An extended and bitter indictment of Jefferson Davis and the Southern slave system. The work consists of a series of twelve vignettes with accompanying verse, following the scheme of the nursery rhyme "The House That Jack Built." The same nursery rhyme was adapted for some of the bank war satires during the Jacksonian era. The vignettes are as follows: 1. the "House," showing the door to a slave pen; 2. bales of cotton, "By rebels call'd king;" 3. slaves at work picking cotton, "field-chattels that made cotton king;" 4. slave families despondently awaiting auction; 5. slave auctioneer, "the thing by some call'd a man;" 6. slave shackles; 7. slave merchants; 8. a slave breeder negotiating in an interior with a slave merchant; on the wall appear portraits of Jefferson Davis and Gen. P.G.T. Beauregard; 9. a cat-o-nine-tails; 10. a slave driver flogging a bound female slave; 11. Jefferson Davis, "the arch-rebel Jeff whose infamous course / Has bro't rest to the plow, and made active the hearse." 12. symbols of slavery, an auctioneer's gavel, whip, auctionnotices, and shackles lying torn and broken with a notice of Jeff Davis's execution because " . . . Jeffs infamous house is doom'd to come down." |Drawn and published by David Claypool Johnston, Boston.|Entered . . . 1863 by D.C. Johnston . . . Massachusetts.|The Library's impression of the work was deposited for copyright on July 3, 1863. The Boston Athenaeum owns Johnston's preliminary pencil drawings for the individual scenes in this work.|Title appears as it is written on the item.|Citizens in Conflict, no. 40-43.|Johnson, no. 75.|Weitenkampf, p. 138.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1863-9.

An imaginative portrayal (with overt propaganda value) of an event in the Texas war of independence --the surrender of Mexican commander Santa Anna and his brother-in-law General Martin Perfecto de Cos, to American leader Samuel Houston after the Battle of San Jacinto in late April 1836. Santa Anna (center) bows and offers his sword to Houston, saying, "I consent to remain your prisoner, most excellent sir!! Me no Alamo!!" His subordinate follows suit. Houston, clad in buckskins and holding a musket, says, "You are two bloody villains, and to treat you as you deserve, I ought to have you shot as an example! Remember the Alamo and Fannin!" The print reflects the intensity of anti-Mexican feeling in the United States after Santa Anna's massacre of American defenders at the Alamo mission in February 1836 and the slaughter at Goliad, Texas, a month later of American colonel James Fannin and his surrendered troops.|After Edward Williams Clay. Published by Henry R. Robinson, New York.|This print is the second of two prints which Weitenkampf lists as "Genl. Houston, Santa Anna & Cos" and "Houston, Santa Anna & Cos," both published by H. R. Robinson. The Library's impression is trimmed, however, and lacks the publisher's imprint. The first version was drawn by Edward W. Clay. |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 1836-24.

The artist charges the Republicans with electoral corruption and extremism in their efforts to defeat Democratic presidential nominee George B. McClellan. Oblique reference is also made to Lincoln's supposed advocacy of equal rights for blacks. A ragged black soldier points a bayonet at a maimed white Union veteran, preventing him from placing his vote for McClellan in an already stuffed ballot box. The former says, "Hallo dar! you cant put in dat you copperhead traitor, nor any oder 'cept for Massa Lincoln!!" McClellan ran on the Peace Democrat or Copperhead ticket. The one-legged, one-armed soldier replies, "I am an American citizen and did not think I had fought and bled for this. Alas my country!" A worried election worker wearing spectacles tells his heavy-set colleague, "Im afraid we shall have trouble if that soldier is not allowed to vote." But the second responds, "Gammon, Hem just turn round. you must pretend you see nothing of the kind going on, and keep on counting your votes." Two townsmen converse in the background beneath a sign "Vote Here."|Signed: J.E. Baker del. (Joseph E. Baker).|Title appears as it is written on the item.|Lorant, p. 269.|Weitenkampf, p. 146.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-35.

Another satire on the 1838 New York mayoral contest, this time suggesting collusion between Whig candidate and incumbent mayor Aaron Clark and conservative Democrat Richard Riker. Here Clark sits on his stalled mare (center) as his rival Isaac L. Varian's horse makes off at left. Just visible, it trails a flag that reads "Regular Democratic Nomination! No Monopoly! Down with a monied Aristocracy!" Clark hands Riker a staff with a ram on its end, labeled "Lottery Office," urging, "Take my rod Dickey, and give her [his horse] another conservative poke, or it will be all Dickey with me!" Riker replies, "She'll go Aaron as soon as she feels her oats! If she dont I'll give her the six months!" A Jew stands at right thumbing his nose at the proceedings, "Shtop my friendsch I vill shave you shome troublesh . . . It ish moneysh vat maksh de Mare/Mayor go.!!"|Entd . . . 1838 by J. Fitzsimmons 97 John St . . . Southern District of New York.|Signed: Sheepshanks fecit 1838 (probably Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 56.|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 1838-7.

How does the media influence peoples’ opinion of the government during a national crisis? Students will read several articles on a current (or historical) national crisis and write an argumentative essay analyzing how the media influences the opinion of the people toward the government during a national crisis using relevant evidence from both current and historical resources.

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 tableau dramatizing the brutal tactics employed by Zachary Taylor as commander of U.S. forces against the Seminole Indians during the Second Seminole War (1835-42). Taylor, on horseback at right, presides over a scene of devastation and carnage. Soldiers aided by bloodhounds relentlessly pursue retreating Seminoles, including a multitude of women and children who flee in panic to the left. A wounded dog lies on the ground in the lower right, while another lunges at the throat of a Seminole brave who shields a woman and child at left. A village burns in the distance In the center an officer standing with his back to the viewer points out the slaughter to Taylor, who exclaims, "Hurra! Captain, we've got them at last, the dogs are at them--now forward with the Rifle and Bayonet and "give them Hell Brave Boys", let not a red nigger escape-, show no mercy-, exterminate them, -this day we'll close the Florida War, and write its history in the blood of the Seminole--but remember Captn., as I have written to our Government to say that the dogs are intended to ferret out the Indians, (not to worry them) for the sake of consistency and the appearance of Humanity, you will appear not to notice the devastation they commit."|Entered . . . 1848 by James Baillie.|Published by James Baillie, 87th St. near 3rd Avenue N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 96-97.|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 1848-20.

The artist attacks abolitionist, Free Soil, and other sectionalist interests of 1850 as dangers to the Union. He singles out for indictment radical abolitionist William Lloyd Garrison, Pennsylvania Free Soil advocate David Wilmot, New York journalist Horace Greeley, and Southern states' rights spokesman Senator John C. Calhoun. The three wear fool's caps and gather, like the witches in Shakespeare's "Macbeth," round a large, boiling cauldron, adding to it sacks marked "Free Soil," "Abolition," and "Fourierism" (added by Greeley, a vocal exponent of the doctrines of utopian socialist Charles Fourier). Sacks of "Treason," "Anti-Rent," and "Blue Laws" already simmer in the pot. Wilmot: "Bubble, bubble, toil and trouble! / Boil, Free Soil, / Ther Union spoil; / Come grief and moan, / Peace be none. / Til we divided be!" Garrison: "Bubble, bubble, toil and trouble / Abolition / Our condition / Shall be altered by / Niggars strong as goats / Cut your master's throats / Abolition boil! / We divide the spoil." Greeley: "Bubble, buble [sic], toil and trouble! / Fourierism / War and schism / Till disunion come!" In the background, stands the aging John Calhoun. He announces, "For success to the whole mixture, we invoke our great patron Saint Benedict Arnold." The latter rises from the fire under the pot, commending them, "Well done, good and faithful servants!"|Entered . . . 1850 by J. Baillie.|Published by James Bailley, 87th St. near 3d. Avenue, N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 101.|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 1850-7.

An optimistic Unionist boast, issued early in Lincoln's presidency, predicting the summary defeat of the Confederacy. Abraham Lincoln (at left) stands over the shield of the United States and a bald eagle, and fends off the sword of a bewhiskered secessionist. To the far left Lincoln's predecessor James Buchanan flees, saying, "I am glad I am out of the scrape!" He wears horns and has the words "Something rotten in Denmark" written on his clothing. Lincoln declares, "Just in time!" The secessionist wears a large-brimmed planter's hat, and has a pistol in his belt. He says, "Now or never" as his troops retreat into the background. Behind him federal troops under Union commander Winfield Scott approach. Scott says, "This is the way we serve all Traitors!" His lead soldier, holding up a noose, responds, "I am ready!" Behind are more Union troops, and a gallows. A domed building, possibly the Capitol at Washington, appears in the distance at left.|Copyright secured by Carl Anton, Cincinnati.|The print was deposited for copyright in the District Court for Cincinnati on May 24, 1861.|Title appears as it is written on the item.|Weitenkampf, p. 126.|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 1861-27.

McClellan, in the character of Hamlet stands near an open grave holding the head of Abraham Lincoln. He soliloquizes, "I knew him, Horatio: A fellow of infinite jest . . . Where be your gibes now?" The cartoon evidently appeared following publication in the "New York World" of a scandalous but fabricated account of callous levity displayed by Lincoln while touring the battlefield at Antietam. (See also "The Commander-in-Chief conciliating the Soldier's Votes," no. 1864-31.) McClellan's lines here come from "Hamlet," act 4, scene 1, which takes place in a graveyard, where a gravedigger throws up the skull of Yorick, the king's jester. Hamlet picks up the skull and meditates on the nature of life. At left are the words, "Chicago Nominee," referring to McClellan. At right an Irish gravedigger pauses in his work. Horatio (far right) is New York governor and prominent Peace Democrat Horatio Seymour. The White House is visible in the distance.|Probably published by Thomas W. Strong, N.Y.|Signed: Howard Del [i.e. J.H. Howard].|Title appears as it is written on the item.|"The Lincoln Image," p. 133.|Lorant, p. 265.|Weitenkampf, p. 146.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-33.

Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Every media source has a story to tell--a driving purpose. The media that people consume largely shapes their world views. The US public is becoming more divided partially due to the consumption of increasingly biased news. As a critical consumer of media, It is important to be able to separate fact from opinion. In this unit, adapted from the high school version, students will become critical consumers of news, by identifying media bias in order to become better informed citizens.  NOTE: This unit has been adapted for use at the middle school level from the resource Identifying Media Bias in News Sources by Sandra Stroup, Sally Drendel, Greg Saum, and Heidi Morris.

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.

Massachusetts senator and prominent antislavery advocate Charles Sumner is attacked here. The artist questions his sincerity as a humanitarian as he shows him dispensing a few coins to a black child on the street, while ignoring the appeal of a ragged white urchin. The scene is witnessed by two stylishly dressed young women. Though unsigned, the print has the relatively skillful draftsmanship and atmospheric quality found in the works of Boston lithographer Fabronius. See, for instance, that artist's "The Mower" (no. 1863-14). "The Secession Bubble" (no. 1862-12) also appears to be by Fabronius. Weitenkampf gives the 1862 date and publisher's imprint.|Boston. Published by G.W. Cottrell. |Probably drawn by Dominique C. Fabronius.|Title appears as it is written on the item.|Weitenkampf, p. 136.|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 1862-11.

Caricature of 12 weeping women in large bed, with boots of Brigham Young at the foot and his hat at the head.|Printed by Mayer, Merkel & Ottmann, Lith., 22-24 Church St., N.Y.|Signed in stone: J. Keppler.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A broad satire, ridiculing all of the candidates in the 1848 presidential campaign. Swimming up "Salt River" and pulling the "Salt River Barge" is fox Martin van Buren. Seated in the barge are (left to right): Zachary Taylor, Taylor running mate Millard Fillmore, Henry Clay, Democratic vice presidential candidate William O. Butler, and presidential candidate Lewis Cass. Seated in the front of the boat and looking ahead through a spyglass, Taylor observes, "I say, Fillmore, I don't see anything ahead yonder that looks like the White House. The coast is very low & well adapted to Salt Works." Cass, at the tiller, says, "This boat carries Cesar and his fortunes. It cannot fail to arrive at its place of destination."|Entered . . . 1848 by J. Baillie. |Published by James Baillie, 87th St. near 3rd Avenue, N.Y.|Signed with monogram: H.B. (H. Bucholzer).|Title appears as it is written on the item.|Weitenkampf, p. 97.|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 1848-28.

A caricature of Martin Van Buren as an opossum. The marsupial, with a smirking Van Buren's head, rises on its hindquarters and displays in its pouch three of its "young." They are administration insiders (left to right): Thomas Hart Benton, John C. Calhoun, and Washington "Globe" editor Francis Preston Blair. |Drawn by Edward Williams Clay?|Printed & pubd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 63.|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 1840-52.

An indignant James K. Polk takes issue with Massachusetts senator Daniel Webster's public attacks on his Texas policy. In 1844 Webster had been opposed to the annexation of Texas and in 1846 he criticized attacked the war with Mexico over Texas as highly unjustifiable. Webster's first public speech on the war was made in late June, and the print probably did not appear before that. In the center, Polk (left) confronts Webster, warning, "If you say the Mexican War is a War of my own makeing you tell a falshood!" Raising his fists, Webster retorts, "I did say it & say it again!" To the left of Polk stand Thomas Ritchie and James Watson Webb, newspaper editors supporting the administration. Webb holds a bottle of "Tom and Jerry" and a sponge, commenting, "Principles, not men!" The Whig editor had opposed the annexation of Texas, but once hostilities commenced he urged military action to bring about a speedy termination. Webb's insistence on "principles" reflects his uneasiness in an alliance with a Democratic administration which stood to gain politically from the conflict. Ritchie reassures Polk, "In Union [a double entendre referring to his newspaper the "Washington Union&1] there is strength, Nous Verrons!" To the right of Webster stand an unidentified man (probably another journalist) and Horace Greeley, editor of the New York "Tribune. "Greeley, who was severely critical of Polk's policies, holds a bottle of "Lemon Soda" and (like Webb) a sponge, and remarks, "I wish Dan had eaten more Graham bread he's too fat for Polk!" (Graham bread was a well-known Greeley dietary preference.) The unidentified man remarks, "A Daniel come to blows, if not Judgment." The sponges and bottles are apparently intended for the relief of the fighters, much as the port and the "Old Monongohala Whiskey" figured in Anthony Imbert's "Set to between Old Hickory and Bully Nick"(no. 1834-4), on which "The Issue Joined"seems to be based. The precise significance of the "Tom & Jerry" and "Lemon Soda" is unclear. "The Issue Joined"is executed in a style similar to that of Edward Williams Clay. The faces of the characters may in fact be attributable to Clay, but the drawing of the figures and costumes are not up to that artist's standard.|H.R. Robinson's Lith. 142 Nassau St. N.Y.|T.B. Peterson Agent 98 Chesnut St. Phila.|Title appears as it is written on the item.|Weitenkampf, p. 87.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1846-10.

The 1870 New York City charter, written by Tammany Hall political boss William Marcy Tweed and his associates, gave the "Tweed Ring" carte blanche to deplete the city's treasury. This cartoon, probably issued shortly after the charter's passage, is critical of the leeway given Tweed by some of New York's leading public figures. Tweed, as the Indian Tammany, raises his tomahawk to decapitate an unidentified man whose head lies on a stump. On his arm is tattooed a large "6," a reference to the Americus or "Big Six" Fire Company, which Tweed led in his earlier days. The victim moans, "Putty can't save me." Three severed heads already hang from Tweed's belt. Beside him an unidentified man standing beneath a hangman's rope remarks, "Bad noose for me." Behind a podium or railing in the background stands New York mayor A. Oakey Hall, who proclaims, "I am monarch of all I appoint." The new charter gave Hall authority to appoint all city officials. Governor John T. Hoffman, next to Hall, cries, "Save me from my friends." City Chamberlain Peter Barr Sweeny (right) holds a key and sits on a chest, vowing, "Upon this charter let us build." City Comptroller Richard B. Connolly rests his hand on a bag "New York City Treasury" and remarks, "Richard is himself again." At far left an unidentified man (possibly President Ulysses S. Grant) holding a pen asserts, "My voice is still for peace." ("Let us have peace" was Grant's 1868 campaign slogan.) A group of men including several New York journalists stand together at left, evidently prospective victims of Tweed's ax. Each holds a copy of his respective newspaper and comments. Joseph Howard, Jr., of the "Morning Star" (holding a bottle of "Soothing Syrup"): "I feel--I feel like the Morning Star." Manton Marble of the New York "World:" "I weep because there are no more worlds to lose." Marble was instrumental in exposing the "Tweed Ring." Charles Anderson Dana of the New York "Sun:" "The sun shines--but alas!--in vain." New York "Tribune" editor Horace Greeley and New York Congressman John Morrisey embrace. Morrisey: "I have fought--played cards--but cant get a hand in the treasury." Greeley: "This means business." On the basis of style the work can be attributed to the Currier & Ives shop.|Title appears as it is written on the item.|Weitenkampf, p. 162.|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 1871-2.

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.