 | Frances F. Palmer and John Cameron, "Haying-Time. The Last Load," Currier and Ives, 1868 Library of Congress Prints and Photographs Division, Washington, DC 20540 |
 | Frances F. Palmer and John Cameron, "Haying-Time. The First Load," Currier and Ives, 1868 Courtesy of The Museum of the City of New York, 1220 Fifth Avenue, NY, NY 10029. www.mcny.org. Our thanks to the Museum of the City of New York for its generosity. |
 | Winslow Homer, "The Dance After the Husking," 1858, wood engraving Harper's Weekly Magazine, 2, Nov. 13, 1858 |
 | "Home, Sweet Home," Currier and Ives, 1869 Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-62133 |
 | Frances Palmer, "American Country Life: Summer's Evening," Currier & Ives, 1855, lithograph, (16.11x23.14) Location unknown. |
 | "American Homestead Winter," Currier and Ives, 1868 Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-2782 |
 | "Gift for the Grangers," c. 1873, chromolithograph The "Kingfisher Reformer," 1894. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. LC-USZ62-2078 |
 | Frederic Remington, "The Fall of the Cowboy," 1895; barbed wire invades the range Courtesy of The Amon Carter Museum, 3501 Camp Bowie Blvd, Fort Worth, TX 76107-2695. Our thanks to the Museum. All rights reserved. |
 | Frederic Remington, "A Cold Morning on the Range," c. 1904; mankind's control of the frontier Copyright holder unknown |
 | Cowboys at campfire. "Cowpunchers of the Matador listening to the 'Pitchfork Kid' Billy Partlow (standing in center with pipe), famous for his story telling. Matador Ranch, Texas, 1908-1910." Detail. Erwin Smith photo. Library of Congress Prints & Photographs Division, Washington, DC 20540. LC-S6-240. |
 | Edward Hicks, "Leedom Farm," Bucks Co., PA, 1849, oil on canvas, detail; 40 1/8 x 49 1/16 in. unframed Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. 1957.101.4. All rights reserved. Our thanks to The Museum. |
 | William Jennings Bryan, Democratic candidate, in the election of 1900. Campaign poster. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-2144. In American Heritage, VII, June 1956, p. 28. 8.12.8, 11.2.8 |
 | "Bosses of the Senate," 1889. "The satiric weekly, Puck, had a strong notion of who wielded the real influence on government." Detail. See also NP-D-53. Joseph Keppler cartoon. Puck, 1889. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-494. In Milton Meltzer, Bread and Roses - the Struggle of American Labor 1865-1915, Alfred A. Knopf, 1967, p. 59. 8.12.8, 11.2.5 |
 | "An Alphabet of Joyous Trusts," 1902. This cartoon was "later issued as an election campaign primer by the Democratic Party." The New York Journal, 1902. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-99369. In Milton Meltzer, Bread and Roses--the Struggle of American Labor 1865-1915, Alfred A. Knopf, 1967, p. 64. 8.12.8, 11.2.5 |
 | The Republican magazine "Judge" comments on the formation of the People's Party, 1891. Judge, 1891. In Maxwell C. Raddock, Portrait of an American Labor Leader: William L. Hutcheson, World Wide Press Syndicate, 1955, p. 46. 8.12.8 |
 | A Populist cartoon, 1890s. An elongated cow. The west and south feed the country while Wall Street milks it. At left, beyond the Mississippi River, is the cow's mouth, eating corn and wheat; below, farmers are harvesting and selling wheat, bacon, beef and hay; one farmer has a pitchfork. At right, over New York, a man with a tall hat milks the udders into a pail labeled Wall Street; a factory is shown in the background. Attached to the udders are the labels "tariff tube," leading to the Atlantic Ocean, and "financial tube," leading to the national bank. Location unknown. In Thomas A. Bailey, The American Pageant, 1979, p. 594. 8.12.8 |
 | A Republican view of William Jennings Bryan with wild hair, 1896. The coin reads: "In God We Trust, With Bryan We Bust." Shows the Republican fear of the "silver lunacy." Cartoon. The New York Press, 1896. In Thomas A. Bailey, The American Pageant, 1979, p. 600. 8.12.8 |
 | "The Bosses of the Senate," 1889. Huge figures stand behind rows of Senate desks. The four figures in top hats, with big bellies, are the Iron Trust, Standard Oil Trust, Copper Trust, Steel Beam Trust, all with dollar signs on their stomachs. The sign at top reads: "This is a Senate for the Monopolists, By the Monopolists and For the Monopolists!" Some Senators look up at them. Joseph Keppler cartoon. Puck, 1889. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-494. In Daniel Boorstin, American Civilization, 1972, p. 137. 8.12.8, 11.2.5 |
 | "The Rising of the Usurpers and the sinking of the liberties of the People," a protest by Thomas Nast, 1889, against the control exercised over the "necessaries of life" by the trusts. The Statue of Liberty, and the buildings of New York in the background, have signs of various trusts all over them. Sinking at the statue's base is a boat labeled "The People," flying the U.S. flag. "Monster Trust, Standard Oil Trust, Tin Can Trust, Tea Trust, Bread Trust, Gas Trust, Sugar Trust, Torch Light Trust, The Home of the Trusts and the Land of the Plutocrats, Light Trust, Land Trust, Trusts on all the Necessaries of Life." Across her eyes, "Blind by Iron Trust." Cartoon. Harper's Weekly, 1889. In Daniel Boorstin, American Civilization, 1972, p. 147. 8.12.8, 11.2.5 |
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