Another mock shinplaster (see also nos. 1837-9 and -10 above). Again the artist attributes the shortage of hard money to the successive monetary programs of presidents Jackson and Van Buren, particularly to the former's pursuit of a limited-currency policy and his dismantling of the Bank of the United States. In the drawing Jackson rides a pig headlong toward a precipice, followed by congressional ally Missouri senator Thomas Hart Benton, on an ass. Both pursue the "Gold Humbug" butterfly, symbolizing their efforts to restrict the ratio of paper money in circulation to gold and silver supplies. Van Buren, riding a fox, cunningly deviates from this disastrous course and follows a downward path leading toward the Bank. Jackson (reaching for the butterfly): "By the Eternal!! I'll have it, Benton!" Benton (whipping his mount with a quill pen): "Go it thou Roman!! a greater man ne'er lived in the tide of times.!!" His quill is labeled "Expunger," an allusion to Benton's extended campaign to "expunge" or remove the 1834 Senate censure of Jackson from the Congressional Record. Van Buren (losing his crown): "Although I follow in the footsteps of Jackson it is &2expedient, &1at &2this time &1to & 2 deviate & 1a little!!" Below the precipice Nicho;as Biddle, Bank of the United States president, sights Van Buren from atop his bank. The note is endorsed by the publisher, who promises "to pay Thomas H. Benton, or bearer, Fifty Cents, in Counterfeit Caricatures at my store . . . " It is dated May 10, 1837, the date of the New York banks' emergency suspension of specie payments.|Entered . . . 1837 by H.R. Robinson.|Published by H.R. Robinson, 52 Cortlandt St. N.Y.|The print was actually registered for copyright on June 10 of that year.|Title appears as it is written on the item.|Weitenkampf, p. 50.|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 1837-11.

A woodland fantasy satirizing the prominent figures of the 1844 election campaign. The artist again favors Whig candidate Henry Clay, the "Kentucky Coon," who is shown overwhelming Democrat James K. Polk, the "Tennesse Alligator," in a wrestling contest. Clay exults, "It is no use to try to poke this nondescript "animal" (i.e., Polk) against the Peoples Coon." (Oddly, the head on the alligator here bears little resemblance to the dark horse candidate.) About the forest lurk several other animals with the heads of Democrat and Whig notables. On the right stands John C. Calhoun, as a camel, and Andrew Jackson, as a giraffe. Calhoun carries on his back a cornucopia filled with turnips and declares, "We bring peace and plenty!" Jackson: "Altho I am one of those exalted characters who can "overlook" almost everything, yet I cannot overlook this disaster to our cause!" Several rats scurry past the two Democrats, one of them being Martin Van Buren, who says "I'm off for Lindenwald, basely deserted by my friends." Lindenwald was the name of Van Buren's estate, whence he retired after losing the Democratic nomination to Polk. To the left incumbent John Tyler, as a rattlesnake, coils around a tree. Tyler, who acceded to the presidency on William Henry Harrison's death, was considered a traitor to the Whig cause. On the ground nearby is a bear, Daniel Webster, who says (referring to Polk), "I'll put my foot on him when you are done, and that will sink him out of sight." Running ahead of Webster is hard-money advocate Thomas Hart Benton, as a boar with a sack of "Mint Drops" on his back. He exclaims, "That Coon does not, evidently belong to our family, but he is a ROARER!" Perched on a branch above is an American eagle with his wings outspread, a common patriotic emblem.|Entered . . . 1844 by James Baillie.|Lith & pub by James Baillie 33 Spruce St. N.Y.|Signed: H. Bucholzer.|The Library's impression of the print was deposited for copyright on June 26, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 76.|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 1844-24.

A figurative portrayal of the presidential race of 1824. A crowd of cheering citizens watch as candidates (left to right) John Quincy Adams, William Crawford, and Andrew Jackson stride toward the finish. Henry Clay has dropped from the race and stands, hand on head, on the far right saying, "D--n it I cant save my distance--so I may as well "draw up."" He is consoled by a man in riding clothes, "Well dont distress yourself--there'll be some scrubbing by & by & then you'll have a chance." Assorted comments come from the crowd, reflecting various sectional and partisan views. A Westerner with stovepipe hat and powder horn: "Hurra for our Jacks-"son."" Former President John Adams: "Hurra for our son "Jack."" Two men in coachmen's livery: "That inne-track fellow [Crawford] goes so well; that I think he must have got the better of the bots [boss?]." and "Like enough; but betwixt you & I--I dont think he'll ever get the better of the "Quinsy."" A ragged Irishman: "Blast my eyes if I dont "venter" a "small" horn of rotgut on that "bald filly" in the middle [Adams]." A Frenchman: "Ah hah! Mon's Neddy I tink dat kick on de "back of you side" is worse den have no dinner de fourt of july." In the left background is a platform and an inaugural scene, the "Presidential Chair" with a purse "|(Swann Fund Purchase)|Crackfardi Delt. et Sct. (David Claypool Johnston, Boston).|The print probably appeared late in the election campaign, as Weitenkampf cites an impression in the New York Public Library with the copyright legend "Entered . . . Oct. 6, 1824." The Library's impression has only the title and signature.|Title appears as it is written on the item.|Century, p. 32-33.|Johnson, no. 41.|Murrell, p. 106, 108.|Weitenkampf, p. 21.|Purchase; Caroline and Erwin Swann Memorial Fund.|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 1824-4.

The story of John Horse and the Black Seminoles has been largely untold, but according to Professor Amy Sturgis of Signum University, it deserves to be remembered. Not only did they create the largest haven in the U.S. South for runaway slaves and lead the largest slave revolt in U.S. history, but they also secured the only emancipation of rebellious slaves prior to the U.S. Civil War. In this video, Professor Sturgis tells the incredible story of the Black Seminoles.

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 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 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.

Another in the "bobalition" series of broadsides parodying the manners, illiteracy, and dialect of Boston blacks. (See no. 1819-2.) This one is facetiously dated "Uly 14, 1825, 6 month and little more beside," suggesting it appeared in 1825 or 1826. It is illustrated with silhouette figures of black men, one (on the left) saying, "Bosson, Uly 14, 1825 and little arter" and the second, "That is de day ob de grand Celebrashun." The text includes mock instructions for the procession, toasts, songs, etc., to mark the anniversary of the abolition of the slave trade. One toast is to "General Jackson--Eber he get to be Presumdent ob d Nuited States, he won't hang de rascal slow."|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 1825-1.

Another burlesque parade (see no. 1833-11), satirizing Andrew Jackson as a military hero and President and the local militia displays of the period. The print apparently portrays one of the mock processions actually held in New York during the 1830s. A motley array of characters, some of them on horseback and carrying banners, swords, and lances, proceeds from left to right. They include mainly clowns and other carnival-type figures, with some literary and historical characters such as Don Quixote and Napoleon. The procession is led by a clown-like general resembling Jackson. The banners read: "Our General!! May he "soon" meet his "reward" in Heaven for his "everlasting" services on "earth." "Death to the Militia System." "Soldiers in "peace. Citizens in "War."" The print is labeled "Part 1st" in the upper left corner. Below the title are the following lines: "Come get thee a sword, tho' made of lath. There's Best's son the tanner, and Dick the Butcher, and Smith the weaver, as ragged as Lazarus. No eye hath seen such scarecrows. I'll not march with them that's flat. Shakespeare." |Entered . . . 1833 by Endicott & Swett . . . SD of N. York.|Signed: Hassan Straightshanks (David Claypool Johnston?). Invt. et Del.|The work is by the same artist (pseudonym "Hassan Straightshanks") as "The Grand National Caravan Moving East" (no. 1833-10) and "The Government" (no. 1834-12), also published by Endicott & Swett in New York. The Library's impression was deposited for copyright on December 12, 1833.|Title appears as it is written on the item.|Murrell, p. 120, 124.|Weitenkampf, p. 31.|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 1833-12.

A burlesque parade, led by Andrew Jackson and satirizing various aspects of his administration. Weitenkampf asserts that the subject is Jackson's post-election visit to Boston; Murrell suggests a parody of Democratic campaign parades. In fact the print's publication did roughly coincide with Jackson's triumphal tour of the eastern cities New York, Philadelphia and Boston in late June and early July 1833. (The Library's impression was deposited for copyright on July 6, 1833). This artist's portrayal, however, is clearly fanciful. The procession moves from right to left. At its head is Jackson, seated on a horse with Martin Van Buren cross-legged behind him. Next is a devil playing a fiddle, followed by a mounted officer whose horse is one of two drawing a wagon holding caged Indians, with a flag "Rights of Man" and liberty cap. Inside the cage a forlorn Indian sings "Home! Sweet home!" This no doubt refers to Jackson's controversial Indian resettlement program, whereby thousands of Cherokees, Seminoles and other natives of the eastern United States were uprooted and moved to less desirable lands farther West. It probably refers to a specific casualty of this program, Sauk Indian leader Black Hawk, who in 1832 had led an unsuccessful uprising to resist white incursion into Indian lands in Ohio. Touring the Eastern United States as a prisoner of war, Black Hawk and his party arrived in New York on June 12, 1833, coinciding with Jackson's own visit there. The singing Indian resembles Charles Bird King's portrait of Black Hawk, painted in 1832. In the background are a cheering crowd, a hickory tree and a balloon overhead marked "rising generation." The figures sing lyrics from various songs. Jackson: "I've kissed and I've prattled to fifty fair maids." Van Buren: "Had I a heart for falshood fram'd." Devil: "When wild wars deadly blast was blown." Soldier: "How happy's [the] soldier that lives on his pay." Monkey atop the wagon: "Merrily every bosom boundeth." Prostrate drunk in foreground: "Hail! Columbia, happy land." Flags with various messages fly above the crowd, saying "See the Conquering Hero comes / Sound the trumpet beat the drums." and "Remember the glories of Brien the Brave" and "Honour and gratitude to the man who has filled the measure of his countrys glory." Atop the hickory tree flies a banner with "Heaven send it happy dew, / Earth lend it sap anew / Gaily to burgeon / And broadly to grow." Below the title is the quote, "There hath not been the like of them, neither shall there be any more after them, even to the years of many generations." The print is particularly well drawn, and may be the work of John Bufford. It compares closely to "The Government" (1834-12) and "Grand Fantastical Parade" (1833-12), also issued by Endicott & Swett in New York.|Drawn by Hassan Straightshanks (David Claypool Johnston?), under the immediate Superintendence of Maj. Jack Downing.|Entered . . . by Endicott and Swett New-York 1833.|Title appears as it is written on the item.|Fowble, no. 332.|Malcolm Johnson, "David Claypool Johnston, the American Cruikshank," Antiques, July 1972 p. 101-107.|Murrell, p. 120, 124.|Weitenkampf, p. 31. |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 1833-11.|Published in: Many nations: A Library of Congress resource guide for the study of Indian and Alaska native peoples of the United States / edited by Patrick Frazier and the Publishing Office. Washington : Library of Congress, 1996, p. 173.

Another satire on Andrew Jackson's conflict with French king Louis Philippe over French reparations due the United States under the Treaty of 1831. The artist blames vice-president Van Buren for escalation of anti-French feeling in the Administration to the verge of war. In the center Jackson, holding a sack of 25 million francs (the amount of French debt established by the treaty), dances to a tune played by "First Fiddle" Van Buren and the Cabinet orchestra. Louis Philippe falls to the floor at left. Jackson: "Par l'Eternel! Louis Philippe, je jouerai l'enfer et Thomas avec vous! D--n it Martin give us a War-dance! Whoop!!" Louis Philippe: "Nom de Dieu! I try de double shuffle wis dis d--n old Jackson, & he put me on my back supristi!!" Van Buren: "'I am the boy for bewitching 'em!' Forward and back two!!" Various other foreign heads of state and significant persons (identified in the lower margin) witness the scene, some commenting on it. The words given to Baron de Rothschild, for instance, express the anti-Semitic, anti-bank sentiments of the artist, "By Moses and de Profits, I am King of de Jews!" Weitenkampf records three different "issues" of the print, but describes only one, signed by Edward Williams Clay and published by Robinson in February 1836 at 48 Courtlandt St. The Library's impression has a variant imprint, listing the address as 52 Courtlandt St., and lacking Clay's monogram.|Printed & published by H.R. Robinson, 52 Cortlandt Street, New York. Entered . . . 1836 by H.R. Robinson.|Title appears as it is written on the item.|Davison, "E.W. Clay: American Political Caricaturist of the Jacksonian Era," no. 74 (variant).|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 1836-5.

A crude satire on the obstacles facing Van Buren's reelection effort in 1840. Weighed down by a large bundle labeled "Sub Treasury," Van Buren follows the lead of Andrew Jackson toward the White House. His way is blocked by barrels of "Hard Cider" and log cabins, symbolizing the popular appeal of Harrison's candidacy. In the right distance the Capitol is visible, and in the left distance Van Buren's home at Kinderhook. A mischievous youth stands behind Van Buren thumbing his nose.|Sold by Huestis & Co. 104 Nassau-St, N.Y.|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 1840-26.

A pro-Jackson commentary on the confrontation between the United States and France over reparations due the U.S. under the Treaty of 1831 (See "Spirit of the Times" no. 1836-4). The situation reached crisis intensity in 1836 when France refused payment pending an apology for remarks purportedly offensive to that nation in a Jackson speech the previous December. The print was deposited for copyright on January 25, ten days after Jackson's Special Message to Congress, wherein he suggested preparation for hostilities in the event that payment was not forthcoming. The cartoon spoofs the bellicose climate generated in part by American and French presses before spoliation payments were begun in May, and to the rivalry between New York newspapers the "Morning Courier and New York Enquirer," the "Sun," and the "Herald." The print is based on a fable by Jean de la Fontaine ("Fables de la Fontaine" Livre XII, Fable 4), about two she-goats who confront each other on a plank high above a river. Each is too proud to make way for the other, and hence both end up falling into the river. Similarly, two goats with the heads of French king Louis Philippe (left) and Andrew Jackson (right) meet on a plank bridging a channel. The Jackson goat says "By the 8th of January I shall not go back." Louis Philippe responds "Nor I by the 3d day of July." (January 8 is the anniversary of Jackson's famous victory at the Battle of New Orleans.) Below them John Bull waves his hat and says, "Go it my Harties fifty to one on Brother Jonathan, Some one will profit by this. I don't say who!" On the left the Gallic cock stands on a bale with the words "La raison du plus fort est toujours la meilleure" (loosely translated: "Might makes right"). He crows that "Orleans has been his [Jackson's] rise, Orleans will be his Fall," alluding to Jackson's famous victory at the Battle of New Orleans, and the French royal family, the house of Orleans. On the right is an American eagle with thunderbolts in his talons. In the lower half of the print editors of three French journals, "La Quotidienne, Le Constitutionel" and "Les Debats," shout taunts like "Go on! Go on! Vive la gloire!!" and "Might makes Right" across a small body of water at American editor James Watson Webb, on the right. Webb sits on a bale of saltpetre cheering Jackson and waving a "Bennett Bludgeon" club. The saltpetre symbolizes Webb's aggressive stance on enforcement of the spoliation claims; the bludgeon his well-publicized beating of James Gordon Bennett, editor of the rival New York "Herald," in January 1836. From Webb's pocket a boy surreptitiously removes a copy of Jackson's "Special Message" saying "The "Sun" shines for all," perhaps a reference to the New York "Sun's "non-partisan editorial policy.|Entered . . . 1836 N.Y.; added by hand in ink: "By Jos. Mouls."|Sold at 36 Maiden Lane 3d. Story.|Title appears as it is written on the item.|Weitenkampf, p. 42.|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 1836-3.

This collection uses primary sources to explore the life and political impact of Henry Clay. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

Henry Clay is the hunter, and various Democrats his quarry. Clay wears a fringed buckskin outfit and coonskin cap reminiscent of Davy Crockett and the Western characters of the contemporary stage, such as Nimrod Wild-Fire or Jibbenainosay. (In Bucholzer's earlier cartoon "Treeing Coons," no. 1844-20, James Polk wears a similar costume.) He grasps a rattlesnake with the head of incumbent President John Tyler. In his belt are two trophies, the Van Buren fox and Polk goose. He stands on the trunk of a felled "Hickory" tree (an allusion to Democratic patriarch Andrew Jackson), while an eagle hovers over him displaying a ribbon with the Whig campaign slogan, "Honor To Whom Honor Is Due." Clay says, "Thus perish the enemies of my Country, and of the People, who have honored me with their suffrages!" To the left stands Clay's running-mate Theodore Frelinghuysen, holding John C. Calhoun and Thomas Hart Benton by the seats of their trousers. He addresses Clay, "Here, noble Hunter! I have found two non-descript Animals! One of them is continually bawling about mint drops! and the other is yelling about disunion and nullification!" "Mint drops," slang for gold coin, were popular symbols of Benton's hard-money philosophy. Calhoun's leadership in the South's movement for nullification of the federal tariff of 1828 marked him as an advocate of disunion.|Entered . . . 1844 by J. Baillie.|Lith & pub by James Baillie 118 Nassau St. N.Y.|Signed: H. Bucholzer.|The Library's impression of "The Hunter of Kentucky" was deposited for copyright on August 23, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 74.|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 1844-39.

A burlesque history of the Jackson administration, with particular reference to his campaign to destroy the Bank of the United States. The narrative, in a series of twelve episodes, is based on Cervantes's "Don Quixote," which recounts the adventures of the don (here Jackson) and his squire Sancho Panza (here Jackson's vice president and successor Martin Van Buren). The episodes are as follows: 1. Jackson as Don Quixote, "redresser of grievances, the writer righter of wrongs," sits meditating in his study. A pair of military boots hover in the air at left. On the walls are portraits of Nero and Dionysus. 2. Jackson/Quixote kneels to receive his Doctor of Laws degree to the obvious amusement of several onlookers. 3. He attempts to thrash sacks of money labeled "U. S. Deposits" in a "certain public house" (the Bank of the United States) but is restrained by Bank president Nicholas Biddle and by Henry Clay and Daniel Webster, the latter shielding the sacks with the Constitution. This is a reference to the conflict over Jackson's 1833 order for the removal of federal deposits from the Bank. 4. He confronts a crowd bearing signs reading "Petitions for the restoration of deposits," "N. York Mechanics" and "Virginia Resolves," reflecting public protestation of the removal order. 5. "Don Quixote's Attack on the Giants" shows him charging the United States Bank building, as Van Buren/Sancho looks on. 6. "Don Quixote's Interview with the Canon" has Jackson discussing his aspirations for "making myself an emperor" and furthering the career of Van Buren. The canon may be "Globe" editor Francis Preston Blair or influential adviser and strategist Amos Kendall. A painting of Jackson, titled "Washington 2d" hangs behind him. 7. "Don Quixote Chagrined at the statement of Nicholas" shows Jackson angrily confronting U. S. Bank president Nicholas Biddle with the latter's written refusal to "surrender the books & papers & funds committed to them [i.e., to the Bank] by Congress without a revocation by congress first." 8. "Private Confab between Sancho and his Master" shows Van Buren reporting to Jackson on his poor public image. On the table is a "Report of the committee on the removal of the deposits" and a copy of the "Globe" newspaper. 9. "The Don and Sancho with eyes and ears stopped mounted on their hobby [horse]" ignore the winds "pressures, petitions, failures," and "Virginia Resolves" blowing about them. Jackson is armored with kitchenware made by "B. K. & Company Washington." The armor symbolizes the insulating nature of the advice and influence of Democratic publicists and prominent members of Jackson's "Kitchen Cabinet," Francis Preston Blair and Amos Kendall (hence "B. K. and Company"). The knight sits astride a wooden horse labeled "Great National Shaving Shop." 10. "Don Quixote Addressing certain Bound captives whose liberation he in vain attempted to accomplish" refers to the retention of the pension accounts for Revolutionary War veterans by the Bank. 11. In "Constitutional Insanity or the Don About to Figure it on Board Ship" Jackson says to Van Buren, "You must know . . . that this vessel [the Constitution] is here on purpose without a possibility of any other design to call & invite me to embark." 12. The narrative concludes with Jackson's retirement and Van Buren's inheritence of the problems of the presidency. "The Knight on his Way Home and Sancho in the High Road to Promotion" shows Jackson riding off toward his Tennessee estate, the Hermitage. Van Buren meanwhile is tossed into the air from a "Map of the United States 1837" held by several grinning men including (directly below the rider) the artist himself.|Clarence Brigham's tentative attribution of the print to David Claypool Johnston, cited by Weitenkampf, is undoubtedly accurate. The print compares closely to earlier comic etchings by Johnston, such as "Foot-Race" (no. 1824-4), and to his annual albums entitled "Scraps," issued from 1830-1849. Moreover, the self-portrait in the final scene is very similar to that which appears in the last vignette in the 1837 issue of "Scraps."|Drawn by David Claypool Johnston, Boston.|Title appears as it is written on the item.|Johnson, no. 51.|Weitenkampf, p. 50.|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 1837-2.

Election ticket with Democratic slate for governor and other Virginia state offices. The vignette illustration includes the seal of the state of Virginia with an eagle and cornucopiae. Below the vignette is the motto; "No bargain, sale or management--no war, famine, pestilence or scourge--no safe precedents. Right of Instruction." It continues at the bottom, "No sectional interests, Justice and equality to all--and hˆü_ˆüąonor and gratitude to the man who has filled the measure of his country's glory.'"|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 1828-12.

Election ticket with image of anchor, bales, and barrels on a shore, and sailing vessels beyond. Trunk in foreground is labeled "Edes Print" (printer's imprint)?|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 1828-8.

Election ticket with image of a three-masted sailing vessel.|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 1828-6.

Election ticket with image of an anvil and hammer.|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 1828-9.