The second of two prints surrounding the scandalous trial of Methodist minister Ephraim K. Avery for the brutal murder of factory girl Sarah Maria Cornell. (See "A Very Bad Man," no. 1833-13). Contrary to Weitenkampf's suggestion that the print relates to Andrew Jackson, it is actually visionary portrayal of Avery transported to damnation by demons.Avery has departed the scene of his crime (left) where his victim, now expired, still hangs strangled from a post. Her shoes, kerchief, and a note reading "If I am missing enquire of the Revd. Mr..." lay nearby. As monsters fly overhead, Avery is rowed toward a shore at right where an inferno blazes and a man is boiled in a cauldron. Avery appears again in the upper right, being forcibly led toward a precipice.|Entered . . . 1833 by Robinson. |Published by Henry R. Robinson 52 Cortlandt St. N.Y.|The Library's impression of the print was deposited for copyright on August 14 1833, surprisingly long after Avery's acquittal on June 5.|Title appears as it is written on the item.|Weitenkampf, p. 32.|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 1833-14.

A satire on the unlikely alliance of rival editors Horace Greeley and James Watson Webb in support of Zachary Taylor for the presidency in 1848. Unlike Webb, one of Taylor's earliest and most enthusiastic New York supporters, Greeley refused to endorse Taylor until late in September 1848. Here, he and the bewhiskered Webb lie side-by-side in a large, canopied "Bed of Availability." Greeley: "Webb dont you think we can get the Government Printing [contracts] after the 4th of next March?" March 4 was the constitutionally established inauguration day until modified by the Twentieth Amendment. Webb: "We might have got it if you had followed your Partner's advice sooner; as it is now, I'm afraid Taylor will be defeated; & there is that dam'd Letter of Willis Hall's." During his campaign, Taylor was a prolific letter writer. In the foreground stands a night table holding copies of Greeley's New York "Tribune" and Webb's "Courier and Enquirer." A spittoon is on the floor near the foot of the bed, and the two men's clothes rest on chairs nearby. On the far wall of the bedchamber hangs a framed portrait of Taylor.|Lith: & pub: by H.R. Robinson 31 Park Row N.Y. (Adjoining Lovejoy's Hotel.)|Probably drawn by 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 1848-55.

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

A parody of Democratic politics in the months preceding the party's 1848 national convention. Specifically, the artist ridicules the rivalry within the party between Free Soil or anti-slavery interests, which upheld the Wilmot Proviso, and regular, conservative Democrats or "Hunkers." The "Gilpins" (named after the hero of William Cowper's 1785 "Diverting History of John Gilpin," who also loses control of his mount, to comic effect) are regular Democrats Lewis Cass, Thomas Hart Benton, and Levi Woodbury, who ride a giant sow down "Salt River Lane" away from the "Head Quarters of the Northern Democracy," which displays a Liberty cap and a flag "Wilmot Proviso." Cass, a former general and avid expansionist, wears a military uniform and brandishes a sword "Annexation." John Van Buren (right), a Free Soil Democrat, tries to restrain the pig by holding its tail. He remarks, "This is our last hope. If the tail draws out, they are gone for good." A man at left tries to block the pig's passage shouting "Stop, stop, Old Hunkers! here's the house!" Cass orders, "Clear the road. Don't you see that we are fulfilling our manifest destiny!" Benton asserts, "We are not a whit inclined to tarry there." On the far right a stout gentleman chases after them calling, "Hey! hey, there! where upon airth are you going? Come back here to your quarters!" Meanwhile former President and Free Soil contender Martin Van Buren is neck-deep in a pool at the lower right. He laments, "Had I served my country with half the zeal with which I served my illustrious predecessor, I should not thus have slumped in the mud." He refers to his service under Andrew Jackson, whom he succeeded as President. Attribution of "The Modern Gilpins" to John L. Magee is based on its similarities in draftsmanship and facial characterizations to Magee's 1850 satire "The Clay Statue," (no. 1850-9) and to several Mexican War prints he executed for the publisher Baillie.|Entered . . . 1848 by J. Baillie. |Published by James Baillie, 87th St. near 3d Avenue, N.Y.|Signed: Mack del (John L. Magee).|Title appears as it is written on the item.|Weitenkampf, p. 91-92.|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 1848-3.

The victorious James Buchanan sits under a trellis of grape vines, holding reports of election returns on his lap. He reflects, "What a happy morning for my country and myself. Here I find returns for myself & my Kentucky brother [running mate John C. Breckinridge]--beginning with Maine in the North & concluding with Texas in the South. What welcome news to know that the People have not removed a plank of the Democratic Platform. Who will dare breathe Disunion now?" Before him on the ground lie scythes, a shovel, and a pickax; a plough rests nearby. Behind him ripe wheat is visible. On the left, past a low fence, four New York newspaper editors run forward holding up bills for large sums of money. They are a bearded "German editor," Horace Greeley, James Gordon Bennett, and James Watson Webb--frustrated supporters of John C. Fremont, who rides off in the distance saying, "I'm off to Mariposa--Like a foolish fellow, you Editors made me believe papers could do all things--The people you see have used us up. When I get to my gold regions & "back again," I'll pay you "in a horn."" Mosquitoes swarm around him. At right Millard Fillmore emerges from the mouth of a cavern, holding a lantern (a nativist symbol). He confronts Know Nothing founder "Ned Buntline" (Edward Zane Carroll Judson), a bearded man with two pistols at his waist. Fillmore complains, "Oh! Ned! Ned! This is all of your doing. After being a popular Whig President--and walking in the footsteps of Clay, Webster & Cass. I am thrown back by the People into the dark & gloomy caverns of Know Nothingism."|Probably drawn by John L. Magee.|Published by I [i.e. John] Childs 84 Sth 3rd. St. Phila.|Title appears as it is written on the item.|Weitenkampf, p. 118.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-27.

The artist employs Aesop's fable about the mountain which was said to be in labor, its dreadful groans attracting expectant crowds only to be disappointed when it issued forth a small mouse. Here the mountain is the "Volcano of Loco-Focoism" which spews "Repudiation" from its peak and sends out two mice, Martin Van Buren and John C. Calhoun, from its base. "Loco Foco," originally an appellation of a radical faction of New York Democrats, was by 1844 a pejorative label applied to the party in general. In "The Mountain in Labor" the artist seems to belittle Van Buren and Calhoun, the early front-runners for the Democratic presidential nomination. Van Buren says, "Don't be afeard its only us!" and Calhoun expresses his anti-tariff stance with, "Free trade!" A crowd watches from the lower right, one of them declaring, "It's the old Kinderhook mouse and his nullifying crony!" Also witnessing the event is Henry Clay (left) who comments, "The mountains labor and bring forth ridiculous mice! Here's the trap that will catch them!" At his feet is a mouse trap "National Faith." In a nearby armchair sits President John Tyler, dressed in a uniform and holding a "Veto" sword. The uniform may be an allusion to his Jacksonian policies, or the mantle inherited from his popular predecessor, Gen. William Henry Harrison. Tyler, who acceded to the presidency on Harrison's death, earned his party's wrath by repeatedly vetoing Whig efforts to reestablish a national bank. Here he reflects his determination to retain the White House, saying, "Possession being nine points in the law I must head them [the mice] both off!" The cartoon was probably published in 1843 or early in 1844. It may have been issued around the time of the late-August 1843 New York City Democratic convention, at which both Van Buren and Calhoun showed considerable strength. It must in any event predate the May 1844 Democratic national convention. By that time the range of Democratic hopefuls had widened considerably and Calhoun, appointed Tyler's secretary of state in March, was no longer a likely nominee. Weitenkampf cites an impression of the print with an H. R. Robinson imprint.|Probably drawn by Edward Williams Clay.|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 1843-9.

A satire on the pretensions and general decadence of the American local militia during the Jacksonian era. A man on a witness stand (far left) is questioned by a court-martial. Several officers sit around a table, some talking, others dozing. On the wall behind the table is a large clock, and a shelf holding gigantic military hats and a large sword inscribed with the motto "Ducit Amor Patriae" ("Guided by patriotism"). At the far right two black men converse: "Cuff who dat fat ossifer?" "I don't know percicely--but I guess it mus be Col Pluck or some sich great man." The fat officer to whom they refer sits in a chair at left with a list of witnesses. In his back pocket is a pamphlet "Trial of Col. Pluck." Two of his fellow officers question the defendant: "Colonel you will please to tell this honourable Court what you know of this business." "In the first place then I would tell this Honourable court that I'm no Col.--I was a Col. but when the Militia got so low as to injure me in my profession I resigned." "What is your profession?" "A self-taught "gentleman--"When I was quite a boy I showed considerable genius for this profession & have followed nothing else for six or seven years past." A dozing officer at the table remarks, "He had ought to be rammed into a six pounder & picked out at the touch hole." Another, sitting directly below the inscribed sword, says, "Two dollar a day besides the honour isn't so bad! but the plage of it is, it wont last more than six months." Another complains, ""I've got such a cold in my head that my nose seems inclined to run away. If it is not at hand when I want to blow it I'll have it tried by a "court martial." On the far right a man comments, "Poor young man! so much has been said in his favour that they may do nothing more than shoot him. But I fear the worst & hope he is prepared to hear the awful--the overwhelming sentence "Deserving the Censure of This Honourable Court" with a soldier-like fortitude."|Drawn by David Claypool Johnston.|Published by Kimball, 72 Washington St. Boston.|Title appears as it is written on the item.|Weitenkampf and Malcolm Johnson date the print tentatively 1835. Its similarity to "Antimasonic Convention in Valdimor" (no. 1832-1), however, and the reference to Colonel Pluck (see no. 1825-2) suggest an earlier date.|Johnson, no. 148.|Weitenkampf, p. 39.|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 1832-3.

President Ulysses S. Grant and Congress turned a blind eye to the disputed 1872 election of carpetbagger William P. Kellogg as governor of Louisiana. In this scene Kellogg holds up the heart which he has just extracted from the body of the female figure of Louisiana, who is held stretched across an altar by two freedmen. Enthroned behind the altar sits Grant, holding a sword. His attorney general, George H. Williams, the winged demon perched behind him, directs his hand. At left three other leering officials watch the operation, while at right women representing various states look on in obvious distress. South Carolina, kneeling closest to the altar, is in chains.|Signed: A. Zenneck.|Title appears as it is written on the item.|U. S. Grant, The Man and the Image, p. 58.|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 1871-1.|Exhibited: "Lee and Grant," Virginia Historical Society, Richmond, Virginia, and other venues, Sept. 2007 to March 2010.

An anti-religious satire attacking most of the major denominations of the nineteenth century, including Catholics, Episcopalians, Calvinists, Universalists, Methodists, Baptists, and Quakers. The artist parodies their respective religious beliefs and/or forms of intolerance. A chimera-like beast is shown, with seven heads, each representing one denomination. It also has wings, a forked fishtail, and the leg of a human. The various heads speak. Pope of Rome: "Heretical! Heterogeneal! Heterodox! I! am what I am!" Episcopalians: "Exterminate the Heretics!" Calvinists: "The Degree of Fate has fixed our Destinies." Universalists: "God will not punish us for what he does therefore we shall all be saved." Methodists: "Glory! We ha'nt got much larnin. Glory." Baptists: "I must be immersed or I shall be Damned." Friends or Quakers: We are Friends to all but the Heterodox." Below the title are lines from the Book of Revelation, "The Beast that was, and is not, and yet is."|Designed by A.M. Bouton.|Entered . . . 1835 by A.M. Bouton . . . Southern District of New York.|The Library's impression was deposited for copyright on April 10, 1835. Weitenkampf misreads the artist's name as "Benton."|Title appears as it is written on the item.|Weitenkampf, p. 38.|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 1835-5.

A caricature of Missouri senator Thomas Hart Benton, as an insect rolling a large ball "Expunging Resolution" uphill toward the Capitol. The print employs Benton's own metaphor of rolling a ball for his uphill campaign to have a March 1834 Senate censure of then-President Andrew Jackson stricken from the Senate journal. The censure had condemned Jackson's removal of federal deposits from the Bank of the United States as exceeding the President's constitutional power. In the cartoon Benton says, "Solitary and alone and amidst the jeers and taunts of my opponents I put this Ball in motion." The quotation comes from Benton's 1834 speech given in the Senate, stating his intention to move to expunge the censure. Benton's campaign earned him scorn from the opposition and, initially, little support from friends of the administration. But his resolution was finally passed in January 1837. The cartoon must have appeared shortly after the successful vote, for the ball is inscribed with a "List of the Black Knights," which names the twenty-four senators who voted for the resolution.|Drawn by Edward Williams Clay?|Published by H.R. Robinson, 52 Cortlandt St. N-York.|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 1837-14.

A patriotic, illustrated sheet music cover for a song composed by Charles Collins, Jr., and dedicated to Kentucky senator Henry Clay. The work celebrates Clay's efforts to preserve the Union, and was a product of the optimism following passage of the Compromise of 1850. The Union is symbolized here by a circular chain in which every link is inscribed with the name of a state and its year of entry into the Union. California, admitted in 1850, is represented by the center ring below. At the top of the ring is an eagle with shield and olive branch, emerging from a cloud and flanked by two American flags. The chain is superimposed on an arch supported by two Doric columns, which in turn rest upon a stepped pedestal inscribed: "The United States of America. Union and Liberty, Forever, One and Inseparable." Outside of the columns are floral swags and acanthus ornaments. Inside is a view "The Capitol at Washington" with two men on horseback on its lawn. Above the dome appear the lines: "In Union's Chain, within its Spell, /Freedom & peace & safety dwell." An inscription (printed) appears below the illustration, a facsimile of a note by Henry Clay endorsing "the sentiments and the poetry" of the song and acknowledging the composer's dedication of the piece to him.|Entered . . . 1851 by Lee & Walker.|Lee & Walker, Music Publishers, 162 Chestnut St., Philadelphia.|New-York, Wm. Hall & Son. N. Orleans, Wm. T. Mayo.|Thomas Sinclair's Lith. Phila.|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 1851-1.

A large, color campaign poster for Grant and Colfax. Bust portraits of the two candidates are framed in ovals emblazoned with stars. Flanking them are standing allegorical figures Justice (left), blindfolded and holding scales, and Wisdom (right), wearing a helmet. At Justice's feet, near Grant's portrait, are implements of war. At Wisdom's feet are symbols of agriculture, including a sheath of wheat, a rake, and a scythe. Above, an American eagle with arrows and an olive branch alights on a pedestal from which radiate four staffs with American flags. |Entered . . . 1868 by M.B. Brown & Co. . . . New York.|In the block: Clarry & Reilly|The Library's impression of the work was deposited for copyright on June 16, 1868. |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 1868-10.

A satire on the Philadelphia militia, the first and apparently only number issued in a projected series of "Sketches of Character" by Edward Williams Clay. In the center an officer reviews a disorderly line of soldiers, some of them uniformed, standing at varying degrees of attention. In the background are two tents with people dining and drinking, a fiddler playing, and flags reading "Hurrah for Old Hickory" and "Jackson For Ever." A cider barrel is visible in one tent, and at a table shaded by an umbrella ladies dispense drink. The militiamen are said to include well-known Philadelphians of the period. |Pub. for the proprietors by R.H. Hobson. Chesnut St. Philada. 1829.|Signed: Clay (Edward Williams Clay).|The legend "Copy right secured" appears on an impression reproduced by Murrell. These words were masked out in the printing on the Library's impression, which was deposited for copyright on April 25, 1829.|Title appears as it is written on the item.|Davison, no. 31.|Murrell, p. 110.|Weitenkampf, p. 22. |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 1829-1.

The second of two satires by Chambers on events surrounding the killing of Maine Congressman Jonathan Cilley by Kentucky Representative William J. Graves in a February 24, 1838, duel. (See also "Scene in Washington. Sunday Feby. 25.," no. 1838-17.) Whig editor James Watson Webb was largely blamed for provoking the match. Here the artist ridicules Webb's claim, published in the "New York American," that he initially intended to persuade Cilley to face him instead of Graves. Should Cilley have refused, Webb allegedly planned to shoot him in the right arm, preventing the duel. In a ludicrous scene, Chambers shows Webb rehearsing his plan in Gadsby's Hotel in Washington with accomplices Daniel Jackson (far left) and one Major Morell. The two hold the arms of a seated black minstrel "Boots," who stands in for Cilley, as Webb aims his pistol at the victim. Jackson: "I will enter first, as I once belonged to the Party, he will not suspect me: I will talk about Indian Contracts, Blankets &c. till a chance offers to sieze him, or knock him down: when you Maj: and the Col. [Webb] must rush in and do your parts: am I not 'a second Daniel.'" Morell (here identified as "Maj. Sturgeon"): "For fear he should be armed Dan, I will fill a gauze Bag full of Red Pepper, to dash in his face. Webb (armed with two pistols, aiming one at "Boots"): Be sure you hold him fast, as I am told he is not to be trifled with, when I will say, 'Sir, you must fight "me; this is my quarrel:'" if he refuses to do so, or say that I am a "Gentleman," I will shatter his right Arm by G**!!!!!" Boots: "Ah you sure he no loaded? O! massa Col. if your kurige hold um out, t'will be a scene ob de biggest kind ob interestariety." The print's title continues: "And rehearsed with the assistance of Boots, in front of Gadsby's large Mirror, by these Chivalric individuals; shewing the exact attitude the "Hero" of the "Piece Was" to take, to shatter a man's right arm, like a "Gentleman." Drawn by permission & sanctioned by the famous "Earl" of "Dartmoor," the Grand Knight Templar of this New Code of Honor!!!!" (Dartmoor was an English prison notorious for its barbaric conditions.) As in "Scene in Washington," Webb is accompanied by a turkey in full plumage, a reference to his flamboyant and pompous personality. Here a spider web (a punning clue to his name, which is otherwise not given in the print) stretches from his left arm to his side.|Entered . . . 1838 by W. Chambers . . . Southern District of New York.|The Library's impression of the print was deposited for copyright on March 31, 1838.|Title appears as it is written on the item.|Weitenkampf, p. 55-56.|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 1838-18.

Another satire on the Panic of 1837, again condemning Van Buren's continuation of predecessor Andrew Jackson's hard-money policies as the source of the crisis. Clay shows the president haunted by the ghost of Commerce, which is seated at the far right end of a table which he shares with a southern planter (far left) and a New York City Tammany Democrat. Commerce has been strangled by the Specie Circular, an extremely unpopular order issued by the Jackson administration in December 1836, requiring collectors of public revenues to accept only gold or silver (i.e., "specie") in payment for public lands. The ghost displays a sheaf of papers, including one marked "Repeal of the Specie Circular," and notices of bank failures in New Orleans, Philadelphia, and New York. Van Buren recoils at the sight of the specter, exclaiming, "Never shake thy gory locks at me, thou can'st not say I did it." Jackson, in a bonnet and dress made of bunting, turns away saying, "Never mind him gentlemen, the creature's scared, and has some conscience left; but by the Eternal we must shake that out of him." Planter (a note reading "Cotton Planters Specie in "Purse." Alabama" protrudes from his pocket): "No credit. Huzza!!" Tammany Irishman (raising a glass): "Down with the Bank!!"|Printed & pubd. by H.R. Robinson, 52 Cortlandt Street, N. York.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Century, p. 48.|Davison, no. 92.|Hess and Kaplan, p. 202.|Weitenkampf, p. 49.|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 1837-7.

Campaign badge produced for the New England Whig Convention in Boston, September 10-11, 1840. An aureole of light surrounds an oval bust portrait of Harrison, ringed by medallions of the arms of the states of (clockwise from upper left) Connecticut, Vermont, Maine, New Hampshire, Massachusetts, and Rhode Island. An American eagle, holding arrows, perches on the Vermont seal at top, and the names of Harrison's military triumphs--Ft. Meigs, Thames, and Tippecanoe--appear behind.|Probably published in Boston.|Title appears as it is written on the item.|Fischer & Sullivan, no. WHH-14.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-22.

A condemnation of a Van Buren administration plan, put forward by Secretary of War Joel Poinsett, to reform the militia system through creation of a reserve force under regular army officers. The idea was attacked by Whigs as a threat to personal liberty and as a dangerous step toward military despotism. Sarony here reflects this view, and also makes mocking reference to the military's recent, controversial use of bloodhounds in the Seminole Wars in Florida. Several soldiers, holding muskets with fixed bayonets and wearing helmets decorated with skull and crossbones, seize two civilians. One soldier, collaring the man, says, "Come along here you tarnal varmint you neednt think you can talk politics as you use to could, when the presidents what dident Know nothin . . . used to take that old stinking sheepskin instrument called the constitution for their guide." Second soldier: "The bayonet is the instrument what we use old boy." A bystander: "He dont belong to our party no how." Another civilian reacts to the scene, asking: "Is this America - with all her boasted rights & privileges that a man cannot in the open air speak his sentiments: where is the constitution - the charter of our-" Another soldier, seizing him: "Stop, stop sir; you talk of the constitution? its all humbug & federalism. I'll teach you who his excellency the president is: he's the government to deal with I reckon." In the background a troop of bloodhounds receive instruction from a drill sergeant. A barracks and other rows of drilling soldiers can be seen in the distance.|Entered . . . 1840 by H.R. Robinson.|H.R. Robinson, 52 Cortlandt St. N.Y.|Signed: N. Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 62.|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 1840-3.

Democratic efforts to reelect Martin Van Buren are portrayed as hopeless in the face of broad popular support for Whig candidate William Henry Harrison. Here one of Harrison's campaign emblems, a log cabin, is a trap imprisoning the incumbent. The cabin's timbers are labeled with names of twenty states and its roof with "Maine." Its chimney is a cider barrel (another Harrison campaign symbol) on which sits an eagle. Jackson tries to lift the cabin with a "Hickory" lever braced against a cotton bale "New-Orleans." This refers to the Democratic attempts to exploit the personal popularity of the "hero of New Orleans" in the western United States. To Jackson's frustration the cabin is wedged tightly against an embankment of "Clay"--Henry Clay being the Whig's drawing card for the West. Van Buren, pointing to the mound of "Clay," says, "Why General it is of no use trying, there is no hope in the "North" and "East" and don't you see the West end is all chinked up with "Clay," except one small corner where Benton sits . . . while Calhoun has nullified himself and me at the South. I have made up my mind to go to Kinderhook as soon as I get specie enough in the Sub Treasury to pay me my salary and would advise you to go to the "Deserts of Arabia . . ." ""Jackson admonishes him, "Why Matty my boy! What have you been about to let those d---d British Whigs get you in such a fix . . ." The print is signed "Boneyshanks," more than likely a pseudonym for Napoleon Sarony. The lithographer employs the distinctive broad crayon work found in signed Sarony work such as "The New Era or the Effects of a Standing Army" (no. 1840-3).|Entered . . . 1840 by H.R. Robinson.|Printed & published by H.R. Robinson, 52 Cortlandt St. Y.N. [sic] & Pennsa Avenue Washington D.C.|Signed: Boneyshanks (probably Napoleon Sarony).|The print was registered for copyright on September 21, 1840. |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 1840-43.

A portrayal of the nocturnal raid on the Charleston post office by a mob of citizens and the burning of abolitionist mails found there in July 1835. Mail sacks are handed through a forced window of the ransacked post office, torn open and bundles of newspapers such as "The Liberator," the Boston "Atlas" and "Commercial Gazette" removed and strewn about. At left, in an open square before a church, a crowd surrounds a bonfire. A sign reading "$20,000 Reward for Tappan" hangs on the wall of the post office, referring to the bounty placed by the city of New Orleans on the head of Arthur Tappan, founder and president of the American Anti-Slavery Society.|The Library's impression of "New Method of Assorting the Mail" was printed on the same sheet as another abolitionist print, "Southern Ideas of Liberty" (no. 1835-3), and may have been part of a series with that title.|Title appears as it is written on the item.|Weitenkampf, p. 38.|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 1835-2.

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