A variant of "The Pending Conflict" (no. 1863-10), evidently issued at about the same time (and deposited for copyright on the same date). Significant alterations here include: the "Neutrality" band has been removed from around the clubs held by John Bull; Napoleon III now seems to dance, with his hand on John Bull's shoulder; Secession's belt reads only "Secession" and the Union figure's reads "The people shall rule!"; four burning ships appear in the background; and, Secession's club is cracked and splintering. The text, printed in letterpress below the image, reads: "Emp. Napoleon.--Whip him, Secesh, and as you have helped me to a chance to win Mexico, only keep him employed a little longer, and then I will help you. John Bull.--Down with him, Secesh, burn his ships, destroy his commerce--England has plenty more such clubs for you. Secesh.--I will kill him if I can, and yet, this Mudsill, whom I have despised as a mercenary coward, insulted, and would have trodden under foot, has proved to be a very giant in courage and in resources; even hampered as he is, nevertheless, his blows fall so hard and fast, that, but for his attention being diverted by the assaults of that Snake [i.e., the copperhead], I would be unable to continue the conflict one moment longer. U. S. Citizen Soldier.--The Flag of my country trampled under foot--the ships of my countrymen destroyed upon the ocean, by those who would disenfranchise me of my rights of citizenship, and make me an alien, and a stranger, in the fairest portion of my own land, and I, when battling for my rights, have met a long, a desperate, and a sanguinary contest, where, but for the encouragement given to my adversary by the attacks of this vile Copperhead, I would otherwise have quickly won a complete, and almost "bloodless" victory."|Entered . . . 1863 by Oliver Evans Woods, Pennsylvania.|Herline & Hensel, Lith. 632 Chestnut St. Philada.|Published by Oliver Evans Woods, 1003 Race Street, Philadelphia.|The Library's impression of the print was deposited for copyright on January 21, 1864.|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 1864-3.

A prediction of dire consequences to follow from Jackson's withdrawal of federal funds from the Bank of the United States, initiated late in 1833. The artist is harshly critical of Jackson's move to distribute federal treasury funds among several state or so-called "pet" banks. He also condemns the influence of both Jackson's informal circle of advisors, the "Kitchen Cabinet," and the newspapers friendly to the Administration, the "Collar Presses." Jackson declared his own personal "responsibility" for the controversial order to remove the feredal deposits from the Bank. Here a mob of farmers, laborers, and tradesmen riot, holding papers saying "Broken Bank," and shouting "Send back the deposites! Recharter the Bank!" and "Come back old responsibility." They pursue Jackson, who flees to the right carried on the back of Jack Downing. Jackson: "By the Eternal Major Downing; I find Ive been a mere tool to that Damn'd Amos [Kendall] and his set, the sooner I cut stick the better." Downing: "I told you I'd get you off Jinral but it will be a tarnel tight squeeze I guess." In the center Thomas Ellicott and Reuben Whitney, anti-Bank fiscal advisors to the administration, try to pull down the statue of Justice (here labeled "Supreme Court") resting on a pedestal "Constitution." A man in judge's robes, Supreme Court Justice John Marshall, warns "Miscreants forbear, the day of retribution is at hand and Justice shall be no longer set at defiance!" Five dogs, representing newspapers supportive of Jackson's program, including the "Globe, Albany Argus, Evening Post, Standard," and "Journal of Commerce" scamper away with their collars chained together. These are called "Collar Presses, " a derisive nickname playing on their status as newspapers or "presses" subservient to the administration. On the far left Henry Clay tells Daniel Webster and John Calhoun, "Behold Senators the fulfilment of my predictions!" Below them two blacks converse: "Hurrah Bob two or three more rows like dis and nigger free, for there will be no more Goberment." "Hurrah! for Massa Garison [i.e. abolitionist William Lloyd Garrison], den he shall be King!" On a step at lower left a sailor offers a Jewish broker a ten dollar bank-note. Sailor: "I say Moses give us some ballast for this here bit of rag." Banker: "Mine Got that ish one of the Pet Bankhs I'll give you one Dollar for the Ten."|Entered . . . Southern District of New York by T.W. Whitley 1834, and for sale at 104 Broadway.|T.W. Whitley alias Sir Joshua invt.|The print was recorded as deposited for copyright by Whitley on February 1, 1834. The print was probably printed and sold by Anthony Imbert, since his address is given in the imprint. The print is also very close in style to Imbert's "Old Nick's New Patent Plan ... (no. 1834-5).|Title appears as it is written on the item.|Weitenkampf, p. 35.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1834-7.

Incumbent President Martin Van Buren drives "Uncle Sam's Cab," a carriage pulled by a blindered horse, which wrecks on a pile of "Clay." The carriage founders in the path of a locomotive, really an assemblage of a "Hard Cider" barrel, a log cabin, and the head of Whig presidential candidate William Henry Harrison on wheels. Like "The Political Dancing Jack" (no. 1840-27), another crude but boldly designed woodcut, "The People's Line" was probably published by Huestis and Company and Robert Elton. Its imprint lists the two addresses used by these publishers on other prints during the 1840 campaign.|Sold by Huestis & Co. and Robert Elton? at 104 Nassau, and 18 Division Streets, New-York.|Title appears as it is written on the item.|Weitenkampf, p. 68.|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 1840-28.

Another Whig campaign badge, featuring a bust-length portrait of presidential candidate Henry Clay, with books, drapery, and the base of a column in the background. Above Clay's portrait is the motto: "The Peoples Welfare---My Reward." Below the portrait is a statement by Clay, conveying his campaign themes of support for protectionism and the creation of a national bank: "Protection to American Industry is necessary to secure the Independence of our Country. And a National Bank is as necessary to a Nation as National Law. H. Clay [facsimile signature]."|Title appears as it is written on the item.|Sullivan and Fischer, p. 76.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-8.

The title plays on Franklin Pierce's last name, at the expense of Whig presidential hopefuls Millard Fillmore, Winfield Scott, and Daniel Webster. The print was probably published shortly after the June 1852 Whig national convention, judging from the reference to Scott's nomination. The artist is critical of the Whig party's preference for military heroes as candidates, as manifested by their selection of Scott over his civilian rivals. In the center is Scott, flanked by Fillmore and Webster, balancing an empty plate of oyster soup on his head. He stands on the wooden floor of the "Whig Platform [of] Soup Fuss And Feathers." Scott's excessive concern with image and decorum earned him the nickname "Old Fuss and Feathers;" for Scott's early offhanded reference to a "hasty plate of soup," which clung to him throughout his public life, see "Distinguished Military Operations . . ." (no. 1846-15). He holds out empty oyster shells to the two disappointed candidates, saying: "My dear fellows you neither of you got the oyster because you couldn't agree and you have never smelt powder.--The whig party is essentually chivalric, and they must have a military man at their head, and, of course, chose me--To be sure Harrison was a granny, and so was Taylor, but I am a Granny dear [i.e., grenadier]! I present you each a shell as as a proof of my regard!--But hulloh! where's the oyster? Was it a vision!" Pierce stands at the far left, on the raised "Democratic Platform [of] The Constitution And The Union," displaying the meat of an oyster labeled "President U. S. A." He addresses Scott: "You will have to go without your soup this time General I've go the Oyster by sleight of hand, and a good fat one it is, a real old Blue pointer. I shall pickle it and keep it for four years!" Fillmore (left) exclaims, "A shell without a fish! how selfish! what a scaly trick." Webster, standing alone at far right, offers a melancholy soliloquy: "Farewell! a long farewell to all my greatness! This is the state of man.---To-day he puts forth the tender leaves of hope, tomorrow blossoms and bears his blushing honors thick upon him--The next day comes a frost a killing frost, and when he thinks, good easy man, full surely his greatness is ripening, nips his root & then he falls as I do!"|Published by John Childs, 64 Nassau St. N. York.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 210.|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 1852-33.

Democratic party war-horse Andrew Jackson appears frequently in the satires of the 1844 election campaign. Here, wearing a long frock coat and tall hat, he leads a donkey carrying Democratic candidates Polk and Dallas toward "Salt River," a figure of speech for political disaster. The candidates ride in panniers while Martin Van Buren, in the form of a fox, is dragged along by his tail behind the donkey. Van Buren: "I wish you would stop long enough to let me "define my position," for our sufferings "is intolerable!"" (The phrase "our sufferings is intolerable," an uncharacteristic Van Buren grammatical lapse, was quoted often by Whig humorists.) Jackson growls back at him: "Be quiet, Matty! The honor of travelling in my company ought to satisfy you." Polk to Dallas: "I feel like the baby in the primer [a children's reader] 'only born to weep and die.'" Dallas: "This is not quite so bad as if we were riding to the gallows."|Entered . . . 1844 by James Baillie.|Lith & pub by James Baillie 33 Spruce St. N.Y.|Signed: H. Bucholzer.|The Library's impression of "Pilgrims' Progress" was deposited for copyright on June 26, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 73.|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 1844-21.

Whig presidential candidate Winfield Scott and his party pursue an abolitionist course leading toward Salt River and political doom. New York senator and antislavery advocate William Seward appears as a poodle which leads the blindfolded Scott and his entourage of three asses with the heads of prominent abolitionists David Wilmot, Joshua Reed Giddings, and Horace Greeley. They pass a signpost pointing toward Salt River (ahead) and Washington (in the opposite direction). Seward: "Place the utmost confidence in me gentlemen asses . . . for when was I ever known to betray those with whom I was associated!" Scott: "It seems to me that I scent a strange saltness in the air!" Wilmot carries a "Free Soil" burden and is ridden by a black man. The slave exclaims, "Whew Massa Scott! up here you can see de riber shining in de sun!" Ass Giddings bears a sack marked "Abolition," while behind him Greeley carries a load marked "Higher Law." Greeley complains, "Here I am again upon my winding way. I would be glad to get off on my own hook, but this is my only chance for office, and I should like to get hold of another short term." A man on a hill in the background points toward Washington, exclaiming, "Ho there! Ho there! yonder lies your course! you're going astray! They are deaf as a post, or a set of obstinate jack asses!" (Under the man's feet the name "Seward" was inscribed but later obliterated.)|Published by John Childs, 64 Nassau St. N. York.|Title appears as it is written on the item.|Weitenkampf, p. 108.|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 1852-32.

Another grim portrayal of violent goldfield life in California, similar to "Things as They Are" (no. 1849-3) and equally critical of the outgoing Polk administration. Here again mayhem erupts, as prospectors and thieves brawl over the gold being taken from the hills. In the center one man discharges a pistol in the face of miner carrying a large sack of gold. Behind them others fight with knives and fists. One desperate character accosts another, demanding "Bread! Bread! Damn you! Bread." On the far right is a table where a buckskin-clad man is served by another man who exacts "A pinch of Gold for a drink." On the left another man, kneeling on the ground, vomits. In the left background rises a mountain with several prospectors hard at work. In the center distance the Capitol and White House are visible. On the "High Road to California," former President James K. Polk and his cabinet, armed with spades and pickaxes, hurry toward the goldfields. Polk, in the lead, says, "Off Boys to reap the reward of our four years labour." The California territory was acquired from Mexico during Polk's administration. "The Place We Hear About" is close enough in composition and in the handling of the figures to Perkins's "Things as They Are" to suggest his authorship.|Drawn by S. Lee Perkins?|Lith & pub. by Henry Serrell & S. Lee Perkins 75 Nassau St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 99.|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 1849-4.

The August 1864 Democratic national convention in Chicago is unfavorably compared to the Republican convention in Baltimore in June of the same year. The artist is especially critical of prominent New York Peace Democrats Horatio Seymour and Fernando Wood. The party's espousal of a truce with the South is presented here as advantageous to the Confederacy and to Great Britain. The cartoon is divided into two panels: "Baltimore" (left) and "Chicago" (right). In Baltimore, Liberty says to the seated Lincoln, "My fate I trust in your hands go and do your Duty!" She is accompanied by the American eagle. Lincoln holds his Emancipation Proclamation. His platform is upheld by supporters (from left to right) Massachusetts senator Charles Sumner, Union general Ulysses S. Grant, and Union admiral David Glasgow Farragut. Behind them are a soldier and a man wearing a labor cap. At right, a dwarfish Democratic presidential candidate George B. McClellan is thrust onto a tiny round platform made of cheese by Copperhead leader Clement Laird Vallandigham. The reluctant McClellan entreats, "No Val: it is too bad, such a frail slippery box, I'll certainly break my neck!" Vallandigham tries to reassure him, saying, "Don't be afraid little Mac, I'll support you." The platform is supported by snakes, representing the Copperheads or Peace Democrats, one holding a Confederate flag of "Separation." Nearby a street tough in a top hat, smoking a cigar, holds up his fist and says, "Dam'n the Niggers," while an Irishman with a clay pipe observes, "Be jabbers what a select Company, ould Jonny Bull and all!" John Bull, the central figure, reads a pro-McClellan and Davis issue of the "London Times." At bottom left New York governor Horatio Seymour holds a plaque reading, "All ye desiring peace come one, come all. The War proved to be a failure." On the right New York congressman Fernando Wood, another prominent Copperhead, extends his hand to the viewer with the invitation "All true friends of Slaves and their Masters should join our Company." The print compares closely in drawing style, in format, and in its anti-Democratic bias to "Democracy. 1832. 1864." (no. 1864-23), published by Prang & Company. Both prints were probably drawn by the same artist.|Title appears as it is written on the item.|Weitenkampf, p. 144.|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 1864-23.

Andrew Jackson is roasted over the fires of "Public Opinion" by the figure of Justice in a cartoon relating to the controversy surrounding Jackson's removal of federal deposits from the Bank of the United States. Jackson, with the body of a pig, is prone on a gridiron over a stone barbecue oven. The fire is stoked by former Secretary of the Treasury William Duane, at lower right, while Jack Downing, lower left, splits kindling. Jack Downing: "I jest split a little kindleying wood, so Amos can jest make Broth for all hands &c." Duane: "I am opposed to Removing the Deposits, as I was when I was Secretary, but prefer gently Stirring them up." Five men, opponents of Jackson's bank program, stand behind the barbecue. They are (from left to right) Senators Henry Clay, Daniel Webster (holding a knife), William B. Preston, Bank president Nicholas Biddle, and an unidentified fifth man. Vice-President Martin Van Buren, as an imp, flies off to the right with a sack of Treasury Notes over his shoulder. Clay: "Dan this is what they call in Kentuc our High Game to their Low Jack." Webster: "In Massachusetts they call it Roasting." Preston: "In South Carolina t'is called Barbecue only he wants a little more Basteing." Biddle: "In Pennsylvania we find it difficult to find a home for the animal but have concluded to call him Nondescript pertaking of the General, Hog, Man and Devil." Fifth man: "We think he pertakes strongly of the Rooter, for he has rooted our treasures all over the country and was squeeling for the Pension-fund when Clay caught him and put a ring in his nose, and we've all given it a twist." Van Buren: "T'is my business to get folks in trouble and their business to get themselves out."|From Henry Clay Esqre's big picter draw'd off from Natur by Zek Downing Historical Painter to Uncle Jack & Jineral Jackson. Second Edition.|Published by H.R. Robinson, 52 Cortlandt St. New York.|Similarities in format, draughtsmanship and its peculiar shadowed lettering which the print shares with "The Vision. Political Hydrophobia" (no. 1834-8), "Political Firmament" and "Political Quixotism" (Murrell nos. 119-120) suggest a series issued in parts by E. Bisbee and possibly pirated by Henry R. Robinson. Weitenkampf lists two other versions of this print, both marked "Second Edition" and published by E. Bisbee. |Title appears as it is written on the item.|Weitenkampf, p. 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 1834-9.

The second in a series of anti-Lincoln satires by Bromley & Co. This number was deposited for copyright on July 1, 1864. The artist conjures up a ludicrous vision of the supposed consequences of racial equality in America in this attack on the Republican espousal of equal rights. The scene takes place in a park-like setting with a fountain in the shape of a boy on a dolphin and a large bridge in the background. A black woman (left), "Miss Dinah, Arabella, Aramintha Squash," is presented by abolitionist senator Charles Sumner to President Lincoln. Lincoln bows and says, "I shall be proud to number among my intimate friends any member of the Squash family, especially the little Squashes." The woman responds, "Ise 'quainted wid Missus Linkum I is, washed for her 'fore de hebenly Miscegenation times was cum. Dont do nuffin now but gallevant 'round wid de white gemmen! . . . " A second mixed couple sit at a small table (center) eating ice cream. The black woman says, "Ah! Horace its-its-its bully 'specially de cream." Her companion, Republican editor Horace Greeley, answers, "Ah! my dear Miss Snowball we have at last reached our political and social Paradise. Isn't it extatic?" To the right a white woman embraces a black dandy, saying, "Oh! You dear creature. I am so agitated! Go and ask Pa." He replies, "Lubly Julia Anna, name de day, when Brodder Beecher [abolitionist clergyman Henry Ward Beecher] shall make us one!" At the far right a second white woman sits on the lap of a plump black man reminding him, "Adolphus, now you'll be sure to come to my lecture tomorrow night, wont you?" He assures her, "Ill be there Honey, on de front seat, sure!" A German onlooker (far right) remarks, "Mine Got. vat a guntry, vat a beebles!" A well-dressed man with a monocle exclaims, "Most hextwadinary! Aw neva witnessed the like in all me life, if I did dem me!" An Irishwoman pulls a carriage holding a black baby and complains, "And is it to drag naggur babies that I left old Ireland? Bad luck to me." In the center a Negro family rides in a carriage driven by a white man with two white footmen. The father lifts his hat and says, "Phillis de-ah dars Sumner. We must not cut him if he is walking." Their driver comments, "Gla-a-ang there 240s! White driver, white footmen, niggers inside, my heys! I wanted a sitiwation when I took this one." The term "miscegenation" was coined during the 1864 presidential campaign to discredit the Republicans, who were charged with fostering the intermingling of the races. In the lower margin are prices and instructions for ordering various numbers of copies of the print. A single copy cost twenty-five cents "post paid."|Entered . . . 1864 by Bromly & Co. . . . New York.|Title appears as it is written on the item.|Weitenkampf, p. 141-142.|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 1864-38.

Lincoln's support of abolition is portrayed here as a liability in his race to the White House against Democratic candidate George B. McClellan. At top a smoothly run train "Union" heads straight for the White House. The engine is labeled "Democracy" and the first car, in which McClellan stands in the role of engineer, flies a flag "Constitution." The other cars are labeled "Union" and are occupied by happy, cheering Democrats. McClellan taunts, "Wouldn't you like to swap horses now? Lincoln?" (probably a reference to Lincoln's replacement of him as commander of the Army of the Potomac). Several of his passengers comment on the wreck of the Republican train below: "H-ll, H ll, I'm used to Railroad accidents but that beats Vibbards all to smash." New York governor Horatio Seymour: "I thought little Mac could take the train through better than I could." "It's no use talking Ben [Union general Benjamin F. Butler]! I told you I was on the right train . . . thunder there's John McKeon [prominent Democrat and New York lawyer ] with us." "Little Mac is the boy to smash up all the Misceganationists." "Politics does make strange bed fellows . . . the d . . . l if there aint Fernandy!" "Fernandy" is Fernando Wood, prominent Peace Democrat and mayor of New York. "Good-bye Horace [Horace Greeley]! Nigger on the brain flummoxed you." "Thus ends the Abolition Party!" "Be the powers the gintleman with his pantaloons in his bootleg is having a high time of it." "Good-bye old Greenbacks!" to Salmon P. Chase, who leaves with a satchel at right. Chase, who resigned his post as secretary of the treasury on June 29, says, "Thank God, I got off that train in the nick of time." In contrast, Lincoln's train, below, is far behind after having crashed on rocks "Confiscation," "Emancipation," "$400,000,000,000 Public Debt," "To Whom It May Concern," and "Abolitionism." Lincoln himself is hurled into the air, and says, "Dont mention it Mac, this reminds me of a . . ." This reference is to Lincoln's rumored penchant for telling humorous stories at inappropriate moments. (See "The Commander-in-Chief Conciliating the Soldier's Votes," no. 1864-30.) "Tribune" publisher and abolitionist Horace Greeley, also in the air, says, "I told you Abe that 'To whom it may concern' would be the death of us." (See "The Sportsman Upset by the Recoil of His Own Gun," no. 1864-31.) A black man crushed in the wreck accuses Lincoln, "Wars de rest ob dis ole darkey? Dis wot yer call 'mancipation'?" Another black man hurtles through the air, retorting, "Lor Amighty Massa Linkum, is dis wot yer call 'Elewating de Nigger'?" Secretary of War Edwin Stanton, hanging out of the train, moans, "Oh! dear! If I could telegraph this to Dix I'd make it out a Victory." Preacher and abolitionist Henry Ward Beecher holds a black child to his breast and prays, "Oh! my brethering! Plymouth Church will try to save the Platform." The notorious Union general Ben Butler exclaims, "H--ll! I've Preyed $2,000,000 already!" The four clean-shaven men in the train are identifiable as Massachusetts senator Charles Sumner, New York journalist and state political leader Thurlow Weed, Secretary of State William Seward, and John McKeon. Sumner: "Say Seward will praying save us?" Seward: "Oh! I'm a goner! Ask Thurlow, he's my spiritual Adviser." Weed: "Pray! yes, pray Brother, Butler will lead." At left Maximilian, puppet emperor of Mexico, confers with John Bull and Napoleon III of France, saying, "Oh Main Got'vi I vas send over to dis land of Greasers to pe chawed up py de Yankees." John Bull's opinion is ". . . This will never do. The Monroe doctrine must be put down." Napoleon III says, ". . . by Gar, if dat train gets to de White House, its all up with my Mexico." During the Civil War, Napoleon III tried to establish a puppet state in Mexico under Emperor Maximilian. At bottom left are prices and ordering instructions for obtaining copies of the print.|Entered . . . 1864 by Bromley & Co. New York.|Title appears as it is written on the item.|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 1864-39.

Although slightly different in format, this appears to be the fourth in the Bromley series of anti-Republican satires. As in no. 2 of the series, "Miscegenation or the Millenium of Abolitionism" (no. 1864-39), the artist plays on Northern fears of racial intermingling. Here, white men are dancing and flirting with black women in a large hall. Above the musicians' stage hangs a portrait of Abraham Lincoln. At right hangs a banner "Universal Freedom, One Constitution, One Destiny. Abraham Lincoln Prest." The text below further describes the scene: " The Miscegenation Ball at the Headquarters of the Lincoln Central Campaign Club, Corner of Broadway and Twenty Third Street New York Sept. 22d. 1864 being a perfect fac simile of the room &c. &c. (From the New York World Sept. 23d. 1864). No sooner were the formal proceedings and speeches hurried through with, than the room was cleared for a "negro ball," which then and there took place! Some members of the "Central Lincoln Club" left the room before the mystical and circling rites of languishing glance and mazy dance commenced. But that Many remained is also true. This fact We Certify, "that on the floor during the progress of the ball were many of the accredited leaders of the Black Republican party, thus testifying their faith by works in the hall and headquarters of their political gathering. There were Republican Office-Holders, and prominent men of various degrees, and at least one Presidential Elector On The Republican Ticket. |Entered . . . 1864 by Bromley & Co. . . . New York.|Lith. Kimmel & Forster 25th & 256 Canal Street N.Y.|Signed: Thomas(?).|Title appears as it is written on the item.|Weitenkampf, p. 142.|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 1864-40.

A figurative portrayal of the 1844 presidential contest as a cock-fight, in which Whig candidate Henry Clay prevails. Clay and Democratic opponent Polk battle in a pit or ring as several prominent political figures look on. The Polk bird is obviously waning, having lost many of its feathers. Clay crows, "Cock a doodle doo doo." Outside the ring some of the spectators comment on the action. Daniel Webster (far left) says: "I'll bet one of my best Chowders on the Kentucky Rooster [i.e., Clay]." Beside him Clay's running-mate Theodore Frelinghuysen watches silently. Disappointed Democratic aspirant Martin Van Buren (center) remarks, "They rejected me, let them look to their Champion!" Beside Van Buren stand (left to right) prominent Democrats John C. Calhoun, Thomas Hart Benton, Andrew Jackson, and an unidentified fourth man. Jackson comments, "By the Eternal! I doubt the pluck of that Cock from Tenessee [Polk], if he does "go for Texas."|Entered . . . 1844 by James Baillie.|Lith. & pub. by James Baillie 33 Spruce St. N.Y.|Signed with monogram: H.B. (H. Bucholzer).|The Library's impression was deposited for copyright on June 26, 1844.|Title appears as it is written on the item.|Hess and Kaplan, p. 12.|Weitenkampf, p. 79.|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 1844-25.

A rare anti-Whig satire, giving a cynical view of the party's image-building and manipulation of candidate William Henry Harrison. Two influential Whigs, Senator Henry Clay (left) and Congressman Henry A. Wise, operate the strings of a "dancing-jack" toy figure of Harrison in military uniform. This and "The People's Line" (no. 1840-28) were issued anonymously. Their imprint gives two addresses used by publishers Huestis & Co. and Robert Elton during the 1840 campaign. Huestis and Elton issued two similar prints, "A Hard Road to Hoe" and "Uncle Sam's Pet Pups" (nos. 1840-26 and -29), probably designed by the same artist.|Sold by Huestis & Co. and Robert Elton? at no. 104 Nassau, and No. 18 Division Streets, New-York.|Title appears as it is written on the item.|Weitenkampf, p. 68.|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 1840-27.

The artist resorts to the familiar metaphor of a card game for the presidential stakes in his rendition of the 1848 contest. The major contenders play a game of "brag" (an early form of poker). Around the table sit six players (left to right): South Carolina senator John Calhoun, Democratic presidential nominee Lewis Cass, Henry Clay, Whig candidate Zachary Taylor, Secretary of State James Buchanan, and President James K. Polk. In the center of the table is the "Presidential Ante." Displaying three aces, former Mexican War general Taylor exclaims, "Three bullets, Clay! Still at my old trade! whenever bullets are to be met I am sure to have a hand with them!" Clay, who holds three low cards behind his back, replies, "I tried my old bluffing game with a contented hand & nothing to brag with but a hand full of hearts! I'm not sorry however that old Zach has won!" Seated to the left Cass laments, "Three braggers, Calhoun, would'n't carry me through!" Calhoun, looking over Cass's shoulder agrees, "No, Cass, the Ante is too high for you! You'll have to play for smaller Stakes!" At the far right end of the table, Polk exclaims, "My knave hand, Buchanan, has lost me the game! I may as well slope!" Buchanan replies, "By Jove! Polk, Old Zack's got the documents! three natties!" The satire probably appeared shortly after the June Whig convention, at which Taylor was nominated over Henry Clay, and before the emergence of strong third-party candidate Martin Van Buren.|Published by Andrew Donnelly. Sold wholesale and retail at the Book-stand Wall Street, near the N.Y. Custom House.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 200.|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 1848-30.

A cryptic satire critical of Lewis Cass and incumbent President James K. Polk. The work probably appeared prior to the Whig national convention (June 9-10), since reference is made to a Clay-Fillmore ticket. (The convention nominated Taylor and Fillmore.) On a stone pavement above a moat, Lewis Cass (center) presides over a grisly scene of execution. To the left of Cass stands Polk, wearing an executioner's smock and resting his hands upon an ax. A man named "Morton" lies on the block before them, having just been decapitated. His head falls into the moat, which holds the mutilated corpses of several previous victims. ("Morton" may be Marcus Morton, a perennial Democratic candidate for governor of Massachusetts, who won only two elections in fifteen years.) Cass leads four more victims in chains (left) toward the block, saying, "Here are some of the Ring Leaders I think we had better dispose of them first." Polk replies, "Bring them on Cass, I'll soon do their business." The first "Ring Leader," named "Lawrence," says to Cass, "I am willing to pass through your Guillotine but I will not do your dirty work." Abbott Lawrence was a leading candidate for the 1848 vice presidential nomination. Above Cass and Polk the words "Mene, Mene, Tekel Upharsin" appear in a burst of light. These words come from the Old Testament, Dan. 5: 25-28: "God hath numbered thy kingdom, and finished it. Thou art weighed in the balances, and art found wanting. Thy kingdom is divided, and given to the Medes and Persians." At right appear Henry Clay, Millard Fillmore, "Hall," "Graham," and a crowd of Clay supporters. Clay points to the words in the sky. Behind them is a mound with a Temple of Liberty on top, inscribed with the words, "Clay, Fillmore, Free Soil & No Extension of Slavery." Behind Cass and Polk stand a line of troops. In the left background is a portal through which the Custom-House, symbol of Democratic patronage, is visible. Several men with arms folded stand in front of it.|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. 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 1848-36.

A virulent attack on Vice-President George M. Dallas, charging the former Pennsylvania attorney and senator with duplicity in his stand on the tariff of 1846. "Jesuitism" was a strong contemporary term for deception and intrigue, and the artist portrays Dallas's support of the 1846 tariff as a reversal of his campaign pledge to support the popular tariff of 1842. In 1846, the Polk administration introduced and passed (Dallas's own vote as president of the Senate being a deciding factor) the Walker Tariff. The 1846 tariff involved a reduction of the tariff of 1842, which had been supported by the Democratic platform in the 1844 election. The later measure, a revenue tariff rather than a protectionist one, was reviled by the considerable industrial interests of Pennsylvania and other northeastern states. In the print, Dallas (right) addresses a crowd in the street from the steps of his law office. He displays a large banner reading, "Polk, Dallas, Shunk [successful Democratic gubernatorial candidate Francis M. Shunk] And The Tariff of 1842." Dallas: "Friends & Fellow Citizens, the Tariff of 1842 is a democratic measure & as such will be supported by Mr. Polk & Myself! I am, as my friend Joel B. Sutherland [former Democratic congressman from Pennsylvania] says, a man of principle according to my interest!" Various comments from the crowd: "Go it George We all want Protection!" An Irishman with shillelagh: "That's the way to talk! Dan [i.e., Whig senator and champion of protectionism Daniel Webster] himself couldn't bate that be Jasus!" "Hurah! a true Pennsylvanian every inch of im." In the lower left a conversation among several gentlemen: "I told you that Polk & Dallas were more in favor of the Tariff of 42 than [1844 Whig presidential candidate Henry] Clay!" "I'll believe it when I see it!" "who does he [i.e., Dallas] remind you of?" "He's very much like Talleyrand in hair & Principles--in all else wanting." A Pennsylvania German with a clay pipe remarks, "I says noding but I dinks so much!" Francis Shunk enters from the left with arms full of papers with the names of western Pennsylvania counties on them. He announces to Dallas, "Hold on till I bring some big Democratic Guns from the west--to bear on the question! When it come to the point then I'll talk, For I'm the real Simon "Pure!""|Entered . . . 1846 by H.R. Robinson. |Lith. of H.R. Robinson 142 Nassau St. N.Y.|Probably drawn by Edward Williams Clay.|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 1846-11.

The artist forecasts with obvious relish the ouster of Van Buren and his cronies from office by William Henry Harrison. Van Buren is shown leaving Washington in a large cart drawn by supporters (left to right) Thomas Hart Benton, Levi Woodbury, and John C. Calhoun, and pushed from behind by Francis Preston Blair. The cart is piled high with a large sphere marked "Solitary and Alone," an issue of Blair's newspaper the "Globe," a box of "Mint Drops," and a throne, scepter, and crown. Tied beneath the cart are several dogs marked "Cuba," referring to the administration's controversial use of Cuban bloodhounds against the Seminoles in Florida. (See "The Secretary of War" and "A Bivouack in Safety," nos. 1840-5 and -6.) Henry Clay (on the White House steps at right) presents Van Buren with a "notice to quit" and holds a large key in his left hand. Behind him stands William Henry Harrison. Van Buren: "Push a head Blair, let's get out of this ungrateful City. This is the reward of all my patriotic service." Blair: "Hard work to get out of this City Globe and all but go we must." Benton: "Take care of my 'mint drops' we shall want them in Missouri." "Mint drops" was a colloquialism for gold coins, referring to bullionist Benton's advocacy of a high ratio of gold to silver in circulation. Calhoun: "It's a heavy car to draw Mr. Secretary." Woodbury: Yes--but we have notice to quit and must carry off all we can." Harrison: "Softly, don't hurry the Gentleman. See him safe to his farm. Take care of his moveables." Clay: "He has fairly carried off the spoils General."|Printed & published by H.R. Robinson, no. 52 Cortlandt St. N.Y.|Signed: HD (Henry Dacre?).|Title appears as it is written on the item.|Lorant, p. 159, 175.|Weitenkampf, p. 60-61.|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 1840-37.

A general parody on the 1860 presidential contest, highlighting the impact of the Dred Scott decision on the race. That controversial decision, handed down in 1857 by Chief Justice Roger B. Taney, ruled that neither the federal government nor territorial governments could prohibit slavery in the territories. The burning question of the future of slavery in the United States was addressed by several of the contenders during the 1860 race. Here the four presidential candidates dance with members of their supposed respective constituencies. The music is fiddled by Dred Scott, the former slave whose suit precipitated the court's decision. Scott sits on a chair at center. In the upper left is Southern Democrat John C. Breckinridge. He is paired with Democratic incumbent and ally James Buchanan, depicted as a goat or (as he was nicknamed) "Buck." At the upper right Republican Abraham Lincoln prances arm-in-arm with a black woman, a pejorative reference to his party's alignment with the abolitionists. At lower right Constitutional Union party candidate John Bell dances with an Indian brave. This pairing is puzzling but may allude to Bell's brief flirtation with Native American interests. (For one instance of the use of the Indian as a nativist symbol see "Know Nothing Soap," no. 1854-3.) At lower left Stephen A. Douglas dances with a ragged Irishman. Associated with Douglas in several cartoons (see "The Undecided Political Prize Fight," no. 1860-22) the Irishman, here wearing a cross, may be intended as a reference to Douglas's backing among Irish immigrants and allegations of the candidate's Catholicism. "The Political Quadrille's" stylistic similarity to the "Undecided Political Prize Fight" and "Dividing The National Map" (nos. 1860-22 and 1860-24) suggests a common authorship. |Title appears as it is written on the item.|"The Lincoln Image," p. 42.|Weitenkampf, p. 123.|Wilson, p. 18-19.|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 1860-23.