A procession of butchers led by two Negro fiddlers, and featuring a large bull. On the ground before the bull are a cleaver, saw, and other butcher tools. The print is dedicated to Pennsylvania's recently elected Republican Governor Simon Snyder. Snyder was born in Lancaster, Pennsylvania, and was the first representative of the German element and back-country farming class to be elected governor of the state.|Copyright secured. Etchd. by S. Folwell Philad. Decr 14, 1808.|The Library's impression was deposited for copyright by Christopher Wispart in Philadelphia on December 16, 1808, under the title "The Butcher's Procession."|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 1808-1.

A memorial to nativist casualties of the violent clashes occurring between anti-foreigner "Native Americans" and Irish-American Catholics in Kensington, Philadelphia, May 6 through 8, 1844. The female figure of Columbia holds a large, billowing American flag near a broken column on which she places a wreath. On the column are the names of those Native Americans killed during the attacks on Catholic homes and institutions. At the top of the list, circled by Columbia's wreath, is the name of George Schiffler, the first and most famous of the nativist martyrs. Other names inscribed on the column are: Wright, Rhinedollar, Greble, Stillwell, Hammitt, Ramsey, and Cox. To the right of Columbia is an American eagle supporting a shield with the names of the wounded, including: Peale (the artist?), Whitecar, Lescher, Young, Wiseman, Willman, Schufelbaugh, Yocum, Ardis, Boggs, Ford, Bartleson, and Ort. Above the figure floats a streamer with the print's title. Below a similar banner reads "Deceased----We Revere Their Memory---Wounded---We Cherish And Reward Them---."|Entered . . . 1844 by Colon & Adriance.|Signed: On Stone by Wash (Washington) Peale.|The Library's impression of the print was filed for copyright on July 1, 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 1844-50.

A satire on the 1838 New York mayoralty contest, here shown as a horse race between (left to right) Whig candidate Aaron Clark, Democrat Richard Riker, and Loco Foco Democrat Isaac L. Varian. Clark is clearly in the lead. He waves his hat, saying to Riker who is close behind him, "Whip up Mr. Recorder, or Loco Foco will up with you neck and neck." The bespectacled Riker reassures him, "Dont be alarmed, you see he has bolted already, the 'ends of justice' will keep him at a distance." Varian's horse rears up and turns in the wrong direction spilling Varian's hat and box of "Loco Foco Matches" to the ground. Varian cries, "Confound the jade, she has kicked out of the traces, --this Locofocoism is carrying too much weight, them is my sentiments, shade of Sam Purdy, come to my relief, or I am distanced." From the spectators in the background come various remarks: "Aaron goes it in fine style, on his blood mare." "Yes I'll bet ten to one he wins the plate." "Dickey's [i.e., Riker's] racker shows signs of age, they say he's 21 years old." " Hoorawr! for Dickey, he's the "little joker!" "Varian shows signs of distress, he's heaving over part of his cargo." "I think he's rather dumfoozled, werry!" "If Varian aint distanced I'm a nigger."|Ent'd . . . 1838 by H.R. Robinson . . . New York.|Signed: Shanks (probably Edward Williams Clay).|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 1838-6.

A commentary on the depressed state of the American economy, particularly in New York, during the financial panic of 1837. Again, the blame is laid on the treasury policies of Andrew Jackson, whose hat, spectacles, and clay pipe with the word "Glory" appear in the sky overhead. Clay illustrates some of the effects of the depression in a fanciful street scene, with emphasis on the plight of the working class. A panorama of offices, rooming houses, and shops reflects the hard times. The Customs House, carrying a sign "All Bonds must be paid in Specie," is idle. In contrast, the Mechanics Bank next door, which displays a sign "No specie payments made here," is mobbed by frantic customers. Principal figures are (from left to right): a mother with infant (sprawled on a straw mat), an intoxicated Bowery tough, a militiaman (seated, smoking), a banker or landlord encountering a begging widow with child, a barefoot sailor, a driver or husbandman, a Scotch mason (seated on the ground), and a carpenter. These are in contrast to the prosperous attorney "Peter Pillage," who is collected by an elegant carriage at the far right. In the background are a river, Bridewell debtors prison, and an almshouse. A punctured balloon marked "Safety Fund" falls from the sky. The print was issued in July 1837. A flag flying on the left has the sarcastic words, "July 4th 1837 61st Anniversary of our Independence." |Entered . . . 1837 by H.R. Robinson. |Printed & published by H.R. Robinson, 52 Cortlandt Street New York.|Signed: Clay fec. (Edward Williams Clay).|The Library's impression was deposited for copyright on July 8.|Title appears as it is written on the item.|Davison, no. 98.|Munsing, p. 37-38. |Murrell, p. 150.|Weitenkampf, p. 48-49.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1837-8.

Election ticket for Jackson delegates from various Ohio counties in the presidential contest of 1828, illustrated with an image of a straw broom. The broom, a traditional pictorial and literary symbol of reform, is linked here to one of the mythological labors of Hercules -- his cleansing of the Augean stables.|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 1828-13.

An illustrated cover for a collection of Democratic campaign songs. Liberal Republican presidential candidate Horace Greeley and running mate Benjamin Gratz Brown appear in oval bust portraits framed by ivy. Above them an American eagle rests on two crossed American flags. The songs are "Greeley & Brown's Galop to the White House," "Greeley's Grand March," "Greeley's Favorite Polka," "Good Bye Ulysses, or We're Falling into Line," "The Farmer Goes Chopping on His Way," and "He Always Wears an Old White Hat."|Entered . . . 1872 by J.L. Peters . . . Washington.|Published by J.L. Peters. New York.|Snyder, Black & Sturn, 92 William St. N.Y.|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 1872-2.

An illustrated cover, dedicated "To The United Democracy," contains three Democratic campaign songs--"Seymour Schottisch," "Blair's Polka," and a "Tammany Grand March." Roundel bust portraits of Horatio Seymour and running mate Francis P. Blair, Jr., are surrounded by foliage and flowers. Above is a shield with the stars and stripes, flanked by two American flags and surmounted by an American eagle.|Alexander McClean, Lith.|Entered . . . 1868 by Balmer & Weber . . . Missouri.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1868-4.

A crude and unusually large woodcut, employing the metaphor of a mill to portray the spoils system under the Democrats (or "Tories" as they were labeled by the Whig press). The print may attack Andrew Jackson's program of distributing federal funds among various state banks, rather than retaining them in a central bank as was the practice until 1833. This program was referred to derisively in the opposition press as Jackson's "experiment." (See "The Experiment in Full Operation," no. 1833-8). The plan was viewed by many as a source of federal patronage and corruption. A uniformed Andrew Jackson turns the crank of a large grain or cider mill. On the left, urged on by a devil, four young men ascend the steps to the mill; the first is in the act of diving in. Coins pour into the mill from a chute labeled "U.S. Treasury" above it. On the right, four office-holders emerge carrying objects representing patronage spoils. The first has a bundle under his arm labeled "Custom House $6000"; the second carries a scroll inscribed "Post Office $6000"; the third has a box of twine labeled "Blanks and twine 3,000." A fourth man, just emerging from the mill, has a paper with "U States District Attorney $5000."|An inscription on the verso of the Library's impression states: "Probably printed at Hanover, N.H. about 1840 by E.A. Allen editor and friends of the "Iris and Literary Record (1841)." J.W. Moore . . ." This dating suggests that the cartoon refers not to Jackson's "experiment" but to Van Buren's later, independent treasury plan. His proposed system, whereby federal funds would be held and administered by the revenue-collecting agencies themselves or by local "sub-treasuries," was passed by Congress in July 1840 and yet was widely criticized as conducive to graft. However, given the appearance of Jackson here, and the absence of any reference to Van Buren in "The Tory Mill," a mid-1830s date is more likely.|Hanover, New Hampshire 1834-1840?|Title appears as it is written on the item.|Purchase; Caroline and Erwin Swann Memorial Fund.|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 1834-11.

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

A mild reproof of Zachary Taylor's evasion of the slavery question in the campaign of 1848. Although Taylor's views were widely broadcast in the form of published letters, his stand on the main issue--the Wilmot Proviso--remained unexpressed. (The Wilmot Proviso would have banned slavery in U.S. territories acquired during the Mexican War.) Here, in a clearing with the Capitol in the distance, Taylor is confronted by a country dweller and an urban dandy. The clearing stands between a forest on the left and a grove of cane on the right at which a black man, a stereotype like the others, cuts with a long knife. The rustic (far left) holds a shotgun or rifle and has a clay pipe between his teeth. In contrast, the city gentleman is finely dressed and holds a small cane. Taylor (center) wears a uniform and holds a walking stick or baton, and is flanked by two dogs (probably bloodhounds, reminders of his controversial use\ of dogs against the Indians in Florida during the Second Seminole War). The Wilmot Proviso lies on the ground before him. Country: "Now then General, in one word, What er yer Principles? for d'ye see, if yer devoid o priciple, yer aint fit to govern this great Nation, not by a darn'd long chalk." Town: "Why-aw! yes Genl? demme! we must know your princi- ples before we vote. we must indeed, aw!--demme!" Taylor: "Confound you both, Read my last Letter!" Country: "It's darn easy to read Genl. but rather difficult to to understand--I guess." To the right of Taylor a black man cutting cane remarks of Taylor, "He! He! He dam cunning, he wants to get in fust. he keep dark on de Wilmot Provis till de beery last. de dam ole Fox."|Drawn by Edward Williams Clay.|Entered . . . 1848 by H.R. Robinson.|Lith: & pub.: by H.R. Robinson 51 Park Row (adjoining Lovejoy's Hotel, N.Y.).|Title appears as it is written on the item.|Weitenkampf, p. 95.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1848-32.

A parody of Democratic efforts to reelect incumbent Martin Van Buren in the face of broad popular support for Whig candidate William Henry Harrison. The print is a crude woodcut evidently based on Napoleon Sarony's "The New Era Whig Trap Sprung" (no. 1840-43), but differing in some details. The woodcut version includes on the cabin names of only eleven states (as opposed to twenty-one in the Sarony version), and omits the mound of clay and the eagle on the chimney. In addition the bale used as a fulcrum for Jackson's lever is labeled (probably in error) "N G" instead of "New-Orleans." Four other similarly primitive but bold woodcut campaign satires apparently by the same artist as "The Trap Sprung!," are also listed here. Three of them were issued from the same address, 104 Nassau Street (nos. 1840-26, -27, and -28). The fourth, "Uncle Sam's Pet Pups!"" (no. 1840-29) is clearly by the same artist, although published under Robert Elton's imprint.|Sold By Huestis & Co. 104 Nassau-St. N.Y.|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 1840-25.

A portrayal of Treasury Secretary Levi Woodbury as a hen nurturing corruption and shielding New York City customs house officials from congressional scrutiny. Woodbury spreads his wings over several chicks pecking at gold coins beneath him, as two of the chicks swim off toward Liverpool. The foremost one represents former Collector of the Port Samuel Swartwout, found to have defrauded the government of nearly $1.25 million. The second is federal district attorney William M. Price, a coconspirator. Both fled to England. (See "Price Current" and "Sub Treasurers Meeting in England," nos. 1838-21 and -20.) Woodbury is threatened by a hawk, "Committee of Investigations," with the head of Kentucky congressman James Harlan, who flies overhead calling, "I'll have you! hen & all." Harlan was chairman of the House committee established in January 1839 to probe the Swartwout defalcations. The hen cries: "Hawk! . . . run! . . . Fly Sam [Swartwout] & Bill [Price]! take to the water--quick, before he comes! dive or he'll get you! . . . Here Hoyty [i.e., Swartwout's successor Jesse Hoyt]! hide between my legs! . . . hide Ogden! run Phillips! fly Fleming! come Gratiot! Hawk Boydy! . . . Linn! Scud Harris! Fly Spencer! Drop gold & run all! come under! . . .I'll cover you!"|Entered . . . 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 1839-1.

A parody of the often worthless fractional currencies or "shinplasters" issued by banks, businesses, and municipalities in lieu of coin. These fractional notes proliferated during the Panic of 1837 with the emergency suspension of specie (i.e., gold and silver) payments by New York banks on May 10, 1837. "Treasury Note" differs from two similar mock bank notes, "6 Cents. Humbug Glory Bank" and "Fifty Cents. Shin Plaster" (nos. 1837-10 and -11) in being payable "out of the joint funds of the United States Treasury." It may mimic the interim notes, first proposed by the administration in September 1837, to be issued by the federal government to relieve the shortage of gold and silver during the crisis. The artist broadly attacks President Van Buren's pursuit of predecessor Andrew Jackson's hard-money policies as the source of the crisis. Witness the caricature at the right, of Jackson as an ass excreting coins or "Mint Drops," collected in a hat by a Van Buren monkey. Note also the presence of the former President at left, as an old woman clad in bunting, standing near a cracked globe (a punning allusion to the name of Francis Preston Blair's administration organ newspaper). The print also caricatures Missouri Senator Thomas Hart Benton, an ardent bullionist and supporter of Jackson's and Van Buren's fiscal programs. Benton is shown as a tumblebug pushing a large ball, a motif given fuller treatment in "N. Tom O' Logical Studies" (no. 1837-14). In the main scene Van Buren appears as a winged monster on a wagon driven by Calhoun and drawn by a team of men in yokes through a narrow arch labeled "Wall Street" and "Safety Fund Banks." This may refer to the influence Van Buren exerted on New York banks through the Safety Fund system, whereby member banks observed a certain ratio of notes (paper money) to specie (coin) set by a state banking commission. The wagon crushes several men beneath its wheels. The Van Buren beast reclines on several weapons (symbolizing treachery) and sacks of treasury notes. In his tail he grasps a torch, having set off the destruction of a town which burns in the distance. Nearby stand Andrew Jackson and another man, perhaps fiscal adviser Reuben Whitney or Treasury Secretary Levi Woodbury. Jackson says, "I did not think John C. could crack such a good whip." The second man responds, "Oh! Matty has had him in training, the nullifying turncoat." This is a swipe at Whig senator John Calhoun's recent support for Democratic measures in Congress.|"Printed & publd. by H.R. Robinson, 52 Cortlandt Street."|Signed: Napoleon Sarony.|Title appears as it is written on the item.|Murrell, p. 152.|Weitenkampf, p. 49-50.|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 1837-9.

One of the few satires sympathetic to the Democrats to appear during the 1844 presidential contest. Democratic presidential nominee James Polk is portrayed as a buckskinned hunter who has treed "coons" Henry Clay and Theodore Frelinghuysen. (Clay's nickname "that old coon" had wide currency in the campaign.) Holding a knife in his left hand, Polk grasps the Clay coon by the tail, saying "You've got up the wrong tree this time! Down you must come." At left former President Andrew Jackson stands on a ladder leaning against the "Hickory" tree and chops at the branch holding the two Whigs. He exclaims "Get down from my tree you vermin!" Frelinghuysen says, "from this old man good Lord deliver us!" Clay adds in verse: The state of things is quite surprisin. / Such d--d bad luck my Frelinghuysen. / My struggles are of no avail / For Polk has got me by the Tail. Two other Democrats, John C. Calhoun and Richard M. Johnson, appear as dogs rushing in from the left, saying, "Down with the Coons." Another Democratic ex-President, Martin Van Buren, watches from the right, remarking, "This works according to my wish--The Coons are treed at last." In the right foreground incumbent President John Tyler sets his dogs on the coons, saying, "At them Bobby! Catch them Johnny! Dont let the other dogs get in before you I shall beat them yet." His dogs are son Robert Tyler (labeled "Repeal" for his activism on behalf of the Irish Repeal movement) and John Beauchamp Jones, editor of the newspaper the "Madisonian," organ of the Tyler administration. They also chant, "Down with the Coons."|Drawn by H. Bucholzer.|Entered . . . 1844 by A. Purdy.|Pub. by A. Purdy. Sold wholesale & retail at 98 Nassau St. N.Y.|The print was among a group of nine caricatures by Bucholzer registered for copyright on June 26, 1844. (See also nos. 1844-21 through -27, and 1844-32.) The Library's impression of this print was actually deposited the following day.|Title appears as it is written on the item.|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 1844-20.

A somewhat puzzling commentary on two issues: slavery and economic protectionism. The date of the print is uncertain, but it may have appeared as part of the reaction against the Walker Tariff of 1846. A Northern bias is expressed on both issues. The text is abolitionist on the one hand and laments the absence of federal protection for American industry on the other. The author of the piece (which is less a cartoon than an arrangement of didactic tableaux) presents through his characters a number of reasoned arguments on the respective economics of slave and free industry and suggests a parallel between the hardships posed by the lack of protection for American manufacturers and the plight of the slaves. The irony of the piece rests on the fact that only the Southern slaveholder, whose interests were best served by the 1846 tariff, enjoys the shade of the symbolic Liberty Tree, which looms up in the foreground. Slave owner, fanned by a Negro slave: "Surrounded by Slaves & basking at ease by their labor we can have a clearer conception of the value of Liberty." Man borne in a litter by slaves: "Rather than submit to be a slave I would make our State a cemetery of Freemen." Slaves working under the whip of an overseer at right: "I had as lief work as not. If I had my own time to do it in." and "Who likes to be bound down to a Massa." Another: "Give me my own Country before Slavery." Further right a group of slaves converse: "Poor Sampson is dead!" "Is there nothing we can do?" "How many poor fellows heads have been stuck upon poles!" "The American People will come to a sense of Justice." "If they won't liberate "us," let our Children be free." "Our rejoicing on Bobalition days shew we are not the savages the white people take us to be." "And should our children be free when they are born they might learn the habits of industry & for hire do more work than any of our brethren are now willing to do." "We must be away Massa will see us." In the right background is a steam sawmill whose proprietor frets over his slaves, who run off saying, "Let's have a play spell" and "I'll be off." The owner laments, "What shall I do with my Slaves, they cost me more than their income, and they are more plague than profit, & if I could devise any means to get rid of them, what a triumph it would be--how can it be done without being a serious evil." The left half of the composition represents the North. Near the Liberty Tree two farmers converse: "I would not have a Slave to till my soil, to carry me, to fan me, to tremble when I wake for all the wealth that sinews bought & sold have earnt." "No! dear as freedom is, & in my heart's just estimation prized above all price I'd rather be myself the slave & wear the bonds than fasten them on him." Nearby a group of gentlemen speak: "O America! vast--wide--extended; a population increasing almost past calculation, embracing within thy limits some of almost every nation a refuge for the weary & distressed a home for the free; But O Slavery!! where will be thy bounds?" "Slaves cannot breathe in England, if their lungs receive 'its air' that moment they are free-- they touch 'that Country & their Shackles fall." In the background is a textile mill. Outside are several groups of mill girls. Their conversations concern the tariff and its effects: "What a noise the Southerners have been making about the Tariff." "I hope it is all over now." Second group: "I think if they will protect us Girls from the operation of foreign legislation as well as seamen against Pirates, we can make cloth as cheap as any body." "I dont believe English Girls can do more than we can." "The machinery went well to day." "I wove seventy yards." "I have got so as to tend three Looms." A third group: "I wonder what effect the taking the duty off Linen will have?" "Well in proportion as linen is used there will be less Cotton." "I Guess it will set the poor Irishmen to raising Flax." In the center, beyond the tree, a man on horseback leads a black woman carrying a bundle toward the right or Southern side of the print.|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 1846-13.

A parade of jubilant New York City Whigs, led by successful mayoral candidate Aaron Clark (at right, with walking stick). Clark, who defeated Tammany candidate John J. Morgan in the Spring election, walks arm-in-arm with an unidentified man. He is followed by an Irishman carrying a sign which reads "Fortune's Favorite Aaron Clark." Perched on the sign is an eagle complaining that "I'm d--d sick of this set!!" He is followed by drum and fife players and several other men. On the left is a tall man seated at a small table on which are a box and a sign "Whig Nomination for Mayor Aaron Clark."|Signed: Brown fecit.|Title appears as it is written on the item.|Weitenkampf, p. 51.|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 1837-4.

Published by Joseph Roos & Co. N.E. Cor. Comm. & Leidesdorff Sta. S.F. Copyrighted 1878.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A complex and somewhat obscure satire celebrating the defeat of Dorrite Democrats in the Rhode Island state elections of spring 1843. The canvass was held the year following the successful suppression of the Dorrite Rebellion, an abortive revolt against the Charter government of Rhode Island, led by Thomas Wilson Dorr. (See "Tyrants Prostrate Liberty Triumphant," no. 1844-19). Yet the 1843 Democratic slate included many radicals sympathetic to Dorr and was seen as a challenge to the reigning conservative Law and Order Party. "Trouble in the Spartan Ranks" ridicules the Dorrites on several fronts, from Dorr's enlistment of help in his cause from the Spartan Band, a New York City gang of toughs, to the makeup of their local constituency. "Old Durham" is the newly elected governor, septuagenarian James Fenner (lower right), shown as a stout man with large horns and bull's ears. He tosses the rebel leader on his horns. Dorr has one cloven hoof (a satanic attribute) and is armed with "That Sword," a prop which he employed in a famous May 1842 speech against the Charter government. He says, "Leave my Bones on Accots hill." (Acote's Hill, in the town of Chepachet, was the site of the Dorrite troop encampment at the time of their surrender in June 1842.) In the margin below, is an explanatory text phrased in mock-biblical style: Chronicles 11-1. And it came to pass anno domini 1843. A special season of humbug and fanaticism. That interlopers from Cape Cod and the Spartan Band of the Pewter Mug of York. And a few demigogues seeking office caricatured in print, the true R. Island nominee as "The Durham Bull" having horns upon his head, girth like unto the ox surly and uncouth. 2d ver. Prognosticating, Albeit that "old Durham with his horns" and the horns of Millerism would fall in disgrace together in April 1843. [For Millerism see "The Salamander Safe," no. 1843-5]. 3d ver. Mark their error and the sequel . . . Fenner is solicited by a man in a long coat on the right who says, "Lordy, Gody Govr haint I alrers been your freend. Now do for massey sake and the Corporals save the Sover-in-ity. If the Sover-inity aint in the People where is it? as Slocum says." Fenner is pointing with his whip to a banner held by a knight in armor (center) bearing the arms of the state. The banner shows Father Time, with his characteristic attributes, an hourglass and a snake grasping its own tail, and reads: "April 1843. It is Written on the Tombstone of Eternity Dorrism shall be no more in Rhode-Island." The banner hangs from a staff with an eagle and motto, "Law and Order Shall be sustained in R.I." The knight is preceded by a motley group of men with the banner, "Squad No. 2 Liberty or Oregon Delegation From 3d, 5h & 6h Wards & Burrillville." The three Providence wards and Burrillville were strongholds of reformist support. The men have their ward numbers and an initial on their hats and are no doubt Dorrite Democrats. One of the shortest and most unkempt of them, with a clay pipe protruding from his vest pocket, is an Irishman, a specimen of the new tradesmen and working-class immigrants who swelled the ranks of the reformist Democrats. Also on their banner is a black man thumbing his nose and saying, "Oregon! dats up Salt River By hokey." (The reoccupation of Oregon became an important plank in the Democratic platform of 1844.) Attached to the group is a dwarf whose trousers are torn by a dog. He is a member of the Spartan Band, carrying a flag reading, "The Banks & Beauty of Providence Spartan Band, N. York." He complains, "These Rhode Island Dogs are a pull-back to our designs and quite disorganize our fundamental arrangements." Ahead of the group is another, bearded dwarf with a drum. He has one peg leg and the other with a cloven hoof. He exhorts the group, "Go it you Algerine cripples," a phrase combining an old Democratic campaign cry with reference to the Algerine Law, an 1842 act outlawing Dorrite activity as treason. At the lower left a tiny seamstress scrutinizes through a glass a ragged, lanky tough holding a spear and clay pipe who says, "Ize one of the Spartan Band. Bee's you one of the Ladies Dorrick Circle?" Behind them is the Providence Armory, which was attacked by the Dorrites during the rebellion. It is well guarded and flies banners saying, "Law and Order the Foundation of Democracy" and "9 Cheers for Old Durham, horns and all."|C. Maolsehber del.|Entered . . . 1843 by Wm. Andrews . . . Massachusetts.|Thayer & Co's. Lith. Boston.|The Library's impression of the print was deposited for copyright on April 29, 1843, three weeks after the elections. The publisher's imprint has been trimmed off. Weitenkampf mentions two editions of the print in the American Antiquarian Society collections.|Title appears as it is written on the item.|Murrell, p. 160, 162.|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 1843-6.

A crudely drawn anti-Jackson satire, applauding Henry Clay's orchestration of Congressional resistance to the President's plan to withdraw Treasury funds from the Bank of the United States. The print also attacks Vice-President Van Buren's purported manipulation of administration fiscal policy. The title continues, "Shewing the Beneficial Effects of Clay & Co's Highly Approved Congress Water administered to a very old man sick of the Deposite [sic] Fever caused by wearing Van Buren's newly invented Patent Magic High Pressure Cabinet Spectacles." In the center Jackson, wearing dark spectacles, bends over, vomiting papers inscribed "Veto", "Responsibility" and "Message" while Henry Clay (seated at table, left) and Major Jack Downing (laughing, right) look on and comment. Clay holds a bottle, having just administered his "Congress Water" to Jackson: "'Tis good Chieftain 'twill bring forth Offensive matter." Downing: "...I kinder hinted To the Jinerl I ges'd Congress-Water and Responsibility wouldn't agree on his Stomach. The Jineral says to me says he 'Major that Clay is a bold impudent feller and will speak out his mind if the Divil stands at the Door." Jackson: "Devil Take the Treasury and my Secretary Too." Behind him, the Devil walks toward the door with Treasury Secretary Roger B. Taney and a sack "$200,000,000 United States Treasures" slung over his back. The image alludes to Congress's refusal to confirm Taney as Treasury Secretary.|Dated 1833 in the imprint, "Troubled Treasures" may be an earlier version of a print with the same title copyrighted by Bisbee on February 1, 1834, along with "The Vision. Political Hydrophobia" (no. 1834-8). This later entry may be the "Second Edition"--a reversed and slightly modified version also published by Bisbee--recorded by Weitenkampf. In the later version, there is no reference to the treasury secretary, and the devil carries off only a sack of money. Jackson says merely, "Devil take the Treasures."|Drawd off from Natur by Zeck Downing Neffu to Major Jack Downing.|Entered . . . 1833 by R. Bisbee.|Published 95 Canal Street New York.|Title appears as it is written on the item.|Helfand, p. 9-10 (both versions reproduced).|Weitenkampf, p. 29-30|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1833-5.

An angered response to false Confederate peace overtures and to the push for reconciliation with the South advanced by the Peace Democrats in 1864. (See also "The Sportsman Upset by the Recoil of His Own Gun," no. 1864-32.) Confederate general Robert E. Lee and president Jefferson Davis (center) stand back-to-back trying to ward off an attack by Northern officers (from left to right) Philip H. Sheridan, Ulysses S. Grant, David G. Farragut, and William T. Sherman. Sheridan points his sword at Lee, saying, "You commenced the war by taking up arms against the Government and you can have peace only on the condition of your laying them down again." Grant, also holding a sword, insists, "I demand your unconditional surrender, and intend to fight on this line until that is accomplished." Lee tries to placate them, "Cant think of surrendering Gentlemen but allow me through the Chicago platform to propose an armistice and a suspension of hostilities . . . " The 1864 Democratic national convention in Chicago advocated "a cessation of hostilities with a view to an ultimate convention of the states, or other peaceable means" to restore the Union. Davis, unarmed with his hands up, agrees, " . . . if we can get out of this tight place by an armistice, it will enable us to recruit up and get supplies to carry on the war four years longer." Farragut threatens with a harpoon, snarling, " rmistice! and suspension of hostilities'.--Tell that to the Marines, but sailors dont understand that hail from a sinking enemy." Sherman, with raised sword, informs Davis, "We dont want your negores or anything you have; but we do want and will have a just obedience to the laws of the United States."|Probably drawn by John Cameron.|Published by Currier & Ives, 152 Nassau St. N.Y.|Title appears as it is written on the item.|Gale, no. 6722. |Weitenkampf, p. 142.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-6.