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General Andrew Jackson, the hero of New Orleans in the War of 1812, Jan. 8, 1815. Colored lithograph published by E. C. Kellogg for the popular market. The images is derived from an 1819 painting by John Vanderlyn (lithograph)
General Andrew Jackson, the hero of New Orleans in the War of 1812, Jan. 8, 1815. Colored lithograph published by E. C. Kellogg for the popular market. The images is derived from an 1819 painting by John Vanderlyn (lithograph)

EVB7068143: General Andrew Jackson, the hero of New Orleans in the War of 1812, Jan. 8, 1815. Colored lithograph published by E. C. Kellogg for the popular market. The images is derived from an 1819 painting by John Vanderlyn (lithograph), Vanderlyn, John (1775-1852) (after) / Bridgeman Images

ID: EVB7068143

General Andrew Jackson, the hero of New Orleans in the War of 1812, Jan. 8, 1815. Colored lithograph published by E. C. Kellogg for the popular market. The images is derived from an 1819 painting by John Vanderlyn (lithograph)

Vanderlyn, John (1775-1852) (after)

Captain Isaac Hull, mezzotint engraving after Gilbert Stuart portrait, 1813. Hull commanded the USS Constitution in her victory over the a HMS Guerriere, August 19, 1812, during the War of 1812
Captain Isaac Hull, mezzotint engraving after Gilbert Stuart portrait, 1813. Hull commanded the USS Constitution in her victory over the a HMS Guerriere, August 19, 1812, during the War of 1812

EVB7068150: Captain Isaac Hull, mezzotint engraving after Gilbert Stuart portrait, 1813. Hull commanded the USS Constitution in her victory over the a HMS Guerriere, August 19, 1812, during the War of 1812 / Bridgeman Images

ID: EVB7068150

Captain Isaac Hull, mezzotint engraving after Gilbert Stuart portrait, 1813. Hull commanded the USS Constitution in her victory over the a HMS Guerriere, August 19, 1812, during the War of 1812

Thomas Jefferson in a full length portrait by Thomas Sully, made when Jefferson was 73 years old. Jefferson sat for Sully at Monticello in March 1821 as the artist made studies for this painting, which was commissioned by the U.S. Military Academy at West Point (oil on canvas)
Thomas Jefferson in a full length portrait by Thomas Sully, made when Jefferson was 73 years old. Jefferson sat for Sully at Monticello in March 1821 as the artist made studies for this painting, which was commissioned by the U.S. Military Academy at West Point (oil on canvas)

EVB7068153: Thomas Jefferson in a full length portrait by Thomas Sully, made when Jefferson was 73 years old. Jefferson sat for Sully at Monticello in March 1821 as the artist made studies for this painting, which was commissioned by the U.S. Military Academy at West Point (oil on canvas) / Bridgeman Images

ID: EVB7068153

Thomas Jefferson in a full length portrait by Thomas Sully, made when Jefferson was 73 years old. Jefferson sat for Sully at Monticello in March 1821 as the artist made studies for this painting, which was commissioned by the U.S. Military Academy at West Point (oil on canvas)

John Marshall, Chief Justice of the Supreme Court. The portrait was painted by Eliphalet F. Andrews, after Henry Inman. Andrews specialized in fulfilling commission to copy earlier works of esteemed Americans, for display in federal, state, and local institutions (oil on canvas)
John Marshall, Chief Justice of the Supreme Court. The portrait was painted by Eliphalet F. Andrews, after Henry Inman. Andrews specialized in fulfilling commission to copy earlier works of esteemed Americans, for display in federal, state, and local institutions (oil on canvas)

EVB7068168: John Marshall, Chief Justice of the Supreme Court. The portrait was painted by Eliphalet F. Andrews, after Henry Inman. Andrews specialized in fulfilling commission to copy earlier works of esteemed Americans, for display in federal, state, and local institutions (oil on canvas) / Bridgeman Images

ID: EVB7068168

John Marshall, Chief Justice of the Supreme Court. The portrait was painted by Eliphalet F. Andrews, after Henry Inman. Andrews specialized in fulfilling commission to copy earlier works of esteemed Americans, for display in federal, state, and local institutions (oil on canvas)

Second Bank of the United States, Philadelphia, depicted in a 1830-31 hand-colored engraving. The Greek Revival building was designed by William Strickland. The facade echoes the Parthenon with its classic eight columned Doric order (engraving)
Second Bank of the United States, Philadelphia, depicted in a 1830-31 hand-colored engraving. The Greek Revival building was designed by William Strickland. The facade echoes the Parthenon with its classic eight columned Doric order (engraving)

EVB7068173: Second Bank of the United States, Philadelphia, depicted in a 1830-31 hand-colored engraving. The Greek Revival building was designed by William Strickland. The facade echoes the Parthenon with its classic eight columned Doric order (engraving), Strickland, William (1788-1854) / Bridgeman Images

ID: EVB7068173

Second Bank of the United States, Philadelphia, depicted in a 1830-31 hand-colored engraving. The Greek Revival building was designed by William Strickland. The facade echoes the Parthenon with its classic eight columned Doric order (engraving)

Strickland, William (1788-1854)

Thomas Jefferson in 1788 portrait by John Trumbull. Jefferson wears a uncustomary powered wig in this small oval format painting of 4.5 by 3.25 inches (oil on wood)
Thomas Jefferson in 1788 portrait by John Trumbull. Jefferson wears a uncustomary powered wig in this small oval format painting of 4.5 by 3.25 inches (oil on wood)

EVB7068177: Thomas Jefferson in 1788 portrait by John Trumbull. Jefferson wears a uncustomary powered wig in this small oval format painting of 4.5 by 3.25 inches (oil on wood), Trumbull, John (1756-1843) / Bridgeman Images

ID: EVB7068177

Thomas Jefferson in 1788 portrait by John Trumbull. Jefferson wears a uncustomary powered wig in this small oval format painting of 4.5 by 3.25 inches (oil on wood)

Trumbull, John (1756-1843)

John Wilkes Booth, the assassin of Abraham Lincoln, c.1855-60 9b/w photo)
John Wilkes Booth, the assassin of Abraham Lincoln, c.1855-60 9b/w photo)

EVB7068193: John Wilkes Booth, the assassin of Abraham Lincoln, c.1855-60 9b/w photo) / Bridgeman Images

ID: EVB7068193

John Wilkes Booth, the assassin of Abraham Lincoln, c.1855-60 9b/w photo)

United States Centennial Exhibition 1876. African Americans surround the Italian artist Francesco Pezzicars statue, THE FREED SLAVE. This was the sculpture's debut exhibition. The monumental figure of a lone man, clutching Lincolns Proclamation, and breaking his chains received a gold medal
United States Centennial Exhibition 1876. African Americans surround the Italian artist Francesco Pezzicars statue, THE FREED SLAVE. This was the sculpture's debut exhibition. The monumental figure of a lone man, clutching Lincolns Proclamation, and breaking his chains received a gold medal

EVB7068204: United States Centennial Exhibition 1876. African Americans surround the Italian artist Francesco Pezzicars statue, THE FREED SLAVE. This was the sculpture's debut exhibition. The monumental figure of a lone man, clutching Lincolns Proclamation, and breaking his chains received a gold medal / Bridgeman Images

ID: EVB7068204

United States Centennial Exhibition 1876. African Americans surround the Italian artist Francesco Pezzicars statue, THE FREED SLAVE. This was the sculpture's debut exhibition. The monumental figure of a lone man, clutching Lincolns Proclamation, and breaking his chains received a gold medal

John Wilkes, the assassin of President Abraham Lincoln, dying from a soldier's bullet, is dragged from a burning barn, April 26, 1865. At far right, four soldiers hold Booth's flight partner and co-conspirator, David Herold. Wood engraving From Frank Leslies' Illustrated Newspaper (wood engraving)
John Wilkes, the assassin of President Abraham Lincoln, dying from a soldier's bullet, is dragged from a burning barn, April 26, 1865. At far right, four soldiers hold Booth's flight partner and co-conspirator, David Herold. Wood engraving From Frank Leslies' Illustrated Newspaper (wood engraving)

EVB7068212: John Wilkes, the assassin of President Abraham Lincoln, dying from a soldier's bullet, is dragged from a burning barn, April 26, 1865. At far right, four soldiers hold Booth's flight partner and co-conspirator, David Herold. Wood engraving From Frank Leslies' Illustrated Newspaper (wood engraving) / Bridgeman Images

ID: EVB7068212

John Wilkes, the assassin of President Abraham Lincoln, dying from a soldier's bullet, is dragged from a burning barn, April 26, 1865. At far right, four soldiers hold Booth's flight partner and co-conspirator, David Herold. Wood engraving From Frank Leslies' Illustrated Newspaper (wood engraving)

War of 1812. Battle of the Thames, aka Battle of Moraviantown, Oct. 5, 1812. At lower right, Col. Richard Johnson shoots Tecumseh dead with his pistol. At far right the senior commanders observe the combat. In background, Col. James Johnson of the Kentucky Volunteers battle with British soldiers (lithograph)
War of 1812. Battle of the Thames, aka Battle of Moraviantown, Oct. 5, 1812. At lower right, Col. Richard Johnson shoots Tecumseh dead with his pistol. At far right the senior commanders observe the combat. In background, Col. James Johnson of the Kentucky Volunteers battle with British soldiers (lithograph)

EVB7068222: War of 1812. Battle of the Thames, aka Battle of Moraviantown, Oct. 5, 1812. At lower right, Col. Richard Johnson shoots Tecumseh dead with his pistol. At far right the senior commanders observe the combat. In background, Col. James Johnson of the Kentucky Volunteers battle with British soldiers (lithograph) / Bridgeman Images

ID: EVB7068222

War of 1812. Battle of the Thames, aka Battle of Moraviantown, Oct. 5, 1812. At lower right, Col. Richard Johnson shoots Tecumseh dead with his pistol. At far right the senior commanders observe the combat. In background, Col. James Johnson of the Kentucky Volunteers battle with British soldiers (lithograph)

The High Commission in session in Washington, was formed to resolve the deadlock in the 1876 presidential election. They settled on the Compromise of 1877, an informal, unwritten deal, that settled the intensely disputed 1876 US presidential election. As a result the Republican candidate, Rutherford Hayes, became President, and the Federal Government abandoned post war Reconstruction of the South withdrawing the Federal Troops who protected African Americans civil rights
The High Commission in session in Washington, was formed to resolve the deadlock in the 1876 presidential election. They settled on the Compromise of 1877, an informal, unwritten deal, that settled the intensely disputed 1876 US presidential election. As a result the Republican candidate, Rutherford Hayes, became President, and the Federal Government abandoned post war Reconstruction of the South withdrawing the Federal Troops who protected African Americans civil rights

EVB7068223: The High Commission in session in Washington, was formed to resolve the deadlock in the 1876 presidential election. They settled on the Compromise of 1877, an informal, unwritten deal, that settled the intensely disputed 1876 US presidential election. As a result the Republican candidate, Rutherford Hayes, became President, and the Federal Government abandoned post war Reconstruction of the South withdrawing the Federal Troops who protected African Americans civil rights / Bridgeman Images

ID: EVB7068223

The High Commission in session in Washington, was formed to resolve the deadlock in the 1876 presidential election. They settled on the Compromise of 1877, an informal, unwritten deal, that settled the intensely disputed 1876 US presidential election. As a result the Republican candidate, Rutherford Hayes, became President, and the Federal Government abandoned post war Reconstruction of the South withdrawing the Federal Troops who protected African Americans civil rights

South Carolina legislature passing an appropriation bill during the Reconstruction era. From 1866-1876, the government of the state was in the hands of Republicans, including Republican African Americans. After the passage of the Reconstruction Acts of 1867, the 'Union League' mobilized the African American population to elect Republican majority state governments in most former Confederacy
South Carolina legislature passing an appropriation bill during the Reconstruction era. From 1866-1876, the government of the state was in the hands of Republicans, including Republican African Americans. After the passage of the Reconstruction Acts of 1867, the 'Union League' mobilized the African American population to elect Republican majority state governments in most former Confederacy

EVB7068224: South Carolina legislature passing an appropriation bill during the Reconstruction era. From 1866-1876, the government of the state was in the hands of Republicans, including Republican African Americans. After the passage of the Reconstruction Acts of 1867, the 'Union League' mobilized the African American population to elect Republican majority state governments in most former Confederacy / Bridgeman Images

ID: EVB7068224

South Carolina legislature passing an appropriation bill during the Reconstruction era. From 1866-1876, the government of the state was in the hands of Republicans, including Republican African Americans. After the passage of the Reconstruction Acts of 1867, the 'Union League' mobilized the African American population to elect Republican majority state governments in most former Confederacy

Rufus King was the Federalist Party's last presidential nominee, in the 1816, which he lost overwhelmingly to James Monroe. During the American Revolution, he represented Massachusetts in the Continential Congress and was a signer of the US Constitution
Rufus King was the Federalist Party's last presidential nominee, in the 1816, which he lost overwhelmingly to James Monroe. During the American Revolution, he represented Massachusetts in the Continential Congress and was a signer of the US Constitution

EVB7068236: Rufus King was the Federalist Party's last presidential nominee, in the 1816, which he lost overwhelmingly to James Monroe. During the American Revolution, he represented Massachusetts in the Continential Congress and was a signer of the US Constitution / Bridgeman Images

ID: EVB7068236

Rufus King was the Federalist Party's last presidential nominee, in the 1816, which he lost overwhelmingly to James Monroe. During the American Revolution, he represented Massachusetts in the Continential Congress and was a signer of the US Constitution

President Donald Trump, and Japan Prime Minister Shinzo Abe, watch the Sumo Grand Championship, at the Ryogoku Kokugikan Stadium in Tokyo. May 27, 2019 (photo)
President Donald Trump, and Japan Prime Minister Shinzo Abe, watch the Sumo Grand Championship, at the Ryogoku Kokugikan Stadium in Tokyo. May 27, 2019 (photo)

EVB7068241: President Donald Trump, and Japan Prime Minister Shinzo Abe, watch the Sumo Grand Championship, at the Ryogoku Kokugikan Stadium in Tokyo. May 27, 2019 (photo) / Bridgeman Images

ID: EVB7068241

President Donald Trump, and Japan Prime Minister Shinzo Abe, watch the Sumo Grand Championship, at the Ryogoku Kokugikan Stadium in Tokyo. May 27, 2019 (photo)

The Great New Madrid Earthquake, depicted a 19th-century wood engraving of 1877. There were three separate earthquakes, all estimated at over 7.0 in the Richter scale. The first hit on Dec. 16, 1811. On Jan. 23, 1812, the New Madrid North Fault ruptured. On Feb. 7, 1812 the strongest quake on Reelfoot Fault measured was 7.58.0. Its epicenter was near New Madrid, Missouri, which was destroyed. In St. Louis, Missouri, many houses were damaged, with their chimneys toppled
The Great New Madrid Earthquake, depicted a 19th-century wood engraving of 1877. There were three separate earthquakes, all estimated at over 7.0 in the Richter scale. The first hit on Dec. 16, 1811. On Jan. 23, 1812, the New Madrid North Fault ruptured. On Feb. 7, 1812 the strongest quake on Reelfoot Fault measured was 7.58.0. Its epicenter was near New Madrid, Missouri, which was destroyed. In St. Louis, Missouri, many houses were damaged, with their chimneys toppled

EVB7068246: The Great New Madrid Earthquake, depicted a 19th-century wood engraving of 1877. There were three separate earthquakes, all estimated at over 7.0 in the Richter scale. The first hit on Dec. 16, 1811. On Jan. 23, 1812, the New Madrid North Fault ruptured. On Feb. 7, 1812 the strongest quake on Reelfoot Fault measured was 7.58.0. Its epicenter was near New Madrid, Missouri, which was destroyed. In St. Louis, Missouri, many houses were damaged, with their chimneys toppled / Bridgeman Images

ID: EVB7068246

The Great New Madrid Earthquake, depicted a 19th-century wood engraving of 1877. There were three separate earthquakes, all estimated at over 7.0 in the Richter scale. The first hit on Dec. 16, 1811. On Jan. 23, 1812, the New Madrid North Fault ruptured. On Feb. 7, 1812 the strongest quake on Reelfoot Fault measured was 7.58.0. Its epicenter was near New Madrid, Missouri, which was destroyed. In St. Louis, Missouri, many houses were damaged, with their chimneys toppled

Two new executive office buildings were sited about 200 feet east and west of White House. Designed and built by James Hoban they housed the State and Treasury department. 1821 water color by artist, Baroness Anne-Marguerite-Henriette Hyde de Neuville, wife of the French ambassador to the US from 1816 to 1822 (watercolour)
Two new executive office buildings were sited about 200 feet east and west of White House. Designed and built by James Hoban they housed the State and Treasury department. 1821 water color by artist, Baroness Anne-Marguerite-Henriette Hyde de Neuville, wife of the French ambassador to the US from 1816 to 1822 (watercolour)

EVB7068264: Two new executive office buildings were sited about 200 feet east and west of White House. Designed and built by James Hoban they housed the State and Treasury department. 1821 water color by artist, Baroness Anne-Marguerite-Henriette Hyde de Neuville, wife of the French ambassador to the US from 1816 to 1822 (watercolour), Hyde de Neuville, Anne Marguerite (c.1749-1849) / Bridgeman Images

ID: EVB7068264

Two new executive office buildings were sited about 200 feet east and west of White House. Designed and built by James Hoban they housed the State and Treasury department. 1821 water color by artist, Baroness Anne-Marguerite-Henriette Hyde de Neuville, wife of the French ambassador to the US from 1816 to 1822 (watercolour)

Hyde de Neuville, Anne Marguerite (c.1749-1849)

Andrew Jackson as the Great Father', sits in an armchair, holding two diminutive Native Americans on his lap, with others nearby at his feet. The 1835 cartoon satirizes Jackson's belief that the Indian Removal Act of 1830, was merciful and generous. In contrast, on the upper right is a framed picture of Columbia, with her foot on the head of a fallen foe
Andrew Jackson as the Great Father', sits in an armchair, holding two diminutive Native Americans on his lap, with others nearby at his feet. The 1835 cartoon satirizes Jackson's belief that the Indian Removal Act of 1830, was merciful and generous. In contrast, on the upper right is a framed picture of Columbia, with her foot on the head of a fallen foe

EVB7068270: Andrew Jackson as the Great Father', sits in an armchair, holding two diminutive Native Americans on his lap, with others nearby at his feet. The 1835 cartoon satirizes Jackson's belief that the Indian Removal Act of 1830, was merciful and generous. In contrast, on the upper right is a framed picture of Columbia, with her foot on the head of a fallen foe / Bridgeman Images

ID: EVB7068270

Andrew Jackson as the Great Father', sits in an armchair, holding two diminutive Native Americans on his lap, with others nearby at his feet. The 1835 cartoon satirizes Jackson's belief that the Indian Removal Act of 1830, was merciful and generous. In contrast, on the upper right is a framed picture of Columbia, with her foot on the head of a fallen foe

William Henry Harrison, daguerreotype credited to the photography studio of Southworth and Hawes, of Crawford Notch, New Hampshire, with dating circa 1850. Since Harrison died on April 4, 1841, this is likely a daguerreotype made from a painted or drawn portrait
William Henry Harrison, daguerreotype credited to the photography studio of Southworth and Hawes, of Crawford Notch, New Hampshire, with dating circa 1850. Since Harrison died on April 4, 1841, this is likely a daguerreotype made from a painted or drawn portrait

EVB7068274: William Henry Harrison, daguerreotype credited to the photography studio of Southworth and Hawes, of Crawford Notch, New Hampshire, with dating circa 1850. Since Harrison died on April 4, 1841, this is likely a daguerreotype made from a painted or drawn portrait / Bridgeman Images

ID: EVB7068274

William Henry Harrison, daguerreotype credited to the photography studio of Southworth and Hawes, of Crawford Notch, New Hampshire, with dating circa 1850. Since Harrison died on April 4, 1841, this is likely a daguerreotype made from a painted or drawn portrait

Whig Election Poster depicting Henry Clay for President and Theodore M. Frelinghuysen for Vice President, 1844 (print)
Whig Election Poster depicting Henry Clay for President and Theodore M. Frelinghuysen for Vice President, 1844 (print)

EVB7068281: Whig Election Poster depicting Henry Clay for President and Theodore M. Frelinghuysen for Vice President, 1844 (print), American School, (19th century) / Bridgeman Images

ID: EVB7068281

Whig Election Poster depicting Henry Clay for President and Theodore M. Frelinghuysen for Vice President, 1844 (print)

American School, (19th century)

Senator Henry Clay in 1843 portrait by Theodore Sidney Moise. In 1844 he was the leader of the Whig Party and its Presidential nominee against the Democrat, James Knox Polk. While this was Clay's strongest run for the presidency, Polk won the election, taking 49.5% of the popular vote and 170 of the 275 electoral votes. Clay returned to his career as an attorney in Lexington, Kentucky (oil on canvas)
Senator Henry Clay in 1843 portrait by Theodore Sidney Moise. In 1844 he was the leader of the Whig Party and its Presidential nominee against the Democrat, James Knox Polk. While this was Clay's strongest run for the presidency, Polk won the election, taking 49.5% of the popular vote and 170 of the 275 electoral votes. Clay returned to his career as an attorney in Lexington, Kentucky (oil on canvas)

EVB7068282: Senator Henry Clay in 1843 portrait by Theodore Sidney Moise. In 1844 he was the leader of the Whig Party and its Presidential nominee against the Democrat, James Knox Polk. While this was Clay's strongest run for the presidency, Polk won the election, taking 49.5% of the popular vote and 170 of the 275 electoral votes. Clay returned to his career as an attorney in Lexington, Kentucky (oil on canvas), Moise, Theodore Sidney (1808-85) / Bridgeman Images

ID: EVB7068282

Senator Henry Clay in 1843 portrait by Theodore Sidney Moise. In 1844 he was the leader of the Whig Party and its Presidential nominee against the Democrat, James Knox Polk. While this was Clay's strongest run for the presidency, Polk won the election, taking 49.5% of the popular vote and 170 of the 275 electoral votes. Clay returned to his career as an attorney in Lexington, Kentucky (oil on canvas)

Moise, Theodore Sidney (1808-85)

Henry Clay in 1846 portrait by James Reid Lambdin. His son, Henry Clay Jr., died at the Battle of Buena Vista in Feb. 1847. In November 1847, Clay returned to politics with a speech that vehemently critical of the Mexican-American War and President James Polk (oil on canvas)
Henry Clay in 1846 portrait by James Reid Lambdin. His son, Henry Clay Jr., died at the Battle of Buena Vista in Feb. 1847. In November 1847, Clay returned to politics with a speech that vehemently critical of the Mexican-American War and President James Polk (oil on canvas)

EVB7068283: Henry Clay in 1846 portrait by James Reid Lambdin. His son, Henry Clay Jr., died at the Battle of Buena Vista in Feb. 1847. In November 1847, Clay returned to politics with a speech that vehemently critical of the Mexican-American War and President James Polk (oil on canvas) / Bridgeman Images

ID: EVB7068283

Henry Clay in 1846 portrait by James Reid Lambdin. His son, Henry Clay Jr., died at the Battle of Buena Vista in Feb. 1847. In November 1847, Clay returned to politics with a speech that vehemently critical of the Mexican-American War and President James Polk (oil on canvas)

Daniel Webster, late 19th century lithograph based on an 1847 daguerreotype by John Whipple of Boston. Webster sought the Presidential nomination when Andrew Jackson and the Democratic Party dominated US politics. He is among the great US statesmen, who never became President
Daniel Webster, late 19th century lithograph based on an 1847 daguerreotype by John Whipple of Boston. Webster sought the Presidential nomination when Andrew Jackson and the Democratic Party dominated US politics. He is among the great US statesmen, who never became President

EVB7068290: Daniel Webster, late 19th century lithograph based on an 1847 daguerreotype by John Whipple of Boston. Webster sought the Presidential nomination when Andrew Jackson and the Democratic Party dominated US politics. He is among the great US statesmen, who never became President / Bridgeman Images

ID: EVB7068290

Daniel Webster, late 19th century lithograph based on an 1847 daguerreotype by John Whipple of Boston. Webster sought the Presidential nomination when Andrew Jackson and the Democratic Party dominated US politics. He is among the great US statesmen, who never became President

Canvassing for a Vote', 1853, hand-colored engraving by Regnier, after the 1852 original oil painting by George Caleb Bingham. Bingham painted from his personal experience as a politician. He was elected to the Missouri State Legislature, and held numerous appointed offices over three decades (lithograph)
Canvassing for a Vote', 1853, hand-colored engraving by Regnier, after the 1852 original oil painting by George Caleb Bingham. Bingham painted from his personal experience as a politician. He was elected to the Missouri State Legislature, and held numerous appointed offices over three decades (lithograph)

EVB7068301: Canvassing for a Vote', 1853, hand-colored engraving by Regnier, after the 1852 original oil painting by George Caleb Bingham. Bingham painted from his personal experience as a politician. He was elected to the Missouri State Legislature, and held numerous appointed offices over three decades (lithograph), Bingham, George Caleb (1811-79) (after) / Bridgeman Images

ID: EVB7068301

Canvassing for a Vote', 1853, hand-colored engraving by Regnier, after the 1852 original oil painting by George Caleb Bingham. Bingham painted from his personal experience as a politician. He was elected to the Missouri State Legislature, and held numerous appointed offices over three decades (lithograph)

Bingham, George Caleb (1811-79) (after)

Aaron Burr speaking to recruits for his scheme to found a personal western nation. Burr planned to help Mexico overthrow Spanish colonial rule, in exchange for territory to found his personal empire, possibly carved out of US land. Burr was tried for treason in United States Circuit court at Richmond, Virginia, with John Marshall presiding, in August 1807. He was found not guilty, for lack of evidence as required by the US Constitution
Aaron Burr speaking to recruits for his scheme to found a personal western nation. Burr planned to help Mexico overthrow Spanish colonial rule, in exchange for territory to found his personal empire, possibly carved out of US land. Burr was tried for treason in United States Circuit court at Richmond, Virginia, with John Marshall presiding, in August 1807. He was found not guilty, for lack of evidence as required by the US Constitution

EVB7068305: Aaron Burr speaking to recruits for his scheme to found a personal western nation. Burr planned to help Mexico overthrow Spanish colonial rule, in exchange for territory to found his personal empire, possibly carved out of US land. Burr was tried for treason in United States Circuit court at Richmond, Virginia, with John Marshall presiding, in August 1807. He was found not guilty, for lack of evidence as required by the US Constitution / Bridgeman Images

ID: EVB7068305

Aaron Burr speaking to recruits for his scheme to found a personal western nation. Burr planned to help Mexico overthrow Spanish colonial rule, in exchange for territory to found his personal empire, possibly carved out of US land. Burr was tried for treason in United States Circuit court at Richmond, Virginia, with John Marshall presiding, in August 1807. He was found not guilty, for lack of evidence as required by the US Constitution

President James Buchanan, 1857-61, surrounded by his Cabinet. Left to right: Jacob Thompson, Interior; Lewis Cass, State; Howell Cobb, Treasury; Jeremiah Black, Attorney General; Horatio King, Postmaster General; John B. Floyd, War; and Isaac Toucey, Navy
President James Buchanan, 1857-61, surrounded by his Cabinet. Left to right: Jacob Thompson, Interior; Lewis Cass, State; Howell Cobb, Treasury; Jeremiah Black, Attorney General; Horatio King, Postmaster General; John B. Floyd, War; and Isaac Toucey, Navy

EVB7068306: President James Buchanan, 1857-61, surrounded by his Cabinet. Left to right: Jacob Thompson, Interior; Lewis Cass, State; Howell Cobb, Treasury; Jeremiah Black, Attorney General; Horatio King, Postmaster General; John B. Floyd, War; and Isaac Toucey, Navy / Bridgeman Images

ID: EVB7068306

President James Buchanan, 1857-61, surrounded by his Cabinet. Left to right: Jacob Thompson, Interior; Lewis Cass, State; Howell Cobb, Treasury; Jeremiah Black, Attorney General; Horatio King, Postmaster General; John B. Floyd, War; and Isaac Toucey, Navy

Japanese print shows three men, high officers of the US quasi-military diplomatic mission of 1852-54, which opened Japan to the West. Left to right are Commander Anan, Commodore Matthew Perry, and Captain Henry Adams
Japanese print shows three men, high officers of the US quasi-military diplomatic mission of 1852-54, which opened Japan to the West. Left to right are Commander Anan, Commodore Matthew Perry, and Captain Henry Adams

EVB7068310: Japanese print shows three men, high officers of the US quasi-military diplomatic mission of 1852-54, which opened Japan to the West. Left to right are Commander Anan, Commodore Matthew Perry, and Captain Henry Adams / Bridgeman Images

ID: EVB7068310

Japanese print shows three men, high officers of the US quasi-military diplomatic mission of 1852-54, which opened Japan to the West. Left to right are Commander Anan, Commodore Matthew Perry, and Captain Henry Adams

Pharmacist posing in his business, the S. P. Peck Apothecary, possibly in Bennington, Vermont. The photo was likely taken between 1845-1860, by an itinerant daguerreotypist. This pharmacist poses behind the counter with the tools of his tradea mortar and pestle, apothecary jars, and measuring implements
Pharmacist posing in his business, the S. P. Peck Apothecary, possibly in Bennington, Vermont. The photo was likely taken between 1845-1860, by an itinerant daguerreotypist. This pharmacist poses behind the counter with the tools of his tradea mortar and pestle, apothecary jars, and measuring implements

EVB7068331: Pharmacist posing in his business, the S. P. Peck Apothecary, possibly in Bennington, Vermont. The photo was likely taken between 1845-1860, by an itinerant daguerreotypist. This pharmacist poses behind the counter with the tools of his tradea mortar and pestle, apothecary jars, and measuring implements / Bridgeman Images

ID: EVB7068331

Pharmacist posing in his business, the S. P. Peck Apothecary, possibly in Bennington, Vermont. The photo was likely taken between 1845-1860, by an itinerant daguerreotypist. This pharmacist poses behind the counter with the tools of his tradea mortar and pestle, apothecary jars, and measuring implements

The first American railway, the Mohawk and Hudson Railway ran from Albany to Schenectady, July 31, 1832. It was the first part of the New York Central Railway. The image is a lithograph showing passengers riding in coaches designed like stage coach bodies. The print's legend lists the names of the passengers and the specified cost of the locomotive which was imported from Great Britain
The first American railway, the Mohawk and Hudson Railway ran from Albany to Schenectady, July 31, 1832. It was the first part of the New York Central Railway. The image is a lithograph showing passengers riding in coaches designed like stage coach bodies. The print's legend lists the names of the passengers and the specified cost of the locomotive which was imported from Great Britain

EVB7068337: The first American railway, the Mohawk and Hudson Railway ran from Albany to Schenectady, July 31, 1832. It was the first part of the New York Central Railway. The image is a lithograph showing passengers riding in coaches designed like stage coach bodies. The print's legend lists the names of the passengers and the specified cost of the locomotive which was imported from Great Britain / Bridgeman Images

ID: EVB7068337

The first American railway, the Mohawk and Hudson Railway ran from Albany to Schenectady, July 31, 1832. It was the first part of the New York Central Railway. The image is a lithograph showing passengers riding in coaches designed like stage coach bodies. The print's legend lists the names of the passengers and the specified cost of the locomotive which was imported from Great Britain

The Niagara Falls Suspension Bridge completed by John Roebling in 1855, was the world's first working railway suspension bridge. It spanned 825 feet connecting Ontario, Canada to Niagara Falls, New York State, until replaced in 1897 by bridge that could support the new, heavier trains (lithograph)
The Niagara Falls Suspension Bridge completed by John Roebling in 1855, was the world's first working railway suspension bridge. It spanned 825 feet connecting Ontario, Canada to Niagara Falls, New York State, until replaced in 1897 by bridge that could support the new, heavier trains (lithograph)

EVB7068339: The Niagara Falls Suspension Bridge completed by John Roebling in 1855, was the world's first working railway suspension bridge. It spanned 825 feet connecting Ontario, Canada to Niagara Falls, New York State, until replaced in 1897 by bridge that could support the new, heavier trains (lithograph), Roebling, John Augustus (1806-69) / Bridgeman Images

ID: EVB7068339

The Niagara Falls Suspension Bridge completed by John Roebling in 1855, was the world's first working railway suspension bridge. It spanned 825 feet connecting Ontario, Canada to Niagara Falls, New York State, until replaced in 1897 by bridge that could support the new, heavier trains (lithograph)

Roebling, John Augustus (1806-69)

Washington-Baltimore stagecoach drawn by four horses, 1830-1834. The Phoenix Line, 'safety coaches' will make the 40 mile trip in about 5 hours. Six men sit inside the coach, and a road sign marks that Washington is 10 miles away (lithograph)
Washington-Baltimore stagecoach drawn by four horses, 1830-1834. The Phoenix Line, 'safety coaches' will make the 40 mile trip in about 5 hours. Six men sit inside the coach, and a road sign marks that Washington is 10 miles away (lithograph)

EVB7068346: Washington-Baltimore stagecoach drawn by four horses, 1830-1834. The Phoenix Line, 'safety coaches' will make the 40 mile trip in about 5 hours. Six men sit inside the coach, and a road sign marks that Washington is 10 miles away (lithograph) / Bridgeman Images

ID: EVB7068346

Washington-Baltimore stagecoach drawn by four horses, 1830-1834. The Phoenix Line, 'safety coaches' will make the 40 mile trip in about 5 hours. Six men sit inside the coach, and a road sign marks that Washington is 10 miles away (lithograph)

View of the upper village of Lockport, with the largest lock complex on the Erie Canal, in western New York State. Ca. 1840-60
View of the upper village of Lockport, with the largest lock complex on the Erie Canal, in western New York State. Ca. 1840-60

EVB7068347: View of the upper village of Lockport, with the largest lock complex on the Erie Canal, in western New York State. Ca. 1840-60 / Bridgeman Images

ID: EVB7068347

View of the upper village of Lockport, with the largest lock complex on the Erie Canal, in western New York State. Ca. 1840-60

Early passenger steamboat travel on the Hudson River, 1811-1813. Watercolor by Pavel Petrovich Svinin (watercolour)
Early passenger steamboat travel on the Hudson River, 1811-1813. Watercolor by Pavel Petrovich Svinin (watercolour)

EVB7068354: Early passenger steamboat travel on the Hudson River, 1811-1813. Watercolor by Pavel Petrovich Svinin (watercolour), Svinin, Pavel Petrovich (1788-1839) / Bridgeman Images

ID: EVB7068354

Early passenger steamboat travel on the Hudson River, 1811-1813. Watercolor by Pavel Petrovich Svinin (watercolour)

Svinin, Pavel Petrovich (1788-1839)

Slater Mill, Pawtucket, Rhode Island, photographed in 1890. The section of the building closest to the waterfall housed the gearing to transfer the water wheels rotary movement to drive gears of the factory's machinery
Slater Mill, Pawtucket, Rhode Island, photographed in 1890. The section of the building closest to the waterfall housed the gearing to transfer the water wheels rotary movement to drive gears of the factory's machinery

EVB7068364: Slater Mill, Pawtucket, Rhode Island, photographed in 1890. The section of the building closest to the waterfall housed the gearing to transfer the water wheels rotary movement to drive gears of the factory's machinery / Bridgeman Images

ID: EVB7068364

Slater Mill, Pawtucket, Rhode Island, photographed in 1890. The section of the building closest to the waterfall housed the gearing to transfer the water wheels rotary movement to drive gears of the factory's machinery

Unidentified Industrial complex on river bank, 1857, by James Fuller Queen. Most of James Queen's drawings and paintings were created near Philadelphia, southern New Jersey, and eastern Pennsylvania. However, in 1845 or 1846, he traveled to Pittsburgh, making it possible that this watercolor depicts an iron or steel mill in south western Pennsylvania (watercolour)
Unidentified Industrial complex on river bank, 1857, by James Fuller Queen. Most of James Queen's drawings and paintings were created near Philadelphia, southern New Jersey, and eastern Pennsylvania. However, in 1845 or 1846, he traveled to Pittsburgh, making it possible that this watercolor depicts an iron or steel mill in south western Pennsylvania (watercolour)

EVB7068378: Unidentified Industrial complex on river bank, 1857, by James Fuller Queen. Most of James Queen's drawings and paintings were created near Philadelphia, southern New Jersey, and eastern Pennsylvania. However, in 1845 or 1846, he traveled to Pittsburgh, making it possible that this watercolor depicts an iron or steel mill in south western Pennsylvania (watercolour), Queen, James Fuller (1824-c.1877) / Bridgeman Images

ID: EVB7068378

Unidentified Industrial complex on river bank, 1857, by James Fuller Queen. Most of James Queen's drawings and paintings were created near Philadelphia, southern New Jersey, and eastern Pennsylvania. However, in 1845 or 1846, he traveled to Pittsburgh, making it possible that this watercolor depicts an iron or steel mill in south western Pennsylvania (watercolour)

Queen, James Fuller (1824-c.1877)

The Plantation,' is a folk painting by an unknown artist, ca. 1825. In this symmetrically depicted plantation, the manor house is at top center, as if on a steep hill. The out buildings descend on both sides until land meets water, where a tall three-masted ship sails. The leaves of two trees fill the upper sides of the picture. The ocean going ship suggests the plantation is in a coastal of or tidewater region of the US east coast. A solitary man fishes at lower right (painting)
The Plantation,' is a folk painting by an unknown artist, ca. 1825. In this symmetrically depicted plantation, the manor house is at top center, as if on a steep hill. The out buildings descend on both sides until land meets water, where a tall three-masted ship sails. The leaves of two trees fill the upper sides of the picture. The ocean going ship suggests the plantation is in a coastal of or tidewater region of the US east coast. A solitary man fishes at lower right (painting)

EVB7068379: The Plantation,' is a folk painting by an unknown artist, ca. 1825. In this symmetrically depicted plantation, the manor house is at top center, as if on a steep hill. The out buildings descend on both sides until land meets water, where a tall three-masted ship sails. The leaves of two trees fill the upper sides of the picture. The ocean going ship suggests the plantation is in a coastal of or tidewater region of the US east coast. A solitary man fishes at lower right (painting) / Bridgeman Images

ID: EVB7068379

The Plantation,' is a folk painting by an unknown artist, ca. 1825. In this symmetrically depicted plantation, the manor house is at top center, as if on a steep hill. The out buildings descend on both sides until land meets water, where a tall three-masted ship sails. The leaves of two trees fill the upper sides of the picture. The ocean going ship suggests the plantation is in a coastal of or tidewater region of the US east coast. A solitary man fishes at lower right (painting)

A 1850 tobacco sign depicts men involved in a tobacco transaction on a pier. An ocean going ship sails in the distance, while large barrels of tobacco sit on the pier, possibly waiting for a buyer. The elaborately carved frame, displays a Caduceus, a Winged Rod With Twisting Serpents, suggesting the medical qualities once ascribed to tobacco. Above the Caduceus, is the winged cap of Hermes (Mercury) the god of trade (oil on wood)
A 1850 tobacco sign depicts men involved in a tobacco transaction on a pier. An ocean going ship sails in the distance, while large barrels of tobacco sit on the pier, possibly waiting for a buyer. The elaborately carved frame, displays a Caduceus, a Winged Rod With Twisting Serpents, suggesting the medical qualities once ascribed to tobacco. Above the Caduceus, is the winged cap of Hermes (Mercury) the god of trade (oil on wood)

EVB7068382: A 1850 tobacco sign depicts men involved in a tobacco transaction on a pier. An ocean going ship sails in the distance, while large barrels of tobacco sit on the pier, possibly waiting for a buyer. The elaborately carved frame, displays a Caduceus, a Winged Rod With Twisting Serpents, suggesting the medical qualities once ascribed to tobacco. Above the Caduceus, is the winged cap of Hermes (Mercury) the god of trade (oil on wood) / Bridgeman Images

ID: EVB7068382

A 1850 tobacco sign depicts men involved in a tobacco transaction on a pier. An ocean going ship sails in the distance, while large barrels of tobacco sit on the pier, possibly waiting for a buyer. The elaborately carved frame, displays a Caduceus, a Winged Rod With Twisting Serpents, suggesting the medical qualities once ascribed to tobacco. Above the Caduceus, is the winged cap of Hermes (Mercury) the god of trade (oil on wood)


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