Poster showing a young woman with an American flag. Includes open blue triangle, symbol of war relief work.

A satirical view of the scramble among newly elected President James K. Polk's 1844 campaign supporters, or "patriots," for "their beans," i.e., patronage and other official favors. Polk (upper right) sits in the Presidential Chair, his hands folded and apparently oblivious to the activity around him. From behind the chair Andrew Jackson prompts him, "That's right Jemmy, Non Committal. By the Eternal you're a chip of the old block." To Polk's right a group of homely women present a petition and ask, "Can't you do something for us? we are poor weak women in great danger of being seduced! We want a proclamation in behalf of our Moral Reform Society." Below him John Beauchamp Jones and Francis Preston Blair, editors of influential rival newspapers, the "Madisonian" and the "Globe," fight for the privilege of being the administration organ. In the center an Irishman, hat in hand, approaches Polk and asks, "Plaze yer honor's worship, can't ye do somethin' for me? I was bor-r-n in Boston and rared in New-Yor-r-k, be the howly St. Patrick, and nivver a bit of an office have I had yet." Nearby, a German or Dutchman walks away in disgust shouting, "Dod rot this administration! I've lost my sittivation that Tyler give me, that was worth $15 a year! Dod rot 'em, I say!" In the foreground Secretary of State James Buchanan asks a small, ragged figure, "What Office do you expect, my man?" The man, a Rhode Islander, responds, " . . . I was an Officer with Govr. Dorr, and I should like to be an Officer agin; but I ain't perticklar, if you haint got no office may be you've got some old Clothes to give me!" Dorr was the leader of an abortive revolution in Rhode Island in 1842. (See Trouble in the Spartan Ranks, no. 1843-6). At left South Carolinian John C. Calhoun, a frustrated aspirant for the 1844 Democratic nomination, rides off on a velocipede saying, "Let this Poke manage two stools if he can, I'll cut my stick, and be off for the sunny south." Above, in the background, members of the "Empire Club" wave their hats and fire a cannon. They may represent the expansionist platform on which Polk campaigned, which many Whigs feared would provoke war with Mexico. In the left foreground is a motley militia troop carrying a banner "For Oregon!! Liberty! or Death!!!" Their leader proclaims, "Follow me brave soldiers, strike but one blow, and Oregon is ours!" Polk's campaign platform favored reannexation of the Oregon Territory.|Entered . . . 1845 by J. Baillie. |Lith. & pub. by James Baillie 118 Nassau St. N.Y.|Probably drawn by Edward Williams Clay.|The Library's impression was deposited for copyright on March 24, 1845.|Title appears as it is written on the item.|Weitenkampf, p. 85|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 1845-3.

Poster shows a shepherd with his flock near a barbed wire fence and artillery piece on an abandoned battlefield. Poster is probably an advertisement for a book by William Ernest Henley sold at Derry & Toms department store in London. Title from item.

A satire on the reverse impact of John Binns's anti-Jackson "coffin handbill" campaign during the presidential race of 1828. Editor-publisher Binns supports on his back a large load of coffins, upon which are figures of Henry Clay (left) and incumbent President John Quincy Adams (right). Binns: "I must have an extra dose of Treasury-pap, or down go the Coffins Harry, for I feel faint already." Clay: "Hold on Jonny Q--for I find that the people are too much for us, and I'm sinking with Jack and his Coffins!" Adams (grasping the presidential chair): "I'll hang on to the Chair Harry, in spite of Coffin hand-bills Harris's letter Panama mission or the wishes of the People."|The print may have been produced in Philadelphia by James Akin, judging from similarities in the handling of the aquatint, attenuation of the figures, and lettering to his "Caucus Curs in Full Yell . . ." (no. 1824-2).|Title appears as it is written on the item.|Century, p. 36.|Munsing, no. 37.|Weitenkampf, p. 21.|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 1828-3.

A Whig fantasy on the supposed outcome of the 1844 election. Here Henry Clay and Theodore Frelinghuysen occupy the White House. They watch from a window as John Tyler plays a hand organ and leads a group of minstrels outside, asking "A few Pennies Gentlemen for the poor Virginny minstrels!" On the top of the organ are three tiny rats, perhaps a reference to the resignation of Tyler's cabinet or a comment on the president's betrayal of Whig interests during his tenure. (For the Cabinet-rat simile, see "The Rats Leaving a Falling House" and "Rats Quitting the Ship," nos. 1831-2 and 1840-34.) On Tyler's leash is a monkey with the head of James K. Polk. He is perched on the back of a fox with Van Buren's head. Polk says, "Well this is better than having to "carry" the Fox!" Van Buren complains, "I dont know what they want to (Polk) this Monkey on my back for." Following Tyler is John Calhoun, in a woman's dress, playing a tambourine and singing in mock-Negro minstrel style, "Ole Wirginny neber tire." He has the webbed feet of a goose. Clay comments, "These Minstrels seem to be in want, we'd better call them in and give them something to eat." Frelinghuysen responds, "Yes Henry I'll call the Butler!" Watching from the right are former president Andrew Jackson, dressed as an old woman, Thomas Hart Benton, and an unidentified man. Jackson exclaims, "Oh! dear. by the Eternal! I remember that little Fox used to play his tricks about this same old white House some years ago, caught at last eh! Well I am sorry for You!"|Drawn by H. Bucholzer.|Entered . . . 1844 by J. Baillie.|Lith & pub by James Baillie 118 Nassau St. N.Y.|The Library's impression of the print was deposited for copyright on August 4, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 77.|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 1844-42.

Entered according to Act of Congress, in the year 1838 by H.R. Robinson, in the Clerk's Office of the District Court of the U.S. for the Southern District of New York. Printed & published by H.R. Robinson, 52 Cortlandt St. & 11 1/2 Wall St. N. York.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A later, altered version of "The Pending Conflict" (no. 1863-10). Albeit more optimistic from the Northern point of view than its earlier couterpart, this version is equally critical of European abetment of the Confederate war effort and of the anti-Lincoln or pacifist movement in the North. The artist has made significant changes in composition and details. The positions of the central figures are reversed so that the secessionist figure is on the left, wearing a belt marked "Secession. The States shall be sovereign!" He still tramples on the American flag and wields a club marked "British pirate steamers, Br[itish] Cannon, &c." Strewn about his feet are three broken clubs inscribed "Bermuda," "Fingal," and "alias Atlanta." John Bull and Napoleon III of France watch from the background left. The former holds a bundle of clubs wrapped in a band labeled "Neutrality." The clubs are labeled "Steam Rams" and "Blockades" and "Runners." The muscular figure representing the Union is now clearly the more dominant. He wears a belt labeled "Union. The people shall be sovereign!" and raises a club threatening Secession. With his other hand, he grasps a snake by the throat. In the background right, on the ocean, are three ships, two of which are aflame. |Designed by O.E. Woods.|Entered . . . 1863 by Oliver Evans Woods . . . Pennsylvania.|Herline & Hensel, Lith. 632 Chestnut St. Phila.|This impression was deposited for copyright on January 21, 1864, along with another redrawn version with added text and the new title "The Pending Contest" (no. 1864-3).|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 1864-2.

One of three similar prints published by Oliver Evans Woods, reflecting grave northern fears of British and French interference on behalf of the Confederacy in the Civil War. (See also "The Pending Conflict" and "The Pending Contest," nos. 1864-2 and 1864-3.) The controversy centered on the "Alabama" and other warships built and fitted out for the Confederates in England. French Emperor Napoleon III's military operations in Mexico in 1862 and 1863 were also perceived as dangerous to the North. The print actually appeared in the summer of 1863, when Southern diplomatic overtures to France and England threatened to result in international recognition for the Confederacy. In the center Jefferson Davis--here called "Secesh"--raises a club labeled "Pirate Alabama" over the head of a brawny Union soldier whose arms are constricted by the Constitution, and around whose waist and legs coils a poisonous snake. Davis tramples on an American flag. At right stands a leering John Bull, who holds a pile of clubs in reserve for Davis. Behind him is a prancing Napoleon III, also watching the contest. In the distance two ships burn on the ocean. Napoleon: "Whip him, Secesh, and when I get Mexico, I'll help you whip him again." John Bull: "Down with him, Secesh--burn his Ships--destroy his Commerce--England has plenty more such clubs for you." Secesh: "I'll fix him--I'll kill him." Soldier: "The flag of my country trampled under foot--the ships of my country burning on the ocean--while I stand here entangled in the coils of this foul Copperhead, and so bound up by Constitutional restraints, that I am unable to put forth my true strength in their behalf." The "restraints" mentioned may refer to opposition on constitutional grounds to Lincoln's use of what he considered valid presidential war powers. The cartoon may have been specifically occasioned by the Supreme Court's review in the "Prize Cases" of 1863 of the legality of the Union blockade. "Copperhead" was the derogatory term used for anti-Lincoln or anti-Republican advocates of a negotiated reconciliation with the South.|Published by Oliver Evans Woods, Philadelphia.|The Library's impression of the print was deposited for copyright on July 1, 1863.|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 1863-10.

A variant of "The Pending Conflict" (no. 1863-10), evidently issued at about the same time (and deposited for copyright on the same date). Significant alterations here include: the "Neutrality" band has been removed from around the clubs held by John Bull; Napoleon III now seems to dance, with his hand on John Bull's shoulder; Secession's belt reads only "Secession" and the Union figure's reads "The people shall rule!"; four burning ships appear in the background; and, Secession's club is cracked and splintering. The text, printed in letterpress below the image, reads: "Emp. Napoleon.--Whip him, Secesh, and as you have helped me to a chance to win Mexico, only keep him employed a little longer, and then I will help you. John Bull.--Down with him, Secesh, burn his ships, destroy his commerce--England has plenty more such clubs for you. Secesh.--I will kill him if I can, and yet, this Mudsill, whom I have despised as a mercenary coward, insulted, and would have trodden under foot, has proved to be a very giant in courage and in resources; even hampered as he is, nevertheless, his blows fall so hard and fast, that, but for his attention being diverted by the assaults of that Snake [i.e., the copperhead], I would be unable to continue the conflict one moment longer. U. S. Citizen Soldier.--The Flag of my country trampled under foot--the ships of my countrymen destroyed upon the ocean, by those who would disenfranchise me of my rights of citizenship, and make me an alien, and a stranger, in the fairest portion of my own land, and I, when battling for my rights, have met a long, a desperate, and a sanguinary contest, where, but for the encouragement given to my adversary by the attacks of this vile Copperhead, I would otherwise have quickly won a complete, and almost "bloodless" victory."|Entered . . . 1863 by Oliver Evans Woods, Pennsylvania.|Herline & Hensel, Lith. 632 Chestnut St. Philada.|Published by Oliver Evans Woods, 1003 Race Street, Philadelphia.|The Library's impression of the print was deposited for copyright on January 21, 1864.|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 1864-3.

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

People in snow outside a Buddhist church. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-34. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

People walking through relocation center in snow past hand made wood fence. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-33. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

A prediction of dire consequences to follow from Jackson's withdrawal of federal funds from the Bank of the United States, initiated late in 1833. The artist is harshly critical of Jackson's move to distribute federal treasury funds among several state or so-called "pet" banks. He also condemns the influence of both Jackson's informal circle of advisors, the "Kitchen Cabinet," and the newspapers friendly to the Administration, the "Collar Presses." Jackson declared his own personal "responsibility" for the controversial order to remove the feredal deposits from the Bank. Here a mob of farmers, laborers, and tradesmen riot, holding papers saying "Broken Bank," and shouting "Send back the deposites! Recharter the Bank!" and "Come back old responsibility." They pursue Jackson, who flees to the right carried on the back of Jack Downing. Jackson: "By the Eternal Major Downing; I find Ive been a mere tool to that Damn'd Amos [Kendall] and his set, the sooner I cut stick the better." Downing: "I told you I'd get you off Jinral but it will be a tarnel tight squeeze I guess." In the center Thomas Ellicott and Reuben Whitney, anti-Bank fiscal advisors to the administration, try to pull down the statue of Justice (here labeled "Supreme Court") resting on a pedestal "Constitution." A man in judge's robes, Supreme Court Justice John Marshall, warns "Miscreants forbear, the day of retribution is at hand and Justice shall be no longer set at defiance!" Five dogs, representing newspapers supportive of Jackson's program, including the "Globe, Albany Argus, Evening Post, Standard," and "Journal of Commerce" scamper away with their collars chained together. These are called "Collar Presses, " a derisive nickname playing on their status as newspapers or "presses" subservient to the administration. On the far left Henry Clay tells Daniel Webster and John Calhoun, "Behold Senators the fulfilment of my predictions!" Below them two blacks converse: "Hurrah Bob two or three more rows like dis and nigger free, for there will be no more Goberment." "Hurrah! for Massa Garison [i.e. abolitionist William Lloyd Garrison], den he shall be King!" On a step at lower left a sailor offers a Jewish broker a ten dollar bank-note. Sailor: "I say Moses give us some ballast for this here bit of rag." Banker: "Mine Got that ish one of the Pet Bankhs I'll give you one Dollar for the Ten."|Entered . . . Southern District of New York by T.W. Whitley 1834, and for sale at 104 Broadway.|T.W. Whitley alias Sir Joshua invt.|The print was recorded as deposited for copyright by Whitley on February 1, 1834. The print was probably printed and sold by Anthony Imbert, since his address is given in the imprint. The print is also very close in style to Imbert's "Old Nick's New Patent Plan ... (no. 1834-5).|Title appears as it is written on the item.|Weitenkampf, p. 35.|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 1834-7.

Group of young people, mostly women, holding books, walking on a dirt road, buildings in the distance. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-10. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Incumbent President Martin Van Buren drives "Uncle Sam's Cab," a carriage pulled by a blindered horse, which wrecks on a pile of "Clay." The carriage founders in the path of a locomotive, really an assemblage of a "Hard Cider" barrel, a log cabin, and the head of Whig presidential candidate William Henry Harrison on wheels. Like "The Political Dancing Jack" (no. 1840-27), another crude but boldly designed woodcut, "The People's Line" was probably published by Huestis and Company and Robert Elton. Its imprint lists the two addresses used by these publishers on other prints during the 1840 campaign.|Sold by Huestis & Co. and Robert Elton? at 104 Nassau, and 18 Division Streets, New-York.|Title appears as it is written on the item.|Weitenkampf, p. 68.|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 1840-28.

Another Whig campaign badge, featuring a bust-length portrait of presidential candidate Henry Clay, with books, drapery, and the base of a column in the background. Above Clay's portrait is the motto: "The Peoples Welfare---My Reward." Below the portrait is a statement by Clay, conveying his campaign themes of support for protectionism and the creation of a national bank: "Protection to American Industry is necessary to secure the Independence of our Country. And a National Bank is as necessary to a Nation as National Law. H. Clay [facsimile signature]."|Title appears as it is written on the item.|Sullivan and Fischer, p. 76.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-8.

Poster showing a bust portrait of General Pershing, with a quote from him. United States Shipping Board Emergency Fleet Corporation, Issued by Publications Section, Philadelphia, Pa.

Poster showing Pershing leading troops, with spirits of crusaders floating above. The first official American war picture, taken by U.S. Signal Corps and Navy photographers. Official U.S. war film released by Committee on Public Information, George Creel, Chairman.

Students use Library of Congress primary sources to interview a grandparent or significant elder in order to provide a human face for life in the twentieth century.

Students use Library of Congress primary sources to interview a grandparent or significant elder in order to provide a human face for life in the twentieth century.