A racist attack on Democratic vice-presidential candidate Richard M. Johnson. The Kentucky Congressman's nomination, in May 1835, as Van Buren's running-mate for the 1836 election raised eyebrows even among party faithful, because of Johnson's common-law marriage to a mulatto woman, Julia Chinn, by whom he fathered two daughters. The artist ridicules Johnson's domestic situation, and the Democrats' constituency as well. Seated in a chair with his hand over his face, a visibly distraught Johnson lets a copy of James Watson Webb's "New York Courier and Enquirer" fall to the floor and moans, "When I read the scurrilous attacks in the Newspapers on the Mother of my Children, pardon me, my friends if I give way to feelings!!! My dear Girls, bring me your Mother's picture, that I may show it to my friends here." On the right are his two daughters, Adaline and Imogene, wearing elegant evening dresses. One presents a painting of a black woman wearing a turban, and says, "Here it is Pa, but don't take on so." The second daughter says, "Poor dear Pa, how much he is affected." A man behind them exclaims, "Pickle! Pop!! and Ginger!!! Can the slayer of Tecumseh be thus overcome like a summer cloud! fire and furies. oh!" Johnson is reported to have slain the Indian chief Tecumseh. Flanking Johnson are a gaunt abolitionist (right) and a black man. The abolitionist holds a copy of the "Emancipator," a Hartford, Connecticut newspaper, and says, "Be comforted Richard; all of us abolitionists will support thee." The black man pledges, ". . . de honor of a Gentlemen dat all de Gentlemen of Colour will support you." On the far left is a stout postmaster who says, "Your Excellency, I am sure all of us Postmasters and deputies will stick to you; if you promise to keep us in office." The print seems to date from early in the campaign of 1836. Johnson's wife Julia Chinn died in 1833. Adaline, one of the two daughters pictured, died in February 1836. Although Weitenkampf dates the print at 1840, when Johnson was again Van Buren's running-mate, the presence of both daughters and the drawing style are persuasive evidence for an 1836 date.|Probably published by Henry R. Robinson, New York.|Title appears as it is written on the item.|Weitenkampf, p. 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 1836-15.

This subject is devoted to reading and discussing basic American historical texts that are often cited but often remain unread, understanding their meaning, and assessing their continuing significance in American culture. Since it is a “Communications Intensive” subject, 21H.105 is also dedicated to improving students’ capacities to write and speak well. It requires a substantial amount of writing, participation in discussions, and individual presentations to the class.

A critical look at Irish Repeal movement leader Daniel O'Connell's condemnation of slavery in the United States. Clay portrays O'Connell's agitation against slavery as an affront to American friends of repeal, who contributed sizable amounts of money for "rent" to support the insurgent movement in Ireland. Conversely, Clay also portrays English-supported American abolitionists as inimical to repeal. In the cartoon is an effeminately dressed Robert Tyler, son and personal secretary to John Tyler, as well as a published poet and repeal advocate. Armed with his "Epitaph on Robert Emmet" (an earlier Irish patriot) and "Ahaseurus" (his religious poem, published in 1842) young Tyler presents O'Connell to his father. Robert Tyler proclaims, "Mr. O'Connell this is my Father, he is a great friend to repeal and when he is re elected he will give you his "mite." I am his Son and though I've got no money I've a great deal of Poetry in me--I have begun Robert Emmet's epitaph-from the sale of which I have no doubt I shall be able to send a large Army to Ireland." President Tyler, rising from his chair, says, "Welcome Mr. O'Connell! I'm just what Bobby says I am--I am all for repeal no halfway man but go the whole figure you jolly old Beggar." O'Connell wears knee-breeches and a hat decorated with a republican cockade and a clay pipe. He holds a club marked "Agitation" and a sack "Repale Rint" (i.e., "repeal rent"), and retorts, "Arrah! give up your Slaves I'd rather shake hands wid a pick-pocket than wid a Slave Holder, and if we ge our repale we'll set em all free before you can say Pathernoster--I dont want any of your blood-stained money!" An abolitionist resembling William Lloyd Garrison, with a document "Petition to Tyler to emancipate his slaves" under his arm, touches O'Connell's shoulder. He reassures the Irishman, "Friend Daniel, we will join you in all your views. your cause and ours is one only we dont want to meddle with Irish repeal for fear we may lose our English friends." On the left a black house slave standing beside Tyler's chair adds "By jolly I wish Massa Harry Clay [Kentucky senator Henry Clay] was here--Dis dam low Irishman not dare talk to him dat way!"|Entered . . . 1843 by H.R. Robinson.|H.R. Robinson 142 Nassau St. New York, Lithy in all its branches.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 71.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1843-2.

A cynical look at the opposition to American annexation of Texas during the 1844 campaign. At the head of a motley procession is Whig candidate and professed anti-annexationist Henry Clay, riding a raccoon (which looks more like a fox). He is followed by three groups of men. The first (right) are the "Hartford Convention Blue-Lights," who shout, "God save the King!" and "Millions for Tribute! not a cent for defence Go it Strong!" Next (center) is a line of "Sunday Mail Petitioners," led by Clay's strongly religious running-mate Theodore Frelinghuysen, riding a donkey and dressed in clerical robes. They represent the proponents of eliminating postal service on Sundays in the United States, whose campaign was criticized by many as a threat to the separation of church and state. One of them remarks, "I go for the Good old times! wholesome, Fine and Imprisonment!" Prominent antislavery advocate William Lloyd Garrison leads the third group. He displays the banner of "Non Resistance, No Government No Laws--Except the 15 Gallon Law!" His folllowers are the "Abolition Martyrs" (far left), who have been tarred-and-feathered for their activism.|Entered . . . 1844 by J. Baillie.|Lith. & pubd. by James Baillie 118 Nassau St. N.Y.|Signed: H. Bucholzer.|The Library's impression was deposited for copyright on August 26, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 77.|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 1844-43.

A figurative portrayal of Whig candidate Winfield Scott's failure in the 1852 presidential contest, attributed by the artist to his alliance with abolitionist interests. Scott is hoisted aloft via a pulley system by various influential supporters, including (left to right): an unidentified man, New York "Times" editor Henry J. Raymond, black abolitionist Frederick Douglass, Boston editor and abolitionist William Lloyd Garrison, Pennsylvania representative David Wilmot, and New York senator William Seward. They try to haul him up to the "President's Chair," which sits on a gallows-like structure, but the rope snaps owing to the "Free Soil" and "Abolition" weights chained to Scott's waist. Scott's supporters fall in unison to the left. Raymond: "You might have known them cussed weights would break the rope!" Seward:"Thus the noble Cesar fell, and you and I & all of us fell down and bloody Locofocoism flourished over us!" Scott (falling): "It may be the effect of my imagination, but it certainly feels as if something has given way!" At left, New York "Tribune" editor Horace Greeley rides a swaybacked horse carrying a "Tariff" bundle. He shouts to Scott, "Hold on General where you are just one minute till I come to help you!" Another man runs after Greeley crying, "Whoa! whoa! I say Greely don't ride that poor old nag to death!" Entering from the right-hand corner are a black man and his wife. The wife points at Scott and says, "Law! Mr. Cesar it seems to me dat de Gemman is gevine de wrong way."|Pubd. by John Childs, 84 Nassau St. N. York.|Signed with monogram: EWC (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 205.|Weitenkampf, p. 108-109.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1852-31.

Henry Clay's November 1847 address to a public meeting in Lexington, Kentucky, condemning the Polk administration's prosecution of the Mexican War and opposing the pondered annexation of all of Mexican territory is the subject of the artist's attack. Clay's speech was widely published and was endorsed by influential New York editor Horace Greeley. Here the Whig statesman's pacifism is depicted as insincere and politically motivated, and Greeley is shown as unpatriotic. A two-faced Clay hands a pair of pistols to his son Lt. Col. Henry Clay (in uniform, far left). The younger Clay was an officer in the Mexican War and was killed at Vera Cruz in February 1847. The elder Clay says, "Take these pistols, my son, & use them honorably. May they do good execution on the foes of your country." On the other side he addresses Greeley and several others, vowing, "Down with this War-making Administration! Down with the Army who rob & kill our innocent friends the Mexicans!" Greeley (center, in pale frock coat) holds a copy of his New York "Tribune," publishing Clay's speech. His reply is, "Hurra! Hurra! These are the good old days of the Hartford Convention! It warms the very bran bread in my stomach to hear thee! Glorious Harry of the West!" The Hartford Convention, held in 1815, was an early secessionist movement in the Northeast. "Bran bread" was a well-known dietary preference of Greeley's. Behind Greeley is a cadaverous man (possibly William Lloyd Garrison, editor of the "Liberator&1), who says, "This is nuts for us. Another spoke in the non-resistance wheel!" Beside him another unidentified man, wearing plaid trousers patched in several places, throws up his hands and exclaims, "Mercy on me! what shall I do? Here I have been waiting 20 years for an office under the Whigs, & old Harry has knocked us all into the shape of a three cocked Hat." On the right stands bewhiskered New York "Courier and Enquirer" editor James Watson Webb. Outraged, he raises his fist and shouts, "What the devil is this? What success can we expect when we go against the country, and trample on the ashes of our slain Heroes?" Webb, though a Whig, supported the Mexican War brought about by the Democratic Polk administration. He is told by a smaller man, "Peace, Colonel! You'll spoil all. Don't you know it is necessary to decry the war in order to make out that Scott & Taylor are doing more harm than good, and thus keep them out of the Presidential chair, which must be filled by Harry of the West. You know our case is desperate, and so Harry must do something desperate for his own sake." On the far right a carpenter holds up a wooden peg and announces, "Gentlemen, I've made a new Wooden leg for Santa Anna. You can appoint a Clay-Whig Committee to present it to him, with a suitable address." Gen. Antonio Lopez de Santa Anna, the commander of Mexican forces, had left his wooden leg behind in his retreat from the Battle of Cerro Gordo.|Entered . . . 1847 by J. Baillie.|Lith. & published by James Baillie, 87th. Str. near 3d. Avenue, N.Y.|Probably drawn by John L. Magee.|The Library's copy of the print was deposited for copyright on November 29, 1847.|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 1847-5.

The artist attacks abolitionist, Free Soil, and other sectionalist interests of 1850 as dangers to the Union. He singles out for indictment radical abolitionist William Lloyd Garrison, Pennsylvania Free Soil advocate David Wilmot, New York journalist Horace Greeley, and Southern states' rights spokesman Senator John C. Calhoun. The three wear fool's caps and gather, like the witches in Shakespeare's "Macbeth," round a large, boiling cauldron, adding to it sacks marked "Free Soil," "Abolition," and "Fourierism" (added by Greeley, a vocal exponent of the doctrines of utopian socialist Charles Fourier). Sacks of "Treason," "Anti-Rent," and "Blue Laws" already simmer in the pot. Wilmot: "Bubble, bubble, toil and trouble! / Boil, Free Soil, / Ther Union spoil; / Come grief and moan, / Peace be none. / Til we divided be!" Garrison: "Bubble, bubble, toil and trouble / Abolition / Our condition / Shall be altered by / Niggars strong as goats / Cut your master's throats / Abolition boil! / We divide the spoil." Greeley: "Bubble, buble [sic], toil and trouble! / Fourierism / War and schism / Till disunion come!" In the background, stands the aging John Calhoun. He announces, "For success to the whole mixture, we invoke our great patron Saint Benedict Arnold." The latter rises from the fire under the pot, commending them, "Well done, good and faithful servants!"|Entered . . . 1850 by J. Baillie.|Published by James Bailley, 87th St. near 3d. Avenue, N.Y.|Title appears as it is written on the item.|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 1850-7.

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

A satire on the antagonism between Northern abolitionists on the one hand, and Secretary of State Daniel Webster and other supporters of enforcement of the Fugitive Slave Act of 1850. Here abolitionist William Lloyd Garrison (left) holds a slave woman in one arm and points a pistol toward a burly slave catcher mounted on the back of Daniel Webster. The slave catcher, wielding a noose and manacles, is expensively dressed, and may represent the federal marshals or commissioners authorized by the act (and paid) to apprehend and return fugitive slaves to their owners. Behind Garrison a black man also aims a pistol toward the group on the right, while another seizes a cowering slaveholder by the hair and is about to whip him saying, "It's my turn now Old Slave Driver." Garrison: "Don't be alarmed Susanna, you're safe enough." Slave catcher: "Don't back out Webster, if you do we're ruind." Webster, holding "Constitution": "This, though Constitutional, is "extremely disagreeable." "Man holding volumes "Law & Gospel": "We will give these fellows a touch of South Carolina."Man with quill and ledger: "I goes in for Law & Order." A fallen slaveholder: "This is all "your" fault Webster." In the background is a Temple of Liberty flying two flags, one reading "A day, an hour, of virtuous Liberty, is worth an age of Servitude" and the other, "All men are born free & equal." The print may (as Weitenkampf suggests) be the work of New York artist Edward Williams Clay. The signature, the expressive animation of the figures, and especially the political viewpoint are, however, uncharacteristic of Clay. (Compare for instance that artist's "What's Sauce for the Goose," no. 1851-5.) It is more likely that the print was produced in Boston, a center of bitter opposition to the Fugitive Slave Act in 1850 and 1851.|Signed: E.C. Del.|Title appears as it is written on the item.|Century, p. 70-71.|Weitenkampf, p. 102-103.|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 1851-6.

A pro-Democrat cartoon forecasting the collapse of Whig opposition to the annexation of Texas. James K. Polk, the expansionist candidate, stands at right near a bridge spanning "Salt River." He holds an American flag and hails Texans Stephen Austin (left) and Samuel Houston aboard a wheeled steamboat-like vessel "Texas." Austin, waving the flag of the Lone Star Republic, cries, "All hail to James K. Polk, the frined [sic] of our Country!" The Texas boat has an eagle figurehead and a star on its prow. Below the bridge pandemonium reigns among the foes of annexation. Holding onto a rope attached to "Texas" above, they are dragged into Salt River. Led by Whig presidential nominee Henry Clay, they are (left to right) Theodore Frelinghuysen, Daniel Webster, Henry A. Wise, and an unidentified figure whose legs are tangled in the rope. Clay: "Curse the day that ever I got hold of this rope! this is a bad place to let go of it--But I must!" Frelinghuysen: "Oh evil day, that ever I got into the footsteps of my predecessor." Webster: "If we let go, we are ruined, and if we hold on--Oh! crackee!" Abolitionist William Lloyd Garrison, straddling a barrel labeled "Abolition" in the river, shouts at Clay, "Avaunt! unholy man! I will not keep company with a blackleg!" referring to the candidate's reputation as a gambler.|Entered . . . 1844 by James Baillie.|Lithograph and print coloring on reasonable terms by James Baillie No. 33 Spruce St. New York.|Signed: H. Bucholzer.|The Library's impression was deposited for copyright on June 28, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 83.|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 1844-28.

The opposition of Northern abolitionists, churchmen, and political figures to enforcement of the Fugitive Slave Act of 1850 is criticized in this rare pro-Southern cartoon. In two panels artist Edward Williams Clay illustrates the abolitionist's invocation of a "higher law" against the claim of a slave owner, and the application of the same principle against the Northerner in a case of stolen textiles. In the left panel a slaveholder "Mr. Palmetto" and a federal marshal confront an abolitionist "Mr. Pumpkindoodle" and a garishly dressed, runaway slave "Pompey" in a warehouse or shop interior. On the counter is a copy of the newspaper the "Emancipator." Palmetto: ". . . I've come here to take that fugitive slave who belongs to me, according to the provisions of the U. S. law! Officer do your duty!" Pumpkindoodle (handing a pistol to the slave): "What! seize my African brother! never! I dont recognize any U.S. law! I have a higher law, a law of my own. here Pompey take this pistol and resist to the death! if he attempts to take you!" Pompey (trembling): "Ye yes sa! I'll try, cause brudders [antislavery senator from New York William H.] Seward and [abolitionist William Lloyd] Garrison says its all right; and so does Parson Squash! But I'm mighty feared." Federal marshal: "Whew! I think I'd better make myself scarce!" In the panel on the right, the same abolitionist approaches the seated slaveholder in the latter's shop. A sturdy slave "Cesar" and a grinning attendant stand by. On the counter are several bolts of fabric, labeled "Bay State Shawls," "Cotton Shirting," "Domestic Prints," "Amoskeag Ticks," "Lowels Negro Cloth" and "Hamilton Long Cloth." A copy of the "Charleston Mercury" lies open on Palmetto's lap. Pumpkindoodle: "Look here Mr. Palmetto them 'ere goods is mine! They've been stole from me, and if you dont give 'em up, I'll take the law of the land on you!" Palmetto: ". . . They are fugitives from you, are they? As to the law of the land, I have a higher law of my own, and possession is nine points in the law. I cant cotton to you. Kick out the abolitionist Cesar." Cesar: "Of course Massa. De dam Bobolitionist is the wus enemy we poor niggers have got." |Entered . . . 1851 by E.W. Clay . . . Southern District of N.Y.|Pub. at 152 Nassau St. corner of Spruce N.Y.|Signed with initials: E.W.C. (Edward Williams Clay).|The Library's impression of the print was deposited for copyright on January 22, 1851.|Title appears as it is written on the item.|Century, p. 70.|Weitenkampf, p. 103.|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 1851-5.

Garrison, William Lloyd. “To The Public”. The Liberator. January 01, 1831. From Teaching AmericanHistory. https://teachingamericanhistory.org/document/to-the-public/ (accessed January 19, 2022).Description: First page of the inaugural issue of this anti-slavery newspaper.