Otto Botticher (pronounced Boo ti scher), one of America's most consummate 19th century military lithographers, was born Sunday, May 19, 1811, along the Baltic Sea, in the nation of Prussia. The country of Prussia was a mixture of granduer, royalty, nobility and was ruled by a central German government. It was also a vast land of dangerous political strife and struggle.

To date nothing has surfaced which might illuminate Botticher's days as a young lad. However, his early schooling certainly included the elemental basics of reading and writing, as he did both. Qwing to his artistic skills, we may deduce that Otto's formal training probably included draftsmanship, penmanship and possibly some form of architecture. He may also have attended a military school or obtained a knowledge of the military arts, as it appears he served in the Prussian Army.

About the year 1837, he married Augusta J. Keller, a young woman born in Saxony, circa 1820. The couple's first child was a girl born circa 1839 whom they named Mary. Following her were brothers Otto Jr., born April 16, 1841 and Paul George, born January 31, 1844 in Leipsic. It appears the Bottichers had another son named Morris. Although his birth date is unknown it is likely he was born in Europe as well. Then came Helena, circa 1854 and Alfred, in May, 1859. These last two children were born in the United States.

Political upheaval was propelling Germany towards revolution, as Liberals and Democrats were trying to overthrow the royal class. Perhaps this was the catalyst for Otto moving his family to America. Departing from the port of Hamburg, aboard the three-masted ship Franklin, the Botticher family endured a long, arduous journey across the Atlantic toward a new home. On January 6, 1848 they arrived at the port of New York and the beginning of a new and very different life. Botticher was an intelligent man however, and did not come to America unprepared. He had formulated a bifurcated plan to include the comfort and security of his family as well as a business venture for himself.

Initially the Botticher's settled in New Jersey. In 1851, Otto was in partnership with Charles Gildemeister with a studio at 289 Broadway, New York City. The New York business directory listed them as "portrait painters". Although it is not within the scope of this article to identify and describe every Botticher work, some are shown and discussed in order to establish his style.

It appears that Otto Botticher's first major, published work was an 1851 oil on canvas view of the 7th New York State Militia. This large painting was the inspiration for a lithograph prepared by Gildemeister and printed in 1852 by Louis Nagel and Adam Weingartner of New York. Titled "National Guard 7th Regt N.Y.S.M." it was from the original "by Major Otto Botticher." There are several significant points of interest which must be addressed at this juncture. First is the prefix "Major." So far as is known Botticher did not serve in the United States military prior to the Civil War.  It would then seem likely that he had been a major prior to coming to America, no doubt in the Prussian service.

Second is the location of the 7th on parade. The event captured by Botticher, took place at #367 Washington Square (northwest corner) New York City. Illustrated in the background from left to right the viewer sees New York University, the Dutch Reformed Church and several Greek Revival town houses, making the square one of the most palatial sections in the city. In striking contrast to this majestic setting, in an earlier age, the same area was a potters field where indigents were buried. Third is Botticher's style. Although some think of him as being self-taught, "he was the only artist of any standing who pictured military uniforms per se" and his prints are "outstanding for accuracy and beauty."

Last and most importantly, is that Otto Botticher was likely the only 19th century military artist to specialize in transferring actual photographs of soldiers to the central figures in his illustrations, "which gives his work an unusual touch of authenticity." Using daguerreotypes and ambrotypes produced by Henry and Charles Meade (Meade Brothers), Jeremiah Gurney, Charles Fredericks, George Vallet and other artists, Otto Botticher's works became real life vistas almost unique in the world of art.

Between 1853 and 1854, Botticher teamed up with Thomas Benecke as "Botticher & Beneke, portrait painters and lithographers", located at 397 Broadway. From available resources it appears that Otto worked alone at various Broadway locations from 1854 on. Important information regarding his residence during this period is gleaned from the 1855/56 "Trow's New York City Directory" which states, "Botticher, h. Hoboken" (Hudson County, NJ).

Owing in part to the scarcity of complete sets, Botticher's most ambitious work goes largely unnoticed! This set of 18 colored lithograph plates, which are smaller than his larger surveys, are superb in detail and varied in depiction. Published in 1854, "by Otto Botticher, 335 Broadway, drawn from living groups by Major Otto Botticher", he presented his "United States Militia Album, exhibiting the various Uniforms  & Equipments of all Infantry, Cavalry, Artillery, Commandants & Staff of the respective States". As the title infers, it seems that Botticher hoped to include other states in this project. However, with few exceptions, his scope centered on New York State Militia regiments. Although only speculation, this author postulates, that perhaps it was American Civil War that interrupted future plans for additional prints in this series. There are at least two additional unnumbered etchings that can be included in this album, as "New York State Troops" although they are post 1854. They are "Staff Officers, 7th Regt. National Guard, 1st Division, 3rd Brigade" and "Field, Line & Staff, 3rd Division, 8th Brigade, 20th Regt., Light Infantry (New York State Militia, Ulster Guard). 

The Ulster Guard sketch, "Published by Otto Botticher, 333 Broadway, N.Y." is in the author's collection and will be discussed in some detail. The description will serve as an example and may be applied in similar fashion to the others as well. This colored lithograph can be dated to 1857-58, as this is the time frame when the regiment first became standardized in uniforms and accoutrements. It is on very thin stock and measures 13.75" x 10" overall. Represented are a private, corporal, captain, staff officer and quartermaster sergeant. Of the three central figures facing the viewer, I have positively identified two. From left to right are: Captain George F. Von Beck, commanding Company A, and on the white horse is regimental commander, Colonel George Watson Pratt.

Noteworthy is the color atop the tent. Although the original has never been seen and may not have survived, it is believed to have been the first regimental flag of the Twentieth Regiment. Also of significance is the red hand. Owing to this upraised hand many have wrongly assumed the unit to be Irish. The 20th was never an Irish command and was not a regiment in the later, famed Irish Brigade. However the extremity does have a connection with Ireland. It is believed that during one of his 1850's European excursions Pratt heard of the O'Neil Family legend. When one looks at the front cover of the 1858 Ulster Guard uniform regulations the upraised hand is seen with the words "This Hand For Our Country." Colonel Pratt, using his own words and the Irish legend, created the regimental coat of arms. In fact the entire octagon as viewed became the upper plate on the unit's pre Civil War shako. Therefore, Ulster, Ireland and Ulster County, New York, where the regiment was formed, are intertwined.

In New York City on July 22, 1861, Otto Botticher enrolled to serve three years in the 68th New York Volunteer Infantry (Cameron Rifles). On August 14, 1861 when he was mustered as captain of Company G, his age appears as forty-five. This has led researchers to conclude an erroneous year of birth. When Botticher's correct age at death is subtracted from his death date, the longevity shown upon enlistment is clearly wrong. In actuality Otto had turned fifty in May.

Following their father, Otto Botticher Jr. was mustered as corporal in Company G, on the same day as his sire, and Paul mustered on the 16th as private in Company I, but was transferred to G Company on August 31. Interestingly, at the time of Paul's enlistment, his occupation was listed as artist. Both sons became lieutenants and later captains by brevet. Although extent records are vague at best, Captain Otto Botticher was captured by Confederate forces on March 29, 1862, probably near Manassas, Virginia. "General Orders, Number 42, War Department, Adjutant General's Office, Washington, April 18, 1862" give us a bit more. It says in part, "By direction of the President," Captain Botticher among others is "stricken from the rolls of the Army, for being captured by the enemy while straggling without authority beyond the outposts of the Army." It appears that Captain Louis Camp of the 68th may have also been with Botticher, as he was seized on the same date.

Union Prisoners at Salisbury, N.C.

First taken to Libby Prison, even in a difficult situation, Botticher made good use of his time and talent as he sketched "Libby Prison, Union Prisoners at Richmond, Va." Lending credence to the fact that he indeed was at Libby, is that he drew the view "From Nature." Otto may have been sent to Belle Isle but the next time we see him is in the Rebel prison at Salisbury, North Carolina. Here he sketched the picture which would become his most famous and remembered lithograph.

For those who even recall his name at all, this print and the name Botticher are synonymous. This depiction of American baseball has been acclaimed as "one of the only two significant prints" of the game made "during this important period." Titled simply "Union Prisoners at Salisbury, N.C. by Act. Major Otto Botticher.", it illustrates a group of Federal soldiers playing a relatively new sport. Pleasing to the eye, the print shows an impressive view of the Southern prison camp coupled with a fairly detailed look at the nearby town of Salisbury. This was produced as a lithograph by the firm of Napolean Sarony, Richard Major and Joseph Fairchild Knapp, New York circa 1863 and published by Goupil & Company. The latter enterprise was the American branch of the renowned Parisian enterprise founded by Adolphe Goupil.

Capt. Otto Botticher, 68th New York Infantry

On September 30, 1862 at Aiken's Landing, Virginia, on the James River, just below Dutch Gap, Captain Otto Botticher gained his parole. He was exchanged for "Captain F. Culbertson, Seventh Virginia."  Rejoining the 68th on February 28, as captain of Company B. It appears that he fought with his regiment at the Battle of Chancellorsville and Gettysburg.

Even though the elder Botticher never applied for a pension, there seems to be some fallacious data in Otto Jr's pension file which relates to his father. The highest rank obtained during the war by Otto's son was first lieutenant. Yet one of his pension papers states, "The medical records show Otto Botticher - Capt G - 68 N.Y. Vols. was given a Med Certificate May 4/63 Recd convalesing from malarious fever & is feeble. Ten days (leave)."  It also indicates that "other records report him wounded at the Battle of Gettysburg, Pa. July 1, 1863." Finally it says, "Otto Botticher - Capt. Co. B&C treated July 6 to 10/63. Captain on furlough July 10/63." In Captain Otto Botticher's military service file is "Special Orders, No. 185, Headquarters, Army of the Potomac, July 10, 1863" which states, "Upon the recommendation of the Medical Director of this Army, the following named officers will proceed to Frederick City and report for treatment to Surgeon Weir, U.S. Vols. Captain Otto Botticher-68- N.Y. Vols." Nowhere in Otto Botticher Jr's pension file does he even mention Gettysburg! His claim was based on Hemorrhoids and for inflammation of the lungs incurred July through December 1864. I conclude from available sources that Captain Otto Botticher senior, was wounded during the titanic struggle at Gettysburg on July 1, 1863 while serving with his regiment in the 11th Army Corps. Qwing to his age, Otto's service and tenure as a prisoner of war must have been physically and mentally demanding. After nearly three years he was discharged from the army on June 9, 1864. On September 28, 1865, for "gallant and meritorious conduct," Otto received the brevet rank of lieutenant colonel, New York State Volunteers.

From this point on Otto Botticher becomes a vaporous trail lost in the mist of history. After 15 years of researching, I stopped. There were no additional leads and I finally concluded that he had probably gone back to Germany and died. Then one day, quite by accident, I stumbled upon Mrs. Botticher's obituary. At first I was uncertain about the first name as it had been copious years since my active research. I quickly, and with no little excitement, pulled Otto's voluminous file folders. With some rapidity I worked through each paper, until I found who I was looking for and the name matched! With interest rekindled, I began once again to follow the trail. For the first time, the ambiguous, inconspicuous, later years of this famous lithographer are now revealed.

In 1865 a large lithograph titled "Sherman At Savannah, GA." appeared. Then in 1868 Botticher's "Grant and Lee (Meeting Near Appomattox Courthouse, Va., April 10th, 1865, the day after the surrender of Lee's army)" was published. In overall appearance it is very similar to the Sherman print and may have been his final lithograph.

The first significant evidence of Otto's post war career is gleaned from an 1869 document in which Botticher is described as an "Agent of the Consulate General of the North German Union" in New York City. The North German Union was a stepping stone toward German unification under Prince Otto Von Bismarck. Given their birth dates and allegiance to Prussia, one wonders if they might have known each other.

In Lain's 1878 Brooklyn Directory, it lists "Botticher Otto, consular agt. 2 Bowling Green, N.Y. home 326 Quincy." Sometime after 1878 Botticher moved, as the 1879-80 directory shows him living at "98 Madison". The last time he is enumerated in the United States Census is 1880. It records him as being age 69, "Germany Counselor Agent", born in Prussia, living in Brooklyn, Kings County, New York.

In 1885, Mrs. Botticher died at home in Brooklyn. Continuing to the point of declining health, Otto worked as a "Consular Agent". Sometime during the month of February, 1886 the old soldier began to experience heart problems. In his house at 98 Madison Street, Brooklyn, New York, at 1 AM, July 1, 1886, Otto Botticher was pronounced dead by Dr. Herman Offarius. He expired from "Paralysis Cardis", acute heart failure. The Charles E. Earl mortuary at 3 Putnam Avenue, Brooklyn took care of the remains. There seems to have been no formal obituary, just a three line death notice in the Thursday evening, July 1, 1886 edition of the Brooklyn Daily Eagle. The next day Col. Botticher's funeral notice was in the newspaper. His funeral was held at home and on Saturday, July 3, 1886, he was laid to rest in Lutheran Cemetery, Middle Village, Queens, New York.

The absence of a substantial obsequies has certainly impeded the search for historical data. In addition to this is the fact that Otto Botticher has reposed in an unmarked grave for 119 years! For reasons unknown, no family member ever contracted to have a gravestone placed in memory of him. However that omission has been corrected and the disposition of a suitable tombstone is now complete. A reflective and solemn service of recognition and dedication took place on September 9, 2006. Now all interested people will have an opportunity and honor of visiting the final resting place of one of the nation's most important 19th century lithographers.

In closing out this exposition of Otto Botticher's long and varied life, it is important to note that all his drawings were not military in nature. For example, he sketched "Turnout of the Employees of the American Express Co., Cor, Hudson, Jay & Staple Sts., N.Y.C., June 21, 1858" which became a printed lithograph. Botticher also drew sketches for music sheets, such as "Home! Sweet Home" by Sigismond Thalberg circa 1857, as well as various New York City directories.

When one becomes aware of Botticher's unique melding of photography and art in lithography, only then does one truly appreciate this singular form of military art. The creativity of Otto Botticher certainly propels him upward in importance as an artist. It is hoped that with this more complete biographical sketch, perhaps further details will be uncovered regarding an all but forgotten icon of American military art.