Satire on the diplomatic crisis and threat of hostilities between the United States and France over the latter's refusal to pay indemnifications set by the Treaty of 1831. The situation was exacerbated by remarks, made by President Jackson in a December 1835 speech, to which the French took offense. (See also nos. 1836-2, -3 and -5 on this crisis). "Spirit of the Times" focusses on England's role as mediator in the dispute during January 1836. The leaders of the two countries face each other across an ocean through which John Bull wades saying: "In "Pantaloons" John Bull can walkAcross the Atlantic for to baulk The Cock of all his boasted pride And Eagle's passion to subside." John Bull is portrayed as a bull wearing pantaloons and holding a musket. On the left shore, atop a cage holding a squawking goose, stands a cock with the head of French king Louis Philippe crowing: "Sacre non [i.e. "nom"] de Dieu!!!! Me vont be pick by you!!" Further to the left a turkey stands over a nest egg marked "Fr.25,000,000" (the amount of French reparations established by the treaty) and says: "Before from off this egg I rise You must to me apologise." On a birdhouse behind them a row of six pigeons with bayonets stand at attention with chests puffed out. An "Aquatic Expedition" of six geese heads across the water toward the American shore on the right, from where a rattle-snake boasts, "Let them come a'Shore; I'll rattle them." On the right, perched in a tree, is an eagle with the head of Andrew Jackson. Below him is a nest made of stars and stripes holding five young birds. Corn, like the rattlesnake indigenous to America, grows nearby. Jackson says:"Come stop your puffing, cease to Crow And pay the Debt you justly owe,Or full your Crop with Pills I'll cram, And stop your muttering "French God Damn."|Published by Prosper Desobry, Cor. Broadway & Cortlandt St. Entered. . . 2nd. Feby. 1836 . . . Southern District of N. York, by P. Desobry.|The Library's impression of the print was deposited for copyright on February 2, 1836.|Title appears as it is written on the item.|Weitenkampf, p. 41.|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 1836-4.

The second in a series of caricatures criticizing the secession of several Southern states from the Union during the last months of the Buchanan administration. Here the young nursery-rhyme shepherdess Bo-Peep represents the Union. She stands at left wearing a dress of stars-and-stripes bunting and with an eagle beside her, watching as seven of her sheep flee into a forest of palmetto trees infested with wolves. (The palmetto is the symbol of South Carolina, the leading secessionist state and first to dissolve ties with the United States.) The wolves wear crowns and represent the European powers which some feared would prey on the newly independent states. They prowl about and say, "If we can only get them separated from the flock, we can pick their bones at our leisure." Back in the clearing, grazing about Bo-Peep, are the remaining flock, two of which are labeled Virginia (closest to her) and Kansas. An old dog "Hickory" lies dead in the grass while another, named "Old Buck," flees toward the left. Bo-Peep vainly calls, "Sic 'em Buck! sic 'em! I wish poor old Hickory was alive. He'd bring 'em back in no time." Buck is lame duck president James Buchanan, who proved ineffectual against the secessionist threat to the Union. "Old Hickory" was the nickname of former Democratic president Andrew Jackson, venerated as a champion of a strong federal union. Although unsigned, the print seems on stylistic grounds to have been drawn by John H. Goater, the artist responsible for numbers one, three, and probably four in the "Dime Caricatures" series.|Drawn by John H. Goater?|Entered . . . by T.W. Strong . . . New York.|Published by Thomas W. Strong, 98 Nassau St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 126-127.|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 1861-10.

Entered according to Act of Congress, in 1838 by H.R. Robinson, in the Clerk's Office of the District Court of the U.S. for the Southern District of N.Y. Printed & published by H.R. Robinson, 52 Cortlandt & 11 1/2 Wall St. N.Y.|Signed in stone: Grinnell del.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

According to Professor Amy Sturgis of Lenoir-Rhyne University, the Trail of Tears shouldn’t have happened. In this video, Professor Sturgis explains both the moral and legal arguments used to protest the forced removal of the Cherokee Nation to "Indian Territory" as well as why it’s so important that we remember the Trail of Tears today.

The Van Buren administration's record, particularly with regard to the handling of public finances, is condemned as corrupt and a perpetuation of unpopular Jacksonian policies. The artist echoes perennial Whig charges of the Democrats' disregard for the Constitution and their autocratic style of governing. The nursery rhyme theme of "The House that Jack built" employed here was also used in several earlier cartoons. (See nos. 1820-1 and 1833-6.) Murrell also reproduces an earlier and somewhat similar E. W. Clay version of the "House that Jack built," probably dating from the bank wars of around 1834. Here, the "House" is Jackson's subtreasury system, represented above by a banking house interior whose floor rests on "Constitutional Currency," and whose cellar stocked with empty boxes. The scene appears in a cloud of smoke, which comes from the pipes of Andrew Jackson (on the left) and advisor and publicist Amos Kendall (on the right). Kendall's pipe also blows bubbles, symbolizing vanity or idle schemes. Nine verses from the nursery rhyme and corresponding satirical scenes appear below. 1. "This is the Malt that laid in the House that Jack built." The scene shows crates labeled "Post Office Revenue," "Public Land Sales," "Custom House," "Bonds," and "Pension Fund," suggestive of administration graft and intrigues in a cellar. 2. "This is the Rat that eat the Malt . . ." shows Van Buren's Treasury Secretary Levi Woodbury as a rat. 3. "This is the Cat that caught the Rat . . ." shows Daniel Webster as a cat toying with Woodbury. 4. "This is the Dog That worried the Cat, . . ." has Thomas Hart Benton as a dog threatening the cat Webster, who is now standing on a book "Constitution" atop a chair. 5. "This is the Cow, Whit the crumpled Horn, That tossed the Dog . . ." shows Henry Clay as a cow tossing Benton aloft. 6. "This is the Maiden all forlorn, That milked the Cow, . . ." John C. Calhoun as a milkmaid laments over a spilled bucket "Nullification" as the cow runs away with a sheet marked "Tariff." The reference is to Calhoun's role in the nullification crisis of 1832-33, and Clay's compromise tariff which temporarily resolved the conflict. 7. "This is the Man, all tattered and torn, That kissed the Maiden . . ." has Martin Van Buren in old Dutch clothing, wheeling a barrow of cabbages, saying "Here's your fine Kinderhook Early York Kabbitches." (Van Buren's home was in Kinderhook, New York.) 8. "This is the Priest all shaven and shorn, That married the Man . . ." Washington "Globe" editor Francis Preston Blair in liturgical vestment presides over the wedding of Calhoun and Van Buren, ridiculing the unlikely political alliance forged in 1840. 9. "This is the Cock of the walk, that crowed in the morn, That waked the Priest all shaven and shorn, . . ." A rooster with the head of William Henry Harrison stands on a globe "Ohio" as the sun rises behind it.|Davison lists a version of the print with the Childs address at 90 Nassau Street.|Entered . . . 1840 by John Childs.|Pub. by John Childs 119 Fulton St. New York.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 155.|Murrell, p. 141 (earlier version).|Weitenkampf, p. 62-63.|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 1840-48.

A crudely-drawn, anonymous satire on the Jackson Administration, alleging political intrigue behind Jackson's September 1833 decision to remove federal deposits from the Bank of the United States. The cartoon adapts the nursery rhyme "The House that Jack built," portraying the Kitchen Cabinet (the derisive name given Jackson's informal circle of influential advisors) as rats "that eat the malt that lay in the house that Jack built" -- the malt being "The public Deposits." (For an earlier use of the same rhyme see "Parody. 605,000 Sour Grapes," no. 1820-1.) The view is framed by a colonnade, with the columns of the Bank visible at left. Between each pair of columns is a character from the nursery rhyme. Treasury Secretary William J. Duane is the cat "That caught the rats," possibly referring to Duane's opposition to Jackson's plan for removal of the deposits. Jackson, the dog "That worried the Cat," sits on a strong box with a key hanging from his neck. (Jackson dismissed Duane from his post for his intransigence on the Bank issue on September 23, 1833). The Senate is the cow "with the crumpled horn that tossed the dog" referring the stiff opposition Jackson's measures later met from the Senate. "The honorable ******" (possibly Silas Wright, Van Buren ally and staunch advocate of Jackson's bank policies in Congress, or Richard M. Johnson, Van Buren's 1836 vice-presidential running-mate) as the maiden "all forlorn, That milked the Cow" and was kissed by "the man all tattered and torn," Vice-President Martin Van Buren. Van Buren stands before a grandfather clock with a figure of Pan holding a fiddle, symbolizing chaos and turmoil. Newspaper editor and Jackson supporter Francis Preston Blair is the priest "That married the man, all tattered and torn, unto the Maiden all forlorn." Major Jack Downing, portrayed as a soldier with the head of a rooster and holding a flag reading "Jackson & Glory," is the cock "That crowed in the morn, and soured the priest..." In the foreground left, below the Jackson/dog figure, a boar tears apart the Constitution. The artist here echoes charges that Jackson exceeded his legitimate presidential authority in his removal order. The print was probably issued late in 1833, after Duane's dismissal by Jackson, and before the former sank from national visibility altogether. It may date from as late as the first half of 1834, when public debate about Jackson's removal action raged in the Senate.|Title appears as it is written on the item.|Weitenkampf describes two similar cartoons, based on the same nursery rhyme. In one version, drawn by E. W. Clay and published in 1834, the maiden carries a pail marked "Vice President Office," and curiously (as in the present print) her face is averted from view.|Murrell, p. 149-152 (Clay version).|Weitenkampf, p. 34-35.|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 1833-6.

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.

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 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 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.

As in "Texas Coming In" (no. 1844-28), a bridge over Salt River is the central motif, making the difference between the Whigs' successful crossing to the "Presidential Chair" and the disastrous route taken by the Democrats. The artist shows Whig candidates Clay and Frelinghuysen crossing a sturdy, modern "People's Bridge." In contrast, Democrats Thomas Hart Benton, George M. Dallas, and James K. Polk tumble from a rotting "Loco Foco Bridge" into Salt River. Benton is laden with a heavy bag or knapsack of "Mint Drops." Polk carries another sack marked "Annexation Texas," naming a major issue in the campaign. A sign on the bridge reads: "All persons are forbid going over this bridge faster than a slow walk." (The People's Bridge on the other hand is "adapted to swift travelling.") Party leader Martin Van Buren is already neck-deep in the water below, and Democratic patriarch Andrew Jackson tries to support part of the collapsing span on his back at right. Benton: "Alas! we were loaded too heavy. I forgot the old bridge was rotten." Van Buren: "I do believe that I shall never get out. I am stuck fast in the mud like a stationary buoy." |Entered . . . 1844 by J. Baillie.|Lith. & pub. by James Baillie 33 Spruce St. N.Y.|Lithography and print coloring on reasonable terms.|Signed: H. Bucholzer.|The Library's impression of "The Two Bridges" 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 1844-23.

What is mercantilism? How did economics contribute to rising tensions between the North and the South in the years before the Civil War? What caused the Great Depression? In this video course designed specifically to help students study for the AP US History exam and SAT Subject Test, Professor Brian Domitrovich of Sam Houston State University explains key events in US economic history and surveys different (and sometimes opposing) viewpoints on each event.

A satire attributing the dire fiscal straits of the nation to Andrew Jackson's banking policies, with specific reference to recent bank failures in New Orleans, New York, and Philadelphia. The artist blames the 1837 panic on Jackson's and later Van Buren's efforts to limit currency and emphasize specie (or coinage) as the circulating medium in the American economy. Missouri senator Thomas Hart Benton's role as an ally of the administration and champion of coinage (in the cartoonist's parlance "mint drops") is also attacked. In an eighteenth-century sickroom scene Uncle Sam, wearing a liberty cap, a stars-and-stripes dressing gown, and moccasins, slumps in a chair. In his hand is a paper reading "Failures / New Orleans right Nicholas Biddle arrives, with a trunk of "Post Notes" and "Bonds," and is greeted by Brother Jonathan. Jonathan: "Oh Docr. Biddle I'm so glad you're come. Uncle Sam's in a darned bad way . . ." Biddle: "I'll try what I can do . . . & I've sent to Dr. John Bull for his assistance." The print is dated 1834 by Weitenkampf, but it must have appeared after Van Buren's victory in the 1836 presidential election, given Uncle Sam's remark, "You are to nurse me now Aunt Matty." Nancy Davison's date of 1837 is more credible. Most likely it was issued during the spring of that year, after the collapse of the cotton market and several banks in New Orleans and the subsequent failure of many New York banks in March. In April Nicholas Biddle's Pennsylvania state bank came to the aid of the ailing banking community by buying up considerable numbers of bonds and notes.|Printed & published by H.R. Robinson 52, Cortlandt Street, New York.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 102.|Helfand, p. 11.|Murrell, p. 132.|Weitenkampf, p. 36.|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 1837-6.

An anti-Tyler satire, lampooning the incumbent's efforts to secure a second term against challengers Henry Clay and James Polk. With his shoulder to the door Tyler bars the entry of (left to right) John C. Calhoun, Clay, Polk, and Andrew Jackson. Tyler: "D--n you keep out. I tell you Uncle Sam dont want any new servants--he likes "me" too well, he only wants a man that will work like a niggar for nothing." Clay: "Uncle Sam Calls me, you rogue--nobody can shut me out & I will come in." Polk: "I Knows Uncle Sam don't want a servant to work for nothing, Matty got "fat" in his service before. So may I. Give me a push behind, General." Jackson, pushing Polk: "By the Eternal! I'll poke you in at all events." Seeing Tyler's efforts Uncle Sam kicks him from behind, saying, "Holloa you impudent rascal, let those persons in I'll examine them myself--Ah! Harry [i.e., Clay] is that you? Come in--I want you--and [to Tyler] do you get out with that kick, and never show me your false face again." Uncle Sam is portrayed in an unusual manner, as an old man wearing knee-breeches and a wide-brimmed straw hat.|Entered . . . 1844 by James Baillie.|Lith. & pub. by James Baillie 33 Spruce St. N.Y.|Signed: H. Bucholzer.|The Library's impression 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 1844-26.

A crude woodcut satire showing Harrison luring "Mother Bank," Jackson, and Van Buren into a barrel of "Hard Cider." Jack Downing chases Jackson and Van Buren toward the barrel as Mother Bank crawls into it. While Jackson and Van Buren sought to destroy the Bank of the United States, one of Harrison's election campaign promises was to reestablish it, hence his providing "Mother Bank" a refuge in this scene.|Sold at Elton's, 18 Division-Street, 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 1840-29.

A representation of an enormous illuminated transparency displayed on thefacade of the federal recruiting office for Negro troops on Chestnut Street in Philadelphia on November 1, 1864. The display celebrated the emancipationof slaves in Maryland through the state's new constitution, adopted onOctober 13 of the same year. At the top of the transparency is a bell draped with bunting and surmountedby an American flag. On each side of it is a lit oil lamp. Beneath the bell,in bold letters, are the words "God Save the Republic." Immediately below this is a large battle scene where black troops storm anenemy redoubt, with the commentary, "Never in field or tent scorn a blackregiment." Below the scene are quotations from George Washington, ThomasJefferson, and Patrick Henry, affirming the ideal of emancipation. Foursmaller scenes appear at right and left of a central panel (clockwise fromupper left): 1. "Before Fort Wagner, July 11th, 1863," where a dying black Unionstandard-bearer gives up the flag to another, saying, "Boys!! I never once letthe old flag touch the ground." 2. "Struggle for a Rebel battle flag at New Market Heights, Near Richmond,Sept. 29th, 1864.--Maj. Genl. Butler," in which a black soldier bayonets aConfederate, saying, "Sic semper tyrannis." 3. "In St. Mary's County, Maryland," showing a black woman pointing out aschoolhouse to two black children saying, "Tis education forms the CommonMind." A subtitle reads, "12,000 colored soldiers from Maryland now at thefront fighting for the Union." 4. A slave auction, with the note that thousands of women and children were sold to the far South annually under Maryland's old constitution. A quote attributed to Homer above the scene reads, "God fixed it certain that whatever day / Makes man a slave takes half his worth away." In the center of the transparency is an arch composed of blocks with thenames of various virtues, supported by two columns, the one on the rightlabeled "Faith." The keystone of the arch is Justice. Above it are AndrewJackson's famous words, "The Union must and shall be preserved." Various textsexemplifying Maryland's tradition of religious and personal freedom appearinside the arch. Below are portraits of Abraham Lincoln and an unidentified man.|Ringwalt & Brown Prs. 111 & 113 South 4th St. Phila.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-44.

A crudely drawn but bitter attack on Andrew Jackson's veto of the re-charter of the Bank of the United States and his subsequent campaign to destroy the Bank. Jackson (right) is a king fiddling on his throne as the Capitol burns in the background. He is attended by Jack Downing, while Vice-President Martin Van Buren peeps out from behind a curtain. Downing: "Jineral jest put a letel more Veto Rosin on your bow and you'ill give us a rale Nero-Doodle of a tune. That are fiddle jineral sound like your intarpitation of the Constitution. you can play ener most any tune you like on it." Jackson: "D-mn the Constitution Major. It is where it ought to be, Under my Feet." Van Buren: "Safety Fun." Before him is a strong chest labelled "30,000,000 Crowns" Beside it kneel three men, the "Reptiles that crawl through their own Slime to the Throne of Power." Beside them is a headstone inscribed "Sacred to the Memory of Dame Freedom, born July 4, 1776 and departed this life Oct.1 1833 A.E [sic]. . ." A crowd of "Kitchen Scullions & Pat-riots" with asses' ears mill about in the background, cheering for Jackson. They represent Jackson's close circle of advisors, the so-called "Kitchen Cabinet," and his lower-class and often unruly Irish immigrant (ergo "Pat-riots") supporters. At lower left stands John Bull, who says, "Ha-ha Brother Jonathan might as well hang up his fiddle, and not go bragging all over the world about his Freedom." A text below is a mock report of the murder of Dame Freedom by "Andrew Veto" and the "Color Presses," (i.e. "collar presses" or pro-Jackson newspapers) including the "Globe, Albany Argus, Richmond Enquirer," and others, and the robbery of the earnings of the "Sons of Freedom." |Entered . . . 1834 by E. Bisbee.|From Jineral Jackson's big picter, draw'd off from nater by Zek Downing, Historical Painter to Uncle Jack & Jineral Jackson.|Published by E. Bisbee, 95 Canal St. New-York.|The print was deposited by Bisbee for copyright on February 1, 1834, along with a later version of "Troubled Treasures" (no. 1833-5). Both prints bear a close resemblance in style to "The Political Barbecue" (no. 1834-9), and were probably drawn by the same hand.|Title appears as it is written on the item.|Weitenkampf, p. 35-36.|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 1834-8.

Poster for Federal Theatre Project presentation of "Rachel's Man" at the Savoy, showing silhouette of Andrew Jackson.