Art Credits

  • John Singleton Copley (American, 1738–1815), Paul Revere (detail), 1768. Oil on canvas; 89.22 x 72.39 cm. (35 1⁄8 x 28 1⁄2 in.). Museum of Fine Arts, Boston. Gift of Joseph W. Revere, William B. Revere, and Edward H. R. Revere, 30.781. Photograph © 2008 Museum of Fine Arts, Boston.
  • Delft barber’s basin, England, 1715–1720. The rim of the bowl has an arc cut out for the neck and a depression for a soap ball. The interior is decorated with barber’s implements. Courtesy, Colonial Williamsburg Foundation, acc. no. 1958-504.
  • Chinoiserie punch bowl, England, 1770–1780. Courtesy, Colonial Williamsburg Foundation, acc. no. 1959-140.
  • Detail, [battle between Iroquois and French], in Baron Lahontan, New Voyages to North-America . . . Done into English. The Second Edition, vol. 1 (London, 1735), facing page 75. Courtesy, Special Collections Research Center, Earl Gregg Swem Library, College of William and Mary.
  • Detail, T. Conder, New Hampshire, Vermont, &c., in William Gordon, The History of the Rise, Progress, and Establishment of the Independence of the United States of America . . . (London, 1788), foldout map following p. 584. Courtesy of the John Carter Brown Library at Brown University, acc. no. 065-1.
  • Detail, Carolus Allard, “Nieu Amsterdam at. New York,” in William Loring Andrews, New Amsterdam, New Orange, New York . . . (New York, 1897), facing p. 53. Courtesy, Special Collections Research Center, Earl Gregg Swem Library, College of William and Mary.
  • Virginia Gazette, July 6, 1764. Courtesy, Colonial Williamsburg Foundation.
  • A Correct View of the Old Methodist Church in John Street N. York . . . , ca. 1824. Repr. in I. N. Phelps Stokes, The Iconography of Manhattan Island, 1498–1909 . . . , vol. 1 (New York, 1915), plate 43. Courtesy, Special Collections Research Center, Earl Gregg Swem Library, College of William and Mary.
  • Detail, Liberty Crowning Washington, by Catherine Townsend Warner. Embroidery in silk, metallic thread, and metallic cord with watercolor, gouache, and ink on silk, ca. 1809. This memorial picture, a tribute to George Washington, depicts Liberty standing before a bust of Washington, holding a laurel wreath above the bust in one hand and a trumpet and a liberty cap on a pole in the other. She stands on the British flag. Warner was from Rhode Island. Courtesy, Colonial Williamsburg Foundation, acc. no. 1938.604.1. Gift of Florence R. Kenyon.
  • Detail, Jefferson banner, 1800, object no. PL*227739.1800.C01. This cloth banner celebrates Thomas Jefferson’s victory over John Adams in the presidential election of 1800. An eagle holds in its beak a banner that reads, “T. Jefferson President of the United States of America / John Adams is no more.” Courtesy, National Museum of American History, Smithsonian Institution.
  • Detail, Bâtême des Indiens de l’Amerique. In Briève & fidèle exposition de l’origine, de la doctrine, des constitutions, usages et ceremonies ecclesiastiques de l’eglise de l’unité des freres connus sous le nom de freres de Boheme & de Moravie . . . ([Amsterdam?], 1758), plate 5. Courtesy, Special Collections Research Center, Earl Gregg Swem Library, College of William and Mary.
  • Detail, Der heilige Kus des Friedens / Saint Baiser de Paix. Detail, Der heilige Kus des Friedens / Saint Baiser de Paix. In Briève & fidèle exposition, plate 12. Courtesy, Special Collections Research Center, Earl Gregg Swem Library, College of William and Mary.
  • Detail, [Dress of Native Americans], etching in [Johann Friedrich Schröter, comp. and trans.], Algemeine Geschichte der Länder und Völker von America . . . , vol. 1 (Halle, 1752), plate 21 (following page 292). Courtesy of the John Carter Brown Library at Brown University, acc. no. 04878-14.
  • Ibid.
  • Wallpaper fragment, England, 1780–1790. Chinoiserie design of two boys playing bowls in a rocky landscape, watched by a man holding a horn and a woman sheltered by a simple gazebo-type pagoda. Courtesy, Colonial Williamsburg Foundation, acc. no. 1954-396.
  • A Boxing Match, or Another Bloody Nose for John Bull, 1813. The depiction of James Madison’s pugilistic superiority over King George III demonstrates the artist’s triumph over Britain’s naval losses in the early stages of the War of 1812. Courtesy, Library of Congress.
  • Tile picture, London, ca. 1725. The fifty-five tiles, numbered sequentially, depict a chinoiserie landscape of buildings separated by a long river. Courtesy, Colonial Williamsburg Foundation, acc. no. 1989-61.