A vindictive Northern fantasy on the aftermath of the Civil War. Confederate president Jefferson Davis, dressed in a hoopskirt or crinoline, hangs from a "Sour Apple Tree" at left, a Bowie knife in one hand and a torn flag in the other. (For Davis's costume, see "The Chas-ed "Old Lady" of the C.S.A.," no. 1865-11; for the "sour apple tree," see "John Brown Exhibiting His Hangman," no. 1865-16.) Beneath Davis is an open grave from which peers the devil. At right nooses are suspended over the heads of several "Confederate Mourners" (left to right): Gen. Robert E. Lee, Secretary of War John C. Breckinridge, Secretary of State and War Judah P. Benjamin, one of the Southern "Fire-eaters" and member of the Confederate Senate William Lowndes Yancey, Georgian Robert A. Toombs, and Louis T. Wigfall. Lincoln's assassin John Wilkes Booth (far right) rushes to join the group. On the ground lie copperheads (symbols of Peace Democrats), skulls, and broken artillery. The infamous Confederate prisons, Libby and Andersonville, can be seen in the distance. In the upper register the blindfolded figure of Justice, holding a sword and scales, is enthroned on a bank of clouds. At left Liberty sits beside an urn partially covered by the Union flag. An eagle is beside her. A grieving soldier and sailor attend the urn, while a slave man, his wife, and child look toward the far right, where the recently assassinated Abraham Lincoln is escorted heavenward by angels. |Designed by Burgoo Zac.|Entered . . . 1865 by Charles Porah . . . Ohio, Cincinnati.|Title appears as it is written on the item.|Weitenkampf, p. 148.|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 1865-13.

A sheet music cover illustrated with a portrait of prominent black abolitionist Frederick Douglass as a runaway slave. Douglass flees barefoot from two mounted pursuers who appear across the river behind him with their pack of dogs. Ahead, to the right, a signpost points toward New England. The cover's text states that "The Fugitive's Song" was "composed and respectfully dedicated, in token of confident esteem to Frederick Douglass. A graduate from the peculiar institution. For his fearless advocacy, signal ability and wonderful success in behalf of his brothers in bonds. (and to the fugitives from slavery in the) free states & Canadas by their friend Jesse Hutchinson Junr." As the illustration suggests, Douglass himself had escaped from slavery, fleeing in 1838 from Maryland to Massachusetts. He achieved considerable renown for his autobiography "Narrative of the Life of Frederick Douglass," first published in 1845. The Library's copy of "The Fugitive's Song" was deposited for copyright on July 23, 1845. An earlier abolitionist song composed by Hutchinson, "Get Off the Track!" (no. 1844-14), also used a cover illustration to amplify its message.|Boston. Published by Henry Prentiss 33 Court St.|Entered . . . 1845 by Henry Prentiss.|Lith. of E.W. Bouve Boston.|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 1845-7.

The artist envisions public repudiation of Democratic hard-money policies, and the triumph of administration opponent Nathaniel P. Tallmadge, a conservative Democrat. Tallmadge, on horseback and armed with a lance "public opinion," rides over a fallen Van Buren, saying, "Roll off that ball, tis the voice of the People, they tolerate no more of your hard money humbugs." Van Buren protests, ". . . take your horse's hoofs from off my shoulder; I've no room for SĚ_Ąober second thoughts' now." He leans against a large ball marked "Solitary and Alone," which rolls over Missouri Senator Thomas Hart Benton and Treasury Secretary Levi Woodbury. Benton, who wields a quill "Expunger" and holds "Mint Drops," exclaims, "Woodbury get out of my way, or the ball will overwhelm us both." "Mint drops" was a colloquialism for gold coins, and refers to Benton's advocacy of a higher ratio of gold to silver in circulation. (For an earlier use of the giant ball metaphor see "N. Tom O' Logical Studies," no. 1837-14.) Editor Francis Preston Blair (seated on a bench at right) says, "Benton out with your old pistols that you shot Jackson with, & pop down Talmadge & his horse, or he'll reach the Capitol." Behind him appear the faint outlines of the Capitol. At left former postmaster general Amos Kendall and former New York governor William L. Marcy sit on the ground. Kendall asks, "By the powers tis the Bronze Horse, he carries all before him. Marcy what shall we do?" Marcy complains, "Confound it I'm down, quite down, with my britches torn again." Marcy's trousers are mended with a "50 cents" patch. (On Marcy's trousers' patch see &2Executive Mercy/Marcy and the Bambers, &1no. 1838-5.) The print probably appeared during the 1840 presidential campaign, when Tallmadge used his formidable influence in New York State in support of Harrison. It is also possible that it appeared during one of his own bids for reelection in 1838 or 1840. Comparison with other 1840 prints by "HD" supports the later date.|Lith. & pub. by H.R. Robinson, no. 52 Cortlandt St., no. 2 Wall St. N.Y. & Pennsylvania Ave: Washington Dist: Cola.|Signed with monogram: HD (Henry Dacre?).|Title appears as it is written on the item.|Weitenkampf, p. 66-67.|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 1840-38.

A gloomy view of the effects of the Polk administration's Tariff of 1846. The artist echoes Whig condemnation of the measure as adverse to American trade. A funeral cortege, composed of administration supporters, carries the coffin of "Free Trade" to a grave marked by a monument with the names of sixteen states. The names of Pennsylvania and New York, two states particularly resistant to the new tariff, appear in large letters. Alabama, Arkansas, Illinois, Indiana, Louisiana, Michigan, Mississippi, Missouri, South Carolina, Tennessee, and Virginia are missing. Over the grave is a banner reading, "Here lies Free Trade! Be it understood / He would have liv'd much longer if he could." The pall-bearers are (left to right) Vice President George M. Dallas, James K. Polk, Secretary of State James Buchanan, and Secretary of War William L. Marcy, wearing his characteristic fifty-cent trouser patch (see "Executive Marcy and the Bambers," no.1838-5). Polk: "This is a dead weight and verry heavy Mr. Vice." Dallas replies: "I agree with every thing you say Mr. President. if you were to insist that the moon was made of green Cheese I would swear to it for a Consideration." Buchanan complains: "I say, army lower down your side a little, you are throwing all the weight on me." Buchanan, from Pennsylvania, drew considerable fire from his native state for his support of the new lower tariff. Marcy suggests: "Raise your side, state and then we'll throw the whole weight on our leaders." The mourners are administration supporters: editor Thomas Ritchie (here called "Mother Ritchie" and dressed as a woman), senators John C. Calhoun and George McDuffie, and congressmen Ambrose H. Sevier, Robert Barnwell Rhett, and Dixon Hall Lewis. Ritchie: "If he should be resucitated! What a paragraph it would make in my paper!! Nous Verrons." Calhoun: "Hung be the heavens with black!" McDuffie: "If the whigs should get in we must resort to Nullification!" Sevier: "this sticks in my gizzard!" Lewis (notoriously obese): "We must grin and bear it, though it makes me feel very heavy!" Rhett: "a plagu of this sighing! it wells one up most villainously!" In the lower margin is the narrative: "This unfortunate youth died of Home Consumption & was buried at Washington in Nov: 1846 [the date the tariff was passed]. He was carried to the grave by Polk, Dallas, Buchanan & Marcy. The chief Mourners were his Nurse Mother Ritchie, [. . .] the cenotaph is to be erected by the Whigs. 16 States have already contributed & others are coming in."|Entd . . . 1846 by H.R. Robinson. |H.R. Robinson's Lith. 142 Nassau St. N.Y.|Signed with monogram: C (Edward Williams Clay).|T.B. Peterson Agent 98 Chesnut St. Phila.|Title appears as it is written on the item.|Davison, no. 187.|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 1846-12.

Jacksonian editor Francis Preston Blair rises from his coffin, revived by a primitive galvanic battery, as two demons look on. A man on the right throws up his hands as he is drawn toward Blair, saying: Had I not been born insensible to fear, now should I be most horribly afraid. Hence! horrible shadow! unreal mockery. Hence! And yet it stays: can it be real. How it grows! How malignity and venom are "blended in cadaverous union" in its countenance! It must surely be a "galvanized corpse." But what do I feel? The thing begins to draw me . . . I can't withstand it. I shall hug it! . . . First demon: "There! We've lost him, after all! See! they are bringing him to life again!" Second demon (holding a copy of Blair's newspaper, the "Globe)": Lose him! ha ha! . . . Rest you easy on that score. But can't you see that it's all for our gain that he should be galvanized into activity again? Where have we his equal on earth? especially since dear Amos [Kendall], poor fellow, has got his hands so full, at the Post Office, that he can't write for us as he used to. Show me another man that can lie like him. They talk of Croswell [influential editor of the "Albany Argus" and Van Buren ally Edwin Croswell] but Harry is nothing to him. I doubt if I can beat him myself. Lose him! a good joke that! Weitenkampf tentatively identifies the man at right as Amos Kendall, but the likeness differs considerably from that found in other caricatures of Kendall.|Printed & pub: by H.R. Robinson, no. 52 Cortlandt St. N.Y. & Pennsa. Avenue Washington D.C.|Title appears as it is written on the item.|Weitenkampf, p. 43.|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 1836-25.

A pro-Whig cartoon showing rival candidates Winfield Scott and Franklin Pierce in a race for the presidency in 1852 before an audience of animated spectators. Scott, in uniform and looking uncharacteristically trim, rides a giant gamecock. He is clearly in the lead here, and tips his hat to Pierce, taunting, "What's the matter, Pierce? feel "Faint? " ha! ha! ha! lord what a "Goose!" don't you wish you had my "Cock?" well good bye, Pierce, good bye." Pierce, also in uniform, but riding a large goose, replies, "O dear me! I shall "Faint," I know I shall "Faint," its "Constitutional!"" The added emphasis on the word "Constitutional" suggests that there is a pun intended. The reference to Pierce fainting stems from the Battle of Churubusco in the Mexican War when Pierce, suffering from earlier combat injuries, collapsed unconscious and was carried from the field. The goose was an unflattering symbol also associated with Pierce's Democratic predecessor James K. Polk. (See "Sold for Want of Use," no. 1844-37.)|Pub. at the Office of Yankee Notions 98 Nassau St. N.Y.|Signed: J.L. Magee delt.|Thomas W. Strong Lith. 98 Nassau St. N.Y.|Title appears as it is written on the item.|Lorant, p. 205.|Weitenkampf, p. 109.|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 1852-18.

A satire on Franklin Pierce's alleged ineptness as an officer during the Mexican War. There are two scenes. In the left frame, in "New Hampshire," Pierce trains a band of volunteer militia, exhorting them, "Forward! my brave Compatriots preserve but that undaunted front, and victory is ours." A soldier on the far left asks, "Capting Pierce wheres them Britishers! darn their skins just show em to a feller! will ye?" In contrast, in "Mexico" at right, Pierce lags behind his troops, holding his stomach and complaining, "Oh! how bad I feel, and every Step I go forward, I feel worse. I got such a pain in the abdomen I must resign my Command and go home." A soldier with the group looks back, saying, "Come along Gineral Pierce! heres them ere enemies you used to talk about on trainin down East: Hurry up and lick em." The print was no doubt issued during the 1852 presidential campaign when Pierce was the Democratic candidate.|For sale by Nathaniel Currier at No. 2 Spruce St. N.Y.|Title appears as it is written on the item.|Gale, no. 2410.|Weitenkampf, p. 110.|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 1852-22.

An illustrated Whig campaign music sheet. Before a log cabin in the wilderness Harrison greets a crippled veteran in a fashion similar to "This log cabin . . ." (no. 1840-17). In the distance is a somewhat larger rustic house with mountains beyond. On a large flag flying from a pole to the left of the cabin are six bars of music, forming the stripes of the flag. The score continues on the side wall of the cabin itself. Repeated throughout the notation, marking the treble and bass clefs, are tiny figures of soldiers, bayonets, and cider barrels.|Entered . . . 1840 by Saml. Carusi.|Lith. of Ed Weber & Co.|Published by Saml. Carusi Baltimore.|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 1840-18.

A satire on Andrew Jackson's campaign to destroy the Bank of the United States and its support among state banks. Jackson, Martin Van Buren, and Jack Downing struggle against a snake with heads representing the states. Jackson (on the left) raises a cane marked "Veto" and says, "Biddle thou Monster Avaunt!! avaount I say! or by the Great Eternal I'll cleave thee to the earth, aye thee and thy four and twenty satellites. Matty if thou art true...come on. if thou art false, may the venomous monster turn his dire fang upon thee..." Van Buren: "Well done General, Major Jack Downing, Adams, Clay, well done all. I dislike dissentions beyond every thing, for it often compels a man to play a double part, were it only for his own safety. Policy, policy is my motto, but intrigues I cannot countenance." Downing (dropping his axe): "Now now you nasty varmint, be you imperishable? I swan Gineral that are beats all I reckon, that's the horrible wiper wot wommits wenemous heads I guess..." The largest of the heads is president of the Bank Nicholas Biddle's, which wears a top hat labeled "Penn" (i.e. Pennsylvania) and "$35,000,000." This refers to the rechartering of the Bank by the Pennsylvania legislature in defiance of the adminstration's efforts to destroy it.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Title appears as it is written on the item.|Weitenkampf cites another version of the print issued by Robinson with the date 1836, and suggests that the present version is a reversed copy of that. One print with this title was registered for copyright by Robinson on March 29, 1836.|Weitenkampf, p. 39-40.|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 1836-7.

A satiric portrait of Venezuelan-born general Narciso Lopez, leader of an 1850 expedition to liberate Cuba from Spanish rule. Lopez's army of American volunteers captured the Cuban coastal town of Cardenas in May 1850. After a brief occupation Lopez's forces were driven out by Spanish troops, and fled to Key West. Lopez is shown fleeing to the left, holding a sword and a bag marked $50,000 (an exaggerated reference to the small sum of money taken by his men from the Cardenas customhouse). A milestone points "To Cardenas Custom House" in the distance, where a battle rages. Lopez says: "Well! we have not Revolutionized Cuba, but then we have Got what we came for, my Comrades came for Glory, I came for Cash, I've got the Cash, they've got the Glory, & I suppose we're all satisifed. I'm O-P-H [?] for the United States again. Cant Live under a Military Despotism." Weitenkampf dates the print tentatively 1851, the year of Lopez's second Cuban expedition. Specific reference here to the Cardenas affair of the preceding year, however, is persuasive evidence for an 1850 date.|Pubd. & for sale by John L. Magee 34 Mott St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 103.|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 1850-10.

An illustrated sheet music cover for an abolitionist song composed by Jesse Hutchinson, Jr. The song is dedicated to antislavery editor Nathaniel Peabody Rogers, "As a mark of esteem for his intrepidity in the cause of Human Rights." It is illustrated with an allegory of the triumph of abolitionism. In a landscape a railroad car, "Immediate Emancipation," is drawn by a locomotive named "Liberator" and followed by another locomotive, the "Repealer," which pulls a second car "Liberty Votes and Ballot Boxes." The "Liberator" was the name of a prominent antislavery newspaper published in Boston by William Lloyd Garrison. "Repealer" probably refers to the Irish insurgent movement in support of the repeal of the Legislative Union, a cause with which many abolitionists in the United States were allied. Flags bearing the names of two other abolitionist publications, the "Herald of Freedom" and "American Standard" (i.e., Rogers's" National Anti-slavery Standard), fly from the "Emancipation" car. The trains approach a bend in the track, nearing a station where a number of people gather to welcome them. Beyond the station is a church. In the distance two other trains, one marked "Van" and the other "Clay," crash and their passengers flee. These allude to Democrat and Whig presidential hopefuls Martin Van Buren and Henry Clay. The reference to Van Buren suggests that the music-sheet appeared before the Democratic convention in May, when James K. Polk, not Van Buren, received the party's presidential nomination.|Entered . . . 1844 by J. Hutchinson.|Thayer & Co's. Lith Boston.|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 1844-52.

The artist parodies recent outbreaks of violence in Congress, and offers a pointed comparison between the elevated rhetorical sparring in the Senate and a more physical brand of combat in the House of Representatives. In the left frame members of the Senate (wearing the togas of Roman senators) watch a bout of swordplay between Alabama Democrat Jeremiah Clemens (here "Clements") and South Carolina Democrat Robert Barnwell Rhett. Clemens lunges blindly at his opponent with his sword while covering his face with a shield marked "Valor." Rhett crouches on the floor beneath his own shield, labeled "Piety." Prominent among the onlookers is Missouri senator Lewis Cass who comments, "The Gladiator from South Carolina is certainly one of the most 'talented' men in the 'Dodging Line' our Country has produced--it's astonishing what practice enables us to accomplish." An unidentified senator exclaims, "Admirable! Admirable! what Suppleness and determination. I fearlessly assert that never in this Chamber has the 'Pious Dodge' been better executed." Another unidentified spectator adds, "Very prettilly done! that dodge was about as neatly executed as anything of the kind I have lately seen." In the second frame two "Bulley's of the House" (one probably Albert Gallatin Brown) fight before a gallery of spectators. Two spectators stand on a bench exclaiming, "Let them fight it out and dont let your anxiety make you perspire to freely. Here--Boy? go and ge me a glass of Brandy & some Crackers & Cheese. we may as well have a pleasent time of it--I bet a Hundred to one Brown whips his man in three minutes" and "Shame!!--Shame!! Where's the Sergeant at Arms!"|Probably drawn by John L. Magee.|Title appears as it is written on the item.|Weitenkampf, p. 105.|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 1852-38.

Evidently a companion to "The Globe Man Listening to Webster's speech on the Specie Circular" (no. 1838-3), the small, bust-length caricature of Democratic editor Francis Preston Blair shows him looking even more cadaverous and morose. The title refers to the defeat of Van Buren's Independent Treasury Bill in 1838. The print was registered for copyright on July 6, 1838, soon after the bill was voted down late in the second session of the Twenty-fifth Congress.|Entd . . . 1838 by H.R. Robinson . . . Southn. Dist. of N.Y.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 54.|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 1838-4.

A small, bust-length caricature of Washington "Globe" editor and Van Buren adviser Francis Preston Blair. The print was probably issued in the spring of 1838. In May of that year the Specie Circular, an extremely unpopular order issued by the Jackson administration in December 1836, directing collectors of public revenues to accept only gold or silver ("specie") in payment for public lands, was repealed. The print's title may refer to Daniel Webster's lengthy March 12 speech condemning the Independent Treasury Bill and other aspects of President Van Buren's fiscal program. The print may to be a companion piece to "The Globe-Man After hearing of the Vote on the Sub-Treasury Bill" (no. 1838-4). Both are probably attributable to Napoleon Sarony on the strength of their marked resemblance to Sarony's characterization of Blair in "A Globe to Live On!" (no. 1840-42).|Entd . . . 1838 by H.R. Robinson . . . Southern District of N. York|Printed & pubd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 54.|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 1838-3.

Prominent Democratic party publicists Francis Preston Blair and Amos Kendall are portrayed as Siamese twins, joined at the mid-section, and standing on a large globe. Blair (left) was the influential editor of the Washington "Globe" newspaper. Kendall resigned his cabinet post as postmaster general on May 16, 1840, to undertake editing of the "Extra Globe," a party organ issued during the presidential campaign. The "Extra" is the ligament that joins him and Blair in Sarony's cartoon. Blair exclaims, "Amos: You are an Atlas! and can support the Globe!" Kendall replies, "Yes! Frank, and "can" make the Globe support me." The latter's confirms the widespread rumor that Kendall shared considerably in the campaign paper's profits. He holds in his left hand a paper with the words "List of Subscribers 100,000 Office Holders." Kendall used thousands of federal postmasters to distribute the "Extra Globe." Whigs also maintained that some 100,000 public employees were forced to contribute a portion of their salaries to support the campaign.|Printed & published by H.R. Robinson, 52 Cortlandt St. & Pennsa. Avenue Washington D.C. (imprint supplied by Weitenkampf).|Signed: N.S. (with logo of a barrel; Napoleon Sarony]|Title appears as it is written on the item.|Weitenkampf, p. 61.|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 1840-42.

A patriotic device adorning the cover of a song arranged and adapted from "God Save the King." The device is based on the official seal of the United States. An eagle with outstretched wings holds arrows and olive branches. Behind its head is a field of stars, and a streamer reading "E Pluribus Unum" is draped around him.|N. York, published for the proprietor by G. Endicott, 359 Broadway.|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 1835-1.

An illustrated sheet music cover for a Unionist song, "God and Our Union," composed by Leopold Meignen with words by Louis Dela. The illustration features four maidens, each representing a section of the United States--North, South, East and West. The maidens stand around an altar and point to a scroll, the "Constitution of North America," which they unroll. Rising from the altar are two Corinthian columns supporting an arch, over which is draped a large American flag. Atop the arch sits an eagle. In the space between the columns appears a large, gleaming anchor, symbol of hope. The scene is surrounded by dark clouds through which an eye appears. The vigilant eye was a familiar Masonic symbol, and a device adopted by the Wide-Awake Clubs of 1860. (See "Free Speech, Free Soil, Free Men," no. 1860-14.) Here it probably refers to the song's assertion of divine watchfulness over the Union.|Entered . . . 1860 by Beck & Lawton. |Philada. Published by Beck & Lawton, S.E. Cor. 7th & Chestnut St. Boston by Oliver Ditson & Co. N. York by S.T. Gordon. H. Cartwright in Wheeling. Cincinnati by John Church.|Schnabel & Finkeldey lith. 218 Walnut Street. Philadelphia.|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 1860-2.

Caricature of the Ullysses S. Grant as being inebriated and trying to walk from a lamp pole labeled "2nd term" to lamp pole labeled "3rd term": a policeman in a doorway says, "Will he make it?"|Copyright by Mat Hastings.|Published by Hastings & Hannerty, 215 N. 4th St., St. Louis, Mo. Copyright secured.|Signed in stone: Mat Hastings del.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Martin Van Buren's New York political favorites are represented as piglets suckled by a giant sow "The Empire State." The artist's pointed reference is to the exploitation of New York State by the President and his supporters. The piglets nursed by the sow bear the names "The Regency" and "Tammany Hall" (popular names for the state and city Democratic machines respectively), "Weigh master General," the names of various patronage positions and of banks friendly to the administration, and the "Safety Fund." On the left other piglets, representing applications for bank charters and government offices and "The Times," await the sleeping sow's attention. Van Buren (left) and a stout Dutchman (a stereotyped character often used to represent New York State) look on. Van Buren: Was ever man blest with such a fine old sow and litter of pigs! They have made me the greatest man in the Union, and even follow me every where! Dutchman: Myn Got dey will suck de very life's blood out of dat old sow, I never seen pigs suck so in all myn life. Got for damn such a breed! Myn Vrow would not have dem on de farm.|Printed and published by H.R. Robinson, 48 & 52 Cortlandt St. New York.|Title appears as it is written on the item.|Weitenkampf, p. 51.|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 1837-15.

A comic scene anticipating a Whig victory in the upcoming presidential election. The date is 1845, after an election supposedly decided on the Texas question, the tariff issue, and Democratic identification with Jacksonian policies. The artist ridicules Democrat James K. Polk's advocacy of the annexation of Texas as misguided aggression. In addition, the title's use of the phrase "Going to Texas," contemporary code for embezzling, may be a swipe at the political spoils system associated with the Democrats since the Jackson administration. Incumbent President John Tyler also comes under attack for corruption. The scene is outside the White House. On a "Loco Foco" donkey Polk and running-mate Dallas, heavily armed and equipped with military packs, are about to depart for Texas. Dallas holds a flag with skull-and-crossbones and the motto "Free Trade," a symbol of antiprotectionism. Around the donkey's neck is a feed barrel full of "Poke berries." Before the donkey stands Andrew Jackson, offering his trademark hat and clay pipe, and crooning: I give thee all, I can no more, / Though poor the offering be, / My hat and Pipe are all the store, / That I can bring to thee! / A hat whose worn out nap reveals / A friendly tale full well, / And better far a heart that feels, / More than Hat and Pipe can tell! At this the donkey brays, "Eehaw!" and Polk bids Jackson, "Goodbye General! It is all day with us. I am a gone Sucker!" Dallas exclaims, "D--n Clay!" Behind the donkey stands John Tyler, with lowered head, reflecting, "It is very odd, that after all my treachery, and the unscrupulous efforts of office holders and political dependents, this is my reward! If I had not laid by enough for a rainy day, I should slope for Texas too!" On the ground nearby lies a sign reading: For Sale A lot of hickory Poles will be sold cheap to close the concern. enquire of Polk & Dallas." From the steps of the White House Henry Clay waves and calls out, "A pleasant journey to you Gentlemen! may your shadows never be less!" Below the title is a narrative, purportedly excerpted from the Tyler administration organ the "Madisonian" of April 1845: All wept particularly when the old chieftain approached and holding his hat and pipe in one hand and the other placed on his heart, with tremulous accent interrupted occasionally with a cough, sang the above lines, an impromptu composed by himself to the well known tune of my heart and Lute, even the sagacious Tyler was subdued and sank into a fit of melancholy abstraction; the Donkey brayed encore.|Entered . . . 1844 by J. Baillie.|Lithd. & pubd. by James Baillie 118 Nassau St. N.Y.|Signed with initials: E.W.C. (Edward Williams Clay).|The print probably appeared late in the campaign, as the Library's impression was deposited for copyright on October 22, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 83.|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 1844-47.