A ludicrous contrast of two influential Democrats, the obese Alabama Representative Dixon Hall Lewis and gaunt "Globe" editor Francis Preston Blair. The artist comments upon the unlikely alliance established in early 1840 between the Van Buren administration and certain Southern legislators in the circle of John Calhoun. Insinuation of Blair's corruption is also made. Lewis sits on a bench, holding his hat and walking stick before him. Blair embraces him with claw-like hands, saying, "I think Buchanan [i.e., Democratic senator from Pennsylvania James Buchanan] is making forcible illustrations of the bad effects of an inflated currency. Eh! my fat 'all y'?" Lewis responds, "Why I think, my "galvanized" friend that "you" & "I" illustrate best contraction and expansion! but d--n it Frank, it's strange you can't get fatter upon your Congressional corncrib & Treasury pap?" Blair was once called "a galvanized corpse" by South Carolina Congressman Francis W. Pickens. Two "Globe Reporters" in a gallery on the right remark, "I say Tom there is a hint in the way of geography--showing the comparative size of "Alabama" & the Globe." and "Yes! I think L--s appears quite resigned to the pressure of our lean governor's "specie claws!" "Expansion & Contraction" appears to be by the same hand as "Locofoco and Nulification Nuptials" (no. 1840-46).|Printed & published by H.R. Robinson, no. 52 Cortlandt St. N.Y. & Pennsa. Avenue Washington D.C.|Probably drawn by J. McGouldrick.|Title appears as it is written on the item.|Weitenkampf, p. 61.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-47.

An anti-Jackson satire, critical of the President's federal treasury policy and of Vice-President Van Buren's influence on the administration's fiscal program. The print specifically attacks Jackson's plan to discontinue federal deposits in the Bank of the United States, and his "experiment" of placing them in selected state banks instead. The artist employs the image of a ship, a contemporary symbol of commerce, to forecast the ruination of American trade as a result of these measures. Jackson stands on a platform near the stern of the ship "Experiment," wielding a whip over eight crewmen who sit at spinning wheels. The ship is moored and upturned barrels sit on top of each of its three masts. A broom is tied to the foremost one, indicating that it is for sale. Rats scurry about the deck. Martin Van Buren stands behind Jackson near a padlocked door to the hold marked "Deposits" and "No Bank." A second ship burns in the distance. The various sailors comment: "Shiver my timbers Bob, if we ain't overrun with these blasted "Rats --" they eat up all our rations! I wish old Veto there, would drive 'em all overboard with little Martin at the head of them." "I say Jack I'm damn'd if this is like getting fifteen dollars a month is it?" "No, No, Shipmate, curse these spinning Jennies, its work only fit for lubbers and old women." "There is the old Constitution burning up! Her owners having no further occasion for her and cant afford to keep her in repair!" "Well what's the use of a Ship war? She's meant to protect "Commerce," but we've got none to protect!" Jackson: "No grumbling you lazy dogs! Perish commerce! perish trade! Andrew Jackson knows what's best for the Country, By the Eternal, Don't I Martin?" Van Buren: "To be sure you do if you mind what I tell you - Don't give up the ship General or I shall not succeed you!"|New York. Published by Anthony Imbert No 104 Broadway. |Title appears as it is written on the item.|Weitenkampf, p. 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 1833-8.

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.

Entered according to Act of Congress, in the year 1838, by H.R. Robinson, in the Clerk's Office of the District Court of the United States of the Southern District of New York. Printed & published by H.R. Robinson, 52 Cortlandt Strt. New York.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A satire on the failure of the combined efforts of Henry Clay, Daniel Webster, John Calhoun, and Nicholas Biddle to thwart Andrew Jackson's treasury policy. In 1833 Jackson ordered that federal deposits be removed from the Bank of the United States, a controversial action that utlimately led to the Bank's destruction. To the right, beneath columns marked "Pensylvania," "Virginia," "New York," and "Georgia," sits Andrew Jackson smoking a clay pipe and conversing with Jack Downing. Behind him are strong boxes of "Deposites" the topmost of which is marked "Foundation for a National Bank." Leaning on them is the figure of Liberty with a staff, liberty cap and flag reading "Public confidence in Public funds." At her feet is an eagle with shield, arrows and lightning bolts. Downing: " . . . Gineral, this is a real shiver de freeze! You've sent Clay to "pot" eny how "nullified Calhoun," made "Webster" a "shuttle cock and busted Biddle's Bank biler!" Jackson: "Aye, Aye, Major Downing they thought they'd give us a dose of Congress Water, but they find what we're "Bent on" and we've given 'em a hard Poke into the bargain!" He refers to support for his program spearheaded in Congress by Missouri Senator Thomas Hart Benton. On the left a marble-based water fountain explodes, hurling aside (clockwise from upper left) Nicholas Biddle, Daniel Webster, Henry Clay, and John Calhoun. Biddle: "The fountain from the which my current springs or else dries up to be discarded thence,--" Webster: "Thus vaulting ambition doth o'er leap itself and falls on t'other side." Clay: "Sic transit gloria mundi. "Le jeu est fait, The game is up." Calhoun (losing his cockaded hat and bayonet): "United "we" stand, divided I fall. Fonte nulla fides." Also thrown from the fountain are a "National Gazette," "Ginger bread," a bottle of "Boston Pop," and a plank "American System." ":Explosion. . ." is one of the few satires favorable to Jackson on the Bank issue. It is very similar in terms of composition and draughtsmanship to another pro-Jackson satire "The Downfall of Mother Bank" (no. 1833-9), and could easily be by the same artist. Both are signed with the commonly-used pseudonym "Zek Downing." "Explosion" was recorded as deposited for copyright on February 1, 1834.|Drawd off after natur by the real Zek Dowining Neffu . . . .|Entered Southern District of New York 1834 by Anthony Imbert. |Title appears as it is written on the item.|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 1834-6.

A riot scene: German parade musicians (possibly accompanying touring ballerina Fanny Elssler) are attacked and beaten with their own instruments by a gang of toughs (or "Soap-Locks" for the long, soaped hair locks fashionable among them) on a New York street. Onlookers watch from the windows of a nearby building. The cries of the assailants and their victims appear in the lower margin. They range from "Dam you I'll make you remember new years night," "Dam the Dutch!" and "This must be the fellow who shot Armstrong" (from the assailants) to "I am Murder'd" and "Fuerst, help! help!" (from the Germans). A man in the middle of the mob shouts, "I command the Peace." The less-than-sympathetic portrayal of the victims, and the scene's unmistakable comic undertones betray a definite anti-foreigner sentiment on the artist's part. The artist is Napoleon Sarony, judging from the print's pronounced stylistic and technical similarity to his "The New Era or the Effects of a Standing Army" (no. 1840-3). "Fanny Elssler's Last Serenade" was registered for copyright on August 17, 1840.|Entered . . . 1840 by H.R. Robinson.|Printed & published by H.R. Robinson, no. 52 Cortlandt St. New York.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 69.|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 1840-2.

A scornful look at the reception of German ballerina Fanny Elssler in Baltimore. The New York artist ridicules the adulation given the touring performer by the Baltimore public. During her July 1840 visit there, an enthusiastic group of young men removed the horses from Elssler's carriage and pulled it through the streets themselves. Here Elssler dances in an open carriage driven by a black coachman in livery and drawn by well-dressed men with asses' heads, who wave their hats in the air and shout "Eehow!" A bespectacled, pipe-smoking man with a violin prostrates himself before the dancer. Coachman: "By golly dis goes ahead of Jim Crow! I tink the New Yorkers cant beat dis unless dey gib Miss Fanny de freedom ob de City in gold snuff box!" Elssler: "My friends I tank you very! I understand you! I shall remember you for long "years!"" The print is very much in the style of Edward Williams Clay's "The Almighty Lever" (no. 1840-58). |Entered . . . 1840 by J. Childs.|Probably drawn by Edward Williams Clay.|Published by J. Childs 90 Nassau St. N.Y.|The Library's impression of the print was deposited for copyright on August 31, 1840.|Title appears as it is written on the item.|McCauley, no. E24.|Weitenkampf, p. 69.|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 1840-51.

An illustrated anti-Whig broadside, designed to combat the "Log Cabin campaign" tactics of presidential candidate William Henry Harrison. The text warns the people of New Orleans of Whig election propaganda: "People of Louisiana, above you have an accurate representation of the federal "Log-Cabin" Trap, invented by the "bank-parlor, Ruffle-shirt, silk-stocking" Gentry, for catching the "votes" of the industrious and laboring classes, of our citizens, of both town and country. . . . The "log cabin" is raised to blind you with the belief, that they are your friends . . ." The author then goes on to describe Whig campaign techniques as relying on deception, alcohol, and visual enticements, and as an "appeal to [the people's] passions, with mockeries, humbugs, shows, and parades. . . ." In the illustration a man sucks at a barrel of "Hard Cider" linked by a trip-rod to a precariously tilted log cabin. Above is the "Federal Bank Whig Motto. We Stoop to Conquer."|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 1840-24.

Another mock shinplaster (see also nos. 1837-9 and -10 above). Again the artist attributes the shortage of hard money to the successive monetary programs of presidents Jackson and Van Buren, particularly to the former's pursuit of a limited-currency policy and his dismantling of the Bank of the United States. In the drawing Jackson rides a pig headlong toward a precipice, followed by congressional ally Missouri senator Thomas Hart Benton, on an ass. Both pursue the "Gold Humbug" butterfly, symbolizing their efforts to restrict the ratio of paper money in circulation to gold and silver supplies. Van Buren, riding a fox, cunningly deviates from this disastrous course and follows a downward path leading toward the Bank. Jackson (reaching for the butterfly): "By the Eternal!! I'll have it, Benton!" Benton (whipping his mount with a quill pen): "Go it thou Roman!! a greater man ne'er lived in the tide of times.!!" His quill is labeled "Expunger," an allusion to Benton's extended campaign to "expunge" or remove the 1834 Senate censure of Jackson from the Congressional Record. Van Buren (losing his crown): "Although I follow in the footsteps of Jackson it is &2expedient, &1at &2this time &1to & 2 deviate & 1a little!!" Below the precipice Nicho;as Biddle, Bank of the United States president, sights Van Buren from atop his bank. The note is endorsed by the publisher, who promises "to pay Thomas H. Benton, or bearer, Fifty Cents, in Counterfeit Caricatures at my store . . . " It is dated May 10, 1837, the date of the New York banks' emergency suspension of specie payments.|Entered . . . 1837 by H.R. Robinson.|Published by H.R. Robinson, 52 Cortlandt St. N.Y.|The print was actually registered for copyright on June 10 of that year.|Title appears as it is written on the item.|Weitenkampf, p. 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 1837-11.

A woodland fantasy satirizing the prominent figures of the 1844 election campaign. The artist again favors Whig candidate Henry Clay, the "Kentucky Coon," who is shown overwhelming Democrat James K. Polk, the "Tennesse Alligator," in a wrestling contest. Clay exults, "It is no use to try to poke this nondescript "animal" (i.e., Polk) against the Peoples Coon." (Oddly, the head on the alligator here bears little resemblance to the dark horse candidate.) About the forest lurk several other animals with the heads of Democrat and Whig notables. On the right stands John C. Calhoun, as a camel, and Andrew Jackson, as a giraffe. Calhoun carries on his back a cornucopia filled with turnips and declares, "We bring peace and plenty!" Jackson: "Altho I am one of those exalted characters who can "overlook" almost everything, yet I cannot overlook this disaster to our cause!" Several rats scurry past the two Democrats, one of them being Martin Van Buren, who says "I'm off for Lindenwald, basely deserted by my friends." Lindenwald was the name of Van Buren's estate, whence he retired after losing the Democratic nomination to Polk. To the left incumbent John Tyler, as a rattlesnake, coils around a tree. Tyler, who acceded to the presidency on William Henry Harrison's death, was considered a traitor to the Whig cause. On the ground nearby is a bear, Daniel Webster, who says (referring to Polk), "I'll put my foot on him when you are done, and that will sink him out of sight." Running ahead of Webster is hard-money advocate Thomas Hart Benton, as a boar with a sack of "Mint Drops" on his back. He exclaims, "That Coon does not, evidently belong to our family, but he is a ROARER!" Perched on a branch above is an American eagle with his wings outspread, a common patriotic emblem.|Entered . . . 1844 by James Baillie.|Lith & pub by James Baillie 33 Spruce St. N.Y.|Signed: H. Bucholzer.|The Library's impression of the print was deposited for copyright on June 26, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 76.|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 1844-24.

An emblematic illustrated cover for a piece of Millard Fillmore campaign music, composed by Frederic Southgate and copyrighted in 1856. The figure of Columbia or Liberty, surrounded by clouds and an oval frame, stands on a globe and holds a shield and American flag. She wears classical dress and a Phrygian cap. An eagle descends toward her from the clouds. Behind Columbia is a burst of light from the rising sun. At her feet is a small bouquet.|Published by Henry McCaffrey, Baltimore.|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 1856-7.

Union soldier, followed by African American in broken chains, hurls Jefferson Davis (dressed as a woman) who drops a bag of "stolen gold" over the edge of a cliff; Satan waits below the cliff with a pitchfork.|Copyright by Oscar H. Harpel.|Lithograph designed by Burgoo Zac.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Copyright 1875 by J.W. Shiveley, Alexandria, Va. Endicott & Co. Lith. 57 Beekman St. N.Y.|Promotional print published to advertize a pamphlet, Lectures by the first candidate out for President of the United States in 1876 / by J.W. Shiveley of Alexandria, Virigina.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A patriotic broadside illustrated with emblems of the United States composed chiefly of typographic elements. A large central framework incorporates a small "Temple of Freedom" surmounted by a small Liberty figure, and containing the words "The Federal Constitution." On each side are oval bust portraits of Presidents (left to right) Washington, Adams, Jefferson, and Madison. Above them are small vignettes representing (on the left) Agriculture and Domestic Manufactures, the "immoveable pillars of the Independence of our country," and (on the right) Commerce, "a strong support to our national edifice." In the upper section of the framework are the seal of the United States and a listing of the names of the seventeen states with their 1810 census figures. Various quotations and brief texts are included, the longest of which are an account of George Washington's resignation of his commission, a description of the geography, government, and people of the United States, and the song "Columbia" written by "Dr. Dwight, President of Yale College."|Entered . . . the Fifteenth Day of January, 1812, by Jonathan Clark, of Albany, New-York.|Printed by and for the Authors, at the Press of R. Packard, no. 51 State-Street, Albany.|The broadside is purported to be the eighth edition, of June 1812, and "Executed with American Materials."|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 1812-1.

Entered according to Act of Congress in the year 1865 by H. & W. Voight in the Clerks Office of the District Court for the Southern District of New York. Published by H. & W. Voight. Lith. by Kimmel & Forster, 254 & 256 Canal St. N.Y.|Inscribed in ink lower right: March 31 1865.|Stamped lower left: Copyright Library May 5 1865.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A facetious, and somewhat racist, look at public opinion surrounding the controversy over American fishing rights in British-controlled waters off North America. (See also "John Bull's Fish Monopoly," no. 1852-4.) Four men, all stereotypes, debate the issue and agree on American claims to the rights. A Yankee (seated, far left) motions with his cigar and declares, "I go in for liberty to ketch all the fish I want--I've been in the fish bizness myself and sold porgies for two year on the Avenue." A knock-kneed black man in a wide-brimmed hat and patched trousers agrees, "Ah dat's it Boss! Den you knows all about it ob course. I neber sold porgies, but I hab opened clams and biled lobster. & I tink the freedom ob the seas belongs to us--I does for sartain." To emphasize the point, he stabs the palm of his hand with his forefinger. A Dutchman smoking a large meerschaum pipe adds, "Vell den vot shall I told der British? I shall said go to der duyvil mit your dreaties! Codfish shall pe more goot as de dreaties--I shall ketch de fish & you was ketch de dreaties, py Dam!" At far right stands a bewhiskered Irishman, his hand resting on what appears to be a butter-churn(?). He concludes, "Arrah be aisy now! Only put little Frank Pierce [i.e., Democratic presidential nominee Franklin Pierce] in the chair and he'll settle the question in a jiffy." The collection of character types as well as the drawing style in the print are recognizable as the work of Edward Williams Clay. Compare it, for instance, with his "Seven Stages of the Office-Seeker" and "Ultimatum on the Oregon Question (nos.&1 1852-8 and 1846-1). Reference to the candidacy of Franklin Pierce suggests that the cartoon appeared during the summer of 1852, when public concern over the issue peaked.|Probably drawn by Edward Williams Clay.|Pubd. by John Childs, 84 Nassau St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 106.|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 1852-5.

A patriotic sheet music cover for a Unionist song written by Gen. W. H. Hayward, composed and arranged by Prof. C. S. Root, and dedicated to Wilson G. Horner, Esq. Columbia, wearing a liberty cap and carrying an American flag and a sword, rides on the back of a flying bald eagle. On either side of the title panel are military trophies composed of crossed flags, shields, swords, bayonets, and other paraphernalia. The trophy on the right incorporates a pickax and spade. Below are cannons, cannonballs, sacks and barrels of powder, and a drum and drumsticks.|Ehrgott, Forbriger & Co. Lith.|Published by A.C. Peters & Bro., no. 94, West Fourth Str., opposite the Post Office, St. Louis|The Library's copy of the music sheet was deposited for copyright on December 30, 1862.|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 1862-16.

A patriotic allegory illustrating the cover of sheet music for a song composed by William Vincent Wallace with words by George P. Morris. The theme of the indissoluble union of North and South is evoked here, no doubt in the context of debate over the Compromise of 1850. The artist expresses the concept by two female figures, crowned with diadems, standing together on a globe and holding the staff of a large American flag. The arm of the North (left) encircles the neck of the maiden representing the South. Before them is a large eagle, his talons gripping thunderbolts and his breast emblazoned with the word "Union." The eagle's wings spread to enframe the lower half of the oval picture. The upper half is ringed with stars. Into the distance stretch two great rivers, past large cities, toward rising mountains.|Entered . . . 1851 by Wm. Hall & Son. |Lith of H. Hoff N.Y.|One of the Library's copies of the music-sheet was deposited for copyright on May 21, 1851. Another copy, slightly different image, is in P&P LOT 10615-34 (LC-USZ62-17449).|Published by Wm. Hall & Son 239, Broadway. New York. |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 1851-2.

Another copy, slightly different image was deposited for copyright on May 21, 1851 (M1 .A13 W; LC-USZ62-91835).|Caption card tracings: Shelf.|Copyright by William Hall & Son; lithograph by H. Hoff, N.Y.|LOT subdivision subject: Emblems and Symbols.|No known restrictions on reproduction.|Tinted.|Title and other information transcribed from caption card.|Title appears as it is written on the item.

South Carolina struggles against the outgoing Buchanan administration in an attempt to "smash the Union up!" The artist uses the age-old pictorial conceit of two parties pulling on the different ends of a cow, while a man in the middle (in this case identified as "Georgia") happily milks the beast. The cow is emblazoned with the statement, "The Union. I have a good Constitution, and can stand a pretty strong pull!" The cartoon no doubt refers to South Carolina governor Francis Pickens's attempts early in 1861 to attract other Southern states to the secessionist cause. The artist clearly sympathizes with James Buchanan's efforts to preserve the Union. As Pickens expresses his intent Buchanan vows, "Not if I can prevent it governor!" The cow also speaks, "Governor, if you pull too hard on my tail, I'll kick you into the Atlantic Ocean." Toombs chimes in, "Pull away boys!! Georgia will get the cream of this joke!!" as he draws milk into a pail labeled "City of Savannah." The artist may be referring to Georgia's exploitation of the conflict to seize federal Fort Pulaski at Savannah on January 3. (Georgia's perfidy is cited again in "The Southern Confederacy A Fact!!!," no. 1861-22.) Although the print has no imprint it is, as Weitenkampf asserts, clearly the work of Currier & Ives.|Published by Currier & Ives, New York.|Title appears as it is written on the item.|Gale, no. 2256.|Weitenkampf, p. 128.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-5.