Poster showing a holly-decked candle in a window, with the Red Cross symbol in its glow. Forms part of: Willard and Dorothy Straight Collection.
Search Results (3124)
Poster is text only. Published by the National War Savings Committee, 18 & 19, Abingdon Street, Westminster, S.W. Poster no. 18. 20m. Wt. 5213/331. (7940). Title from item.
Poster showing a man raising the American flag, with a minuteman cheering and an eagle flying above. Text continues: 'Tis the Star Spangled Banner, oh, long may it wave, o'er the land of the free and the home of the brave! Monogram unidentified. Forms part of: Willard and Dorothy Straight Collection.
The exhibition 1492: AN ONGOING VOYAGE describes both pre- and post-contact America, as well as the Mediterranean world at the same time. Compelling questions are raised, such as: Who lived in the Americas before 1492? Who followed in the wake of Columbus? What was the effect of 1492 for Americans throughout the Western Hemisphere? The Library of Congress' Quincentenary exhibition addresses these questions, as well as other related themes, including fifteenth century European navigation, the myths and facts surrounding the figure of Columbus, and the differences and similarities between European and American world views at the time of contact.
This interdisciplinary lesson integrates analyzing historical primary resources with literary analysis. Students work in groups and express themselves creatively through a multi-media epic poem.
Ever wonder what women were doing during the 1800s or what is known as the antebellum period of United States history? Men are well represented in our history books as they were the powerful, educated leaders of our country. Women, on the other hand, rarely had opportunities to tell their stories. Powerful stories of brave women who helped shape the history of the United States are revealed to students through journals, letters, narratives and other primary sources. Synthesizing information from the various sources, students write their impressions of women in the Northeast, Southeast, or the West during the Nineteenth Century.
Poster showing a crowd of workers measuring and outfitting a seated monumental man with uniform and supplies. Title continues: It takes the best co-operative efforts of from six to twenty workers at home to properly equip and maintain one American soldier at the front. [...] With consistent help and encouragement for their wage-earning partners and themselves, from all classes of the people, American industry can and will win this war for human liberty. Breeders of industrial war at home must be eliminated. National co-operation is the slogan to insure victory for Democracy over Autocracy. Issued by the National Industrial Conservation Movement, 30 Church Street, New York City. Copies supplied on request. No. E-7. Title from item.
Poster showing news photographs of the war effort by the Official British Press Bureau and by International Film in Leslie's, lists of hundreds of recent American volunteers, and addresses of recruiting stations. Photographs are captioned: Life in the United States training camps; That bombproof smile; Where Pershing will soon be; Signalling by daylight. The Mayor's Committee on National Defense, The Recruiting Committee, 50 East 42nd Street, New York. Bulletin No. 2. Forms part of: Willard and Dorothy Straight Collection.
Poster showing bust portraits of Edward N. Hurley, chairman of the Shipping Board, and General Pershing, each with a copy of a cablegram. The cablegrams, discussing the provision of almost 100 ships, are quoted at length beneath. Issued by Publications Section, United States Shipping Board Emergency Fleet Corporation, Philadelphia.
Poster showing a battalion marching down a lane, as two women standing by a gate watch and wave. Text continues: Uniform and necessaries immediately on enlistment. Army rates of pay & allowances. God save the King. Recruiting office, The Armoury, 9, Tufton Street, Westminster, S.W. Title from item.
Poster showing Uncle Sam in coat labelled "Liberty Bond" punching the Kaiser. Prepared by Liberty Loan Committee, 120 Broadway, New York. Forms part of: Willard and Dorothy Straight Collection.
Poster showing a woman in a helmet (Minerva, personification of Britain?) caring for a mother and children. Printed by Crowther & Goodman, 124 Fenchurch St., E.C. Title from item.
Poster showing a YMCA facility for soldiers, with men sleeping on couches, in chairs, and on the floor. Illustration is by Edgar Wright. Title from item.
Poster is text only, inferring ways in which employers can encourage men to enlist. Poster no. 70. Title from item.
Poster is text only, with monogram and arms of George V above. Poster no. 18. W 5995/46. Title from item.
Poster showing a heroic military statuary group, beneath flags and the legend, "United for liberty." Cigars United.
Poster showing a four-leaf clover on stem "Co-operation," with leaves "Wage payer," "Wage earner," "Farmer," and "Consumer." Title continues: The business men and all good citizens in this community are in favor of industrial co-operation. We believe that co-operation is the life-giving stem of prosperity for those who pay wages, those who receive wages and those who spend the wages paid by our American factories, mines, mills, shops, etc. Industrial peace is needed to win this war for democracy. Agitators are breeders of treason and this community has no room for them. Issued by the National Industrial Conservation Movement, 30 Church Street, New York City. Copies supplied on request. No. E-3.
Poster showing the United States Capitol; includes large blank space for message. Title from item.
Poster is text only, encouraging men to enlist. Poster no. 62. Title from item.
Poster shows heads of four men probably representing the Central Powers - Germany, Austria-Hungary, Turkey and Bulgaria. Title from item.
American Expeditionary Forces recruiting poster showing scenes in France like those new recruits can expect to see upon arrival in France with the A.E.F. Poster caption: Do you want to see Paris, too? Then ask the Army Recruiting Officer at once about your chance to be one of the 50,000 lucky men to see France and the Rhine, and the battlefields of Europe - free. Tourists are clamoring for a chance to pay for this privilege. Don't delay - See the Army Recruiting Officer to-day. Poster caption: Here's your chance! 50,000 men are now enlisting for service in the A.E.F. to see France, and the Rhine with its historic castles and forts. Infantry, cavalry, field artillery, engineers, and medical department open. Ask the Army Recruiting Officer about educational opportunities in the A.E.F. Photo illustrations provided by Keystone View Company and courtesy of Collier's "The National Weekly." Two posters printed on one sheet, uncut, mounted on linen. Title from item.
Poster is text only. War Savings Stamps issued by the United States government. Forms part of: Willard and Dorothy Straight Collection.
Another show of Northern optimism in the early months of the Lincoln administration. Uncle Sam approaches from the left holding a bayonet, causing five Southern soldiers to flee in panic to the right. In their haste to retreat the Confederates drop their flag, muskets, a hat, and a boot. A black child and two black men, one fiddling, watch with obvious glee from the background. Prominent in the center foreground are a mound marked "76" bearing an American flag and a crowing cock. In the background are the Capitol at Washington (left) and the palmetto trees of South Carolina (right).|Entered . . . by W. Wiswell . . . Ohio, June 8th 1861.|The Library's copy of the print is the copyright deposit impression.|Title appears as it is written on the item.|Weitenkampf, p. 132.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-28.
Another mock bank note parodying the "shinplasters" of the 1837 panic. Such small-denomination notes were based on the division of the Spanish dollar, the dominant specie of the time. Hence they were issued in sums of 6 (more accurately 6 1/4), 25, 50, and 75 cents. These fractional notes proliferated during the Panic of 1837 with the emergency suspension of specie (i.e., money in coin) payments by New York banks on May 10 of that year. "Treasury Note" and "Fifty Cents Shin Plaster" (nos. 1837-9 and -11) also use the bank note format to comment on the dismal state of American finances. Unlike these, however, "Humbug Glory Bank" is actually the same size as a real note. The note is payable to "Tumble Bug Benton," Missouri senator and hard-money advocate Thomas Hart Benton, and is signed by "Cunning Reuben [Whitney, anti-Bank adviser to Jackson and Van Buren] Cash'r" and "Honest Amos [Kendall, Postmaster General and influential advisor to Van Buren] Pres't." It shows several coins with the head of Andrew Jackson at left, a jackass with the title "Roman Firmness," a hickory leaf (alluding to Jackson's nickname "Old Hickory"), and a vignette showing Jackson's hat, clay pipe, spectacles, hickory stick, and veto (of the 1832 bill to recharter the Bank of the United States) in a blaze of light. Above is a quote from Jackson's March 1837 farewell address to the American people, "I leave this great people prosperous and happy."|Copyrighted by Anthony Fleetwood, 1837.|Published at 89 Nassau Str. New York.|Signed facetiously: Martin Van Buren Sc.|The print was deposited for copyright on August 21, 1837, by Anthony Fleetwood, and published at the same address (89 Nassau Street) as "Capitol Fashions" (no. 1837-1), also an etching. The Library's impression (the copyright deposit proof) is printed on extremely thin tissue.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1837-10.
Entered according to Act of Congress in the year 1864 by M.E. Goodwin in the Clerk's Off. in the Dist. Court of the United States for the Southern Dist. of N.Y. Designed by R.D. Goodwin.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)
A satire on enforcement of the "gag-rule" in the House of Representatives, prohibiting discussion of the question of slavery. Growing antislavery sentiment in the North coincided with increased resentment by southern congressmen of such discussion as meddlesome and insulting to their constituencies. The print may relate to John Quincy Adams's opposition to passage of the resolution in 1838, or (more likely) to his continued frustration in attempting to force the slavery issue through presentation of northern constituents' petitions in 1839. In December 1839 a new "gag rule" was passed by the House forbidding debate, reading, printing of, or even reference to any petition on the subject of abolition. Here Adams cowers prostrate on a pile composed of petitions, a copy of the abolitionist newspaper the "Emancipator," and a resolution to recognize Haiti. He says "I cannot stand Thomson's [sic] frown." South Carolina representative Waddy Thompson, Jr., a Whig defender of slavery, glowers at him from behind a sack and two casks, saying "Sir the South loses caste whenever she suffers this subject to be discussed here; it must be indignantly frowned down." Two blacks crouch behind Thompson, one saying "de dem Bobolishn is down flat!" Weitenkampf cites an impression with an imprint naming Robinson as printer and publisher, this line being apparently trimmed from the Library's impression. The drawing style and handling of the figures strongly suggest that "Abolition Frowned Down" is by the same Robinson artist as the anonymous "Called to Account" and "Symptoms of a Duel" (nos. 1839-10 and -11).|Drawn by HD?|Entd . . . 1839 by H.R. Robinson . . . Southn. Dist. of N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 59.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1839-12.
Poster showing a woman attaching a triangle to complete a five-pointed star "Victory." Woman's Committee, Liberty Loan Organization, Seventh Federal Reserve District. W.L.L.C. X5.
U.S. Army recruiting poster showing a soldiers on horseback with team of horses pulling artillery. A.G.O.R.S. no. 212, 12-8-19.
A folding comic puzzle in which the heads of Confederate General P.G.T. Beauregard and a donkey switch bodies. An example of mass of anti-Beauregard material published in the north after the outbreak of hostilities leading to Civil War.|Published by Samuel Upham, 310 Chestnut Street, Philadelphia. Entered according to Act of Congress, in the year 1861, by Samuel C. Upham, 310 Chestnut St., Philadelphia, in the Clerk's Office of the District Court of the United States, in and of the Eastern District of Pennsylvania.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)
A racist attack on Democratic vice-presidential candidate Richard M. Johnson. The Kentucky Congressman's nomination, in May 1835, as Van Buren's running-mate for the 1836 election raised eyebrows even among party faithful, because of Johnson's common-law marriage to a mulatto woman, Julia Chinn, by whom he fathered two daughters. The artist ridicules Johnson's domestic situation, and the Democrats' constituency as well. Seated in a chair with his hand over his face, a visibly distraught Johnson lets a copy of James Watson Webb's "New York Courier and Enquirer" fall to the floor and moans, "When I read the scurrilous attacks in the Newspapers on the Mother of my Children, pardon me, my friends if I give way to feelings!!! My dear Girls, bring me your Mother's picture, that I may show it to my friends here." On the right are his two daughters, Adaline and Imogene, wearing elegant evening dresses. One presents a painting of a black woman wearing a turban, and says, "Here it is Pa, but don't take on so." The second daughter says, "Poor dear Pa, how much he is affected." A man behind them exclaims, "Pickle! Pop!! and Ginger!!! Can the slayer of Tecumseh be thus overcome like a summer cloud! fire and furies. oh!" Johnson is reported to have slain the Indian chief Tecumseh. Flanking Johnson are a gaunt abolitionist (right) and a black man. The abolitionist holds a copy of the "Emancipator," a Hartford, Connecticut newspaper, and says, "Be comforted Richard; all of us abolitionists will support thee." The black man pledges, ". . . de honor of a Gentlemen dat all de Gentlemen of Colour will support you." On the far left is a stout postmaster who says, "Your Excellency, I am sure all of us Postmasters and deputies will stick to you; if you promise to keep us in office." The print seems to date from early in the campaign of 1836. Johnson's wife Julia Chinn died in 1833. Adaline, one of the two daughters pictured, died in February 1836. Although Weitenkampf dates the print at 1840, when Johnson was again Van Buren's running-mate, the presence of both daughters and the drawing style are persuasive evidence for an 1836 date.|Probably published by Henry R. Robinson, New York.|Title appears as it is written on the item.|Weitenkampf, p. 63.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-15.
This site explores the diversity and complexity of African-American culture in Ohio. These manuscripts, texts, and images focus on themes that include slavery, emancipation, abolition, the Underground Railroad, the Civil War, Reconstruction, African Americans in politics and government, and African-American religion.
Examine the tension experienced by African-Americans as they struggled to establish a vibrant and meaningful identity based on the promises of liberty and equality in the midst of a society that was ambivalent towards them and sought to impose an inferior definition upon them. The primary sources used are drawn from a time of great change that begins after Reconstruction's brief promise of full citizenship and ends with the First World War's Great Migration, when many African-Americans sought greater freedoms and opportunities by leaving the South for booming industrial cities elsewhere in the nation. The central question posed by these primary sources is how African-Americans were able to form a meaningful identity for themselves, reject the inferior images fastened upon them, and still maintain the strength to keep "from being torn asunder." Using the primary sources presented here, look for answers that bring your ideas together in ways that reflect the richness of the African-American experience.
This Special Presentation of the Library of Congress exhibition, The African American Odyssey: A Quest for Full Citizenship, showcases the Library's incomparable African American collections. The presentation is not only a highlight of what is on view in this major black history exhibition, but also a glimpse into the Library's vast African American collection. Both include a wide array of important and rare books, government documents, manuscripts, maps, musical scores, plays, films, and recordings. This presentation is not yet searchable. Additional collections are forthcoming.
A pro-Republican campaign print casting Lincoln as peacemaker, and as the hope for reconciliation between the North and South. The top half of the composition represents the North and the bottom the South. In the center, Lincoln rides forth on a prancing horse, as a group of farmers at the left wave their hats and cheer, "All is right now! hurrah!" Below him is a streamer "Union Henceforth Now and For Ever." On the right the upper scene, in the North, shows a "Northern Fanatic" in a jail "Imprisonment for Life." Above the jail is a gallows, "Higher Law." The prisoner is jeered by a crowd, saying, "That serves them [him?] right." The bottom right scene in the South shows a "Southern Fanatic" jailed while several onlookers say, "They won't do any more mischief." In the center, to the left, a weary Jefferson Davis begins to dismount from his horse. Below him are two clasped hands, with the title "After a Little While."|Lith. by Chas. Magnus, N.Y.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-29.
The collection African American Perspectives: Pamphlets from the Daniel A.P. Murray Collection, 1818-1907, contains pamphlets and other materials, most of which were written by African American authors about pressing issues of the day. In this lesson, students use the collection's Timeline of African American History, 1852-1925 to identify problems and issues facing African Americans immediately after Reconstruction. Working in small groups on assigned issues, students search the collection for documents that describe the problem and consider opposing points of view, and suggest a remedy for the problem. Students then present the results of their research in a simulated African American Congress, modeled on a congress documented in the collection's special presentation, Progress of a People.
This lesson encourages students to identify problems facing African Americans immediately after Reconstruction. Students then work in small groups to identify documents describing a particular problem, consider opposing points of view, and suggest a solution and present their research findings.
Poster shows a father and daughter in hospital grieving next to body of dead woman; nurse and doctor are in background. Poster drawn by Raemaekers for Century Magazine and is part of Barron Collier Series of Patriotic Cartoons. Title from item.
Poster showing a man "Agitator" shaking hands with and receiving an Iron Cross from the Kaiser in "Plot Alley." A tiny bird comments, "He'll get the double cross from him later." Title continues: In the first seven months afetr America's entrance into this war for human freedom, enemy agitators in our midst caused 283,402 workers to lose 6,285,519 days of production. Our war industries were heavily handicapped by this unpatriotic strife. Issued by the National Industrial Conservation Movement, 30 Church Street, New York City. Copies supplied on request. No. F-9.
Akio Matsumoto, half-length portrait, seated at desk, facing front, painting sign. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.
Akio Matsumoto, half-length portrait, seated at desk, facing front, painting sign. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.
Akio Matsumoto, half-length portrait, seated at desk, facing front, painting sign. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-40-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.
This site contains correspondence, scientific notebooks, journals, blueprints, articles, and photographs documenting the invention of the telephone, his involvement in the first telephone company, family life, interest in the education of the deaf, and aeronautical and other scientific research. Included is his notebook containing the entry from March 10, 1876, describing the first successful experiment with the telephone, during which he spoke the famous words, Mr. Watson, Come here, I want to see you.
Poster showing Uncle Sam with a truck full of citizens holding Liberty Bonds. The truck bears a sign, "To Berlin." United Cigars.
The presidential campaign of 1836 viewed as a card game by a satirist in sympathy with the Whigs. Opposing candidates Martin Van Buren (Democrat) and William Henry Harrison (Whig) face each other across a card table. Behind Van Buren stands his vice-presidential running mate Richard M. Johnson. Behind Harrison is incumbent President Andrew Jackson, who smokes a clay pipe and stands on tip-toes to spy on Harrison's hand. With his left hand he signals to Van Buren. Jackson: "What a h---ll of a hand old Harrison's got. I'm afraid Martin and Dick Johnson will go off with a flea in their ear." Johnson: "The old general is making signs that Harrison has the two highest trump cards and low. Martin he'll catch your Jack and then the jig's up! You'd better beg." Van Buren: "I ask one." Harrison: "Take it! now look out for your Jack!" On the wall above the table is a painting of the Battle of the Thames, one of Harrison's celebrated military victories a well as the occasion on which Johnson is reported to have slain the Indian chief Tecumseh. The print is probably by Robinson draughtsman Edward W. Clay, judging from its similarity to his "Grand Match Between the Kinderhook Poney ..." (no. 1836-14) and other signed work of the period.|Entered . . . 1836 by H.R. Robinson.|Published May 1836 by the proprietor H.R. Robinson, 48 Cortlandt St. N. York.|Title appears as it is written on the item.|Weitenkampf, p. 44.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-11.
The major figures in American national politics in 1838 are gently satirized, each characterized as riding a favorite issue or "hobbyhorse." At the lead (far left) is President Martin Van Buren, riding a horse "Sub-Treasury," which he calls his "Old Hickory nag." The artist refers to Van Buren's independent treasury program, a system whereby federal funds were to be administered by revenue-collecting agencies or local "sub-treasuries" rather than by a national bank. The Independent Treasury Bill was perceived as an outgrowth of predecessor Jackson's anti-Bank program. Another hobbyhorse, "United States Bank" (center), is shared by Whig senators Henry Clay and Daniel Webster, leaders of congressional opposition to Jackson and Van Buren's respective fiscal agendas. Clay says, "Either you or I must get off Dan, for this horse wont carry double!" Webster responds, "Dash my Whig if I get off Hal!" Directly behind Van Buren Democratic Senator Thomas Hart Benton rides a horse "Specie Currency," an allusion to Benton's championing of hard money economics. Benton was identified with administration efforts to curb the use of currency in favor of "specie" or coin, and to increase the ratio of gold to silver in circulation. He says, "My Golden Poney carries more weight than any of them!" Behind Clay and Webster is South Carolina senator John C. Calhoun, advocate of state's rights and the driver of Southern nullification of the "Tariff of Abominations." On the right are William Henry Harrison, in military uniform and riding an "Anti-Masonic" hobby, and Massachusetts Congressman John Quincy Adams on his "Abolition" mount. Harrison's horse is named after the party which supported his 1836 bid for the Presidency. When he says, ". . . unless there is another Morgan abduction, I'm afraid he'll [the horse] lose his wind!" he alludes to the suspicious 1826 death of William Morgan (purportedly at the hands of Masons) which fueled considerable anti-Masonic sentiment in the United States. Adams laments, "This horse, instead of being my Topaz, is my Ebony." |Entd . . . 1838 by H.R. Robinson.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Signed with monogram: C (Edward Williams Clay).|The print was registered for copyright on March 16, 1838.|Title appears as it is written on the item.|Blaisdell and Selz, no. 16.|Davison, no. 104.|Weitenkampf, p. 53.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-1.
A Whig cartoon spoofing Democratic claims of Western support for Van Buren during the election of 1840. Pursued by animals from the "Alleghany Mountains" and the Mississippi River, including among others a buffalo, alligator, beaver, turtle, and fox, Van Buren flees to the right saying, "This is going for me with a vengeance! I wish I was safe at Kinderhook! [his birthplace and family home was Kinderhook, New York] for I am a used up man!" A parchment "Sub-Treasury Bill" has fallen at his feet, referring to the independent treasury plan, the centerpiece of Van Buren's fiscal program.|Entered . . . 1840 by J. Childs.|Published by John Childs, 90 Nassau St. N.Y.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 61.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-53.
Poster showing soldiers enjoying pie, doughnuts, and coffee.
Poster shows a map of Ireland and the battalion insignia. Title from item.
U.S. Marines recruitment poster showing recruits engaged in various activities at a Marine Corps training camp.
Poster showing an American sailor among sailors from various countries. Title from item.
E. W. Clay's apocalyptic allegory has public opinion as a giant lever, tilting decisively in favor of the Whigs late in the presidential campaign of 1840. In a symbolic landscape masses of people climb onto the lever, which then nudges the great ball of "Loco Focoism" over a precipice. In the sky appears an eagle with a shield, arrows, and olive branches, holding a banner with the commentary: "With a log cabin and barrel of hard Cider for a fulcrum, public opinion for a "lever," with old Tip on the tip end the ball of Locofocoism will be rolled into oblivion and a gallant soldier raised to the white house. March 4th 1841." In the distance is a recently cleared field, the White House, and the Capitol. Van Buren and several others topple from the giant ball, on which also appears a strong box inscribed "Sub Treasury." A crowd of erstwhile supporters flee from the edge of the chasm, leaving behind "Treasury Notes." The print probably appeared in September 1840, since the Library's impression was deposited for copyright on September 24. Nancy Davison and Frank Weitenkampf both attribute the print to Edward W. Clay. This is supported by stylistic comparison with his other 1840 cartoons. The "W.C." signature appears to be a truncated form of his "EWC" monogram.|Entered . . . 1840 by J. Childs.|Published by John Childs, 90 Nassau Street New York.|Signed: W.C. inv. (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 133.|Lorant, p. 158-159.|Weitenkampf, p. 66.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-58.
The large, bold woodcut image of a supplicant male slave in chains appears on the 1837 broadside publication of John Greenleaf Whittier's antislavery poem, "Our Countrymen in Chains." The design was originally adopted as the seal of the Society for the Abolition of Slavery in England in the 1780s, and appeared on several medallions for the society made by Josiah Wedgwood as early as 1787. Here, in addition to Whittier's poem, the appeal to conscience against slavery continues with two further quotes. The first is the scriptural warning, "He that stealeth a man and selleth him, or if he be found in his hand, he shall surely be put to death. "Exod[us] XXI, 16." Next the claim, "England has 800,000 Slaves, and she has made them free. America has 2,250,000! and she holds them fast!!!!" The broadside is advertised at "Price Two Cents Single; or $1.00 per hundred.|N.Y. sold at the Anti-Slavery Office, 144 Nassau St. 1837.|Title appears as it is written on the item.|Wedgwood Portraits and the American Revolution, p. 116-117.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1837-16.
An allegorical illustration on the cover of a patriotic song, dedicated to the "National Guards of Philadelphia." A pronouncedly decollete Columbia or Liberty figure sits astride a bald eagle which flies over the globe. The eagle clutches lightning bolts and an olive branch in its talons, while Columbia holds a scroll (probably the Constitution) and an American flag.|Entered . . . 1859 by Lewis Dela . . . Pennsylvania.|Lewis N. Rosenthal Lith. Phila.|Philadelphia, Lee & Walker, 722 Chestnut Street.|The Library's copy of the music cover was deposited for copyright on September 15, 1859.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1859-2.
Poster showing Liberty shaking the hand of a sailor. Printed by the U.S. Navy Publicity Bureau, 318 W. 39th St., N.Y. The U.S. Navy Publicity Bureau gratefully acknowledges its indebtedness to Mr. J.C. Leyendecker for this design and to the Beck Engraving Co. for the reproduction.
Poster showing workers against a background of smokestacks. Committee on Public Information, Division of Pictorial Publicity.
This site contains links to thousands of the most famous documentary photographs ever produced. The Farm Security Administrations's photographs cover the Great Depression, while the Office of War Administration's photographs look at the mobilization effort for World War II.