Credits
Part One Opener
Page 2 (Top): Lee Boltin Picture Library; 2 (Bottom): Museum of the History of Science, Oxford, Oxfordshire, UK/Bridgeman Art Library; 3: The Granger Collection, New York
Chapter 1
Page 4: Courtesy Museum of New Mexico, Neg. No 50884; 6: Kenneth Garrett/National Geographic Image Collection; 7: Lee Boltin Picture Library; 8: Pair of keros with frog motifs in repoussé, Middle Sícán, Peru, North Coast, Batán Grande, A.D. 850-1050, 14.4 H x 10.4 Diam. centimeters. Collection of Duke University Museum of Art, museum purchase (1993.7.1–2).; 11: The Ohio Historical Society; 12: Richard A. Cooke/CORBIS; 13: Museum of the History of Science, Oxford, Oxfordshire, UK/Bridgeman Art Library; 14: Topkapi Serail Museum/akg-images; 15: Courtesy of Bancroft Library, University of California, Berkeley (SF309 G7 M25 1769 pl.20); 19: The Pierpont Morgan Library/Art Resource, NY; 20: Bibliothèque nationale de France; 20: Excerpt from “These gods that we worship. . .” in Kenneth Mills and William B. Taylor, Colonial Spanish America: A Documentary History. Wilmington, DE: Scholarly Resources, 1998.; 22: The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California/SuperStock; 25: The New York Public Library; 28: © Copyright The Trustees of The British Museum
Chapter 2
Page 31: Leonard Harris/Stock, Boston, LLC; 35: Kevin Fleming/CORBIS; 36 (Top): Jerry Jacka Photography. All Rights Reserved; 36 (Bottom): Mission San Luis, Florida Division of Historical Resources; 38 (Top): Jomah Joseph, “Canoe Model, Passamoquoddy.” Thaw Collection, Fenimore Art Museum, Cooperstown, New York. Photo by John Bigelow Taylor, N.Y.C.; 38 (Bottom): Harry Engels/Photo Researchers, Inc.; 40: Collection of The New-York Historical Society, Neg. #1049; 43: Steve Rawls/National Geographic Image Collection; 46: Worcester Art Museum, Worcester, Massachusetts. Gift of Mr. and Mrs. Albert W. Rice; 47: Courtesy of the Harvard University Archives; 47: Anne Bradstreet, “Verses Upon the Burning of Our House, July 18, 1666,” 1666.; 50: Ashmolean Museum, Oxford
Chapter 3
Page 55: Courtesy, Peter Wood; 57: Réunion des Musées Nationaux/Art Resource, NY; 59 (Top): Museum Collections, Minnesota Historical Society; 59 (Bottom): The Granger Collection, New York; 61: William L. Clements Library, University of Michigan; 64: Harald Sund/The Image Bank/Getty Images; 67 (Top): The Granger Collection, New York; 67 (Bottom): The Pepys Library, Magdalenee College, Cambridge; 70: Courtesy, American Antiquarian Society; 72: Benjamin Henry Latrobe, “View of Greenspring House,” 1796. The Maryland Historical Society, Baltimore, Maryland; 73: Jan Wyck, “William III Landing at Brixham,Torbay,” 1688. © National Maritime Museum, London; 77: The New York Public Library; 78: © Copyright The Trustees of The British Museum
Part Two Opener
Page 82: Chicago History Museum, ICHi-x.1354; 83 (Top): Peabody Essex Museum. Photograph by Mark Sexton; 83 (Bottom): Library of Congress
Chapter 4
Page 84: Voyage Pittoresque dans le Bresil, Rugendas plate 10, 2nd part. The Newberry Library, Chicago; 86: © Copyright The Trustees of The British Museum, Museum of Mankind-The Ethnology Collection; 87: Anonymous, “Vue du Cap Francais et Du nvr La Marie Seraphique de Nantes,” 1772–1773. Le jour de l’Ouverture de sa Vente, Troisieme Voyage d’Angole. Musée du Château des Ducs de Bretagne (950.4.3); 89: Alice Ravenel Huger Smith, “The Threshing Floor with a Winnowing-House,” from the series, “A Carolina Rice Plantation of the Fifties, ca. 1935.” Watercolor on paper, Gibbes Museum of Art/Carolina Art Association, 37.09.22; 93: Buttolph-Williams House, Antiquarian & Landmarks Society ; 94: Public Domain; 95 (Top): Werner Forman/Art Resource, NY; 95 (Bottom): The Library of Congress; 99: Chicago History Museum, ICHi-x.1354; 100: Courtesy Florida Museum of Natural History. Photo by James Quine. ; 103: George Morland, “Traite Des Negres,” 1790–91. The Colonial Williamsburg Foundation; 103: “Releese Us Out of This Cruell Bondegg,.” An appeal from a Virginia slave, 1723.; 105: William Hogarth, “The Gaols Committee of the House of Commons,” ca. 1729. National Portrait Gallery, London.; 106: George Jones, “View of Savannah,” 1734. The I.N. Phelps Stokes Collection, The New York Public Library/Art Resource, NY;
Chapter 5
Page 110: Theodore Gentilz, “San Francisco del Espada en 1844.” Yanaguana Society Collection. Daughters of the Republic of Texas Library; 112: Harrison Begay (Navajo, b. 1917), “Night Chant Ceremonial Hunt,” 1947. Watercolor on paper. Museum purchase, The Philbrook Museum of Art, Tulsa, Oklahoma (1947.40); 113: Charm, c. 1870. Potawatomi.The Detroit Institute of Arts, Founders Society Purchase (81.614). Photograph ©1992 The Detroit Institute of Arts.; 117 (Figure): Excerpted from “Gender and Age Structure of Population: British Mainland Colonies, 1760s and United States, 1980s” from Mark C. Carnes and John A. Garraty, Mapping America’s Past, p. 73. © 1996 Arcadia Editions Ltd.;119 (Top): Courtesy, Dartmouth College Library; 119 (Bottom): Courtesy of Reading Public Museum, Reading, Pennsylvania (44-132-1); 120: John Wollaston, “Mary Spraat Provost Alexander,” undated. Museum of the City of New York, Gift of William Hamilton Russell (50.215.4); 121: John Moale, engraving, 1752. The I.N. Phelps Stokes Collection, The New York Public Library/Art Resource, NY; 126: Paul Rocheleau Photography; 127: Courtesy, American Antiquarian Society; 128 (Top): Courtesy, Winterthur Museum (63.639); 128 (Bottom): Attributed to Mary Leverett Denison Rogers, “Harvard Hall,” ca. early 18th-century. Silk, wool, and gilt-silver yarns on open plain-weave linen.Courtesy of the Massachusetts Historical Society, MHS image number 427); 130–131: Jean-Pierre Lassus, Early New Orleans; detail from “Vue perspective de la Nouvelle-Orleans,” 1726. Centre des Archives d’Outre-Mer-France.; 132: Military History, Smithsonian Institution; 134: Thomas Johnson, engraving, 1759. Print Collection, Miriam and Ira D. Wallach Division, The New York Public Library/Art Resource, NY;
Chapter 6
Page 137: Edward Savage, “John Hancock and his Wife,” n.d., (48.8). In the Corcoran Gallery of Art, Washington, D.C. Bequest of Woodbury Blair; 138: © Hunterian Museum and Art Gallery, University of Glasgow; 139: John Webber, “A View of Kealakekua Bay,” c. 1781–83. Dixson Library, State Library of New South Wales; 140: Douglas W. Veltre, Anchorage, AK; 146: Library of Congress; 148: Peabody Essex Museum. Photograph by Mark Sexton; 151: Photo courtesy of Tryon Palace Historic Sites & Gardens; 151: Petition signed by 30 North Carolina Regulators, Oct 4, 1768.; 154: Library of Congress; 155: Library of Congress; 158: Amos Doolittle, “The Battle of Lexington, Plate I,” 1775. The Connecticut Historical Society, Hartford, Connecticut (Acc. #1844.10.1)
Part Three Opener
Page 162 (Bottom): Collection of David J. and Janice L. Frent; 163 (Top): Courtesy, American Canal and Transportation Center; 163 (Bottom): Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, Williamsburg, VA
Chapter 7
Page 164: Henry Gray, “The Morning After the Attack on Sullivan’s Island, 1776.” Watercolor on paper, Gibbes Museum of Art/Carolina Art Association, 1907.02.01; 167: Charles Willson Peale, “George Washington in the Uniform of a British Colonial Colonel,” c. 1772. Washington-Custis-Lee Collection, Washington and Lee University, Lexington, Virginia; 169: Library of Congress; 170: From Martha Ryan Cipher Book (#1940). Southern Historical Collection, Wilson Library, The University of North Carolina at Chapel Hill; 170: Cheraw District Grand Jury, “The Presentments of the Grand Jury of and for the Said District,” South Carolina, May 20, 1776.; 172: Courtesy, American Antiquarian Society; 173 (Top): William Mercer, “Battle of Princeton,” date unknown. Courtesy of The Historical Society of Pennsylvania Collection, Atwater Kent Museum of Philadelphia.; 173 (Bottom): Collection of the Museum of Early Southern Decorative Arts, Old Salem Museums & Gardens; 176: Courtesy of The Bostonian Society/Old State House; 177 (Figure): B.R. Mitchell, British Historical Statistics. New York: Cambridge University Press, 1988.; 181: Pennsylvania Capitol Preservation Committee & Brian Hunt; 184: ©1992 Angel Art Ltd.; 187: Réunion des Musées Nationaux/Art Resource, NY; 188: Benjamin West, “Signing of the Peace Treaty.” Courtesy, Winterthur Museum (57.856)
Chapter 8
Page 191: CORBIS; 194: William Tylee Ranney, “Veterans of 1776 Returning from the War,” 1848. Oil on canvas. Overall: 34 1/4 x 48 5/8 in. (86.99 x 123.51). Dallas Museum of Art, The Art Museum League Fund, Special Contributors and General Acquisitions Fund; 194: Joseph Plumb Martin, A Narrative of Some of the Adventures, Dangers and Sufferings of a Revolutionary Soldier, 1830.; 195 (Bottom): The American Numismatic Society, New York; 196 (Top): Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, Williamsburg, VA; 196 (Bottom): © Natural History Museum, London.; 197: © Natural History Museum, London.; 200: University of Michigan, WIlliam L. Clements Library; 202: Courtesy of Monroe County Historical Commission, Monroe, MI; 204: George Davidson, “Attacked at Juan de Fuca Straits,” c.1792. Oregon Historical Society, OrHi 85076; 210: Susan Anne Livingston Ridley Sedgwick, “Elizabeth ‘Mumbet’ Freeman,” 1811. Watercolor on ivory. Courtesy of the Massachusetts Historical Society (MHS image number 28); 212 (Both): Courtesy, American Antiquarian Society; 213: Collection of The New-York Historical Society, Accession #1903.12;
Chapter 9
Page 216: Gilbert Stuart, “Joseph Brant,” 1786. Fenimore Art Museum, Cooperstown, New York. Photo by Richard Walker.; 217: Collection of David J. and Janice L. Frent; 219: Ralph Earl, “Elijah Boardman,” 1789. The Metropolitan Museum of Art. Bequest of Susan W. Tyler, 1979. (1979.395). Photograph © The Metropolitan Museum of Art ; 220: Courtesy, American Canal and Transportation Center; 221: Frederick Kemmelmeyer, “General George Washington Reviewing the Western Army at Fort Cumberland the 18th of October,” c. 1794. Courtesy, Winterthur Museum (58.2780); 223: Courtesy of The New Bedford Whaling Museum (#803); 225: “The Old Plantation,” c. 1795. Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, Williamsburg, VA; 228: Courtesy of Museo de America, Madrid. Photo by Iris Engstrand; 230: Shaker Village of Pleasant Hill, Harrodsburg, KY; 231: Paul Rocheleau Photography; 232: George James Warner, “Means for the Preservation of Liberty,” speech delivered July 4, 1797.; 233: Courtesy of The General Society of Mechanics and Tradesmen of the City of New York; 234: James Peale, “The Artist and His Family,” 1795. Oil on canvas, 31 1/4 x 32 3/4 in. (79.4 x 83.2 cm). Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia (Acc. no.: 1922.1.1). Gift of John Frederick Lewis.
Part Four Opener
Page 240 (Top): William Clark, “Eulachon (T. Pacificus),” 1806, Voorhis Journal #2. William Clark Papers, Missouri Historical Society Archives; 240 (Bottom): The American Numismatic Society; 241 (Top): Courtesy of the Massachusetts Historical Society(MHS image number 31); 241 (Bottom): Samuel J. Miller, “Frederick Douglass,” 1847–52. Major Acquisitions Centennial Endowment, 1996.433. Photograph ©The Art Institute of Chicago
Chapter 10
Page 242: Charles Balthazar Fevret de Saint Memin, “Captain Meriwether Lewis,” 1807. Collection of The New-York Historical Society, Neg. #51322; 244: William Clark, “Eulachon (Thaleichthys Pacificus),” Entry of 25 February 1806. Voorhis Journal #2. Clark Family Collections. William Clark Papers. Missouri Historical Society, St. Louis; 245: Courtesy, JPMorgan Chase Archives; 246: Library of Congress; 247: Courtesy, Dartmouth College Library; 249: Library of Congress; 252: Peter Turnley/CORBIS; 252: Cherokee Women to Cherokee Council, May 2, 1817, Andrew Jackson Presidential Papers.; 253: Unidentified Artist, “Benjamin Hawkins and the Creek Indians,” ca. 1805. Oil on canvas, 35 7/8 x 49 7/8 inches. Greenville County Museum of Art, Greenville, SC, Gift of The Museum Association, Inc., with funds donated by Corporate Partners: Ernst and Young; Fluor Daniel; Director’s Circle Members: Mr. and Mrs. Alester G. Furman III; Mr. and Mrs. M. Dexter Hagy; Thomas P. Hartness; Mr. and Mrs. E. Erwin Maddrey II; Mary M. Pearce; Mr. and Mrs. John Pellett, Jr.; Mr. W. Thomas Smith; Mr. and Mrs. Edward H. Stall; Eleanor and Irvine Welling; Museum Antiques Show, 1989, 1990, 1991, Elliott, Davis and Company, CPAs, sponsor; Collector’s Group 1990, 1991; 254: Museum of Spanish Colonial Art, Collections of the Spanish Colonial Arts Society, Inc., Santa Fe, NM. Bequest of Alan and Ann Vedder. Photo by Jack Parsons.; 257: John Antrobus, “Plantation Burial,” c.1860. The Historic New Orleans Collection, Accession no. 1960.46; 258: Chicago History Museum, ICHi-22005;
Chapter 11
Page 261: John Gadsby Chapman, “Davy Crockett,” date unknown. Harry Ransom Humanities Research Center, The University of Texas at Austin (neg. #65.349); 265 (Top): William Henry Brown, “Hauling the Whole Weeks Picking,” 1842. The Historic New Orleans Collection, Accession nos. 1975.93.1 & 2.; 265 (Bottom): Collection of David J. and Janice L. Frent; 266 (Map): Adapted from David J. Weber, The Mexican Frontier, 1821–1846: The American Southwest Under Mexico. Albuquerque: University of New Mexico Press, 1982. ; 269: Library of Congress; 271 (Map): Adapted from David J. Weber, The Mexican Frontier, 1821-1846: The American Southwest Under Mexico. Albuquerque: University of New Mexico Press, 1982.; 276: From “José Agustin de Escudero Describes New Mexico as a Land of Opportunity, 1827” from Three New Mexico Chronicles, H. Bailey Carroll and Juan Villasana Haggard, trans. and ed. Albuquerque: Quivira Society, 1942.; 272: Eric P. Newman Numismatic Education Society 273: Richard T. Nowitz/CORBIS; 274 (Top): The Newberry Library, Chicago; 274 (Bottom): The American Numismatic Society, New York; 276: © Kevin Fleming/CORBIS; 279: Reproduced by permission of The Huntington Library, San Marino, California, RB 44872; 280: Henry F. Darby, “The Reverend John Atwood and His Family,” 1845. Oil on canvas, 183.2 x 244.47 cm (72 1/8 x 96 1/4 in.). Gift of Maxim Karolik for the M. and M. Karolik Collection of American Paintings, 1815–1865, 62.269. Museum of Fine Arts, Boston. Reproduced with permission. Photograph ©2008 Museum of Fine Arts, Boston.
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