Library of Congress Open Archive Initiative Repository 1
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This is an extensive repository containing material relating to the American experience, a large portion of it digitised from the Library of Congress' collections. It includes, but is not limited to, images, monographs, sheet music, sound and visual recordings, pamphlets and posters. It is subdivided into over 100 thematic collections based on original documentation format, subject, author or donor. The site also benefits from an extensive range of background documentation and information on the creation, maintenance and development of this repository. Individual sections of the collection are periodically highlighted, and materials advising on the use of this repository's contents in a classroom situation are also provided. Each major subsection has a discrete site design and interface, although they are all part of the overarching whole.
Mostrando recursos 41 - 60 de 636
41.
The Tory mill. The original genuine experiment is published this day
A crude and unusually large woodcut, employing the metaphor of a mill to portray the spoils system under the Democrats (or "Tories" as they were labeled by the Whig press). The print may attack Andrew Jackson's program of distributing federal funds among various state banks, rather than retaining them in a central bank as was the practice until 1833. This program was referred to derisively in the opposition press as Jackson's "experiment." (See "The Experiment in Full Operation," no. 1833-8). The plan was viewed by many as a source of federal patronage and corruption. A uniformed Andrew Jackson turns the...
42.
Con-g-ss embark'd on board the ship Constitution of America bound to Conogocheque by way of Philadelphia
In July 1790 Congress decided to move the seat of the federal government from its original site in New York to Washington, with Philadelphia as an interim capital. The unidentified satirist gives a cynical view of the profit opportunity which this presented for Philadelphians. A three-masted ship with a smaller boat in tow sails toward a fork in a river. It is being lured by a devil toward the lower fork (eventually leading to Philadelphia), which falls precipitously in a rocky cataract, and away from the fork which leads to the "Potowmack" river. A devil beckons them on, saying, "This...
43.
Effects of the Fugitive-Slave-Law. - Hoff & Bloede.; Kaufmann, Theodor
An impassioned condemnation of the Fugitive Slave Act passed by Congress in September 1850, which increased federal and free-state responsibility for the recovery of fugitive slaves. The law provided for the appointment of federal commissioners empowered to issue warrants for the arrest of alleged fugitive slaves and to enlist the aid of posses and even civilian bystanders in their apprehension. The print shows a group of four black men--possibly freedmen--ambushed by a posse of six armed whites in a cornfield. One of the white men fires on them, while two of his companions reload their muskets. Two of the blacks...
44.
General Harrison's log cabin marc & quick step - Carusi, Samuel.; Edward Weber & Co.
An illustrated Whig campaign music sheet. Before a log cabin in the wilderness Harrison greets a crippled veteran in a fashion similar to "This log cabin . . ." (no. 1840-17). In the distance is a somewhat larger rustic house with mountains beyond. On a large flag flying from a pole to the left of the cabin are six bars of music, forming the stripes of the flag. The score continues on the side wall of the cabin itself. Repeated throughout the notation, marking the treble and bass clefs, are tiny figures of soldiers, bayonets, and cider barrels.
45.
Practical illustration of the Fugitive Slave Law - E. C.
A satire on the antagonism between Northern abolitionists on the one hand, and Secretary of State Daniel Webster and other supporters of enforcement of the Fugitive Slave Act of 1850. Here abolitionist William Lloyd Garrison (left) holds a slave woman in one arm and points a pistol toward a burly slave catcher mounted on the back of Daniel Webster. The slave catcher, wielding a noose and manacles, is expensively dressed, and may represent the federal marshals or commissioners authorized by the act (and paid) to apprehend and return fugitive slaves to their owners. Behind Garrison a black man also aims...
46.
Am I not a man and a brother? - American Anti-Slavery Society.; Anti-Slavery Office (New York)
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...
47.
The two platforms
Another in a series of racist posters attacking Radical Republican exponents of black suffrage, issued during the 1866 Pennsylvania gubernatorial race. (See "The Constitutional Amendment," no. 1866-5.) The poster specifically characterizes Democratic candidate Hiester Clymer's platform as "for the White Man," represented here by the idealized head of a young man. (Clymer ran on a white-supremacy platform.) In contrast a stereotyped black head represents Clymer's opponent James White Geary's platform, "for the Negro." Below the portraits are the words, "Read the platforms. Congress says, The Negro must be allowed to vote, or the states be punished." Above is an explanation:...
48.
The issue joined - Peterson, T. B.; Robinson, Henry R., d. 1850.
An indignant James K. Polk takes issue with Massachusetts senator Daniel Webster's public attacks on his Texas policy. In 1844 Webster had been opposed to the annexation of Texas and in 1846 he criticized attacked the war with Mexico over Texas as highly unjustifiable. Webster's first public speech on the war was made in late June, and the print probably did not appear before that. In the center, Polk (left) confronts Webster, warning, "If you say the Mexican War is a War of my own makeing you tell a falshood!" Raising his fists, Webster retorts, "I did say it &...
49.
The tables turned - Choynski, I. N.
Cartoon shows Chinese laundrymen and fishmongers making gifts to a man imprisoned in House of Correction cell 181. They offer socks with holes, a fish inscribed "Black Friday," crabs, and cigars.
50.
The bloody massacre perpetrated in King Street Boston on March 5th 1770 by a party of the 29th Regt. - Revere, Paul, 1735-1818, engraver.
A sensationalized portrayal of the skirmish, later to become known as the "Boston Massacre," between British soldiers and citizens of Boston on March 5, 1770. On the right a group of seven uniformed soldiers, on the signal of an officer, fire into a crowd of civilians at left. Three of the latter lie bleeding on the ground. Two other casualties have been lifted by the crowd. In the foreground is a dog; in the background are a row of houses, the First Church, and the Town House. Behind the British troops is another row of buildings including the Royal Custom...
51.
"I knew him, Horatio; a fellow of infinite jest . . . where be your gibes now?--"Hamlet, Act IV, Scene 1" - Howard, Justin H.; Strong, Thomas W.
McClellan, in the character of Hamlet stands near an open grave holding the head of Abraham Lincoln. He soliloquizes, "I knew him, Horatio: A fellow of infinite jest . . . Where be your gibes now?" The cartoon evidently appeared following publication in the "New York World" of a scandalous but fabricated account of callous levity displayed by Lincoln while touring the battlefield at Antietam. (See also "The Commander-in-Chief conciliating the Soldier's Votes," no. 1864-31.) McClellan's lines here come from "Hamlet," act 4, scene 1, which takes place in a graveyard, where a gravedigger throws up the skull of Yorick,...
53.
Congressional pugilists
A crude portrayal of a fight on the floor of Congress between Vermont Representative Matthew Lyon and Roger Griswold of Connecticut. The row was originally prompted by an insulting reference to Lyon on Griswold's part. The interior of Congress Hall is shown, with the Speaker Jonathan Dayton and Clerk Jonathan W. Condy (both seated), Chaplain Ashbel Green (in profile on the left), and several others looking on, as Griswold, armed with a cane, kicks Lyon, who grasps the former's arm and raises a pair of fireplace tongs to strike him. Below are the verses: "He in a trice struck Lyon...
54.
Temple of liberty - Bell, Jared W., 1798?-1870.
A crude allegorical woodcut, bold in design and probably produced for a banner or similar type of display. In the center is a peristyle Temple with an altar on which the figure of Liberty rises from a flame. The figure holds the "Bill of Rights," a staff and a liberty cap. The altar is inscribed "Preserved by Concord." To the left is a man with a horse, offering wheat; on the right an Indian with a buck deer offers an animal pelt. Behind the temple are thirteen stars. Above is an eagle with shield, olive branch and lightning bolts, and...
55.
The looking glass for 1787. A house divided against itself cannot stand. Mat. chap. 13th verse 26 - Doolittle, Amos, 1754-1832, engraver
A satire touching on some of the major issues in Connecticut politics on the eve of the ratification of the U.S. Constitution. The two rival factions shown are the "Federals," who represented the trading interests and were for taxes on imports, and the "Antifederals," who represented agrarian interests and were more receptive to paper money issues. The two groups were also divided on the issue of commutation of military pensions. The artist here evidently sides with the Federals. Connecticut is symbolized by a wagon (top center) loaded with debts and paper money, the weight of which causes it to sink...
56.
Southerner rights segars. Expressly manufactured for Georgia & Alabama by Salomon Brothers fabrica de tabacos de superior calidad de la vuelta-abajo. - Salomon Brothers, sponsor/advertiser.
A considerably idealized view of slave life in the American South, appearing on a printed label for cigars "expressly manufactured for Georgia and Alabama." The New York firm Salomon Brothers may have sought to appeal to Southern consumers and sympathizers in the tense period immediately preceding the Civil War. The illustration shows a tobacco plantation with manor house and a field in which black slaves harvest tobacco. In the foreground is a well-dressed black couple out for a stroll.
57.
Democratic platform illustrated - Varney, James G.; Thurston, B.
Another attack on the 1856 Democratic platform as pro-South and proslavery. The Buchanan-Breckenridge ticket is reviled on the basis of recent developments occurring during the outgoing Pierce administration. In the center of the picture is a flagstaff bearing an American flag inscribed "Buchanan & Breckenridge. Modern Democracy." To its base are chained two slaves (right)--a man and a woman. The woman kneels before an overseer with a whip and pistol in his pocket, and asks, "Is this Democracy?" The overseer declares, "We will subdue you." In the background one of Cuba's coastal towns burns and is fired upon by a...
58.
The Commander-in-Chief conciliating the soldier's votes on the battle field - CAL (artist's monogram)
A bitterly anti-Lincoln cartoon, based on slanderous newspaper reports of the President's callous disregard of the misery of Union troops at the front. The story that Lincoln had joked on the field at Antietam appeared in the "New York World." Holding a plaid Scotch cap (see "Abraham's Dream--"Coming Events Cast Their Shadows Before,"" no. 1864-42), Lincoln stands on the battlefield at Antietam, which is littered with Union dead and wounded. He instructs his friend Marshal Lamon, who stands with his back toward the viewer and his hand over his face, to "sing us P?icayune Butler,' or something else that's funny."
59.
Argument of the chivalry - Bufford, John Henry, 1810-1870.; Homer, Winslow, 1836-1910.
A dramatic portrayal, clearly biased toward the northern point of view, of an incident in Congress which inflamed sectional passions in 1856. The artist recreates the May 22 attack and severe beating of Massachusetts senator Charles Sumner by Representative Preston S. Brooks of South Carolina. Brooks's actions were provoked by Sumner's insulting public remarks against his cousin, Senator Andrew Pickens Butler, and against Illinois senator Stephen A. Douglas, delivered in the Senate two days earlier. The print shows an enraged Brooks (right) standing over the seated Sumner in the Senate chamber, about to land on him a heavy blow of...
60.
Strong's dime caricatures. South Carolina Topsey in a fix - Goater, John H.; Strong, Thomas W.
The third in Thomas W. Strong's "Dime Caricatures" series of antisecessionist prints published early in 1861. Here Topsy, the impish slave child in Harriet Beecher Stowe's "Uncle Tom's Cabin," personifies the secessionist state South Carolina. An elegantly dressed lady, Columbia, is based on Stowe's Miss Ophelia, the New England spinster who attempted the moral education of the child. Topsy appears repentant at the steps of a porch before Columbia, who sits on a chair with an American flag on her lap and a liberty cap behind her. On the floor beside her is a bald eagle. Columbia shows the flag...
41.
