6 April
Stafford, Robert (fl. 1837-1866)
Autograph letter signed
Title: to Ma
GLC02618.089
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Subscribe for access to the vast offerings of the Gilder Lehrman Institute’s website. Your subscription will allow you to read the latest work of leading historians, join a growing community of history enthusiasts, view available images in the Gilder Lehrman Collection, and help support history education in classrooms nationwide.The Gilder Lehrman Institute’s website features
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American History: An Introduction provides ten classroom-ready American history units from Native Americans through the Civil Rights Movement. The box introduces critical topics in American history with hands-on activities including games, letters, poems, maps, songs, and posters. Document-based units encourage critical thinking and literacy skills for students. Ideal for grades 3–8, this box includes ten individual units.
Native Americans
The Colonial Era
The American Revolution
Making of a New Nation
Westward Expansion
Slavery and Abolition
The Civil War
A Nation of Immigrants, 1850–1938
Freedom to Move places the history of immigration within a framework of movement and the restriction of movement, a theme that connects the histories of American Indians, enslaved and free Africans, immigrants, and emigrants. The resource book is organized into seven historical periods that features introductions and documents related to the stories of more than sixty immigrants and migrants, encouraging students and teachers to consider links among the stories of men and women spanning three centuries.
Each volume of the History in a Box series includes:
A resource book with annotated
Timelines are a useful tool for teachers of every grade level. These visual chronologies help students put events into perspective and better undertand how historical moments fit together. This timeline chronicles major events in immigration and migration from 1607 to 2003.
Poster Caption: This pictorial history of African American people in America was designed as a poster for the Negro Exhibition Building at the Tennessee Centennial Exposition, Nashville, 1897. Each scene captures a moment or figure in African American history from the introduction of the first slaves in Jamestown in 1619 and the death of Crispus (here, Christopher) Attucks in the Revolutionary era, to the lives of Frederick Douglass, Booker T. Washington, and all the ordinary black people chronicled at lower right. (Goes Litho. Co., Chicago, Ill., 1897)
These posters are 22" x 30", full color
Poster Caption: Despite inaccuracies in scale and detail, this 1733 map shows the sweep of British colonial possessions in the New World set amidst their French and Spanish counterparts. (Map of the British Empire, by Henry Popple, published in London, 1733)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Poster Caption: As tensions heightened following the Boston Massacre of March 1770, Paul Revere published this engraving that recalls the military occupation of Boston by the British army and navy in 1768. Protests against British taxes and policies boiled up in the late 1760s and early 1770s until war broke out in April 1775 at Lexington and Concord. (Print by Paul Revere, Boston, Mass., 1770)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Poster Caption: This hand-colored engraving by Paul Revere, patriot and artisan, elevates a street skirmish in Boston in 1770 into a “Massacre.” A brilliant piece of propaganda, it stirred the colonists against the British government. (Paul Revere, 1770)
These posters are 22" x 30", full color, and printed on a semi-gloss white stock. Each one features a caption that places the image in historical context.
Poster Caption: Copies of the Philadelphia printing of the Declaration of Independence (July 4, 1776) were sent to the thirteen colonies and then reprinted locally to spread the news to outlying areas. On the left is the Philadelphia 1776 version of the Declaration, as reprinted in 1823 by order of President John Quincy Adams, who worried that the 1776 document would be lost. On the right is the only surviving copy of the Charleston, South Carolina 1776 printing, recently rediscovered. Note that by signing his name, the printer, Peter Timothy, literally put his life on the line.
These posters
Poster Caption: Runaway slave ads were a reality in America as long as slavery existed, as these two broadsides from Maryland in 1791 and Missouri in 1852 attest. Under close scrutiny, the lives of particular slaves begin to emerge in fragmentary details, including names, physical descriptions, talents, personalities, and other hints of their individuality. (Left: Runaway slave broadside, Frederick County, Maryland, 1791. Right: Runaway slave broadside, St. Louis, Missouri, 1852)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that
Poster Caption: The flag represents an abolitionist reconfiguration of the United States, deliberately excluding the slave states of the South. The twenty stars represent the free and border states in 1859, while the four stripes representing the slave-holding states of Georgia, South Carolina, North Carolina, and Virginia have been eliminated, leaving stripes for nine of the original thirteen states. This flag was discovered in 1996 at a tavern frequented by abolitionists in Cherry Valley, Ohio, where one of the sons of the militant abolitionist John Brown lived.
These posters are 22" x 30
Poster Caption: The raid on Harpers Ferry, Virginia (now West Virginia), by the militant abolitionist John Brown on October 16, 1859, polarized a nation already divided on the question of slavery. The attack convinced Southerners that their political and economic survival was threatened, while Brown’s execution rallied Northern abolitionists. After his execution, artists and writers popularized the story of Brown blessing an African American child on his way to the gallows. After the abolitionists’ goal of emancipation had been realized at the end of the Civil War, artist Thomas Satterwhite
Poster Caption: Newly nominated presidential candidate Abraham Lincoln, photographed two weeks after the Republican National Convention in Chicago that catapulted him to national prominence and, ultimately, the Presidency. (Photograph taken June 3, 1860, by Alexander Hesler, Springfield, Illinois)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Poster Caption: Two of the nineteen images sketched by a private in the Union army (Henry Berckhoff, Company B, 8th New York Infantry) offer glimpses into a soldier’s life during the Civil War: a scene in camp near Hunter’s Chapel, Virginia, in 1861, and a fiery battle at Haymarket, Virginia, in 1862. (Watercolors by Henry Berckhoff, 1861–1863)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Poster Caption: This map of the United States in 1862, amidst the Civil War, shows the Confederate states in pink, the Union states and territories in green, and the border slave-holding states and territories in yellow.
These posters are 22" x 30", full color, and printed on a semi-gloss white stock. Each one features a caption that places the image in historical context.
Designed by a 14-year-old Californian and signed by Abraham Lincoln, this unique copy of the Emancipation Proclamation conveys in its layout the precision with which the President crafted this monumental document. (Engraving published in San Francisco, California, 1864)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Poster Caption: This 1863 photograph of two recently emancipated children from New Orleans was used in a fundraising campaign to support schools and social programs for former slaves in Louisiana. The complexity of racial categories and the legacy of the “one drop” rule are readily evident. (Photograph by Kimball, New York, NY, 1863)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Poster Caption: Having emancipated herself from slavery in New York in 1826, Sojourner Truth (ca. 1797–1883) went on to become a leading abolitionist and advocate for the rights of African Americans and women. This 1864 photograph was widely reproduced to raise funds for her work on the behalf of newly freed slaves.
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Poster Caption: Delivered when the defeat of the Confederacy was known to be imminent, this address reflects both President Lincoln’s forgiveness toward the South and his eloquent use of language. The blue ink is significant: copies published after Lincoln’s death (April 15, 1865) were printed in black, as a gesture of mourning. (Broadside, ca. March 4–early April 1865)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Here legislation takes symbolic form. The artist depicts African Americans’ hopes arising from the passage of the Fifteenth Amendment in 1870: education, family life, jobs, and the vote. Among the collage of images are portraits of Frederick Douglass, John Brown, and Abraham Lincoln. (Broadside published in New York, NY, 1870)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Poster Caption: In 1871, a partnership of ordinary citizens and railroad executives persuaded government officials to withhold a large portion of Wyoming Territory from a public land auction, in recognition of its importance as an example of the grandeur and diversity of America’s natural resources. An Act of Congress in 1872, signed by President Ulysses S. Grant, made Yellowstone the first national park in the world. Since then, the United States has designated nearly 400 national parks, sites, and monuments to preserve the nation’s natural, historical, and cultural heritage. (Photograph of
Poster Caption: Theodore Roosevelt, twenty-sixth president, sits at his desk in 1906, the year he created two national parks (Platt and Mesa Verde) and five national monuments (among them Petrified Forest New Mexico), and was awarded the Nobel Peace Prize for his role in negotiating the Portsmouth Treaty, ending the Russo-Japanese War in 1905. (Photograph by Harris and Ewing, Washington, DC, 1906)
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.
Poster Caption: These two political broadsides, one from New Jersey, the other from New York, present separate but parallel reasons for men and women to support the women’s suffrage movement. Begun in the 1840s, the political struggle culminated with the ratification of the Nineteenth Amendment in 1920, enfranchising women as voters. (Left: Broadside printed for the New Jersey Woman Suffrage Association, Plainfield, New Jersey, ca. 1915; Right: Broadside printed for the Woman Suffrage Party of the City of New York, New York, 1915)
These posters are 22" x 30", full color, and printed on a
Poster Caption: These suffragists demonstrating in New York in 1917 were part of a larger movement dating back to the mid 1800s. The suffragist marches of the early 20th century became a powerful tool in shaping public opinion, and their techniques would be revived during the Civil Rights Movement of the 1960s. The Nineteenth Amendment, ratified in 1920, finally guaranteed women the right to vote.
These posters are 22" x 30", full color, and printed on a semi-gloss white stock. Each one features a caption that places the image in historical context.
Poster Caption: This multilingual poster of 1917 offers assistance to immigrants whose lives had been uprooted by World War I. The translations into German, Hungarian, Czech, Hebrew, and Italian reflect the home countries of large numbers of people recently arrived in the United States.
These posters are 22" x 30", full color, and printed on a semi-gloss ivory stock. Each one features a caption that places the image in historical context.