Entered according to Act of Congress, in the year 1837, by H.R. Robinson, in the Clerk's Office of the District Court of the United States, of the Southern District of New York. Printed & published by H.R. Robinson, 52 Cortlandt St. N.Y.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A rare pro-Jackson satire on the President's campaign to destroy the political power and influence of the Bank of the United States. It was probably issued late in the presidential campaign of 1832, after Jackson's July veto of the bill to re-charter the Bank. (Weitenkampf tentatively dated the print 1833, but the Library's impression was deposited for copyright on September 12, 1832.) Jackson is portrayed as a cat (with a tail marked "Veto") defending the corn cribs in "Uncle Sam's Barn" from rats "which had burrow'd through the floor, to get at his capital Corn Crib: While Uncle Sam, and his active laborers, stand at the door, enjoying the sport." The cat has one rat in his mouth, possibly Henry Clay, who says, "My case is desperate." Under his paws is another (possibly the Bank's president Nicholas Biddle) who says, "Them d'd Clay-Bank Rats brought me to this." In the lower left a rat with a cape and his paw on a Bible says, "My Cloak does not cover me, as well as I could wish, but this Book with it, will be a good passport to the Corn Crib." Other rats creeping from holes in the floor say, "I'l keep in my hole while he's in sight" and "No chance for me whie he's in the Barn." At the upper right two rats (possibly influential pro-Bank newspaper editors James Watson Webb and Charles King) nibble corn, remarking, "The U.S. Bank Rats are very liberal to us Editor Rats, we must stick to them at all risks." From an open doorway three men, "Uncle Sam and his active laborers," survey the scene. First man: "Bravo my Boys! keep him in the Barn; and no doubt, but he will keep the Rats away." Second: "What a tail he carries! I guess he is of the Kilkenny breed." Third: "How he nicks them." The use of rats to symbolize corruption was commonplace in cartoons of the 1830s, particularly with respect to the Bank of the United States. See ""This is the house that Jack built"" (no. 1833-6). For their use in another context see ".00001. The value of a unit..." and "The Rats Leaving a Falling House" (nos. 1831-1 and 1831-2).|Copyright secur'd 1832.|Michael Williams Del et Lith 44 Canal Street N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 29.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1832-5.

An attack on Nicholas Biddle and the New York newspaper editors friendly to the United States Bank. The print was evidently prompted by Biddle's 1834 attempt to create a financial crisis through an artificial tightening of credit. Biddle created the shortage as a ploy to swing public support toward the United States Bank, then under attack by the Jackson administration. Whig editors James Watson Webb, Mordecai Manuel Noah, and a third (possibly Charles King, identified here as "Charley") are portrayed as Biddle's accomplices in an unsuccessful attempt to crush the common men of New York. As Biddle (far right), Jack Downing, and a third man (with monocle) watch from the steps of the Bank as the three editors operate giant screw presses (a pun on "printing presses") which bear down upon crowds of working men, or "workies." The latter include carmen, sailors, masons, laborers, butchers, and others. Webb, standing on the press at right, tips his hat and exhorts his colleagues, "Major [Noah] and Charley let us give those workies a good screwing so as to fetch them to the Bank question, then I think that Mr Nick [i.e. Nicholas Biddle] will fee us well." "Major" Noah (far left) falls as his press is tipped by the men beneath it. He calls out, "Oh Master Nick, I rather think these workies will not stand my screwing them." Comments from below are: "Aristocracy and U.S. Bank power is heavy stuff." "Major I think you are rather a green hand to apply the screws." "Charles Major & Co., you may screw and screw untill Nick doubles your wages then we will not submit to an Aristocracy Bank!" In the center "Charley" works at turning his press, saying "Major & Co. I wish you would think on your friend and divide the spoils." From below: "If those silk stockings and ruffle shirt gentry gain the day, we workies will never vote again!" "I'll be darned if the General [i.e. Andrew Jackson] gave Nick such a patent right to screw us poor workies so!" "No I rather think he forged such a patent as this is." "I think the General is an honester man, he would rather put his veto on it." Beneath Webb's press the men protest: "You may screw Colonel [Webb] until you screw the cholera morbus out of you, then I will not bow down to a golden calf." "I will submit to any thing but a golden calf!" One man calls out to Biddle, "Split my tarry top lifts Old Nick I think you had better be reefing the fore top sail than standing on the quarterdeck giving the word put the screws on those poor workies!!" Biddle is in fact urging his minions, "That's you my cousins give them the screws and I will remember you!" Jack Downing observes, "I'll be darned Mr. Nick with all our fleet and Rank and file men, I rather think thhat them ere workies will rule the day arter all for see the Major is going down!" The man with the monocle declares, "Oh! you workies If you fail in the next election you shall never vote again!"|New York. Published by Anthony Imbert 104 Broadway.|Title appears as it is written on the item.|Weitenkampf, p. 36-37.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1834-5.

An ambivalent but essentially pro-Lincoln illustration appearing on a song by John Hogarth Lozier, dedicated to the composer's "Comrades the 37th Indiana Regiment and all who love Our Brave Soldier Boys." Lincoln drives the Union wagon, whose rickety frame consists of a boat "Constitution" mounted on four wheels. Pulled by horses named after leading Union generals, including Benjamin F. Butler, Ulysses S. Grant, William S. Rosencrans ("Rosie"), and Joseph Hooker, it is crowded with people. One of the riders holds an American flag while another seems to be falling over the side of the wagon. The vehicle has gotten mired in the mud hole of Secession, where several figures are floundering. Uncle Sam attempts to extricate the stuck back wheel using a large pole "Emancipation Proclamation" as a lever, whose fulcrum is a rock marked "1863." Sam's efforts and the wagon's progress are also threatened by several snakes at right. These probably represent the anti-Republican Copperheads who advocated reconciliation with the South. Although the Emancipation Proclamation took effect in January 1863, the print may have appeared as late as 1864. It was not until March 1864 that Grant was given supreme command of the Union army.|Cincinnati. Published by J. Church. Jr. . . . Boston. O. Ditson & Co. Philadelphia. Lee & Walker. New York. W. A. Pond & Co.|Middleton, Strobridge & Co. lith. Cincinnati Ohio.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1863-15.

This site offers a sampling of traditional Omaha Indian music. The sound recordings include wax cylinder recordings made in the 1890s, as well as songs and spoken-word segments from the 1983 Omaha harvest celebration pow-wow, segments from an interview with an Omaha elder in 1983, songs and speeches from a performance by members of the Hethu'shka Society in 1985, and portions of an interview with an Omaha musician in 1999. Photos, fieldnotes, and more from the 1983 pow-wow are included.

Poster showing an eagle on a cliff, overlooking ships in a harbor. Apply recruiting station or Navy League.

Satire on the Jackson administration's continuing battle against the Bank of the United States. The print was specifically occasioned by the re-chartering of the Bank by the Whig-controlled Pennsylvania Legislature in defiance of the administration. The artist also ridicules the ambitions of Jackson's vice-president and would-be successor Martin Van Buren. Jackson, holding a broken cane labeled "Veto," flees to the left away from Bank president Nicholas Biddle (right) who displays a two-faced demon's head and the Bank's new charter. Biddle stands on the front step of the "Old United States Bank" and says, "General allow me to introduce an old friend with a new face."% Jackson: "The Monster! the many headed Monster's come to life! Old Nick! Old Nick! I'll cut stick and fly to Araby!. . ." Van Buren (who clings to Jackson's discarded cloak, labeled "Collar presses, No Monopoly, Deposits, Appropriation, Globe, Specie Currency"): "Stop General! Like the Prophet Elisha he has left his mantle with me. I hope it will fit!"|Entered . . . 1836 by H.R. Robinson.|Published March 1836 by H.R. Robinson, 48 Cortlandt St. New York.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 79. |Weitenkampf, p. 40.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-8.

An illustrated sheet music cover for a song memorializing one of the first heroes of the Mexican War, Maj. Samuel Ringgold. Zachary Taylor's innovative gunnery commander was fatally wounded in May 1846 during the battle of Palo Alto. Ringgold's superbly drilled artillery was credited by Taylor with the victory at Palo Alto. The artist shows a grave site marked by a cross with a floral wreath, a bald eagle, a large American flag, and an olive branch. A half-buried cannon and a spade and helmet lie nearby. Also visible on the ground is a marker inscribed "May 8"--the date of the battle. In the background a battle rages. Ringgold, his thighs badly wounded, is shown being carried from the field by two soldiers. Below the image and dedication is a short paragraph that reads: "When the gallant Ringgold received the wound at the Battle of Palo Alto, which deprived the army of one of it's brightest ornaments--some of his comrades gathered round him, when he exclaimed "Leave me to my fate, there's work for every man to do."|Bufford & Co's Lith. Boston.|Entered . . . 1846 by F.D. Benteen.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1846-9.

The artist registers the widespread American sympathy with certain revolutionary movements in Europe. More specifically, the print extols Louis Kossuth, the Hungarian patriot who led an 1848 revolt against the Austrian imperial domination of Hungary. Kossuth (center) comes to the aid of Liberty (fallen, at left) against Austria, which is shown as a three-headed monster. The monster represents an alliance of "Throne and Altar," i.e., the monarchy and the papacy. Its three heads are those of a dragon with clerical hat and papal tiara (the Vatican), a wolf with a crown (Austria?), and a bear with an eastern crown (probably Russia, Austria's ally). Around the monster's neck is a pendant with the Jesuit insignia. Kossuth steps from a railing into the ring, wielding the sword of "Eloquence" and confronting the monster with the shield of "Truth," which reflects the face of a prelate (probably Pope Pius IX). Kossuth also carries a flag with a liberty cap surrounded by stars, the liberty cap being just above his head. The hero is cheered on by representatives of various nations, waving their respective flags and watching from behind the railing. These include (left to right) an American, an Italian, and a Frenchman who carries a flag of the revolution of 1793. Liberty meanwhile has fallen. Her sword lay broken on the ground while her left foot still presses on the monster's tail. She raises her hand toward Kossuth in an imploring gesture. |1851 or early 1852. Probably drawn by "AW".|The Library's impression of the print is inscribed with a note (probably contemporary) in pencil saying, "Fight for us." |Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1852-1.

A satire, puzzling in its precise meaning, on the ascendance of the radical wing of the Whig party in New York's gubernatorial election of 1846. Influential radical journalist Horace Greeley dances a jig to the music of an ensemble of raccoon musicians. He is called "One of the "Young" Bo-hoys" because of his support of successful liberal Whig candidate John Young, who defeated Democratic incumbent governor Silas Wright. Greeley exults, "Where's Webbs 30,000 men in Buckram now?" a defiant reference to conservative Whig editor James Watson Webb. (Shakespeare's Falstaff brags about men in buckram in "Henry IV," Part One.) The raccoons, symbolizing Henry Clay's supporters in the 1844 election, are optimistic about the outlook for the next presidential race. Violinist: "Play up Clays Grand March for 1848!" Horn player: "Don't commit yourself Brother Coon!" Drummer: "We are always committed to Harry of the West!" Cellist: "I go that-he is the only man for our side of the House!" Flutist: "10,000 for Young! what a change in a year!" Trumpeter: "Wait until spring & you will see another great Victory brother!" On the far right a coon holds up sheet music entitled "For [ex-governor Silas] Wright is a used up man."|Entered . . . 1846 by H.R. Robinson.|Robinson's Lith. 142 Nassau St. N.Y.|T.B. Peterson Agent 98 Chesnut St. Phila.|Title appears as it is written on the item.|Weitenkampf, p. 87.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1846-14.

Poster showing a florid German soldier, wearing pirate skull-and-crossbones and brandishing a bloody sword as he wades in a tide of women's and children's bodies. Printed by the U.S. Navy Publicity Bureau, N.Y. The U.S. Navy Publicity Bureau gratefully acknowledges its indebtedness to the New York Herald for the reproduction of Mr. Rogers' cartoon. Forms part of: Willard and Dorothy Straight Collection.

Poster showing a workman in a shipyard. United States Shipping Board Emergency Fleet Corporation.

Poster showing a panoramic view of a busy shipyard. Issued by Publications Section, Emergency Fleet Corporation, Philadelphia, Pa. Title from item.

Poster showing a panoramic view of a busy shipyard. Inscribed by artist: To Library of Congress, Washington, D.C., Jonas Lie 1918. Title from item.

An extremely crude and somewhat obscure satire on Union general Ambrose E. Burnside's controversial suspension of the Chicago "Times" because of "disloyal and incendiary statements." The anti-Lincoln paper was temporarily closed by order of Burnside, the military commander of the Department of the Ohio, in June 1863. This order was quickly rescinded by President Lincoln. Nichols's satire is crowded and confusing. Burnside stands in the center in a tattered uniform stamped repeatedly "Chicago Times." A gavel or mallet rests on his head. A ragged black officer "Chief of Staff" stands beside him asking, "Wah! Brudder what dat on your head an back an what you doing here?" Burnside replies, "Well "Alias" I've been prowling about here and stole the Cock of the walk, then I went into the Times Ofice to get some pie (pi) and their devil [i.e., printer's devil or apprentice?] scratched and tore me and left his mark all over my back. Then Drummond put this injuntion on my head and told me to stand here and look at this goddess a spell [i.e., the figure of Civil Justice who appears at left] and it rather skeers me." At left is the goddess of Civil Justice holding a sword marked "Civil Liberty First" and scales. She stands on a large book inscribed "Drummond's State Platform." Behind her is a telegraph line which flashes the words "Back out Ambrose--A. Lincoln." Several onlookers are also present. One (far right) shouts, "Hurah," as a newsboy carrying the Chicago "Times" rushes up announcing, "Eres the Times Morning Edition. dugham-stealers got Injunctioned." The print must have appeared in the midst of the "Times" controversy, as the Library's impression was deposited for copyright on June 30, 1863.|Entered . . . 1863 by E.W.T. Nichols . . . Mass.|Title appears as it is written on the item.|Weitenkampf, p. 138.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1863-6.

Students use Library of Congress primary sources to understand the genuine experience of oral history in order to appreciate the process of historiography using the topic of immigration.

Poster showing scenes of Army ordnance activities. Ordnance Recruiting Poster No. 5. A.G.O.R.S. No. 214, 12-20-19.

Highlights from the past and present of Oregon, from the rich online collections of the Library of Congress.

The Senate's February 1847 resolution barring reporters and editors of the "Washington Union" from the Senate floor and gallery was the basis for the artist's demeaning portrayal of the newspaper's powerful editor Thomas Ritchie. In the February 9 edition of the "Union," the mouthpiece or "organ" of the Polk administration, Ritchie strongly criticized congressional opposition to President Polk's efforts to raise additional regiments of troops for the Mexican War. His characterization of the bill's defeat as "another Mexican victory" outraged many legislators, particularly South Carolinian John C. Calhoun, who accused him of libeling the Senate. Here Ritchie, clad as a jester and holding a copy of the "Union," is literally kicked toward the left by a group of angry senators. Ritchie seems to be either kicking or falling onto a small pipe organ (double-entendre for his paper's bias) which displays sheet music for "Clar De Kitchen." The title of this popular minstrel tune is here probably a swipe at the "Kitchen Cabinet," a derisive name given by opposition critics since Jackson's time to the President's informal advisors. The organ topples to the left, alarming James K. Polk, who exclaims, "Oh my poor "Organ," I'm afraid this kicking will put you sadly out of tune!" Ritchie, thumbing his nose (one assumes toward the senators) assures him, "If [Polk's Democratic predecessors] Jackson & Van Buren survived the proscriptive edicts of the Senate, surely we have no reason to consider Ourselves demolished! "in Union is strength," Nous Verrons!!" Senators Daniel Webster and John C. Calhoun (center, each with a boot on Ritchie) exclaim: "You may say that your account with us is "footed" up!" and "We'll teach you to play more respectful tunes when in our presence!" Between them stands another senator holding a copy of the expulsion resolution; he says, "I move for the expulsion of the Kings fool from the floor of the house!" This is seconded by several others. Also present are senators David Levy Yulee and James Diament Westcott, Jr., Democrats who voted for the resolution. Yulee (to the right of Calhoun, his back to the viewer), the Florida legislator who introduced the expulsion resolution, says,"I think Wescott, we've given him a lesson he won't forget!" Westcott agrees, "Aye, aye, Yulee, you, Calhoun, Butler & Myself may look out for some big licks!" (The four Democrats were in fact the targets of particularly strong editorial attacks by Ritchie). A third man (who may be intended to be Senator Andrew P. Butler, but bears no resemblance to him) concurs, "Nous Verrons! as the poor fool says!"|Robinson Lith 142 Nassau St. N.Y.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 89.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1847-1.