Woman looking through window at baby being held by nurse in maternity ward. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-4. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse standing behind a patient in a wheelchair. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-8. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse standing behind man in wheelchair with young man talking to young women seated on stone bench in foreground. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-7. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse standing behind man in wheelchair with young man talking to two young women in foreground. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse standing behind man in wheelchair with young man talking to two young women in foreground. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse standing behind man in wheelchair with young man talking to two young women in foreground. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse adjusting pillow for female patient. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-3. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse tending four infants in cribs. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-18. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

A postelection Whig satire, "Respectfully dedicated to the members of the Eighth Ward Tippecanoe Club and inscribed to their Patriotic Chairman Charles H. Delavan, Esqr." The artist shows a crowd of Whigs assembled in Lafayette Hall on Broadway. They gather on the left around Delavan, who speaks from a platform. Delavan is asked by a man in the crowd, "Charley do you think Van Buren will be elected." He responds, "If Van Buren should be reelected I will leave the United States." At right a group of Democrats surround a board tallying the final electoral vote. All states are reported except for Illinois. A heavyset man in a broad-brimmed hat and knee-breeches complains, "I have lost my money betting on "sure" states as the Globe had them." Other Loco Foco stalwarts stare in disbelief at the board. One laments, "There they go slap dab a score states in a heap and my post office with em too. O.K. oll Kill'd I spose." Others say, "the Globe said that it would be a tie in Ohio and Kentucky would be sure for Van," and "A Whig Bull-let-in in good arnest and a scatterin he's made among our folks in Ohio if this new is O. K. Ohio Kicking!" The "Globe" is Francis Preston Blair's pro-Van Buren newspaper. Perched atop the board is the Whig gamecock or rooster. Marked stylistic and technical similarities between "O. K." and "The Last Card. Tip Overthrown, Loco Foco Consternation," and "Evenhanded Justice" (nos. 1840-60 through -62) confirm a common authorship. The artist may be H. Bucholzer, who emerged as one of James Baillie's chief artists during the 1844 presidential campaign.|Drawn by "Spoodlyks".|Lith & pub by H.R. Robinson 52 Cortlandt St. N.Y. & Pennsa Ave[nu]e Washington D.C.|Title appears as it is written on the item.|Weitenkampf, p. 67.|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 1840-63.

A condemnation of Daniel O'Connell's agitation of Irish immigrants in the United States against slavery. The artist, certainly E.W. Clay, presents a loaded contrast between turbulent conditions in Ireland and the idyllic, relative prosperity of the immigrant's lot in America. It is the period of the Irish campaign for repeal of the oppressive Legislative Union. On the left repeal movement leader O'Connell stands on the shore of Ireland holding an "Agitation" club and speaking through an "Abolition" horn. He says, "Over the broad Atlantic I pour forth my voice saying come out of such a land you Irishmen or if you remain and dare continue to countenance the system of slavery that is supported there, we will recognize you as Irishmen no longer!" A British grenadier with rifle in hand orders O'Connell to "Clear the way there!" A policeman holding a baton with a crown on its tip warns, "Come, come stop that noise and move off! do you hear!" Behind him is a tragic but common rural scene: a farmer and his family despair as their cottage burns; another farmer lies dead on the ground behind them. At right, across the ocean, is an American farmer and his family. The farmer arrives home from the field, a scythe over his shoulder. He is accompanied by his son, and a black dog follows at his heels. In the distance a black woman and her child lead cows along a road. The American farmer answers O'Connell: It is a mighty far voice you have Mr. O'Connell--I love Ireland as well as you do, but this is my adopted Country and the birthplace of my Children. By industry and economy I am become prosperous--my Children are receiving the benefit of a good education, and the highest situations in the State are open to them. Here we can express our opinion's freely without the fear of bayonets or policemen. I have sworn to defend its laws and the interests of its union and will do so with the last drop of my blood. I will never forsake it! The farmer's wife sits at her spinning wheel before their cottage, her three children about her. She says with a broad Gaelic accent, "Ah Patrick "acushla" don't be hard on Mr. O'Connell--sure if he were druve out of Ould Ireland woundn't we give him a a "cead mille failthe" here!" Her son, just arriving, exclaims, "See here mother what a beautiful medal I've got for being head of my Class." Aside from being very close in style to Clay's "America" (no. 1841-1), "O'Connell's Call "also reflects that artist's particularly chauvinistic perspective on American versus English life.|Drawn by Edward Williams Clay.|Entered . . . 1843 by H.R. Robinson.|H.R. Robinson 142 Nassau St. Lith in all its branches.|Title appears as it is written on the item.|Weitenkampf, p. 71.|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 1843-1.

A sheet music cover, illustrated with the personification of Liberty in the form of the helmeted goddess Minerva. Her helmet is adorned with a laurel wreath and four large plumes. With her left arm she supports a shield and a spear with liberty cap and holds a scroll with the publisher's imprint in her right. A small star with the price of the sheet appears in the lower right of the composition. The design illustrates music written and composed by George Boweryem. |Boston. Oliver Ditson & Co. 277 Washington St.|Entered . . . 1858 by E.A. Daggott . . . New York.|New-York. Published by Horace Waters, 333 Broadway.|Signed: Stackpole sculpsit.|The Library's copy was deposited for copyright on October 16, 1858.|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 1858-4.

Poster showing a battleship with searchlights flaring. Produced by Signal Corps USA and Committee on Public Information. Forms part of: Willard and Dorothy Straight Collection.

Poster showing an airplane casting a searchlight on the water, as a sailor on a small gunboat peers through binoculars. Forms part of: Willard and Dorothy Straight Collection.

Poster showing a young woman in uniform carrying a tray of doughnuts, and a soldier with a doughnut gesturing toward her approvingly. Caption: Nov. 11th - 18th 1918 United War Work Campaign. Monogram: Committee on Public Information, Division of Pictorial Publicity. See POS - WWI - US, no. 184 for alternate version of this poster, with artist's signature.

Poster showing a young woman in uniform carrying a tray of doughnuts, and a soldier with a doughnut gesturing toward her approvingly. Caption: Nov. 11th - 18th 1918 United War Work Campaign.

Highlights from the past and present of Ohio, from the rich online collections of the Library of Congress.

Highlights from the past and present of Oklahoma, from the rich online collections of the Library of Congress.

An illustrated sheet music cover for a polka composed by Henry Bellman. Within a circular, ornamental border is an allegorical scene based on the seal of the State of Virginia. A helmeted female figure armed with a spear and sword (probably Minerva) stands on the figure of a fallen despot. The latter's crown and broken scepter appear near him on the ground. The scene is also littered with broken manacles and a cross.|Lith. by A. Hoen & Co. Balto.|The Library's impression of the music sheet was deposited for copyright by the publishers on January 26, 1855.|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 1855-1.

Confident Union propaganda from the summer of 1861, claiming dominance over Confederate troops led by generals P. G. T. Beauregard and Gideon Pillow. Union commander Winfield Scott sits on a mound in the center, holding a noose and awaiting the emergence of president of the Confederacy Jefferson Davis from his "Richmond" burrow. With his feet Scott pins the tails of two foxes, Beauregard (on the left), near Mannassas Junction, and Pillow, near Memphis. The print was probably issued before the Battle of Bull Run, while Beauregard's troops were stationed at Manassas Junction, protecting the Confederate capitol at Richmond. Memphis was not won by the Union, however, until June 1862.|Published by Currier & Ives, New York.|Title appears as it is written on the item.|Gale, no. 4947.|Weitenkampf, p. 131.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-36.

Facing a relative lack of enthusiasm for his campaign in New York State, Lewis Cass hoped to muster Democratic rank-and-file support by endorsing for lieutenant-governor the popular lawyer Charles O'Conor. Here the "Old Hunker" (i.e., conservative Democrat) Cass fishes from a rock at right, dangling a line with O'Conor on its hook above a group of Irish immigrant laborers. O'Conor says, "Come my Countrymen" as he is hailed enthusiastically by the workers, exclaim, "Hurra for Charley O'Connor," "We'll have him President yet," and "Isn't he a darling." A man at the far left says, "Send down the Jewell." Their tools--spades, wheelbarrow, pickaxes and such--are strewn about. At left is a wall plastered with posters advertising a "Mass Meeting Cass & Butler" and "One More Rally for Ireland." Cass remarks, "Upon my honor, I had no idea that a Lawyer was such excellent bait for the real Dimicrats!"|Lith: & pubd. by H.R. Robinson 31 Park Row N.Y. (adjoining Lovejoy's Hotel).|Probably drawn by "W.J.C."|Title appears as it is written on the item.|Weitenkampf, p. 90-91.|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 1848-34.