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.

The inaugural online presentation of the Aaron Copland Collection at the Library of Congress celebrates the centennial of the birth of the American composer Aaron Copland (1900-1990). The multiformat Aaron Copland Collection from which the online collection derives spans the years 1910 to 1990 and includes approximately 400,000 items documenting the multifaceted life of an extraordinary person who was composer, performer, teacher, writer, conductor, commentator, and administrator. It comprises both manuscript and printed music, personal and business correspondence, diaries, writings, scrapbooks, programs, newspaper and magazine clippings, photographs, awards, books, sound recordings, and motion pictures.

The first release of the online collection contains approximately 1,000 items that yield a total of about 5,000 images. These items date from 1899 to 1981, with most from the 1920s through the 1950s, and were selected from Copland's music sketches, correspondence, writings, and photographs.

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.

A selection of Library of Congress primary sources exploring Abraham Lincoln and his national role. This set also includes a Teacher's Guide with historical context and teaching suggestions. Speeches, correspondence, campaign materials and a map documenting the free and slave states in 1856 chronicle Lincoln���s rise to national prominence

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.

Students use Library of Congress primary sources to examine how African-Americans in the Gilded Age were able to form a meaningful identity for themselves and reject the inferior images fastened upon them.

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.

Students use Library of Congress primary sources to identify problems and issues facing African Americans immediately after Reconstruction.