Alexander Gardner (American, Glasgow, Scotland 1821–1882 Washington, D.C.)
July 7, 1865
Albumen silver print from glass negative
Image: 16.8 x 24.2 cm (6 5/8 x 9 1/2 in.)
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Not on view
Alexander Gardner's intimate involvement in the events following President Lincoln's assassination would have challenged even the most experienced twentieth-century photojournalist. In just short of four months, Gardner documented in hundreds of portraits and views one of the most complex national news stories in American history. The U.S. Secret Service provided Gardner unlimited access to individuals and places unavailable to any other photographer. Free to retain all but one of his negatives-a portrait of Booth's corpse-Gardner attempted to sell carte-de-visite and large-format prints of the whole picture story. America, still wounded from the four-year war, was less than interested.
The photographs of the execution of Mary Surratt, Lewis Paine, David Herold, and George Atzerodt on July 7, 1865, were, however, highly sought after by early collectors of Civil War ephemera beginning in the 1880s. This photograph shows the final preparations on the scaffolding in the yard of the Old Arsenal Prison. The day was extremely hot and a parasol shades Mary Surratt, seated at the far left of the stage. (She would become the first woman in America to be hanged.) Two soldiers stationed beneath the stage grasp the narrow beams that hold up the gallows trapdoors. The soldier on the left would later admit he had just vomited, from heat and tension. Only one noose is visible, slightly to the left of Surratt; the other three nooses moved during the exposure and are registered by the camera only as faint blurs. Members of the clergy crowd the stage and provide final counsel to the conspirators. A private audience of invited guests stands at the lower left. Minutes after Gardner's exposure, the conspirators were tied and blindfolded and the order was given to knock out the support beams.
Inscription: Inscribed, verso: "Execution of Conspirators—on the Scaffold // Gardner // XXVII."
Frederick Hill Meserve; [Paul Katz, North Bennington, Vermont]; Gilman Paper Company Collection, New York, June 10, 1984
The Metropolitan Museum of Art. "The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection," May 25, 1993–July 4, 1993.
Edinburgh International Festival, Edinburgh, Scotland. "The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection," August 7, 1993–October 2, 1993.
National Gallery of Art, Washington D.C. "The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection," June 19, 1994–September 11, 1994.
San Francisco Museum of Modern Art. "Police Pictures: The Photograph as Evidence," October 1, 1997–January 31, 1998.
The Metropolitan Museum of Art. "As It Happened: Photographs from the Gilman Paper Company Collection," May 7, 2002–August 25, 2002.
The Metropolitan Museum of Art. "Photography and the American Civil War," April 2, 2013–September 2, 2013.
Gibbes Museum of Art. "Photography and the American Civil War," September 27, 2013–January 5, 2014.
New Orleans Museum of Art. "Photography and the American Civil War," January 31, 2014–May 4, 2014.
The Metropolitan Museum of Art. "Crime Stories: Photography and Foul Play," March 7, 2016–July 31, 2016.
Hambourg, Maria Morris, Pierre Apraxine, Malcolm Daniel, Virginia Heckert, and Jeff L. Rosenheim. The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection. New York: The Metropolitan Museum of Art, 1993. no. 113.