Photographs and Prints

The print may have appeared soon after the Confederate Congress passed a national conscription act on April 16, 1862, to strengthen its dwindling army of volunteers. The artist characterizes regular Confederate troops as unsavory, criminal types. Two of them (in uniform, left and center) have a well-dressed young gentleman in tow. The leader pulls on a rope around the reluctant recruit's neck, saying, "Come along you rascal!

A group of soldiers are relaxing along a fence during a break in the fight. They are engaging in activities such as smoking, conversing, playing cards, and cooking. Some men appear to be keeping watch while the others enjoy the lull.

Depicts 5 Union ironclad ships attacking Confederate fort while Union soldiers stand on the shore. Caption: "By the Gun-boats, commanded by Rear Admiral D. D. Porter, and the Union troops under Majr. Genl. McClernand; the number of Prisoners taken was 7000, being more than all the Federal forces in action, also 20 Guns, 8000 Stand of small arms and 200 army wagons, with herds of horses and mules.

Aerial view of an unidentified theatre

In late December 1860 three commissioners from the newly seceded state of South Carolina met with lame-duck President Buchanan to negotiate for possession of Fort Sumter, a federal installation in Charleston Harbor. Buchanan's attempts to stay the situation and South Carolina governor Francis Pickens's insistence on Union evacuation of the fort are ridiculed here. Pickens (left) holds a lit fuse to a giant Union cannon "Peacemaker," which is pointed at his own abdomen. He threatens, "Mr.

Depicts General Stoneman's Union cavalry fighting on horseback among wounded Confederate soldiers.

A line of soldiers patrol their lean-to camp located in a vast landscape. These soldiers are on picket duty, guarding the area outside of the main camp.

Lithograph from "The Microcosm of London" depicting a scene with Neptune seated in his horse drawn sea chariot

Four vignettes about the American Civil War on one sheet. Summary from: Library of Congress Print & Photographs The first shows an abandoned house, belonging to a soldier; the second shows a man carrying a beehive and some men struggling to milk a cow; the third depicts a landscape with a party of men on horseback; and the fourth shows an experienced soldier with his horse.

The piece depicts two differeing strategies in getting the southern states to obey the law under President Lincoln. Lincoln is holding a bayonet to the chest of slave owner, demanding he submit to the goverment and law of the nation. McClellan is doing so peacefully, holding an olive branch up to an angry slave owner.

Four men on horseback travel along a trail, aiming to forage for supplies and materials.

An angered response to false Confederate peace overtures and to the push for reconciliation with the South advanced by the Peace Democrats in 1864. (See also "The Sportsman Upset by the Recoil of His Own Gun," no. 1864-32.) Confederate general Robert E. Lee and president Jefferson Davis (center) stand back-to-back trying to ward off an attack by Northern officers (from left to right) Philip H. Sheridan, Ulysses S. Grant, David G. Farragut, and William T. Sherman.

In a rare pro-Democrat cartoon presidential aspirant George Brinton McClellan is portrayed as the intermediary between Abraham Lincoln and Confederacy president Jefferson Davis. Gen. McClellan is in the center acting as a go-between in a tug-of-war over a "Map of the United States" engaged in by Lincoln (left) and Davis.

An election year cartoon measuring Democratic candidate McClellan's military failures against the recent successes of his successor, Ulysses S. Grant. At right Grant, portrayed as a bulldog wearing a collar labeled "Lieut. General" and epaulets, sits pugnaciously on the tracks of the "Weldon Railroad," a Confederate supply route. He looks to Republican presidential incumbent Abraham Lincoln and boasts, "I'm bound to take it." Grant refers to the city of Richmond, here represented by a doghouse, in which cowers Confederate president Jefferson Davis.

News illustration in reference to celebrations in Paris honoring the 1856 Treaty of Paris, which settled the Crimean War between Russia and the alliance of the Ottoman Empire, British Empire, Second French Empire, and Kingdom of Sardinia.

The cartoon depicts John Bull telling a man Pat to not enlist with either of the "Belligerents" or he will not protect him if he's taken as a pirate. Pat responds that the stars and stripes he will be fighting for will proctect him.

A pro-Lincoln satire, deposited for copyright weeks before the 1860 presidential election. The contest is portrayed as a baseball game in which Lincoln has defeated (left to right) John Bell, Stephen A. Douglas, and John C. Breckinridge.

The Republicans' purported support of Negro rights is taken to an extreme here. Editor Horace Greeley (left) and candidate Abraham Lincoln (resting his elbow on a rail at right) stand on either side of a short black man holding a spear. The latter is the deformed African man recently featured at P.T.

Illustration of Astley's Amphitheatre, opened by Philip Astley in 1773. Scene shows a circus performance in progress on the stage it was rebuilt in 1803 after one of several fires. From "The Microcosms of London," a series of views with figures drawn by caricaturist T. Rowlandson and buildings by architectural draftsman A.C. Pugin.

Aquatint from "The Microcosm of London" depicting several circus characters on stage with oversized teaware.

The movement of several Southern states toward secession in early 1861 is portrayed as a doomed enterprise. The artist shows Florida, Alabama, Mississippi, and Louisiana, all represented by men riding donkeys, following the lead of South Carolina toward a cliff.

Translation of Caption: The covered Riding School of the Royal Court of Vienna, transformed into a salon by order of Her Majesty the Queen of Hungary and Bohemia on the occasion of the wedding of the most noble Prince Charles of Lorraine. This view shows one side of the hall more fully the other; the chandeliers hanging in the center are omitted.

Depicts a line of men and horse-drawn wagons transporting boxes of supplies

The piece depicts a Union charge after initial defeat, ending in the death of over 1200 rebel soldiers.