An illustrated election ticket for Martin Van Buren and Richard M. Johnson, listing Ohio's Democratic electors for the presidential race of 1836. The ticket is illustrated with a wood-engraving of Van Buren as the "Little Magician," a nickname he acquired for his political adroitness. Dressed in a costume vaguely Oriental in style, Van Buren shines a magic lantern toward the Capitol, projecting the words, "Liberty & Equal Rights." He holds a flag which says "Magician." At his feet lie a sword and a bugle, martial attributes evocative of Andrew Jackson. In the background left are the United States Mint, a train, and a ship on a waterway--symbols of commerce and progress. The ticket is typographically similar to nos. 1836-16, -18 and -19 and is probably from the same press.|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 1836-17.

An illustrated election ticket for Martin Van Buren and Richard M. Johnson, listing Ohio Democratic electors for the presidential race of 1836. The ticket is illustrated with a small vignette of a man, possibly Van Buren, bettering another candidate in a race on hogs. The losing rider shouts, "Stop VAN!!!" and the lead figure replies, "No, I'm bound to beat." Although the context would suggest that the lead figure is Van Buren, he bears no resemblance to him. The figures may, on the other hand, be two of the three opposition candidates, Hugh L. White, William Henry Harrison, and Daniel Webster, eah of whom represented regional interests of the various parts of the country. The ticket is printed on the same sheet as the another, "Go it, ye Cripples!" which portrays Webster, Harrison, and White riding pigs, in pursuit of Van Buren. Both seem to be from the same press as nos. 1836-16 through 1836-18).|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 1836-19.

The artist satirizes the split in party loyalties between the Locofoco and Tammany factions of New York City Democrats. In particular he belittles the Irish immigrants widely recruited by the party at the time. The print may have apeared during the elections of 1836. An Irishman stands on a platform before two booths, one marked "Tammany Committee" and the other "Locofoco Committee," and says, "As I'm a hindependent Helector, I means to give my Vote according to conscience and him as Tips most!" Beyond the platform is a crowd of voters, one holding a sign "Vote for Hoxie" (Joseph Hoxie, a prominent figure in New York Whig politics).|Pubd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Signed: N. Sarony (Napoleon Sarony).|Title appears as it is written on the item.|Weitenkampf, p. 47.|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 1836-20.

Entered according to Act of Congress in the year 1837, by H.R. Robinson, in the Clerk's Office of the District Court of the United States of the Southern District of New York. Printed & published by H.R. Robinson, 52 Cortlandt Street, New York.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

The collection presents three manuscript volumes, totaling 1,240 digital images, that document daily life in Washington, D. C., through the eyes of Horatio Nelson Taft (1806-1888), an examiner for the U. S. Patent Office. The diary details events in Washington during the Civil War years including Taft's connection with Abraham Lincoln and his family. Of special interest is Taft's description of Lincoln's assassination, based on the accounts of his friends and his son, who was one of the attending physicians at Ford's Theatre the night Lincoln was shot, on April 14, 1865.

For many years scholars have recognized that late nineteenth-century Durham, North Carolina makes an ideal case study for examining emancipation, industrialization, immigration, and urbanization in the context of the New South. "With its tobacco factories, textile mills, black entrepreneurs, and new college," the historian Syd Nathans observes, "Durham was a hub of enterprise and hope." By the early twentieth century, Durham became renowned for its vibrant entrepreneurial spirit. Both W.E.B. Du Bois and Booker T. Washington wrote articles for the national press about their visits with members of Durham's African-American community. After his visit in 1910, Booker T. Washington dubbed Durham the "City of Negro Enterprises." The Digital Durham website offers students, teachers, and researchers a range of primary sources with which they can investigate the economic, social, cultural, and political history of a post-bellum southern community. Letters from mothers to daughters, parents to children, and husbands and wives give insight into the domestic lives of some of Durham's elite citizens. Entries from Atlas Rigsbee's general store ledger together with data from the 1880 census provide a view into the social experience of those Durham citizens who have not left written documents. Taken together the new materials on Digital Durham touch on over 600 topics including African American business enterprise, the emergence of textiles, tobacco production and marketing, child labor, prohibition, evangelical revivalism, nineteenth-century medical practices, women's experience of childbirth, and public and private education. The holdings of the website provide access to a wide range of manuscript and printed materials from the 1870s through the 1920s. The site also features a new collection of maps that depict Durham from the late 1860s to the present day. Digital Durham offers its users a selection of manuscript letters taken from the Southgate-Jones family papers and James Southgate papers, accounts from Atlas M. Rigsbee's general store ledger, photographs, ephemera, census data, printed works as well as a rich collection of maps. The site also includes audio postcards created by Duke students in an undergraduate research seminar on the history of Durham and the New South. Additionally, the site includes resources for K-12 educators--a reference section with glossary of terms used in the 1880 census and lesson plans that tie to the North Carolina Standard Course of Study.

The Confederate leaders are portrayed as a band of competing opportunists led by South Carolina governor and secessionist Francis Pickens (far left). The artist criticizes the January 1861 secession of five states from the lower South, following the lead of South Carolina, which had formally declared its independence a month before. Armed with a whip and a pistol, Pickens sits on the back of a young slave, pronouncing, "South Carolina claims to be file leader and general whipper in of the new Confederacy, a special edict! Obey and tremble!" The other leaders are also armed. Pickens's tyranny is met by expressions of self-interest from the other confederates. The nature of these individual interests are conveyed pictorially and in the text. Leaders from Alabama, Mississippi, and Georgia sit on bales of cotton, while Florida and Louisiana sit on a wrecked ship's hull and a barrel of sugar respectively. Florida (represented by a bearded man, possibly Stephen R. Mallory, senator and later secretary of the Confederate navy ): "We want it distinctly understood that all the lights on the Coast will be put out, in order to facilitate wrecking business." Alabama (William L. Yancey): "Alabama proclaims that CĚ_Ąotton is King,' and the rest of the Confederacy "must obey" that Sovereign. Mississippi (Jefferson Davis): "We came in, with the understanding that we shall issue bonds to an unlimited extent, with our ancient right of repudiation when they became due." Georgia (Governor Joseph E. Brown): "Georgia must have half the honors, and all the profits, or back she goes to old Pluribus Unum.'" Louisiana (a mustachioed man): "A heavy duty must be levied on foreign sweetening in order to make up for what we have sacrificed in leaving the Union, otherwise we shall be like a PĚ_Ąelican in the wilderness!'" Although Texas, which seceded on February 1, is not represented here, the print probably appeared at the time of the Montgomery convention in early February when the Confederate States of America was formed, but before Jefferson Davis assumed its presidency. Texas did not attend that convention.|Published by Currier & Ives, 152 Nassau St. N.Y.|Title appears as it is written on the item.|Gale, no. 1730.|Weitenkampf, p. 128.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-6.

Three men at left, one saying, "Verily friend Darg since we have returned thee thy money, I claim the reward of $1000 - Brother Barney Corse was merely my agent, verily!" Another "Yea verily I was but thy instrument Brother Hopper as Brother Ruggles here knoweth!" Man at right, brandishing chair and holding bag marked $6908, rails at their impudence and tells them to "get out of the house."|Copyright by H.R. Robinson.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

The cartoonist mocks the opportunism evident in Winfield Scott's endorsement of both the abolitionist cause and the Missouri Compromise. Scott, in military uniform, is seated at a table with a plate of soup before him. He lifts his spoon from the plate and finds in it a kneeling black man, with arms outstretched saying, "Dis poor nigger am like Jonah, when de men would'nt let him stay in de Ship; and de whale would'nt let him stay in de water." Scott observes, "Here's a predicament! first I shall have to swallow this nigger to please the north & then take a compromise emetic and deliver him up to please the south. Faugh! what a dose of Ginger, but I am anxious to serve the country at $25,000 pr Annum so down he goes." Appearing from out of the steam is a Southern planter who remarks, "I should think from the flavor of the Generals last plate of Soup that my darkey had tumbled into it. I've heard of 'Green Turtle' and 'Mock Turtle' but that would be a pretty Strong dish of 'Black Turtle." For the origin of the perennial joke about Scott's "hasty plate of soup," see "Distinguished Military Operations" (no. 1846-15). The style of "A Dish of Black Turtle" is similar to that of John L. Magee's "A Magnificent Offer to a Magnificent Officer" (no. 1852-27), and is probably by the same artist.|For sale No. 2 Spruce St. N.Y.|Probably drawn by John L. Magee.|Pub. by P. Smith [i.e., Nathaniel Currier] N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 109.|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 1852-28.

The satire apparently perceives President Polk's reinstatement of Winfield Scott over Zachary Taylor as commander of U.S. forces in the Mexican War in November 1846 as an attempt to squelch the extreme personal popularity won by Taylor through dazzling early victories at Palo Alto, Resaca de la Palma, and Monterey. Scott (center) is shown emptying a large tureen of soup onto Taylor, saying "Take that! you're my subordinate!" The "hasty bowl of soup" was a recurring jibe which haunted Scott throughout the rest of his public career. (See also "Battle of Cerro Gordo" and "Battle of Churubusco," nos. 1847-2 and 1847-3.) It originated in Scott's opening comment in a May 25, 1846, letter to Secretary of War William L. Marcy protesting his removal as commander, "Your letter of this date, received at about 6 p.m., as I sat down to take a hasty plate of soup . . ." Here Scott is urged on by Polk (right), who says, "That's right Scott, we must Smother him [i.e., Taylor]!" Scott asks Taylor, "Where were you when I was ordering my hasty plate of Soup?" Taylor, in his customary wide-brimmed hat and simple civilian coat, is in marked contrast to the elegantly uniformed Scott. As a troop of soldiers at attention looks on, Taylor bears the indignity, responding, "Please your Excellency and Commander in Chief I was at the Pallo Alto, Resaca de la Palma, & Monterey." One of the soldiers adds, punning on Taylor'a name, "Aye Aye, the People will put him right, although he's a Taylor he "leads" to danger and dont "follow" suit." Although unsigned the print is quite close in drawing, if not in political bias, to Edward Williams Clay's pro-Scott "Santa Anna Declining a Hasty Plate of Soup at Cerro Gordo" (no. 1847-4). The similarity between the portraits of Scott in the two prints is especially convincing evidence of Clay's authorship.|Drawn by Edward Williams Clay, 1846 or early 1847.|H.R. Robinson's Lith. 142 Nassau St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 94.|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 1846-15.

A satire on the Van Buren administration's involvement in New York State politics. Although the precise context of the cartoon is unclear, specific reference is made to Van Buren's alliance with postmaster general and political strategist Amos Kendall against Senator Nathaniel P. Tallmadge, leader of the conservative faction of New York Democrats. In an interior, Kendall (left) and Van Buren are at a table strewn with "discharge" papers. Kendall, seated below a painting of Andrew Jackson titled "Glory," reads the "Globe" newspaper. Van Buren sits below a portrait of "Globe" editor and administration apologist Francis Preston Blair. Van Buren: "So they've nailed that infernal Tallmadge to the counter-Whole hog fellows these eighteen-we must show our gratitude-any room in your concern Amos?" Kendall: "You're right sir we must back up the Albany Boys. Ill send every d--md whig in my department to "Jones" locker. Theres that old superanuated hero Van Ranselaer [i.e., probably, Canal Commissioner Stephen Van Rensselaer] we'll bury him decently and put a "Flagg" [State Comptroller Azariah C. Flagg] over him." Tallmadge watches from behind a curtain, saying "Those fellows can only conceive of mens souls as marketable commodities." Weitenkampf dates the print tentatively 1836, but the artist's rendering of Kendall is clearly based on Charles Fenderich's life portrait, etched by William W. Bannerman and published in the "United States Magazine and Democratic Review" in March 1838. The likeness of Tallmadge also appears to be from a Fenderich portrait copyrighted in 1839.|Printed & published by H.R. Robinson, 52 Cortlandt Street New York.|Title appears as it is written on the item.|Charles Fenderich, no. 2E7 and B2.|Weitenkampf, p. 43-44.|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 1838-2.

A crude nonpartisan satire, parodying all four candidates in the 1860 presidential election. A map of the United States hung on a wall is being torn apart by three of the candidates. Lincoln (far left) and Douglas tear at the western part of the country, as Breckinridge (center) attacks the South. The fourth, John Bell (right), stands on a stool trying to repair the northeastern section with a jar of "Spaldings," a widely marketed glue of the period. Several boxes of this adhesive appear, prominently labeled, at right. "Dividing the National Map" appears to be part of a series of satires by the same artist as "The Undecided Political Prize Fight" and "The Political Quadrille" (nos. 1860-22 and 1860-23).|Title appears as it is written on the item.|Weitenkampf, p. 121. |Wilson, p. 42-43.|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 1860-24.

An illustrated sheet music cover for a comic song, published "for the benefit of the Soldiers Home Fair, Milwaukee, Wis." The cover is adorned with a caricature of an obese Britannia, seated and holding a trident and shield. Printed in almost monochromatic neutral tones, the oval-format illustration imitates classical medallions or reliefs. The work expresses the abiding Northern resentment over British support of the Confederate war effort.|Signatures have evidently been obliterated, judging by the presence of scratching-out in the stone in the lower portion of the oval. |The Library's impression was deposited for copyright on June 28, 1865.|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 1865-10.

A satire directed against the United States Bank, showing the impact of Jackson's September 1833 order for the withdrawal of federal funds from the Bank and their distribution among state banks. In a bedchamber the Bank, portrayed as an obese woman, lies in bed vomiting coins "Deposites [sic]" into a basin "Manhattan Bank." Nearby are two other basins (filled) marked "Mechanics Bank" and "Bank of America," and two broken medicine vials labeled "Veto" and "Order for the Removal of the Deposites." Bank president Nicholas Biddle holds her head. Bank: "Oh! dear Nick! I am dreadful sick!" Biddle: "D--n that Doctor Jackson. This is the effect of his last prescription." At left stand Bank supporters Henry Clay, Daniel Webster and John Calhoun, as physicians in consultation. Clay: "What do you say to the application of my Patent American System?" Calhoun: "Doctor your American System won't do here. Desperate cases require desperate remedies, a few of the leaden pills of Nullification and some blood taken will suffice." Calhoun's reputation in the North was sorely affected by his leadership role in the southern Nullification effort of 1832. Webster (in the center): "I wonder how a few grains of Common Sense washed down with Boston Particular would do?" On the floor at left sits a man, no doubt a pro-Bank newspaper editor, holding a copy of the "National Gazette," moaning: "Alas! Alas! No more fees." Jackson and Major Jack Downing look in through a window at far left. Downing: "Why Gineral, I never know'd You was a Doctor before." Jackson: "No more I ain't Major Downing but I've read the American Family Physician and know what kind of a dose to give to clean out a foul stomach!"|Published and for sale wholesale and retail by Anthony Imbert at his Caricature Store no. 104 Broadway, New York.|Title appears as it is written on the item.|Helfand, p. 9.|Weitenkampf, p. 28-29.|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 1833-10.

Students will learn about the juxtaposition of image and text to define the social and psychological mood of the civil rights movement in the United States.

Oral History Interviews that bring students together with veterans help to foster empathy and make history come alive. This lessons offers a step-by-step guide to doing an oral history project with Vietnam War Veterans.

Students learn about the relocation of Japanese Americans during World War II. Through an analysis of Dorothea Lange's photographs, the "Pledge of Allegiance," and a U.S. government flyer from 1942, students discuss the complexities of U.S. history and politics.

This audio piece produced by KQED explores the life of Dorothy Arzner. Perhaps the most prolific female director in movie history, Arzner was the first woman to be accepted into the Directors Guild of America and is the inventor of the boom mic. She directed more than 20 unflinchingly feminist films from 1927 to 1943, before finishing her career teaching at UCLA’s film school, where she left a lasting impression on countless students, including Francis Ford Coppola. Anzner did, said, and filmed whatever she wanted and blazed a trail for the many who followed.

An illustrated unionist sheet music cover, condemning secessionist state South Carolina, and probably issued shortly after its Charleston Convention of December 20, 1860. (See "The Palmetto State Song," no. 1861-2.) Strongly militant in tone, the illustration shows an American soldier standing on the palmetto flag of South Carolina, which lies on the ground. The flag is partially draped over a broken military drum. Two cannonballs appear on the ground around it. The soldier holds a saber, whose point seems to pierce the Southern flag, and an American flag. Four lines of the song appear above the ilustration: "Down with the Traitors serpent flag! / Death to the wretch o'er whom it waves! / And let our heaven-born banner float / O'er freemen's Homes & Traitors' Graves!"|Chicago. A. Judson Higgins Publisher.|Entered . . . 1861 by A. Judson Higgins . . . Illinois.|Lith. Chas. Shober 109 Lake St. Chicago.|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 1861-3.

A pro-Jackson satire applauding the President's September 1833 order for the removal of federal deposits from the Bank of the United States. The combined opposition to this move from Bank president Nicholas Biddle, Senate Whigs led by Daniel Webster and Henry Clay, and the pro-Bank press are ridiculed. On the right, Jackson, cheered on by Major Jack Downing, holds aloft an "Order for the Removal of Public Money." Jackson: "Major Jack Downing. I must act in this case with energy and decision, you see the downfall of the party engine and corrupt monopoly!!" Downing: "Hurrah! General! if this don't beat skunkin, I'm a nigger, only see that varmint Nick how spry he is, he runs along like a Weatherfield Hog with an onion in his mouth." From the document emanate lightning bolts which topple the columns and pediment of the Bank, which crash down amidst fleeing public figures and Whig editors. Around them are strewn various newspapers and sheets with "Salary $6,000" and "Printing expenses "$80,000" printed on them. Henry Clay (at left, fallen): "Help me up! Webster! or I shall lose my stakes." Daniel Webster (far left): "There is a tide in the affairs of men, as Shakespeare says, so my dear CLay, look out for yourself." Nicholas Biddle, with the head and hoofs of an ass or demon, runs to the left: "It is time for me to resign my presidency." Two men flee with sacks of "fees." These fugitives may be newspaper editors Mordecai Manuel Noah and James Watson Webb, advocates of the Bank accused of being in the employ of Biddle.|Draw'd off from Natur by Zek. Downing, Neffu to Major Jack Downing.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N. York.|The print appears to be a reversed copy of a work of the same title by Edward Williams Clay, deposited for copyright in the New York District Court on October 5, 1833. Weitenkampf and Davison both list the Clay version.|Title appears as it is written on the item.|Century, p. 40. |Davison, no. 62.|Murrell, p. 127.|Weitenkampf, p. 29.|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 1833-9.