Subject: Mexican-American War

Autograph letter signed by Marx Edgeworth Lazarus (1822-1896), written in Baltimore, Maryland on December 1, 1847, to Dr. Charles Willing in Philadelphia, Pennsylvania. The four-page letter discusses Lazarus's experiences as the first Jewish student at Georgetown University, his involvement in a farm school and utopian socialist commune in Maryland, and his thoughts on religion and society. It also mentions his friends Truxton and Edward Beale, with details about Edward's exploits in the Mexican-American War in California.

Carte-de-visite (CDV) photograph of Henry Benjamin Nones, Captain, in a navy captain's uniform. The photograph shows Nones in full standing view, holding his hat. The inscription indicates he commanded the cutter "Forward" during the Mexican and Civil Wars. His actions during the Mexican War included leading the naval assault on forts on the Alvarado River and a land assault at Tabasco. The photograph was likely taken in Albany, New York, circa 1860 by Churchill & Denison.

Colored lithograph depicting General Winfield Scott receiving the surrender of Mexican forces at Vera Cruz, Mexico. The image likely commemorates the events of the Mexican-American War. Created in 1848.

This document is an excerpt from the Congressional Record dated May 11, 1886, concerning the claim of Benjamin Weil against Mexico. The excerpt discusses an award by the Umpire of the United States and Mexican Claims Commission and subsequent developments, including the return of funds to the Mexican government and allegations of fraud and perjury. The excerpt is 5 pages long and measures 5 3/4 inches x 8 3/4 inches. Further research is needed to determine if this Benjamin Weil is the same as Benjamin M. Weil of Milwaukee, Wisconsin, who died in 1901. The document includes information about Benjamin Weil's family, including his brother Charles B. Weil, who was also involved in Mexican investments, and their family's extensive business holdings and civic involvement in Milwaukee.

This excerpt from the Congressional Record of June 11, 1874, details the ongoing legal battles of Jonas Levy, focusing on his service during the Mexican-American War, specifically his role as captain of the USS America during the Battle of Veracruz. The document also highlights Levy's significant contributions to Jewish life in Washington, D.C., and his advocacy for American Jews against discriminatory practices in the 1850s. His involvement in a trade dispute between the United States and Switzerland over religious freedoms is mentioned, emphasizing Levy's activism for Jewish rights and equality. The excerpt mentions Levy's military career in the 1840s and his continued legal pursuits into the 1880s. Jonas Phillips Levy (1807-1883) was the younger brother of Uriah Phillips Levy, the first Jewish commodore in the U.S. Navy.

This archival material consists of a Congressional Record document concerning an Act of Congress for the relief of Jonas P. Levy. Dated March 31, 1855, the document details a decision regarding Levy's war claims against Mexico, which had been previously rejected. The collection also includes related Congressional appeals from 1882. Additional materials referenced, but not included in this collection, are a Senate document from May 4, 1858, detailing a Court of Claims report on the case of Jonas P. Levy vs. the United States (35th Cong., 1st Sess. SMD251).

Oil painting depicting the transport ship 'The America' under Captain J.P. Levy during a hurricane off the coast of Vera Cruz. Painted circa 1847 by James Guy Evans (1810-1860), active in New Orleans. The painting includes the inscription "Transport the America under Capt. J.P. Levy off the coast of Vera Cruz on way to N.O." This painting is significant as it is considered the only known American Jewish War-related painting from before the 20th century. It boasts notable provenance, having been owned by Jefferson Levy, son of Captain J.P. Levy and owner of Monticello.

Oil on canvas portrait of Andrés Pico, possibly painted circa 1854 by Solomon Nunes Carvalho. The painting's attribution is debated, with the possibility it depicts one of Pico's brothers. The sitter's identity was initially identified by comparing the painting to a daguerreotype in the collection of the Seaver Center for Western History Research at the Natural History Museum of Los Angeles County. This portrait is significant as potentially the only extant painting of Pico from this period in Los Angeles.