A Whig campaign print glorifying presidential candidate William Henry Harrison. The title derives from the candidate's farm on the North Bend of the Ohio River. The game cock has a dual significance: as an allusion to Harrison's military virtue and as a Whig party symbol. A formidable-looking gamecock stands with one foot on a large ball (inscribed "Stop That Party Bawl") and crows, "Tippecanoo Canoo-oo-oo." The giant ball was a Democratic symbol initially associated with Missouri Senator Thomas Hart Benton. (See "N. Tom O' Logical Studies," no. 1837-14.) In the sky overhead is an eagle with an American flag and the words, "The Nation Is Whig! Tell Chapman to Crow." In the middle ground is a log cabin, and in the distance a neoclassical building--presumably the White House--flying a flag with the motto, "Union of the Whigs for the sake of the Union." The print is signed "Nosey," evidently another of Napoleon Sarony's pseudonyms. The broad-crayon lithographic technique is a distinctive feature of Sarony prints like "The New Era or the Effects of a Standing Army" (no. 1840-3). The present work is dedicated to "Robert C. Wetmore Esq. President of the North Bend Association of New York" by the publisher.|Entered . . . 1840 by H.R. Robinson.|Printed & published by H.R. Robinson, 52 Cortlandt St. N.Y. & Pennsa Avenue Washington D.C.|Signed: Nosey (probably Napoleon Sarony).|Title appears as it is written on the item.|Weitenkampf, p. 64.|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 1840-45.

A Northern-produced satire, expressing strongly anti-abolitionist sentiments. A large pair of bare feet, obviously those of a black man, protrude from beneath a Phrygian cap adorned with the word "Liberty," several stars, and an eagle with arrows and olive branch from the seal of the United States. Weitenkampf very plausibly suggests that the print is by Baker, whose work for the Bufford lithography firm is similar in style. Compare Baker's emphatically anti-Lincoln "Columbia Demands Her Children!" (no. 1864-34).|Entered . . . 1864 by J.E. Cutler in the District Court of . . . Mass.|Probably drawn by Joseph E. Baker, Boston.|Title appears as it is written on the item.|Weitenkampf, p. 141.|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 1864-36.

The erosion of Democratic support for presidential hopeful Martin Van Buren is portrayed as the funeral of "the Kinderhook fox." The print was deposited for copyright on May 22, 1844, one week before the Democratic National Convention squelched Van Buren's presidential ambitions by nominating James K. Polk. Former president Andrew Jackson and incumbent John Tyler, both of whom appear here, were instrumental in bringing about Van Buren's defeat. Tyler drives a rude hearse--actually a cart--laden with cabbages and the body of fox Van Buren. By Tyler's side are a bag of "Mint drops," a reference to traditional, hard-money fiscal policies of the Democrats. Tyler laments, "Thus do all our hopes end in Clay! Nothing left for me now but hoe-Cakes." His reference to "Clay" is a double entendre for Whig candidate Henry Clay; mention of "Hoe-cakes" may be an allusion to Tyler's Virginia origins. Tyler's poet son Robert rides on the back of the hearse, penning his 1842 epic "Ahasuerus" and musing, "To be or not to by[?] is no longer the question." The cart is pulled by a scrawny nag with Andrew Jackson's head. Jackson says, "I have done my best to bring Foxy here! I have nothing more to do but to see him decently interred." Behind the cart walks a devil, sobbing, "Oh! heavy day! I am his only mourner. I am the only friend that will never leave him. Death itself shall not divide us!" He is followed by a heavyset man in a wide-brimmed hat ringing a bell and crying "Bring out your dead!" Several dogs also pursue the hearse. In the background is "Loco Foco Hall," a small cabin with bottles of spirits lining its window-shelves and flying an inverted American flag. A fox pelt is nailed to an outside wall, and an emaciated man stands in the doorway. The Loco Focos, or radical Democrats, were an important Van Buren constituency. Beyond, on the right, is a grave freshly dug by two blacks who stand nearby. One of the gravediggers says, "Here he comes, Pompey, we'll have this Fox earthed at last!" Beneath the scene are the verses: Not a drum was heard nor a funeral note / As his corse to the ramparts we hurried / Not a Loco discharged his farewell shot / O'er the ditch where our hero we buried.|Entered . . . 1844 by James Baillie.|Lith. & pub. by James Baillie 33 Spruce St. N.Y.|Signed: H. Bucholzer.|Title appears as it is written on the item.|Weitenkampf, p. 79-80.|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 1844-17.

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

An optimistic Whig artist (probably Edward Williams Clay) portrays Martin Van Buren's evacuation of the White House on Inauguration Day 1841. A disgruntled Van Buren descends the steps, muttering "Our sufferings is intolerable! D--n his hard cider how it works me!" He carries his "Subtreasury Bill" under his arm. He has been seen out by Jack Downing, who shouts from the door, "Good bye Matty dont look so down in the mouth! I'll get the General to appoint you Collector of the port of Kinderhook! and the New Yorkers will may be make you Inspector of Cabbage!" The presidential mansion is already inhabited by William Henry Harrison, who watches from a window at left saying, "Show the Gentleman out Major Downing and give him a glass of cider before he goes!" Below the window is posted a theater bill advertising the "Washington Theatre. March 4th 1841. The School of Reform. Turn Out."|Lith & pub. by J. Child's 119 Fulton St., New York.|Probably drawn by Edward Williams Clay.|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 1840-59.

A postelection Whig satire, "Respectfully dedicated to the members of the Eighth Ward Tippecanoe Club and inscribed to their Patriotic Chairman Charles H. Delavan, Esqr." The artist shows a crowd of Whigs assembled in Lafayette Hall on Broadway. They gather on the left around Delavan, who speaks from a platform. Delavan is asked by a man in the crowd, "Charley do you think Van Buren will be elected." He responds, "If Van Buren should be reelected I will leave the United States." At right a group of Democrats surround a board tallying the final electoral vote. All states are reported except for Illinois. A heavyset man in a broad-brimmed hat and knee-breeches complains, "I have lost my money betting on "sure" states as the Globe had them." Other Loco Foco stalwarts stare in disbelief at the board. One laments, "There they go slap dab a score states in a heap and my post office with em too. O.K. oll Kill'd I spose." Others say, "the Globe said that it would be a tie in Ohio and Kentucky would be sure for Van," and "A Whig Bull-let-in in good arnest and a scatterin he's made among our folks in Ohio if this new is O. K. Ohio Kicking!" The "Globe" is Francis Preston Blair's pro-Van Buren newspaper. Perched atop the board is the Whig gamecock or rooster. Marked stylistic and technical similarities between "O. K." and "The Last Card. Tip Overthrown, Loco Foco Consternation," and "Evenhanded Justice" (nos. 1840-60 through -62) confirm a common authorship. The artist may be H. Bucholzer, who emerged as one of James Baillie's chief artists during the 1844 presidential campaign.|Drawn by "Spoodlyks".|Lith & pub by H.R. Robinson 52 Cortlandt St. N.Y. & Pennsa Ave[nu]e 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 1840-63.

A condemnation of Daniel O'Connell's agitation of Irish immigrants in the United States against slavery. The artist, certainly E.W. Clay, presents a loaded contrast between turbulent conditions in Ireland and the idyllic, relative prosperity of the immigrant's lot in America. It is the period of the Irish campaign for repeal of the oppressive Legislative Union. On the left repeal movement leader O'Connell stands on the shore of Ireland holding an "Agitation" club and speaking through an "Abolition" horn. He says, "Over the broad Atlantic I pour forth my voice saying come out of such a land you Irishmen or if you remain and dare continue to countenance the system of slavery that is supported there, we will recognize you as Irishmen no longer!" A British grenadier with rifle in hand orders O'Connell to "Clear the way there!" A policeman holding a baton with a crown on its tip warns, "Come, come stop that noise and move off! do you hear!" Behind him is a tragic but common rural scene: a farmer and his family despair as their cottage burns; another farmer lies dead on the ground behind them. At right, across the ocean, is an American farmer and his family. The farmer arrives home from the field, a scythe over his shoulder. He is accompanied by his son, and a black dog follows at his heels. In the distance a black woman and her child lead cows along a road. The American farmer answers O'Connell: It is a mighty far voice you have Mr. O'Connell--I love Ireland as well as you do, but this is my adopted Country and the birthplace of my Children. By industry and economy I am become prosperous--my Children are receiving the benefit of a good education, and the highest situations in the State are open to them. Here we can express our opinion's freely without the fear of bayonets or policemen. I have sworn to defend its laws and the interests of its union and will do so with the last drop of my blood. I will never forsake it! The farmer's wife sits at her spinning wheel before their cottage, her three children about her. She says with a broad Gaelic accent, "Ah Patrick "acushla" don't be hard on Mr. O'Connell--sure if he were druve out of Ould Ireland woundn't we give him a a "cead mille failthe" here!" Her son, just arriving, exclaims, "See here mother what a beautiful medal I've got for being head of my Class." Aside from being very close in style to Clay's "America" (no. 1841-1), "O'Connell's Call "also reflects that artist's particularly chauvinistic perspective on American versus English life.|Drawn by Edward Williams Clay.|Entered . . . 1843 by H.R. Robinson.|H.R. Robinson 142 Nassau St. Lith in all its branches.|Title appears as it is written on the item.|Weitenkampf, p. 71.|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 1843-1.

A sheet music cover, illustrated with the personification of Liberty in the form of the helmeted goddess Minerva. Her helmet is adorned with a laurel wreath and four large plumes. With her left arm she supports a shield and a spear with liberty cap and holds a scroll with the publisher's imprint in her right. A small star with the price of the sheet appears in the lower right of the composition. The design illustrates music written and composed by George Boweryem. |Boston. Oliver Ditson & Co. 277 Washington St.|Entered . . . 1858 by E.A. Daggott . . . New York.|New-York. Published by Horace Waters, 333 Broadway.|Signed: Stackpole sculpsit.|The Library's copy was deposited for copyright on October 16, 1858.|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 1858-4.

An illustrated sheet music cover for a polka composed by Henry Bellman. Within a circular, ornamental border is an allegorical scene based on the seal of the State of Virginia. A helmeted female figure armed with a spear and sword (probably Minerva) stands on the figure of a fallen despot. The latter's crown and broken scepter appear near him on the ground. The scene is also littered with broken manacles and a cross.|Lith. by A. Hoen & Co. Balto.|The Library's impression of the music sheet was deposited for copyright by the publishers on January 26, 1855.|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 1855-1.

Confident Union propaganda from the summer of 1861, claiming dominance over Confederate troops led by generals P. G. T. Beauregard and Gideon Pillow. Union commander Winfield Scott sits on a mound in the center, holding a noose and awaiting the emergence of president of the Confederacy Jefferson Davis from his "Richmond" burrow. With his feet Scott pins the tails of two foxes, Beauregard (on the left), near Mannassas Junction, and Pillow, near Memphis. The print was probably issued before the Battle of Bull Run, while Beauregard's troops were stationed at Manassas Junction, protecting the Confederate capitol at Richmond. Memphis was not won by the Union, however, until June 1862.|Published by Currier & Ives, New York.|Title appears as it is written on the item.|Gale, no. 4947.|Weitenkampf, p. 131.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-36.

Facing a relative lack of enthusiasm for his campaign in New York State, Lewis Cass hoped to muster Democratic rank-and-file support by endorsing for lieutenant-governor the popular lawyer Charles O'Conor. Here the "Old Hunker" (i.e., conservative Democrat) Cass fishes from a rock at right, dangling a line with O'Conor on its hook above a group of Irish immigrant laborers. O'Conor says, "Come my Countrymen" as he is hailed enthusiastically by the workers, exclaim, "Hurra for Charley O'Connor," "We'll have him President yet," and "Isn't he a darling." A man at the far left says, "Send down the Jewell." Their tools--spades, wheelbarrow, pickaxes and such--are strewn about. At left is a wall plastered with posters advertising a "Mass Meeting Cass & Butler" and "One More Rally for Ireland." Cass remarks, "Upon my honor, I had no idea that a Lawyer was such excellent bait for the real Dimicrats!"|Lith: & pubd. 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. 90-91.|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 1848-34.

Entered according to Act of Congress, in the year 1837, by H.R. Robinson, in the Clerk's Office of the District Court of the United States, of the Southern District of New York. Printed & published by H.R. Robinson, 52 Cortlandt St. N.Y.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A rare pro-Jackson satire on the President's campaign to destroy the political power and influence of the Bank of the United States. It was probably issued late in the presidential campaign of 1832, after Jackson's July veto of the bill to re-charter the Bank. (Weitenkampf tentatively dated the print 1833, but the Library's impression was deposited for copyright on September 12, 1832.) Jackson is portrayed as a cat (with a tail marked "Veto") defending the corn cribs in "Uncle Sam's Barn" from rats "which had burrow'd through the floor, to get at his capital Corn Crib: While Uncle Sam, and his active laborers, stand at the door, enjoying the sport." The cat has one rat in his mouth, possibly Henry Clay, who says, "My case is desperate." Under his paws is another (possibly the Bank's president Nicholas Biddle) who says, "Them d'd Clay-Bank Rats brought me to this." In the lower left a rat with a cape and his paw on a Bible says, "My Cloak does not cover me, as well as I could wish, but this Book with it, will be a good passport to the Corn Crib." Other rats creeping from holes in the floor say, "I'l keep in my hole while he's in sight" and "No chance for me whie he's in the Barn." At the upper right two rats (possibly influential pro-Bank newspaper editors James Watson Webb and Charles King) nibble corn, remarking, "The U.S. Bank Rats are very liberal to us Editor Rats, we must stick to them at all risks." From an open doorway three men, "Uncle Sam and his active laborers," survey the scene. First man: "Bravo my Boys! keep him in the Barn; and no doubt, but he will keep the Rats away." Second: "What a tail he carries! I guess he is of the Kilkenny breed." Third: "How he nicks them." The use of rats to symbolize corruption was commonplace in cartoons of the 1830s, particularly with respect to the Bank of the United States. See ""This is the house that Jack built"" (no. 1833-6). For their use in another context see ".00001. The value of a unit..." and "The Rats Leaving a Falling House" (nos. 1831-1 and 1831-2).|Copyright secur'd 1832.|Michael Williams Del et Lith 44 Canal Street N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 29.|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 1832-5.

An attack on Nicholas Biddle and the New York newspaper editors friendly to the United States Bank. The print was evidently prompted by Biddle's 1834 attempt to create a financial crisis through an artificial tightening of credit. Biddle created the shortage as a ploy to swing public support toward the United States Bank, then under attack by the Jackson administration. Whig editors James Watson Webb, Mordecai Manuel Noah, and a third (possibly Charles King, identified here as "Charley") are portrayed as Biddle's accomplices in an unsuccessful attempt to crush the common men of New York. As Biddle (far right), Jack Downing, and a third man (with monocle) watch from the steps of the Bank as the three editors operate giant screw presses (a pun on "printing presses") which bear down upon crowds of working men, or "workies." The latter include carmen, sailors, masons, laborers, butchers, and others. Webb, standing on the press at right, tips his hat and exhorts his colleagues, "Major [Noah] and Charley let us give those workies a good screwing so as to fetch them to the Bank question, then I think that Mr Nick [i.e. Nicholas Biddle] will fee us well." "Major" Noah (far left) falls as his press is tipped by the men beneath it. He calls out, "Oh Master Nick, I rather think these workies will not stand my screwing them." Comments from below are: "Aristocracy and U.S. Bank power is heavy stuff." "Major I think you are rather a green hand to apply the screws." "Charles Major & Co., you may screw and screw untill Nick doubles your wages then we will not submit to an Aristocracy Bank!" In the center "Charley" works at turning his press, saying "Major & Co. I wish you would think on your friend and divide the spoils." From below: "If those silk stockings and ruffle shirt gentry gain the day, we workies will never vote again!" "I'll be darned if the General [i.e. Andrew Jackson] gave Nick such a patent right to screw us poor workies so!" "No I rather think he forged such a patent as this is." "I think the General is an honester man, he would rather put his veto on it." Beneath Webb's press the men protest: "You may screw Colonel [Webb] until you screw the cholera morbus out of you, then I will not bow down to a golden calf." "I will submit to any thing but a golden calf!" One man calls out to Biddle, "Split my tarry top lifts Old Nick I think you had better be reefing the fore top sail than standing on the quarterdeck giving the word put the screws on those poor workies!!" Biddle is in fact urging his minions, "That's you my cousins give them the screws and I will remember you!" Jack Downing observes, "I'll be darned Mr. Nick with all our fleet and Rank and file men, I rather think thhat them ere workies will rule the day arter all for see the Major is going down!" The man with the monocle declares, "Oh! you workies If you fail in the next election you shall never vote again!"|New York. Published by Anthony Imbert 104 Broadway.|Title appears as it is written on the item.|Weitenkampf, p. 36-37.|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 1834-5.

An ambivalent but essentially pro-Lincoln illustration appearing on a song by John Hogarth Lozier, dedicated to the composer's "Comrades the 37th Indiana Regiment and all who love Our Brave Soldier Boys." Lincoln drives the Union wagon, whose rickety frame consists of a boat "Constitution" mounted on four wheels. Pulled by horses named after leading Union generals, including Benjamin F. Butler, Ulysses S. Grant, William S. Rosencrans ("Rosie"), and Joseph Hooker, it is crowded with people. One of the riders holds an American flag while another seems to be falling over the side of the wagon. The vehicle has gotten mired in the mud hole of Secession, where several figures are floundering. Uncle Sam attempts to extricate the stuck back wheel using a large pole "Emancipation Proclamation" as a lever, whose fulcrum is a rock marked "1863." Sam's efforts and the wagon's progress are also threatened by several snakes at right. These probably represent the anti-Republican Copperheads who advocated reconciliation with the South. Although the Emancipation Proclamation took effect in January 1863, the print may have appeared as late as 1864. It was not until March 1864 that Grant was given supreme command of the Union army.|Cincinnati. Published by J. Church. Jr. . . . Boston. O. Ditson & Co. Philadelphia. Lee & Walker. New York. W. A. Pond & Co.|Middleton, Strobridge & Co. lith. Cincinnati Ohio.|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 1863-15.

Satire on the Jackson administration's continuing battle against the Bank of the United States. The print was specifically occasioned by the re-chartering of the Bank by the Whig-controlled Pennsylvania Legislature in defiance of the administration. The artist also ridicules the ambitions of Jackson's vice-president and would-be successor Martin Van Buren. Jackson, holding a broken cane labeled "Veto," flees to the left away from Bank president Nicholas Biddle (right) who displays a two-faced demon's head and the Bank's new charter. Biddle stands on the front step of the "Old United States Bank" and says, "General allow me to introduce an old friend with a new face."% Jackson: "The Monster! the many headed Monster's come to life! Old Nick! Old Nick! I'll cut stick and fly to Araby!. . ." Van Buren (who clings to Jackson's discarded cloak, labeled "Collar presses, No Monopoly, Deposits, Appropriation, Globe, Specie Currency"): "Stop General! Like the Prophet Elisha he has left his mantle with me. I hope it will fit!"|Entered . . . 1836 by H.R. Robinson.|Published March 1836 by H.R. Robinson, 48 Cortlandt St. New York.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 79. |Weitenkampf, p. 40.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-8.

An illustrated sheet music cover for a song memorializing one of the first heroes of the Mexican War, Maj. Samuel Ringgold. Zachary Taylor's innovative gunnery commander was fatally wounded in May 1846 during the battle of Palo Alto. Ringgold's superbly drilled artillery was credited by Taylor with the victory at Palo Alto. The artist shows a grave site marked by a cross with a floral wreath, a bald eagle, a large American flag, and an olive branch. A half-buried cannon and a spade and helmet lie nearby. Also visible on the ground is a marker inscribed "May 8"--the date of the battle. In the background a battle rages. Ringgold, his thighs badly wounded, is shown being carried from the field by two soldiers. Below the image and dedication is a short paragraph that reads: "When the gallant Ringgold received the wound at the Battle of Palo Alto, which deprived the army of one of it's brightest ornaments--some of his comrades gathered round him, when he exclaimed "Leave me to my fate, there's work for every man to do."|Bufford & Co's Lith. Boston.|Entered . . . 1846 by F.D. Benteen.|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 1846-9.

The artist registers the widespread American sympathy with certain revolutionary movements in Europe. More specifically, the print extols Louis Kossuth, the Hungarian patriot who led an 1848 revolt against the Austrian imperial domination of Hungary. Kossuth (center) comes to the aid of Liberty (fallen, at left) against Austria, which is shown as a three-headed monster. The monster represents an alliance of "Throne and Altar," i.e., the monarchy and the papacy. Its three heads are those of a dragon with clerical hat and papal tiara (the Vatican), a wolf with a crown (Austria?), and a bear with an eastern crown (probably Russia, Austria's ally). Around the monster's neck is a pendant with the Jesuit insignia. Kossuth steps from a railing into the ring, wielding the sword of "Eloquence" and confronting the monster with the shield of "Truth," which reflects the face of a prelate (probably Pope Pius IX). Kossuth also carries a flag with a liberty cap surrounded by stars, the liberty cap being just above his head. The hero is cheered on by representatives of various nations, waving their respective flags and watching from behind the railing. These include (left to right) an American, an Italian, and a Frenchman who carries a flag of the revolution of 1793. Liberty meanwhile has fallen. Her sword lay broken on the ground while her left foot still presses on the monster's tail. She raises her hand toward Kossuth in an imploring gesture. |1851 or early 1852. Probably drawn by "AW".|The Library's impression of the print is inscribed with a note (probably contemporary) in pencil saying, "Fight for us." |Title appears as it is written on the item.|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 1852-1.

A satire, puzzling in its precise meaning, on the ascendance of the radical wing of the Whig party in New York's gubernatorial election of 1846. Influential radical journalist Horace Greeley dances a jig to the music of an ensemble of raccoon musicians. He is called "One of the "Young" Bo-hoys" because of his support of successful liberal Whig candidate John Young, who defeated Democratic incumbent governor Silas Wright. Greeley exults, "Where's Webbs 30,000 men in Buckram now?" a defiant reference to conservative Whig editor James Watson Webb. (Shakespeare's Falstaff brags about men in buckram in "Henry IV," Part One.) The raccoons, symbolizing Henry Clay's supporters in the 1844 election, are optimistic about the outlook for the next presidential race. Violinist: "Play up Clays Grand March for 1848!" Horn player: "Don't commit yourself Brother Coon!" Drummer: "We are always committed to Harry of the West!" Cellist: "I go that-he is the only man for our side of the House!" Flutist: "10,000 for Young! what a change in a year!" Trumpeter: "Wait until spring & you will see another great Victory brother!" On the far right a coon holds up sheet music entitled "For [ex-governor Silas] Wright is a used up man."|Entered . . . 1846 by H.R. Robinson.|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 1846-14.

An extremely crude and somewhat obscure satire on Union general Ambrose E. Burnside's controversial suspension of the Chicago "Times" because of "disloyal and incendiary statements." The anti-Lincoln paper was temporarily closed by order of Burnside, the military commander of the Department of the Ohio, in June 1863. This order was quickly rescinded by President Lincoln. Nichols's satire is crowded and confusing. Burnside stands in the center in a tattered uniform stamped repeatedly "Chicago Times." A gavel or mallet rests on his head. A ragged black officer "Chief of Staff" stands beside him asking, "Wah! Brudder what dat on your head an back an what you doing here?" Burnside replies, "Well "Alias" I've been prowling about here and stole the Cock of the walk, then I went into the Times Ofice to get some pie (pi) and their devil [i.e., printer's devil or apprentice?] scratched and tore me and left his mark all over my back. Then Drummond put this injuntion on my head and told me to stand here and look at this goddess a spell [i.e., the figure of Civil Justice who appears at left] and it rather skeers me." At left is the goddess of Civil Justice holding a sword marked "Civil Liberty First" and scales. She stands on a large book inscribed "Drummond's State Platform." Behind her is a telegraph line which flashes the words "Back out Ambrose--A. Lincoln." Several onlookers are also present. One (far right) shouts, "Hurah," as a newsboy carrying the Chicago "Times" rushes up announcing, "Eres the Times Morning Edition. dugham-stealers got Injunctioned." The print must have appeared in the midst of the "Times" controversy, as the Library's impression was deposited for copyright on June 30, 1863.|Entered . . . 1863 by E.W.T. Nichols . . . Mass.|Title appears as it is written on the item.|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 1863-6.