern Illinois farmer to have received the hat during an 1858 Lincoln-Douglas debate in Jonesboro, IL, rather than in D.C. during the Civil War. They began citing this story when asked about the hat.
  • Eileen Mackevich, the director of the ALPLM from 2010 -2015, had a feud with the Foundation and an adversarial relationship with its director, Dr. Carla Knorowski.
  • According to the recollections of an ALPLM deputy director, Director Mackevich contacted the press to tip them off about the hat’s questionable provenance in an effort to publicly damage the Foundation’s reputation.
  • When asked about the hat, Dr. James Cornelius and the ALPLM doubled down on the theory that the hat came from a Lincoln-Douglas debate. They produced a document defending the hat that was filled with untruths.
  • The Foundation did their own investigation into the hat by having representatives from the Smithsonian and the Chicago History Museum, two institutions that both have a Lincoln stovepipe hat of their own with varying provenances. These representatives concluded that the Waller provenance was insufficient to prove the hat belonged to Lincoln and recommended that the museum take a less defensive approach going forward.
  • The Foundation had the hat tested for DNA by the F.B.I. This testing was done secretly without the knowledge of anyone at the ALPLM except for Dr. Cornelius, who assisted. No nineteenth-century DNA was found on the hat.
  • In 2016, Foundation director Dr. Carla Knorowski and Dr. Cornelius published a book about some of the artifacts in the ALPLM collection titled Under Lincoln’s Hat. The hat was portrayed as Lincoln’s without any qualification.
  • Alan Lowe was appointed the new ALPLM director in July 2016. He and his advisors maintained the difficult relationship with the Foundation that had started under Eileen Mackevich.
  • Lowe was not made aware of the FBI report until January 2018. He likewise did not learn of the report from the museum representatives until August.
  • In August, Director Lowe tasked Illinois State Historian Dr. Samuel Wheeler with investigating the history of the hat and Taper purchase.
  • In September, the press reported on the FBI and museum representatives’ reports. Lowe accused the Foundation of essentially lying to him (and the public) about the hat.
  • That same month, Dr. James Cornelius resigned from the ALPLM. He had been on administrative leave since March.
  • In October, Lowe announced to the AP that he had dissolved his $25,000-a-year consultancy contract with the Foundation. In the months to come, he would prohibit members of the ALPLM staff from talking directly to the Foundation.
  • In May 2019, Dr. Wheeler requested a textile expert to look at the hat. This was the first time the Foundation had heard that another investigation of the hat was ongoing. They requested a meeting with Lowe to be brought up to date and collaboratively plan next steps. Lowe did not respond to their request.
  • The Foundation failed in their attempt to receive funds from the Illinois State Assembly to help pay off the remaining Taper debt. Lowe halted Dr. Wheeler’s research into the hat.
  • In June 2019, though the research into the hat was incomplete, Lowe wrote an email to the Deputy Governor stating, “…the state historian that he and his team have found no evidence confirming the hat belonged to President Lincoln.” This email was acquired by reporter Dave McKinney through a conveniently specific FOIA request, resulting in another damaging article in September 2019.
  • Alan Lowe was fired from the ALPLM in September for having “pimped out” the ALPLM’s copy of the Gettysburg Address written by Abraham Lincoln to political commentator Glenn Beck.
  • Dr. Wheeler was given a deadline by the interim administrators of the ALPLM and the Deputy Governor to put his findings on the hat in writing, despite his research being incomplete
  • Dr. Wheeler presented his research to a joint meeting of the new ALPLM board, the Foundation, and the Deputy Governor. The Foundation suggested Dr. Wheeler access their files regarding the Taper purchase, which was allowed, and Dr. Wheeler was given an extension on his final report.
  • Dr. Wheeler turned in his report, documenting the years of fighting between the ALPLM and the Foundation on December 16, 2019.
  • On January 20, 2020, the ALPLM and Foundation boards agreed to take Dr. Wheeler’s suggestion to create a joint committee to further study the hat.
  • Due to a delay brought on by COVID-19, the first joint committee session met virtually on July 7, 2020, and agreed to split the cost of a textile expert to assess the hat.
  • On July 15, 2020, Dr. Samuel Wheeler was removed as the Illinois State Historian.
  • The interim leaders of the ALPLM seized Dr. Wheeler’s research notes on the hat. The joint committee that had agreed to bring in the textile expert never did so. The committee appears to have been disbanded.
  • The same interim leaders continued their war against the Foundation, eventually using legislative means to divorce the ALPLM from the Foundation completely in April 2021.
  • The Foundation, no longer tied to the ALPLM, rebranded themselves and began looking for other Lincoln partners to support.
  • On October 31, 2022, the loan agreement for the Taper collection housed at the ALPLM expired. The Foundation removed the collection.
  • The collection was sent to an auction house in Chicago, but there has been no word as to its future.
  • UPDATE: On May 21, 2025, 144 lots of the former Taper Collection will be sold by Freeman’s | Hindman Auctions

You can read Dr. Wheeler’s full report for yourself here.

Categories: History, News | Tags: , , , , | 15 Comments

The Lincoln Assassination on this Day (October 10 – October 16)

Taking inspiration from one of my favorite books, John Wilkes Booth: Day by Day by Art Loux, I’m documenting a different Lincoln assassination or Booth family event each day on my Twitter account. In addition to my daily #OTD (On This Day) tweets, each Sunday I’ll be posting them here for the past week. If you click on any of the pictures in the tweet, it will take you to its individual tweet page on Twitter where you can click to make the images larger and easier to see. Since Twitter limits the number of characters you can type in a tweet, I often include text boxes as pictures to provide more information. I hope you enjoy reading about the different events that happened over the last week.

NOTE: After weeks of creating posts with multiple embedded tweets, this site’s homepage now tends to crash from trying to load all the different posts with all the different tweets at once. So, to help fix this, I’ve made it so that those viewing this post on the main page have to click the “Continue Reading” button below to load the full post with tweets. Even after you open the post in a separate page, it may still take awhile for the tweets to load completely. Using the Chrome browser seems to be the best way to view the tweets, but may still take a second to switch from just text to the whole tweet with pictures.

Continue reading

Categories: History, OTD | Tags: , , , , , , , , , , , , , , , , , | 1 Comment

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