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.

Political cartoons friendly to Van Buren were the rare exception during the 1840 campaign. Here the artist parodies the exploitation by Whig politicians of populist candidate William Henry Harrison. Martin Van Buren stands on the bank of a stream wishing the Harrison party "a quick voyage, take care you dont spill your valuable cargo." Harrison appears as a donkey wading in the shallows with a barrel of "Hard Cider" tied to its tail, carrying senators Henry Clay and Daniel Webster and Virginia representative Henry A. Wise on his back. Harrison: "I feel very much like a donkey!" Webster: "I say Wise do you think we have enough hard cider to last us to the Hedd of Navigation!" Wise: "Oh Webster dont be frightened we have plenty lashed on to the stern. What say you Clay!" Clay: "I'm content!" The image is clumsily drawn, but otherwise resembles Edward Williams Clay's work. There may have been some use of transfer paper in the lithographic process.|Drawn by Edward Williams Clay?|Published by John Childs, 90 Nassau St. New York.|Title appears as it is written on the item.|Weitenkampf, p. 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 1840-49.

A comic scene representing two New York city political factions, the Whigs and the radical Democrats (or "Loco Focos"), as scuffling newsboys. The scene takes place before the half-built Customs House, where several newsboys and a black chimney sweep are gathered watching a scrap involving a ragged youth selling "loco foco" matches and another newsboy. The match-seller raises his fist and threatens, "Oh! you d---d Whiggy." The latter, striking him, "I'll loco poke you." On the left three of the newsboys hold Democratic newspapers the "New York Evening Post" and the "New Era," and a copy of radical reformer Frances ("Fanny") Wright's lectures. One says, with a sidelong glance at the unfortunate match-seller, "I told him he had better not fight." The chimney sweep taunts them, "Does Fanny know you're out?" On the right, a second group of newsboys, holding copies of Whig journals, the "Transcript, Morning Courier and New York Enquirer, Gazette," and the "Evening Star," cheer on the winning fighter.|Printed & publd. by H.R. Robinson, 52 Cortlandt, 11 1/2 Wall, & 38 Chatham St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 46.|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 1836-21.

An allegorical design on the cover of a piano-music composition dedicated to the newly elected Democratic governor of Massachusetts, Marcus Morton. The illustration's central motif is based on the state seal, showing an Indian warrior and a star on a shield, draped with the state and United States flags. (Oddly, the Indian's head is obscured by the flags, and weeds grow up around the shield--perhaps an editorial comment on the artist's part.) On a streamer is the state motto "Ense petit placidam [sub libe]rtate quietem" (With the sword she seeks peace under liberty). In the distance the state house (on the right) and the governor's mansion are visible. The image is framed by two columns and a plinth made up wholly of type ornaments and printed in red ink.|Entered . . . 1839 by Henry Prentiss.|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 1839-14.

A sheet music cover illustrated with an allegorical vignette incorporating the arms of the state of South Carolina. The quickstep was composed by Geo. F. Cole for the Washington Light Infantry and dedicated by the troop to the Savannah Republican Blues, Chatham Artillery, Georgia Hussars, and Volunteer Guards and to the Columbia Richland Rifle Corps and Governors Guards. According to the text it was "played on the Occasion of the reception of the above Companies in Charleston Feb 22nd 1850." The vignette features an arch, "Constitution," resting on three columns labeled "Wisdom," "Justice," and "Moderation." The arch stands in the shadow of a palmetto, South Carolina being known as the Palmetto State. In the left background is a mountainous landscape with a viaduct crossed by a locomotive. On the right, a farmer ploughs his field and ships sail on the water.|Entered . . . 1850 by Wm. Hall & Son. |Lith. of Wm. Endicott & Co. N.Y.|Music composed by Geo. F. Cole for the Washington Light Infantry; published by George F. Cole, Charleston, S.C.|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 1850-1.

A dramatic prison scene, intended to contrast the clemency of New York's Whig governor William H. Seward with the vindictiveness of the Democrat-controlled New York City prison administration. In the interior of the Halls of Justice, popularly known as "the Tombs," a grim jailer stands blocking the approach of a Catholic priest toward a small cell, saying "You can't Enter." The priest, holding a crucifix and rosary beads, presents a paper marked "Admit the Bearer. W H Seward" and replies, "Here is my authority from Govr. Seward for admission. I shall now see the wretched man." Meanwhile, in his cell, the "wretched man"--actually, convicted murderer John Caldwell Colt--kneels in prayer, a Bible beside him. He implores, "Must I die without seeing my Priest? How cruel to prevent me from making My peace with my God!" The print may be based on an actual incident. Interestingly, though, in the closing months of his administration Seward refused to pardon Colt, despite considerable political pressure to do so. Colt cheated the hangman by taking his own life on the day of his scheduled execution.|Signed with monogram: HD (Henry Dacre?).|Title appears as it is written on the item.|Weitenkampf, p. 70.|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 1842-1.

An illustrated sheet music cover, for a march celebrating the election of Silas Wright as governor of New York. Wright, a popular and influential Democrat and Van Buren ally, was elected in November 1844. The march is dedicated to the new governor by its composer Oliver J. Shaw. The cover is adorned with an elaborately drawn arms of the state of New York. A shield shows the rising sun over a landscape with canal barges; below is the state motto "Excelsior." The shield is flanked by two classical figures: Justice (left) with scales and sword, and Hope holding an anchor and a scythe symbolizing agriculture. Above is an eagle holding arrows, olive branches, and a streamer reading "E Pluribus Unum" and below are olive and oak branches.|Entered . . . 1844 by Wm. H. Oakes.|For sale by E.H. Wade, 197 Washington St.|Thayer & Co's Lith. Boston.|The Library's copy of the music-sheet was deposited for copyright on December 24, 1844.|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 1844-49.

A satire on Andrew Jackson's "Kitchen Cabinet," the pejorative name given his informal circle of close advisors. The print appeared during the heated controversy incited by Jackson's discontinuation of federal deposits to the Bank of the United States. In the President's September 1833 message to his formal cabinet, announcing this measure he claimed sole "responsibility" for this decision. Many regardless attributed the move to the machinations of Van Buren and other figures of the "Kitchen" group. "The Government," is shown as a cart, driven by a figure made up of kitchen implements, and drawn by an ass with Jackson's head, who is in turn led by the ear by Martin Van Buren. The cart is marked "K.C." probably standing for Kitchen Cabinet, and bears an emblem composed of a broad-brimmed hat, riding crop, sword, Jackson's eyeglasses, and a cauldron. The same cauldron, inscribed with the word "unit," appears as the mid-section of the driver. (The cryptic term "unit" figures in an earlier cartoon -- again with reference to Jackson's cabinet -- Edward W. Clay's ".00001. The Value of a Unit," no. 1831-1). Into the cart a black man pours a bucket of waste, apparently from the public privvy in the background, marked "Public Accomodation / Place of Deposit" on the right.|Entered . . . 1834 by Endicott & Swett . . . New-York.|Hassan Straightshanks (David Claypool Johnston?) Del.|The title suggests that the print was to have been the first in a series, although no further numbers have been recorded. It was by the same artist, pseudonymed "Hassan Strightshanks," as "The Grand National Caravan Moving East" (no. 1833-11) and "The Grand Fantastical Parade. . ." (no. 1833-12). The Library's impression was deposited for copyright on April 7, 1834.|Title appears as it is written on the item.|Murrell, p. 124.|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 1834-12.

A satire on the New Jersey gubernatorial campaign of 1844, centering on a major issue of the race--extension of the Camden and Amboy Railroad. The Whig candidate, New Jersey native Charles C. Stratton, campaigned on a platform opposing the powerful railroad interests of the state. The Democratic candidate, Pennsylvania-born John R. Thomson, was a stockholder in the railroad and a vigorous advocate of internal improvements. The artist portrays Thomson as a reckless pawn of "young Hyson" (possibly a railroad magnate?) and the railroad as a burden on the people of the state. Thomson (here "Thompson") rides a steam train along a stretch of track laid over the backs of the people. The track ahead is unfinished--a fact noted by a man on the locomotive's front platform. Heedless of this, Captain Thomson stands atop one of the cars waving a militia cap (a symbol of his Jacksonian alignment) and shouting, "Fire up Green! Fire! I say that devilish Whig brigand Stratton is almost there--Stir up!--Put on the Steam or our man is lost--O my Country! O!!! 'For thee I wave my Sword on high / For thee I live--For thee I die' Go ahead! Burst! I'd sooner smash than not be first." Whig ally and fellow railroad advocate James S. Green feeds the engine's boiler, complaining, "T'is decreed by my Master, the Captain, that there shall be more Fire--but I fear I never shall be Chancellor." Another man asks Thomson, "How long shall we go on this tack, Captain? It is almost time to have the Engine reversed." The train pulls "Young Hyson" who rides in an oriental rickshaw-like vehicle. Ahead is a tall staff flying an American flag and a "Clay and Frelinghuysen" streamer. Further on, Stratton's horse-drawn coach approaches a crowd gathered around a small house. On a hill nearby is a large house with a cupola, possibly the governor's residence. A man in the crowd calls out, "Here they are! Three cheers for Governor Stratton the "Jersey bred Jerseymen."" The coach's driver announces, "We've distanced the Rail Road machinery this time." In the foreground a farmer at the reins of a simple wooden wagon full of produce calls out to two gentlemen in a stylish coach nearby, "Hurrah for Clay--for Frelinghuysen for Stratton--and for all who go for men of my Condition: Hurrah I say you men with your men Servants there!" One of the gentlemen says to the other, "Egad my friend, Thompson will find the backs of the people a very unsafe Foundation for a Rail Road. I had rather trust to Stratton's Old Jersey Waggon off yonder." His driver comments ironically, "I have no faith in the common people--they have no respect for rank--Thompson degrades himself by condescending to be their Governor." The print may have been conceived as part of a series, given that it is marked "No. 4," although no related prints have been recorded.|Entered . . . 1844 by H.R. Robinson.|Lith. & publ. by H.R. Robinson, 142 Nassau St & 112 Broadway N. York|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 1844-48.

This inquiry by Cynthia Yurosko, Evergreen Public Schools, is based on the C3 Framework inquiry arc. The inquiry provides students with the opportunity to analyze, through the evaluation of words, how conflicts between the U.S. government and Native American tribes arose. Students will be asked to investigate federal reports, speeches, and news reports to discern U.S. leaders’ perspectives and compare these biases to the words of Native American leaders Chief Red Eagle and Chief Tecumseh.

Another in the "bobalition" series of broadsides parodying the manners, illiteracy, and dialect of Boston blacks. (See no. 1819-2.) The illustration shows a black militia troop marching from left to right. The text, facetiously dated "Bosson, Uly 14, 18021" consists of a letter of instruction from "Cesar Crappo" to "Cato Cudjoe, Sheef Marshal" for the ceremonies marking the anniversary of the abolition of the slave trade. It also includes various toasts and songs for the occasion.|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 1821-1.

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 satire on the presidential contest of 1836, using the metaphor of a billiards game between Whig candidate William Henry Harrison (left) and Democrat Martin Van Buren. The artist is clearly on the side of Harrison, whom he places beneath a portrait of George Washington, in opposition to Van Buren's perceived mentor and champion Andrew Jackson who stands at the far end of the table, below a painting of Napoleon. Behind the table stand Whig Senators Daniel Webster and Henry Clay, arm-in-arm near Harrison. Next to Van Buren (holding a cue) stands a sixth man, either Secretary of the Treasury Levi Woodbury or (as Weitenkampf suggests) Van Buren ally Senator Thomas Hart Benton. Harrison: "Now for a six stroke." Webster: "Now's your chance Harrison. There is a tide in the affairs of men as Shakespear says." Clay: "I'll go a cool Hundred Harrison wins the game." Sixth man: "I'll bet a cookie he don't make the hazzard." Jackson (holding what appears to be a bridge): "By the Eternal! Martin if Harrison holes you and gets a spot ball on the deep red it is all day with you." Van Buren: "He's more likely to hole himself General!"|Entered . . . 1836 by H.R. Robinson.|Published April 1836, by the proprietor H.R. Robinson, 48 Cortlandt St. New-York.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 44.|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 1836-14.

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.

The familiar metaphor of the presidential contest as a boxing match is invoked once again. (For an earlier example see "Set to Between the Champion Old Tip and the Swell Dutchman of Kinderhook," no. 1836-12.) The scene is set in an open field, roped off behind to make a ring. Republican candidate Fremont (right) squares off against Democrat James Buchanan (left), after the latter has felled American party nominee Millard Fillmore. Buchanan warns Fremont, "Look out now Young Mariposa for that hair on your face I will put in the "Right" when you least expect it!" Fremont replies, "Come to time, Old Buck, I think I can lick a Democrat as old again as you are!" Fremont steps over the fallen Fillmore, who says, "You see, Fremont, I'm down! There must be a good many drops of 'Democrtic Blood' in that arm of Old Buck's to strike such a stunning blow!" Buchanan is seconded by an Irishman (far left) who comments, "By Jabbers but Old Bucky knocks 'em." Fremont is supported by a Bowery type (crouching at far right) who urges him, "Go in wooly Hoss don't be afeard." The print was probably issued in summer 1856 or later in the election campaign, after Fillmore's prospects for victory had dimmed. |Probably drawn by John L. Magee.|Published by John Childs, 84 So. 3rd St. Phila.|Title appears as it is written on the item.|Weitenkampf, p. 116.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-16.

The Free Soil sympathies of the cartoonist are evident in his portrayal of the 1848 presidential contest as a race between the three major candidates. The contenders are on the course. Whig candidate Zachary Taylor (left) rides a bloodhound with a collar reading "Buena Vista." The bloodhound is a reminder of the public outcry over Taylor's controversial use of dogs against the Indians in the Second Seminole War. The Battle of Buena Vista was one of Taylor's most decisive but costly victories in the Mexican War. A pouch of "Dead Letters mes up & then we can go ahead." A crowd of men look on from behind the rail, most of them shouting for Van Buren. Among the disgruntled is (third from left) Isaiah Rynders, a New York City political leader, who curses Taylor's poor performance, "Damn that Bloodhound! how he lags." An unidentified companion responds, pointing to Van Buren, "Just as I told you Rynders." Further right stand editor James Watson Webb and another man, who lament, "This sacrificing "Principles" for "Men" has availed me nothing," and "Damn it, Webb, we're both done brown!" Webb backed Taylor's bid for the presidency, although the candidate persistently refused to avow Whig party principles. The disappointed pair form a marked contrast to the jubilant Horace Greeley (far right), who waves his hat in the air and jeers, "Where's Webb's 30,000 men in Buckram now?" (See "One of the Young B'Hoys in Ecstasies," no. 1846-14.)|Entered . . . 1848 by H.R. Robinson.|Lithd. & publd. by H.R. Robinson 31 Park Row N. York. Adjoining Lovjoy's Hotel (Opposite the Park Fountain).|Signed with initials: W.J.C.|Title appears as it is written on the item.|Weitenkampf, p. 96.|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 1848-37.

Zachary Taylor and Lewis Cass engage in a bout of fisticuffs in their battle for the presidency in 1848. Taylor, clearly getting the better of his opponent, seizes Cass by the lapels saying, "A little more grape! Gen"al" Gas!" Cass pleads, "Enough! Enough! you've knocked all the breath out of my body--Carry me off Old Bullion!" His appeal for help is to conservative Democratic senator Thomas Hart Benton, who stands to the left wondering, "I didn't think old Gas would have funked so soon; these d--d Barnburners must have frightened his pluck out of him." One of the "Barnburners" (i.e., radical Democrats), former President Martin Van Buren (far left), comments, "If old Gas comes round in my neighborhood I'll give a poke that will soon settle his hash." On the far right stands Henry Clay, who lost the Whig nomination to Taylor. His aside: "As I couldn't get the match myself I am glad Old Rough and Ready has got it."|Published by J. Dexter & Brother 32 Ann St. N.Y.|Probably drawn by Edward Williams Clay.|The Library has two impressions of the print, both printed on the verso of "The Race between Bennett and Greely for the Post-Office Stakes" (no. 1843-4).|Title appears as it is written on the item.|Weitenkampf, p. 91.|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 1848-31.

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 satire on the Van Buren administration challenged by Whig presidential candidate William Henry Harrison. Harrison, dressed as a woman, tries to remove Van Buren from his throne with a midwife's forceps. Van Buren, clinging to his seat (lettered "US") says, "O! Help! Help! I cant hold out much longer. He will have me out, I feel he will: our suffering is intolerable." Holding him back are supporters (left to right) John C. Calhoun, Francis Preston Blair, Amos Kendall, and Thomas Hart Benton. Calhoun: "After all my turning and twisting and turning again and again to no purpose. Why it is worse than Nullification." Blair: "O! Granny spare the poor dear little creature. See how much he suffers. If we lose him we are undone indeed." Benton: "I am "Bent-on" holding him down, till his incubation be more complete, as I wish to deliver him myself." Harrison: "You must come my baby; if you stay here much longer you will kill your Mammy." Harrison stands on a small table covered with a cloth with an eagle ornament. A modest, upholstered chair (also with an eagle) stands to the right, in marked contrast to the larger, more ornate throne. The print is the work of the artist "HD," judging from its similarity, especially in the portraits, to his "A Political Movement" (no. 1840-37).|Drawn by "HD" (Henry Dacre?).|Printed and 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. 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 1840-39.