Another version of Jefferson Davis's capture by Union cavalry. (See "The Chas-ed "Old Lady" of the Confederacy," no. 1865-11.) The image appears on the cover of a musical piece dedicated to Davis's captor, "Lieut. Col. D. B. [sic] Pritchard, 5th Mich. Cavalry," Davis, in a dress and bonnet and clutching a Bowie knife, flees through the woods with Union troops in close pursuit. One federal soldier has fallen down in his attempt to catch Davis.|Entered . . . 1865 by G.D. Russell & Company. |Franklin N. Carter Lith. Boston.|Published by G.D. Russell & Company 126 Tremont, opp Park St.|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 1865-14.

An illustrated election ticket for the presidential campaign of 1836. Oddly, the ticket lists Ohio's Democratic electors for Van Buren while making a vicious and obscene slur on the wife of his running-mate Richard M. Johnson. It seems to reflect the widespread internal dissatisfaction with the party's choice of Johnson as vice-presidential candidate. The image is of a black woman, supposedly Johnson's mulatto mistress Julia Chinn. She sits on a small knoll holding a bag, and says, "Let ebery good dimicrat vote for my husband, and den he shall hab his sheer ub de surplum rebbenu wat is in my bag." Evidently "surplum rebbenu" refers (at least on one level) to the Distribution Act, popularly known as the Surplus Bill, providing for the distribution of surplus federal revenue among the states. The bill was signed by Andrew Jackson in June 1836, to aid Van Buren's campaign. (See "Caucus on the Surplus Bill," no. 1836-9 ). Beneath her are the words "She plucks Dick [i.e. Johnson]--and Dick plucks you--and Van [Buren] plucks Dick." Below the title are two quotes, possibly campaign cries, "Go it, ye Cripples!" and "The people will it!!!" Three other Democratic tickets, apparently from the same press, are also included here (see nos. 1836-16, -17, and -19).|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 1836-18.

Northern rejoicing at the end of the Civil War often took the form of vengeful if imaginary portrayals of the execution of Confederate president Jefferson Davis. Here abolitionist martyr John Brown rises from the grave to confront Davis, although in actuality the latter had nothing to do with Brown's 1859 execution. Brown points an accusing finger at Davis, who sits imprisoned in a birdcage hanging from a gallows. Davis wears a dress and bonnet, and holds a sour apple. Below, black men and women, resembling comic minstrel figures, frolic about. (For Davis's female attire, see "The Chas-ed "Old Lady" of the C.S.A.," no. 1865-11.) Since the beginning of the war Union soldiers had sung about "hanging Jeff Davis from a sour apple tree." Davis's actual punishment was imprisonment at Fortress Monroe after his capture on May 10, 1865.|Entered . . . 1865 by G. Querner . . . D.C.|Title appears as it is written on the item.|"Image of America," p. 81.|"The Confederate Image," p. 89.|Weitenkampf, p. 148.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1865-16.

An anti-British satire, reflecting American enragement at Britain's tightening of restrictions on territorial waters open to American fishermen off the coast of Canada. In July 1852, England notified the United States of its intention, contrary to previous understandings, to curtail American fishing within a three-mile limit of the Canadian provinces, and to close off the Gulf of St. Lawrence and much of the Bay of Fundy altogether. This threat to their fishing industry was particularly alarming to Americans in the northeastern United States. Clay's cartoon features a stout figure of John Bull (center) draped with lines of fish, confronted by Brother Jonathan near the home of an unemployed fisherman. Jonathan holds out a document "Treaty of Ghent. Right of fishing in the Bay of Fundy" toward John Bull, and snarls, "Why consarn you, you tarnal old critter, looke'e here, you wont deny your own hand writin will you--And haven't we been fishin in the Bay for thirty years without any muss--I want to know--Du tell?" John Bull replies, "Don't talk to me about treaties and rights! When did I ever keep a treaty when it suited me to break it? and as to other peoples rights, they may look out for themselves, I can take care of my own!" To the right of John Bull stand a gentleman and frontiersman. The gentleman holds his nose, commenting on the Englishman's scent, "A very ancient and fish like smell! About as musty as his claim for the Navigation of the Mississippi:" The frontiersman wears buckskins and a coonskin cap, and holds a long rifle. He expounds, "May I be kicked to death by grasshoppers if he aint the greediest old shark I ever saw. By the Eternal! as the old General [i.e., Andrew Jackson] used to say, he'll want another New-Orleans lesson!" On the left, a sailor sits forlorn near the door to his cottage, his wife and child consoling him. His nets are hung out. He laments, "There goes my poor old fishing smack; taken by that d--d Britisher--All I can do, Sally, is to go on board a man [of] war, and pay them back in bullets!" Beyond, two ships sail on the water.|Pubd. by John Childs, 84 Nassau St. N. York.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 207.|Weitenkampf, p. 111.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1852-4.

Tammany Hall's political manipulation of the New York Fire Department is the artist's obvious target here, although the print's precise meaning is unclear. The frame of reference may be the creation, in 1839, of a number of "paper" fire companies by the Tammany-controlled city council, a measure devised to give them a significant number of new voting representatives on the Board of Foremen and Assistants. The companies were organized by loyal Tammanyites during June of that year and nicknamed "June Bugs" by an indignant public. The artist shows a number of firemen spraying water on a fire in the building of "Willis, Nichols, Howe, Timpson, Lee & Co." On the backs of their coats symbols, indicative of their trades or businesses (including a druggist's mortar and pestle, a poundcake, a mason's trowel), have been painted by a man who runs off to the right announcing, "24 new Companies. Mr. Chief at your service." Conspicuous on the far left is a man, possibly Democratic mayor Isaac Varian, who watches saying, "This 'werry' plan I recommended in my Message." From the new "firemen" come the following remarks: "Collecting taxes pays better than this." "I must be either Commissioner or property saver." "I'll bet $100 he'll be Chief." "I didn't know there was to be an election tomorrow night" (possibly alluding to the controversial 1839 election of a new chief engineer of the Fire Department). "James I think they'l get enough this time." Two firemen on the right hold amplifying horns. One says, "Lay it on the table eh! John we must pay 'em for that if we don't I'll be damned." The other, with a wagon wheel on the back of his coat, says, "Up with her up to the hub by J--s." A fireman leaning from a window shouts, "Play away no. 140 we want your assistance we can't get down."|H.R. Robinson's Lith; 52 Cortlandt, & no. 2 Wall St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 52.|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 1839-16.

A sheet music cover illustrated with an ornamental vignette and motifs alluding to the Know Nothing party. In the center a nocturnal procession of men in tricornered hats, holding bayonets and a banner with a skull and crossbones. From the crossbar of the banner hang a raccoon and a cock. The scene is framed by a grouping of American flags with a liberty cap and an eagle and shield (above) and by two trees. A raccoon crouches on the limb of a tree at left. Below are pumpkin vines and a rooster standing on a ledge near cornstalks. The raccoon, pumpkins, and cornstalks, all indigenous to North America and distinctly non-European, symbolize the xenophobic orientation of the nativist party. Winner & Shuster were prolific Philadelphia music publishers.|Philada. Published by Winner & Shuster, 110 North Eighth St. New York, Firth, Pond & Co. Boston, G. P. Reed & Co. Indianapolis, A. E. Jones & Co. Cincinnati, W. C. Peters & Son.|The Library's impression of the music sheet was deposited for copyright on August 16, 1854.|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 1854-2.

A caricature of Andrew Jackson as a despotic monarch, probably issued during the Fall of 1833 in response to the President's September order to remove federal deposits from the Bank of the United States. The print is dated a year earlier by Weitenkampf and related to Jackson's controversial veto of Congress's bill to recharter the Bank in July 1832. However, the charge, implicit in the print, of Jackson's exceeding the President's constitutional power, however, was most widely advanced in connection not with the veto but with the 1833 removal order, on which the President was strongly criticized for acting without congressional approval. Jackson, in regal costume, stands before a throne in a frontal pose reminiscent of a playing-card king. He holds a "veto" in his left hand and a scepter in his right. The Federal Constitution and the arms of Pennsylvania (the United States Bank was located in Philadelphia) lie in tatters under his feet. A book "Judiciary of the U[nited] States" lies nearby. Around the border of the print are the words "Of Veto Memory", "Born to Command" and "Had I Been Consulted." |Title appears as it is written on the item.|Weitenkampf cites a variant with 20 lines of letterpress below, attacking Jackson as "a king who has placed himself above the law."|Weitenkampf, p. 26.|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 1833-4.

Zachary Taylor's presidential nomination at the Whig national convention in Philadelphia on June 9, 1848, is represented as a severe blow to Lewis Cass, nominated by the Democrats a few weeks earlier. The extremely simple cartoon shows a cannon ball, marked with a portrait of Taylor, expelled by a cannon marked "Philadelphia Convention." The ball slams Cass backward into a large hat.|Entered . . . 1848 by P. Smith. |Pub. by Peter Smith [i.e., Nathaniel Currier], 2 Spruce St. N.Y.|The Library's impression of the print was deposited for copyright on July 10, 1848.|Title appears as it is written on the item.|Blaisdell and Selz, no. 20.|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 1848-18.

A sheet music cover illustrated with the American nativist device of an eye in an aureole of light. The watchful eye (a commonplace in Masonic iconography) here symbolizes the Know Nothings' vigilance against "foreign influence" in American politics and government. For an earlier instance of the nativist use of this motif see the certificate of the Order of United Americans (no. 1848-1).|Entered . . . 1854 by J. Couenhoven. |Philadelphia James Couenhoven 162 Chesnut St.|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 1854-1.

An illustrated advertising label for soap manufactured in Boston, interesting for its imagery and allusion to the popular "Know Nothing" or nativist movement. In the foreground are two American Indians, emblematic of the movement's prejudice against the foreign-born. In the lower right is a seated brave, leaning against a rock and holding a pipe. Above him a large American flag, with thirty-one stars, unfurls across the main picture area. The flag is supported in the upper left corner by an Indian woman, who points to the words "Know Nothing Soap" emblazoned on it. In the background is a landscape with tepees and a campfire on the bank of a stream.|Entered . . . 1854 by G.A. Hill . . . Massachusetts.|Geo. A. Hill & Co. 56 Federal Street, Boston. L.H. Bradford & Cos. Lith.|The Library's impression of the label was deposited for copyright on October 20, 1854.|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 1854-3.

Students begin this unit by exploring the themes of humanity and community as they discuss  the many factors that influence the development of personal identities. They unpack together how we show versus hide different parts of ourselves, and how our identities can be both fixed and ever-changing. Then, students listen to oral histories by Vietnamese Americans to learn how displacement and resettlement have impacted them personally and shaped their outlook on helping others. Using evidence from these firsthand accounts, students answer the question: What can the experiences of displaced people teach us about community, resilience, and humanity? Throughout this unit, students work in teams to create a podcast where they reflect on their collective responsibility to stand in solidarity with displaced people.

Entered according to Act of Congress in the year 1865 by Gibson & Co. in the Clerks Office of the District Court of the Southern District of Ohio.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A satire on the controversy surrounding charges of election fraud against New York State tobacco inspector James B. Glentworth and other Whigs during the election of 1838. The allegations were made two years later, in October 1840, by New York Federal District Attorney Benjamin F. Butler, a Democrat. The cartoon echoes pervasive Whig countercharges that Glentworth was used by Democrats in a last-ditch effort to win the presidential election of that year. The print's title facetiously refers to incumbent Democrat Martin Van Buren's description of the Butler inquiry as "a card yet to be played" in his reelection strategy. Glentworth stands before city recorder Robert H. Morris, saying "Let me alone for that I'll blow em sky High Harrison Hard Cider and Log Cabins. I'll tell a tough yarn and the Whigs cant defend themselves before the election." Morris was charged by Governor Seward to hear testimony in the case. One of several observers remarks "It is a lie that will last us Locos [i.e., Loco Focos or radical Democrats] till after the Election." Another, a Bowery tough in striped trousers, remarks, "I think we have the British Whigs now." Morris says, "I say Whiting [i.e., New York City District Attorney James R. Whiting] I am afraid we are barking up the wrong tree. This is Butler's great card but I fear we have turned up the Knave of Clubs." Whiting (seated at table to Morris's right) confides, "My fears are that the Whigs will turn the tables upon us." A man standing on Whiting's right, says "It goes against my religion and my conscience to charge honorable men on the testimony of such rascals but my friend Van Buren must be taken care of." This may be John W. Edmonds, an influential friend of Van Buren involved in the case. A second witness, an obviously disaffected Whig, says, "Now Glentworth give it to Seward for not re-appointing "us." Dont stand on trifles "we" will provide for you." Although the signature "Spoodlyks" is certainly pseudonymous, "The Last Card. Tip Overthrown" is evidently one in a series of satires on the Glentworth scandal, executed by the same artist. Others in this series are "Loco Foco Consternation" and "Evenhanded Justice" (nos. 1840-61 and -62).|Printed and published by H.R. Robinson, 52 Cortlandt St. New York.|Signed: Spoodlyks 1840|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 1840-60.

A searing, election-year indictment of four prominent figures in the Democratic party, three of them former Confederate officers. Former New York governor and Democratic presidential nominee Horatio Seymour is portrayed as a "rioter." Standing in a burning city, he waves his hat in the air while he steps on the back of a crawling figure. In the background a corpse hangs from a lamppost. Between 1862 and 1864 Seymour had opposed Lincoln's war policies, and he was branded as instigator of the 1863 New York draft riots. (See "The Meeting of the Friends, City Hall Park," no. 1863-12.) Below the portrait are inflammatory passages from his speeches. Tennessee general Nathan Bedford Forrest, the founder of the Ku Klux Klan, and infamous for his role in the massacre of surrendered Union troops at Fort Pillow, is called "The Butcher Forrest." He waves a flag labeled "No Quarter" and fires a pistol. Extracts from reports of the Pillow massacre are given below his picture. Confederate admiral Raphael Semmes is portrayed as a pirate, wielding a knife in one hand and holding aloft a flaming torch in the other. Behind him flies a flag with a skull and crossbones. To the right a family cowers in fright. Semmes was the scourge of Union shipping during the Civil War. Under his command the "Alabama," a British-built ship, captured sixty-two merchant vessels, most of which were burned. An excerpt from Semmes's July 1868 speech at Mobile, Alabama, appears below this image. Confederate cavalry officer Wade Hampton appears as a hangman. He holds his plumed hat at his side and wears a uniform embossed with a skull and crossbones and a belt inscribed "C.S.A" (Confederate States of America). In the distance three Yankee soldiers hang from a gallows. |Signed: Th. Nast.|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 1868-7.

Americans affirmed their independence with the ringing declaration that "all men are created equal." Some of them owned slaves, however,and were unwilling to give them up as they gave speeches and wrote pamphlets championing freedom, liberty, and equality. So "to form a more perfect union" in 1787, certain compromises were made in the Constitution regarding slavery. This settled the slavery controversy for the first few decades of the American republic, but this situation changed with the application of Missouri for statehood in 1819.

A satire attacking Andrew Jackson's plan to distribute treasury funds, formerly kept in the Bank of the United States, among "branch banks" in various states. The artist also alleges Vice-President Van Buren's manipulation of administration fiscal policy. Jackson appears as a jack-ass "dancing among the Chickens" (the branch banks) to the alarm of the hen "U.S.Bank." Martin Van Buren, as a fox, and Jack Downing, as a cock, look on. On the left sit five chained dogs, representing the "Albany Argus, Journal of Commerce," and other newspapers sympathetic to Jackson's program. In the left foreground a sow with the head of Jackson advisor Francis Preston Blair lies on a copy of his newspaper, the "Globe." Jack Downing: "Yankee doodle doodle doo!" Jackson: "Sing away Major Downing. This is a capital Experiment by the Eternal!" Dogs: "He looks like a "Lion!" How dignified! What "correct" Steps! in such "good time!" Can any thing equal him! The "greatest" and "best" Ass we ever knew!" Blair: "I feel quite at home on this dung heap." Van Buren: ""Sly" is the word!" |Published and for sale wholesale and retail at Imbert's Caricature Store No. 104 Broadway N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 33.|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 1833-7.

A sheet music cover for a humorous song on the origins of Grant's campaign slogan, "Let Us Have Peace." In actuality, those were the closing words of his letter of May 29, 1868, accepting the Republican presidential nomination. Here, the general is shown seated at a dinner table laden with wine and fruit. He is accompanied by two male friends, while a waiter stands ready to wait on him. Even with all the food, Grant requests, "Let us have pease." His secretary (background left) misunderstands, and transcribes, "Let us have peace."|A.E. Blackmar, New-Orleans & New-York.|Lith. H. Wehrmann, N.O.|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 1868-12.

An allegory of printing and liberty, illustrating a broadside of a June 24, 1826, letter from Thomas Jefferson on American democracy. The female figure of Liberty displays to the Four Continents the art of printing. Liberty stands to the right of a hand printing press over which hovers the figure of Fame. On the left stand female personifications of Asia and Europe; on the right are an Indian Queen (representing the Americas) and a kneeling black woman (Africa). In the foreground left is a pile of volumes and a scroll with the names of early printers Faustus, Caxton, and Bradford. In the right distance is a Temple of Liberty. In the left background a dark figure or demon falls from the sky. Jefferson's letter to the Mayor of Washington expresses his regret at not being able to attend the fiftieth anniversary celebration of American Independence in Washington. Jefferson describes the Declaration of Independence as "the signal of arousing men to burst the chains under which monkish ignorance and superstition had persuaded them to bind themselves, . . . ." Jefferson died ten days after writing the letter.|Signed: Brown D. Anderson S.|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 1826-1.

The only obvious portrait in this crudely drawn satire is that of Republican candidate John C. Fremont (right). An emaciated man (center) sits in a chair near an open window. He is apparently James Buchanan, and is dressed as an old woman, reminiscent of earlier effeminate portrayals of his Democratic predecessor Andrew Jackson in cartoons such as "New Edition of Macbeth" and "Treasury Note" (nos. 1837-7 and 1837-9). Obviously waning, he is bled by a third man, possibly either Democratic rival Stephen Douglas (unlikely), American party candidate Millard Fillmore, or Fremont running mate William L. Dayton. This man holds Buchanan's arm, having just cut his vein with a razor, and watches as blood flows into a bowl held by Fremont. The Capitol appears through the window. The bloodletting motif may have been inspired by a popular text or speech of the day, since mention of "drops of Democratic blood" with reference to Buchanan also occurs in "The Grand National Fight" (no. 1856-16).|Title appears as it is written on the item.|Weitenkampf, p. 51.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-14.

A burlesque triumphal procession representing victory for the Democratic platform in the election of 1848. In a chariot drawn by Democrats Lewis Cass and William O. Butler (shown as two horses), Uncle Sam drives toward the White House. On his way he rides over and cuts in two a black man representing abolitionism and then continues over Free Soil candidate Martin Van Buren. Whig candidates Zachary Taylor and Millard Fillmore trail along behind, sharing the saddle of the same bucking horse. Uncle Sam's chariot, called "Firm Confederation," is composed of a cab formed of large eagle wings and a shield. In it ride four crowned Liberty figures. They hold spears with banners reading: "Tariff of 1846," "Welcome [----] Oppressed," "No National Bank," and "Honor and Peace." Uncle Sam remarks enthusiastically, "Do tell now, ain't this the way to make a happy Republic?" Van Buren, visible beneath the chariot's wheels, groans, "Second sober thoughts--I wish I had been out of this muss!" Fillmore comments, "I say Taylor, we two have been too weighty for the Old buster! [i.e., their horse]" Taylor replies, "No, the Old thing was in a very bad condition when we mounted him."|Published by Peter E. Abel & Durang, Philada.|Signed with initials: E.F.D. (E.F. Durang).|Title appears as it is written on the item.|Weitenkampf, p. 95.|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 1848-43.