A caricature of James Watson Webb, prominent Whig editor of the "Morning Courier and New York Enquirer." Webb is shown parading, armed to the teeth, along Pennsylvania Avenue. He carries a sword cane, a musket, a knife, and several pistols. The print followed the widely publicized killing of Maine Congressman Jonathan Cilley by Kentucky Representative William J. Graves in a duel on February 24, 1838. The duel was initially provoked by Webb, who became the object of the considerable public outrage aroused by the murder. Subsequently two of Cilley's allies, Representatives Jesse A. Bynum of North Carolina and Alexander Duncan of Ohio, threatened Webb with physical harm. They are mentioned cryptically in the newspaper account, ascribed to "Courier and Enquirer" correspondent Matthew L. Davis ("Spy in Washington"), quoted in the print: "In consequence of various threats and intimations thrown out by D***** B**** and others, that Col [Webb] would receive personal chastisement; he found it necessary to show himself to his chivalric friends which he did by twice walking the length of the Pennsylvana Avenue." The artist has Webb saying, "I'm a small Army in Myself: I am afraid there is not much danger here after all." He is followed by a turkey in full plumage, a symbol of his pompous, arrogant nature.|Entered . . . 1838 by W. Chambers . . . Southern District of New York.|The Library's impression of the print was deposited for copyright on March 23, 1838. Eight days later Chambers copyrighted a second print on the same affair, "The New Code of Chivalry or What We Would Have Done" (no. 1838-18). Yet another Chambers print, an anti-Clay caricature (no. 1838-16), uses the same "Scene in Washington" title and is very similar in format.|Title appears as it is written on the item.|Weitenkampf, p. 55.|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 1838-17 .

This strongly anti-Confederate satire is a fantastical vision of the Union defeat of the secessionist movement. A hideous monster representing secession emerges from the water at left. He is hit by a charge from a mammoth cannon "Death to Traitors!" operated by Uncle Sam (right). A two-faced figure representing Baltimore, whose allegiance to the Union was at least questionable during the war, pulls at Uncle Sam's coattails. The explosion sends several small demons, representing the secessionist states, hurling through the air. Prominent among them is South Carolina, in a coffin at upper right. Tennessee and Kentucky, two Southern states internally divided over the secession question, are represented by two-headed creatures. Virginia, though part of the Confederacy, is also shown divided--probably an acknowledgment of the Appalachian and eastern regions' alignment with the Union. Among the demons is a small figure of Tennessee senator and 1860 presidential candidate John Bell, with a bell-shaped body. In the foreground is a large American flag on which Winfield Scott, commander of the Union forces, and a bald eagle rest. Despite the imprinted copyright date, the print, according to the inscription on the Library's impression, seems to have been registered for copyright on June 14 but not deposited until July 10, 1861.|Entered . . . by Wiswell . . . Ohio, June 18th 1861.|Title appears as it is written on the item.|Weitenkampf, p. 126.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-29.

A bitter vilification of the Van Buren administration's use of bloodhounds to hunt fugitive Indians during the Second Seminole War in Florida. The artist condemns the racism and inhumanity of the measure, as well as the role of editor Francis Preston Blair as apologist for the administration. The War Department under Secretary Joel Poinsett was accused of ineptness and cruelty in its conduct of the war--a costly and protracted campaign to subjugate and remove the Seminole Indians from tribal lands in Florida. Public and congressional indignation was stirred in February and March 1840 when the Cuban bloodhounds were first introduced. (The cartoon may date from this time or from as early as 1838 when the idea was first suggested to commanding general Zachary Taylor by Poinsett.) The use of dogs particularly enraged abolitionists, who believed that the animals were really intended for hunting runaway slaves. In the cartoon Poinsett presents a flag that bears the image of an Indian's head carried by a dog. Francis Preston Blair, on his knees, shows the troop of hounds a map of Florida. Blair: "I take pleasure in pointing out to you, my "brethren-"in-arms the seat of a war, the honour of terminating which our master has put in the hands of "our" race. I have no doubt you will all prove like myself--good "collar" men in the cause." Blair's use of the term "collar men" evokes the old colloquialism "collar presses" as a reference to newspapers friendly to the Democratic administration. Poinsett says: "Fellow citizens & soldiers! In presenting this standard to the 1st Regiment of Bloodhounds, I congratulate you on your promotion, from the base & inglorious pursuit of animals, in an uncivilized region like Cuba, to the noble task of hunting "men" in our Christian country! our administration has been reproached for the expense of the Florida war, so we have determined now to prosecute it, in a way that's "dog cheap!" Hence in your "huge paws!" we put the charge of bringing it to a close. Be fleet of foot and keen of nose, or the Indians will escape in "spite" of your "teeth! Dear Blair" here, shows you a map of Florida the theatre of your future deeds. Look to him as the trumpeter of your fame, who will emblazon your acts, as far as the 'Globe' extends, He feels great interest in all his Kith & Kin,' and will therefore transmit your heroism, in "dog"grel verse to remotest posterity!"|Printed & pub: by H.R. Robinson, no. 52 Cortlandt St. N.Y. & Pennsa Avenue Washington D.C.|Signed: Bow Wow-Wow (probably Napoleon 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 1840-5.

An illustrated sheet music cover glorifying the nativist cause, produced shortly after the bloody anti-Catholic riots in Kensington, Philadelphia, of May 1844. The song was composed and arranged by James W. Porter, with words by "a Native," and "respectfully dedicated to the American Republicans of the United States." The American Republican party worked for the restriction of immigration and the defense of American education and government against "Papism," or the influence of the Catholic Church. The illustration shows what was later to become a popular nativist symbol: a tattered American flag, attached loosely to a staff. According to the text it was "The glorious Flag under which the Americans assembled in Kensington on the memorable 3rd, 6th & 7th May 1844." (See also "The Three Days of May 1844. Columbia Mourns her Citizens Slain," no. 1844-50). Allegedly mutilated by Irish rioters during the tumult, the flag came to symbolize the threat to America which nativists believed was posed by Catholic immigrants.|Entered . . . 1844 by James Porter Senr.|The Library's impression of the music-sheet was deposited for copyright on May 22, 1844.|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 1844-51.

Jonathan Swift's 1729 pamphlet "A Modest Proposal" is a model for satirizing social problems. In this lesson, students complete multiple readings of Swift's essay: a guided reading with the teacher, a collaborative reading with a peer, and an independent reading. The online Notetaker tool helps students restate key ideas from Swift's essay as they read and elaborate upon these ideas postreading. After independent reading, pairs of students develop a mock television newscast or editorial script, like those found on Saturday Night Live's "Weekend Update," The Daily Show with Jon Stewart, or The Colbert Report, including appropriate visual images in PowerPoint.

A swipe at the integrity of the House of Representatives committee investigating the Swartwout scandal under Van Buren's administration (see "Price Current" and "Sub Treasurers Meeting in England," nos. 1838-21 and -20). Here the eight committee members unsuccessfully attempt to literally whitewash a giant Treasury Secretary Levi Woodbury. Several apply "virtue" with brushes and a hose, while another pours a bucket of "lucid intellect" over Woodbury's head. Their brushes and hoses are labeled "force," "untiring," and "purity." Meanwhile they express their frustration in remarks like "I'll lay on enough if that will do any good," "This whitewash is too thin, it will never cover; only look at his hands!" and "The fellow that sold us this virtue is a cheat; there's no substance in it, it won't stick on." One of the men stands on a chest similar to the one in "Professor Wise . . ." (no. 1839-9). The efforts are overseen by a man in a high chair who says, "Gentlemen, Your assiduity and devotion are noticed in a certain quarter, and I am directed to say, their reward is sure . . . Is there virtue enough? if not I will send and get more."|Drawn by Napoleon Sarony?|Entd . . . 1839 by H.R. Robinson.|Printed & publd. by H.R. Robinson, 52 Cortlandt & 11-1/2 Wall St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 57.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1839-6.

American general Gideon J. Pillow's self-promoting attempts to discredit Mexican War commander Gen. Winfield Scott are ridiculed in this portrayal of Scott puncturing "Polk's Patent" pillow. Pillow's efforts were widely viewed as part of a campaign by the Polk administration to damage Scott's growing prestige at home. An anonymous letter--actually written by Pillow--published in the "New Orleans Delta" on September 10, 1847, and signed "Leonidas," wrongfully credited Pillow for recent American victories at Churubusco and Contreras. The battles were actually won by Scott. When Pillow's intrigue was exposed, he was arrested by Scott and held for a court-martial. Polk, defensive of Pillow, recalled Scott to Washington. During the trial that ensued, "Delta" correspondent James L. Freaner testified in Scott's favor. At Pillow's behest Maj. Archibald W. Burns, a paymaster, claimed authorship of the "Leonidas" letter. Currier's cartoon was probably published during or shortly after Pillow's trial, which began in March 1848. With the sword of "Truth," Scott (right) punctures a pillow held by Burns (left) and which is being inflated by Pillow (kneeling, center). Scott holds Freaner's testimony in his hand and treads on the Leonidas letter. He exclaims at the air released, "Heavens what a smell!" At left, behind Burns is a strong box on which rests a sack of coins, marked "From Genl. Pillow for fathering the Leonidas Letter."|Entered . . . 1848 by Peter Smith [i.e., Nathaniel Currier] . . . N.Y.|The Library's impression was deposited for copyright on June 23, 1848, two days after the end of testimony in the trial. On July 1, the court decided to clear Pillow of most of the charges brought against him.|Title appears as it is written on the item.|Weitenkampf, p. 91.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1848-2.

Satire on the public conflict between Andrew Jackson and Nicholas Biddle over the future of the Bank of the United States, and the former's campaign to destroy it. The print is sympathetic to Jackson, portraying him as the champion of the common man against the moneyed interests of the Bank. In the center Biddle (left) and Jackson square off. An obese woman, Mother Bank, holding a bottle of port stands beside Biddle. Behind her are Biddle supporters Daniel Webster and Henry Clay. Mother Bank: "Darken his day lights, Nick Put the Screws to him my tulip!" Webster: "Blow me tight if Nick ain't been crammed too much You see as how he's losing his wind!" On the right are Jackson's supporters: Martin Van Buren, Major Jack Downing and "Joe Tammany," a frontiersman in buckskins and raccoon cap. On the ground next to Tammany is a bottle of "Old Monongohala Whiskey." Downing: "I swan if the Ginral hain't been taken lessons from Fuller!" Tammany: "Hurrah my old yallow flower of the forrest, walk into him like a streak of Greased lightning through a gooseberry bush!" Below a mock account of the event, as reported in the Washington "Globe," is given: "This celebrated fight took place at Washington in 1834, . . . Several long and severe rounds were fought, and from the immense sums bet, many of the fancy were losers to a large amount Old Mother B. is said to have backed her champion to the tune of more than $150,000--Nick's weight of metal was superior as well as his science, but neither were sufficient for the pluck and wind of Hickory, who shewed his through training and sound condition so effectually that in the last round Nick was unable to come to time and gave in.|Entered Southern District of New York 1834 by Anthony Imbert; for sale wholesale & retail at 104 Broadway.|The print was recorded as deposited for copyright by Imbert on March 5, 1834. This impression lacks the imprint "Drawn by one of the Fancy" found on impressions cited by Weitenkampf and Murrell.|Title appears as it is written on the item.|Murrell, p. 132.|Weitenkampf, p. 34.|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 1834-4.

Satire on the presidential campaign of 1836, portraying the contest as a boxing match between Democratic candidate Martin Van Buren and Whig candidate William Henry Harrison. The artist clearly favors Harrison. The work is a variation on an 1834 cartoon which uses the boxing match as a metaphor for the struggle between Andrew Jackson and Nicholas Biddle, president of the Bank of the United States. (See "Set To Between Old Hickory and Bully Nick," no. 1834-4). In a ring Van Buren and Harrison spar as their seconds and a crowd of observers stand by. On the left, Van Buren is seconded by Andrew Jackson and "bottle holder" Amos Kendall. On the right, Harrison's second is a "Western lad" (a frontiersman in buckskins) and his bottle holder "Old Seventy-six" (a lame Revolutionary war veteran). The text below the scene identifies Harrison's backers as "the People" and Van Buren's as "Office holders & mail Contractors." Kendall (drinking from the bottle): "I begin to tremble for Matty -- There appears to be a Surplus Fund in this Bottle, so I'll een take a pull to raise my spirits . . ." Jackson: "By the Eternal! what a severe counter hit! It's bunged up Matty's peeper, and if he don't keep his other eye open he'ill get a Cross buttock. He begins to be a little queerish already. D--n his Dutch courage! Amos where's the Bottle? after this Round put some more into him." Van Buren: "Stand by me Old Hickory or I'm a gone Chicken!" Harrison: "Look out for your bread-basket Matty, I'll remove the deposits for you." Jackson's words recall his controversial 1834 order to withdraw federal funds or "deposits" from the Bank of the United States. Frontiersman: "Whoop! wake snakes! . . . he [Harrison] puts it into him as fast as a streak of greased lightning through a gooseberry bush. That "Cold blooded" Kinderhooker will be row'd up Salt River or I'm a nigger!" Old Seventy-six: "Thank Heaven the People have a Champion at last who will support the Constitution and laws that we fought and bled to obtain . . ."|Printed & published by H.R. Robinson, 48 & 52 Cortlandt St. N.Y.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 82.|Hess & Kaplan, p. 78.|Weitenkampf, p. 45.|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 1836-12.

A satire, probably issued during August or September 1837, on the tug-of-war for influence on the President between Jacksonian Democrats and the "soft money" or conservative elements of the party. Here the artist portrays Van Buren as indecisive and secretive about his treasury policy. Sitting on a rail fence, Van Buren is pulled to the left by former President Andrew Jackson, Senator Thomas Hart Benton, and other representatives of the hard money faction. One man holds up the June 1836 "Letter to Sherrod Williams" published during the presidential campaign as a statement of Van Buren's views on monetary matters, internal improvements, and other cogent issues. On the opposite side Van Buren is pulled by a man (possibly editor Thomas Allen) holding a copy of the "Madisonian," a conservative Democratic newspaper initiated in August 1837, and four others. Jack Downing stands to the far right, watching and commenting, "Well I swan, if the Old Gineral aint pullin' tu! Look out Matty or you'll commit yourself this time!" Jackson: "Oh! Major Jack Downing, The base treachery & perfidy of the Deposite Banks! The money making concerns, devoid of patriotism & interest. By the Eternal! They are & ever have been a curse." Benton: "Gold! Gold! Gold! . . . Solitary & alone I still cry Gold! . . . Partially obscured man behind Benton: "The proud Isle! Every man, woman & child is taxed to pay her our debts." Van Buren: "Take care gentlemen, you'll have me off the fence." "Madisonian" man: "Preserve & regulate the spoils but do not destroy them." Second man: "Well regulated monopolies, are the proper balance wheel." In the commotion Van Buren's hat, emblazoned with a royal crown, falls off.|Entered . . . 1837 by H.R. Robinson.|Printed & published by H.R. Robinson, 52 Cortlandt St. N.Y.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 95.|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 1837-12.

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

A campaign parody somewhat favorable to Republican candidate John C. Fremont, but suggesting a conspiracy between Fremont and Millard Fillmore to defeat Democrat James Buchanan. Buchanan's nickname "Ten Cent Jimmy" was a derisive label applied to him by labor interests. In the background behind a fence Buchanan can be seen addressing a working-class gathering. "Gent[leme]n," he harangues them, "if you put me in, why I promise that you shall be on the same plan as the laborers of Europe, Ten Cents a Day." Fillmore crouches this side of the fence, watching. Fremont, with a carpenter's tools and smock, and shirtsleeves rolled, stands in the foreground. Fillmore (aside, to Fremont): "Monte, I've got my eye up on the old Buck--with such a crowd as he's got, he can't go in, I'll Bargain with you? If I can't win, why you shall." Fremont: "All right, agreed and if I don't win why you shall, but look here, If Ten Cent Jimmy wins we working men will have Ten Cents a Day. How are we to live? look at the price of provisions." To the left is a "Cheap grocery & provision store" offering pork at ten to eighteen cents per pound, "Fine Buck" at two and a half cents, cabbages at ten to twelve and a half cents each, and other produce at equally high rates. At right is the boardinghouse of "Mrs Woodbee Late Pierce" (no doubt a disparaging reference to Democratic incumbent Franklin Pierce) offering rooms to mechanics at three dollars per week. A scrawny dog barks at the door.|Probably drawn by John L. Magee.|Publd by I [i.e. John] Childs 84 St 3rd. St. Philada.|Title appears as it is written on the item.|Weitenkampf, p. 117.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-17.

The artist forecasts a Whig electoral victory and dramatizes the politically ruinous effects of Van Buren's fiscal policy and his alignment with Loco Foco forces in New York. Whig candidate William Henry Harrison comes to the aid of a shipwrecked vessel, the "United States," and its crew of Democrats. Harrison, wearing a sailor's outfit, retrieves editor Francis Preston Blair from the surf with a gaff hook. He stands on a raft made of barrels of "Hard Cider" rowed by Daniel Webster and Henry Clay, and flying a flag "Tippecanoe and Reform." Clinging to the hull of their capsized vessel are (left to right) Levi Woodbury, Thomas Hart Benton, John C. Calhoun, and Martin Van Buren. Only the hands of Amos Kendall remain above the waves. The vessel has run aground on "Distress Rocks" and "Loco Foco Quicksand." A lighthouse "Constitution Light" appears in the background. Webster: "Dont be losing time Old Tip picking up the worthless crew who have so long mismanaged the vessel, but let us try to get her off the rocks and save her cargo." Clay: "Aye, Aye, I'll be bound they will take care of themselves unless their pockets are so full that it will sink them." Harrison: "I have hooked one of the precious crew! Lord bless me what a scare crow." Woodbury: "I cant hang on much longer! . . . and I cant swim against this current of popular opinion." Benton (to Woodbury): "It is your infernal Wall Street kite flying and cramming your pocket so full that has capsized us . . . !" Calhoun (to Van Buren): "You are a d---d pretty lubber to take charge of the helm! I knew you were carrying too much sail for your ballast, and now you have spilt the whole lot of us." Van Buren: "I wanted to try a experiment and thought I had hard money enough to ballast my subtreasury sails, and that we should have come to a safe anchor in the harbor of public security."|Entered . . . 1840 by John Childs.|Published by John Childs, 90 Nassau St. New York.|Signed with monogram: EWC (Edward Williams Clay).|The Library's impression of the print was deposited for copyright on August 31, 1840.|Title appears as it is written on the item.|Weitenkampf, p. 66.|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 1840-56.

A Whig vision of the rout of Van Buren in the presidential election of 1840. In a stormy sea Van Buren grasps the mast (labeled "Maine") of a foundering vessel "O.K." (the initials for "Old Kinderhook," a Van Buren nickname derived from his birthplace and home in Kinderhook, New York). In the water are supporters John Calhoun, Amos Kendall, Francis Preston Blair, Thomas Hart Benton, and Levi Woodbury. The gale seems to emanate from three faces which appear in the clouds: William C. Rives, William Henry Harrison, and Nathaniel P. Tallmadge. The image represents the formidable alliance of conservatives and Whigs that Van Buren faced in the election. (Tallmadge and Rives were conservative Democrats-turned-Whigs in opposition to Van Buren's fiscal programs.) Van Buren: "I can hold no longer to be forsaken at such a time by Maryland & Georgia too. Oh Curse that Cataline to force me to pass the Sub-Treasure Bill." Calhoun: "If I had minded what [ally and political editor] Duff Green said to me this would not have happend." Woodbury: "This is worse than getting White Washed." Kendall: "Oh my dear Babys." Kendall's remark probably refers to an incident in May of 1840 when a Whig mob discharged a cannon on his front lawn, frightening his children. This, combined with Van Buren's reference to the Independent Treasury Bill, passed by Congress in July 1840, suggests that "The Shipwreck" appeared during the second half of the year.|Entered . . . 1840 by H.R. Robinson.|Printed & published by H.R. Robinson, 52 Cortlandt St. N.Y. & Pennsa. Avenue Washington D.C.|Signed: N. Sarony (Napoleon Sarony).|Title appears as it is written on the item.|Weitenkampf, p. 66.|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 1840-41.

While Democratic and Whig candidates debate strategies to win the presidency, or "shoot the Christmas turkey," Free Soil candidate Martin Van Buren makes off with the bird. At left Democrat Lewis Cass (facing front) and Whig Zachary Taylor (facing left), both in military uniform and holding rifles, quarrel about the turkey which is chained to a stake in the center. Taylor: "I tell you, Cass, that I prefer coming to close quarters. It will be as fair for you as for me." Cass: "But I prefer long shots. It will give more chance for the exercise of skill & ingenuity." Taylor running mate Millard Fillmore enters from the left and sighting Van Buren exclaims, "Blood and thunder! I thought that infernal fox was dead: but he has come out of his hole and carried off the prize, while we have been disputing about the preliminaries!" On the far right, Van Buren, as a fox, grasps the turkey by the neck as David Wilmot cheers, "Huzza! Huzza! Victory! Victory!" Wilmot holds up the famous and controversial Wilmot Proviso of 1846, which forbade slavery in territories acquired by the United States in the Mexican War. The measure, embraced by Van Buren but sidestepped by Cass and Taylor, was a burning issue in the 1848 campaign. On the ground in the center of the scene sits New York editor Horace Greeley with a tally sheet marked "Taylor" and "Cass" nearby. Greeley thumbs his nose at Taylor and Cass and says, "Well, Gentlemen, my place has become a sinecure. I need not keep tally for you now." An ardent and powerful Whig spokesman in the 1844 election, Greeley withheld his support for Taylor until late in the 1848 campaign. By that time his New York "Tribune" had become an established and successful newspaper.|Entered . . . 1848 by J. Baillie.|Pubd. by James Baillie, 87th St. near 3d. Avenue, N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 94.|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 1848-53.

Entered according to Act of Congress in the Year 1870 by John Walsh & Co. 37 Spring St. N.Y. in the Clerk's Off. of the Dist. Court of the U.S. for the S. Dist. of NY. Lith F. Ratellier 23 Dey St N.Y. Published by John Walsh & Co. 37 Spring St. N.Y.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

An unusually well-drawn satire on the failure of Congress to pass a national bankruptcy act before it adjourned in July 1840. The measure was passed by the Senate in May 1840 but later defeated in the House. The drawing and title of the cartoon have anti-semitic overtones. A well-dressed gentleman, evidently a Jew, grips another man by the throat, saying from one side of his mouth, "Pay me what thou owest" and from the other side, "Forgive us our debts as we forgive our debtors." The victim protests, "Have patience with me." The dialogue is taken in part from the parable of the unmerciful servant in Matt. 18:25-35. The parable tells of a servant who, pardoned by his master for owing money, put a fellow servant in jail for the same offense.|Entered . . . 1840 by John C. White.|Published by John C. White, 141 Nassau-street, New-York.|The Library's impression was deposited for copyright on September 29, 1840, and received in the Department of State on October 2.|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 1840-65.

A broadside condemning the sale and keeping of slaves in the District of Columbia. The work was issued during the 1835-36 petition campaign, waged by moderate abolitionists led by Theodore Dwight Weld and buttressed by Quaker organizations, to have Congress abolish slavery in the capital. The text contains arguments for abolition and an accounting of atrocities of the system. At the top are two contrasting scenes: a view of the reading of the Declaration of Independence, captioned "The Land of the Free," with a scene of slaves being led past the capitol by an overseer, entitled "The Home of the Oppressed." Between them is a plan of Washington with insets of a suppliant slave (see "Am I Not a Man and a Brother?" no. 1837- ) and a fleeing slave with the legend "$200 Reward" and implements of slavery. On the next line are views of the jail in Alexandria, the jail in Washington with the "sale of a free citizen to pay his jail fees," and an interior of the Wasington jail with imprisoned slave mother Fanny Jackson and her children. On the bottom level are an illustration of slaves in chains emerging from the slave house of J.W. Neal & Co. (left), a view of the Alexandria waterfront with a ship loading slaves (center), and a view of the slave establishment of Franklin & Armfield in Alexandria.|Published by the American Anti-Slavery Society, 144 Nassau-street, New-York, 1836.|Title appears as it is written on the item.|William S. Dorr, Pr.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-23.

A challenge to the Northern abolitionist view of the institution of slavery, favorably contrasting the living conditions of American slaves (above) with the lot of the industrial poor in England (below). The first scene is impossibly naive: Southern slaves dance and play as four gentlemen--two Northerners and two Southerners--observe. First Northerner: "Is it possible that we of the North have been so deceived by false Reports? Why did we not visit the South before we caused this trouble between the North and South, and so much hard feelings amongst our friends at home?" Southerner: "It is as a general thing, some few exceptions, after mine have done a certain amount of Labor which they finish by 4 or 5 P.M. I allow them to enjoy themselves in any reasonable way." Second Southerner: "I think our Visitors will tell a different Story when they return to the North, the thoughts of this Union being dissolved is to [sic] dreadful a thing to be contemplated, but we must stand up for our rights let the consequence be as it may." The second scene takes place outside a British textile factory. At left a well-dressed gentleman encounters a ragged, stooped figure, and asks, "Why my Dear Friend, how is it that you look so old? you know we were playmates when boys." The stooped figure responds, "Ah! Farmer we operatives are "fast men," and generally die of old age at Forty." Behind them and to the right an emaciated mother laments over her ragged children, "Oh Dear! what wretched Slaves, this Factory Life makes me & my children." Nearby stand a fat cleric, holding a book of "Tythes," and an equally fat official holding "Taxes." In the right foreground two barefoot youths converse. The first says,"I say Bill, I am going to run away from the Factory, and go to the Coal Mines where they have to work only 14 hours a Day instead of 17 as you do here." The second responds, "Oh! how I would like to have such a comfortable place. . . " Near them another man sits forlorn on a rock, "Thank God my Factory Slavery will soon be over." In the distance a military camp is visible. This dismal picture of the lives of the working class in manufacturing towns comes from Chapter V, Book Second, of Edward Lytton Bulwer's "England and the English," first published in 1833. In the lower margin is a portrait of "[George] Thompson the English Anti-Slavery Agitator" and the quote "I am proud to boast that Slavery does not breathe in England," with reference to "his speech at the African Church in Belknap St." Thompson made a speaking tour of New York and New England in 1850-51.|Entered . . . 1850 by J. Haven. |Published by J. Haven, 86 State St. Boston, 1850.|Title appears as it is written on the item.|Bulwer-Lytton, "England and the English, p. 174-225.|Century, p. 68-69.|Library Company, "Negro History: 1553-1903," no. 117.|Weitenkampf, p. 101. |Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1850-6.

Another variation on McClellan trying to straddle two horses. (See "Little Mac's Double Feat of Equitation," no. 1864-25.) The artist here predicts the victory of incumbent President Abraham Lincoln over his rival George B. McClellan. Lincoln (left) rides off on a horse "Slow and Steady," the "Union Roadster," carrying a flag "Union, the Government, Laws." As he looks back at his competitor, he declares, "This reminds me of a story I once heard out West." McClellan stands with one foot on "Mac's War-Horse," and the other on "The Peace Donkey, Fawn & Cringe." The latter carries a bag "Rebel War Debt" overflowing with notes or receipts. "Mac's War-Horse" refers to his military record, while "The Peace Donkey" represents his tacit acceptance of the Democrats' "peace at any price plank." He brags to his running mate Ohio congressman George H. Pendleton, "I've seen many a Clown ride two horses that never saw West-Point." Pendleton, dressed in a jester's costume and here called "The Ohio Clown," cracks a whip at "The Peace Donkey," entreating, "Go on, you ugly beast!" In his other hand, he holds a scroll of paper reading "Peace! Peace! Anything for Peace." At far left, a Jewish man in a carriage watches, saying, "By mine Faders Abraham, Isaac and Jacobs I peleif de Old Abe will win!"|Title appears as it is written on the item.|Weitenkampf, p. 143.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-26.