Prints number 1828-5 through 1828-10 make up a series of election tickets for John Van Laer Mcm.ahon and George H. Steuart, Democratic candidates for Baltimore delegates to the Maryland General Assembly in 1828. Each ticket bears a woodcut emblem and a motto. 1828-5 has a bust portrait of Jackson within an oval surmounted by an eagle, and flanked by American flags and cannon. The tickets were probably produced in 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 1828-5.

Election ticket with image of a primitive locomotive pulling two freight cars.|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 1828-7.

One of James Gordon Bennett's perennial editorial campaigns against the Catholic bishop of New York John Hughes is the subject of "Jamie & the Bishop." On the left Scottish-born "Jamie" Bennett, a quill pen behind his ear, shoots a clyster at the archbishop, saying, "Hoot awa mon, this is the best weapon in the College of Pharmacy, & mickle dirty water can I fling with it mon!" "Dirty water" is probably a reference to the notoriously squalid form of journalism practiced by Bennett in his newspaper, the New York "Herald." Hughes retaliates with a swing of his crozier, saying, "With all the power of Holy Church will I assail thee, most reprobate & contemptible viper." Behind Hughes stands an Irishman, a gin bottle in his pocket and club in his hand. He growls, "Be Jasus shtand back! your honor's worship, & let me have a shlap at him wid the shillaly!" Bennett is offered support by another Scotsman, who scratches his back against a nearby lamp-post, "Wait a bit, Jamie, till I've scratched my bock & I'll lend yees a hand, mon."|Entered . . . 1844 by James Baillie.|Lithography & print coloring on reasonable terms by James Baillie No. 33 Spruce St. New York.|Signed: H. Bucholzer.|Title appears as it is written on the item.|The Library's impression of the print was deposited for copyright on July 5, 1844.|Weitenkampf, p. 83-84.|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 1844-30.

Entered according to Act of Congress in the year 1865 by Gibson & Co. in the Clerks Office of the District Court of the United States for the Southern District of Ohio.|Inscribed in ink below title: Filed June 19 1865.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Another state of no. 1861-23, with the addition of a skull and crossbones drawn on Davis's chest.|Probably published by Currier & Ives, New York.|Title appears as it is written on the item.|Weitenkampf, p. 129.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-24.

A caricature of Jefferson Davis, probably issued not long after the bombardment of Fort Sumter, but certainly postdating his February 1861 election as president of the Confederacy. Davis is shown standing on a gallows, draped in the Confederate flag and wearing on his head a misshapen Phrygian cap. Under him is a "Secession Trap" door. He anticipates his drop saying, "O dear! O dear! I don't really want to secede this way--I want to be let alone.'" To the gallows crossbar is nailed a "Letter of Marque." (See "The Southern Confederacy a Fact!!!," no. 1861-22.) Below stand several observers, including many prominent secessionists who await their own execution with nooses around their necks. They are (left to right) Secretary of State Robert Toombs, Gen. P.G.T. Beauregard, Vice President Alexander Stephens, and South Carolina governor Francis W. Pickens. Each of them speaks. Toombs: "I begin to feel weak in the knees!" Beauregard: "Oh Jeff! Jeff! is that the elevated position that you promised me?" Stephens: "Alas! Alas! I prophesied in November that secession would be the death of us." Pickens is still defiant, saying: "Can it be possible that they will dare to hang a gĚ_Ąentleman from South Carolina?'" Another state of the print, with skull and crossbones drawn on Davis's chest, was also issued (evidently by Currier & Ives) under the title, "Jeff Davis, on His Own Platform" (no. 1861-24). |Probably published by Currier & Ives, New York, in 1861 or 1862.|Title appears as it is written on the item.|Weitenkampf, p. 129.|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 1861-23.

An illustrated sheet music cover for an anti-Confederate comic song. Confederate president Jefferson Davis stands on a bale of cotton and asks John C. Breckinridge, former U.S. Vice President and fellow secessionist, to "Black Me." Breckinridge, in military uniform, complies and begins to paint Davis's face with blacking. Around Breckinridge's feet coils a "Copperhead," symbol of the Peace Democrats. Another snake winds around the broken, inverted staff of a Union flag. At right a grinning black man sits on boxes of "Butler's Blacking" and holds a tin of blacking in his hand. The name "Butler" probably refers to Gen. Benjamin F. Butler, a figure despised in the South. Among other things, Butler had forced the Confederacy to recognize the military status of U.S. Negro troops. At left under the heading "Memminger's Funeral Pile," bare-chested Confederate secretary of the treasury Christopher G. Memminger is partially submerged in a pile of C.S.A. bonds. Under his management, the Confederate Congress issued so many bonds that the people doubted its ability to redeem them, and prices skyrocketed. "Repudiation" appears in large letters on one of the bonds.|Alexander McLean lith.|Entered . . . 1864 by Mrs. Eunice Bussett . . . Missouri.|Published for the Author by Endres & Compton, no. 52, 4th St., St. Louis.|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 1864-43.

Entered according to Act of Congress, in the year 1865, by J. Hoey, in the Clerk's Office of the District Court of the United States for the Southern District of New York. J. Hoey, designer and engraver on wood, Room 11, 160 Fulton St., New York.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Another comic version of Confederate President Jefferson Davis's ignominious capture by Union troops in May 1865. (See also "The Chas-ed "Old Lady" of the C.S.A.," no. 1865-11.) Here Davis, clad as a woman and holding a wooden pail, is discovered by a lone trooper, Benjamin Dudley Pritchard of the Fourth Michigan Cavalry. The soldier lifts the skirts of the fugitive to reveal a pair of black boots. Davis's wife (at right) protests, saying, "Only my mother."|Entered . . . 1865 by Lee & Walker . . . Pa.|Philadelphia, Lee & Walker, 722 Chestnut St.|Published for the benefit of the Western Sanitary Fairs of Chicago, Ill. and Milwaukee, Wis.|The Library's impression of the sheet music cover was filed for copyright on June 28, 1865.|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 1865-19.

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

Another version of Jefferson Davis's capture by Union cavalry. (See "The Chas-ed "Old Lady" of the Confederacy," no. 1865-11.) The image appears on the cover of a musical piece dedicated to Davis's captor, "Lieut. Col. D. B. [sic] Pritchard, 5th Mich. Cavalry," Davis, in a dress and bonnet and clutching a Bowie knife, flees through the woods with Union troops in close pursuit. One federal soldier has fallen down in his attempt to catch Davis.|Entered . . . 1865 by G.D. Russell & Company. |Franklin N. Carter Lith. Boston.|Published by G.D. Russell & Company 126 Tremont, opp Park St.|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 1865-14.

An illustrated election ticket for the presidential campaign of 1836. Oddly, the ticket lists Ohio's Democratic electors for Van Buren while making a vicious and obscene slur on the wife of his running-mate Richard M. Johnson. It seems to reflect the widespread internal dissatisfaction with the party's choice of Johnson as vice-presidential candidate. The image is of a black woman, supposedly Johnson's mulatto mistress Julia Chinn. She sits on a small knoll holding a bag, and says, "Let ebery good dimicrat vote for my husband, and den he shall hab his sheer ub de surplum rebbenu wat is in my bag." Evidently "surplum rebbenu" refers (at least on one level) to the Distribution Act, popularly known as the Surplus Bill, providing for the distribution of surplus federal revenue among the states. The bill was signed by Andrew Jackson in June 1836, to aid Van Buren's campaign. (See "Caucus on the Surplus Bill," no. 1836-9 ). Beneath her are the words "She plucks Dick [i.e. Johnson]--and Dick plucks you--and Van [Buren] plucks Dick." Below the title are two quotes, possibly campaign cries, "Go it, ye Cripples!" and "The people will it!!!" Three other Democratic tickets, apparently from the same press, are also included here (see nos. 1836-16, -17, and -19).|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 1836-18.

Northern rejoicing at the end of the Civil War often took the form of vengeful if imaginary portrayals of the execution of Confederate president Jefferson Davis. Here abolitionist martyr John Brown rises from the grave to confront Davis, although in actuality the latter had nothing to do with Brown's 1859 execution. Brown points an accusing finger at Davis, who sits imprisoned in a birdcage hanging from a gallows. Davis wears a dress and bonnet, and holds a sour apple. Below, black men and women, resembling comic minstrel figures, frolic about. (For Davis's female attire, see "The Chas-ed "Old Lady" of the C.S.A.," no. 1865-11.) Since the beginning of the war Union soldiers had sung about "hanging Jeff Davis from a sour apple tree." Davis's actual punishment was imprisonment at Fortress Monroe after his capture on May 10, 1865.|Entered . . . 1865 by G. Querner . . . D.C.|Title appears as it is written on the item.|"Image of America," p. 81.|"The Confederate Image," p. 89.|Weitenkampf, p. 148.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1865-16.

An anti-British satire, reflecting American enragement at Britain's tightening of restrictions on territorial waters open to American fishermen off the coast of Canada. In July 1852, England notified the United States of its intention, contrary to previous understandings, to curtail American fishing within a three-mile limit of the Canadian provinces, and to close off the Gulf of St. Lawrence and much of the Bay of Fundy altogether. This threat to their fishing industry was particularly alarming to Americans in the northeastern United States. Clay's cartoon features a stout figure of John Bull (center) draped with lines of fish, confronted by Brother Jonathan near the home of an unemployed fisherman. Jonathan holds out a document "Treaty of Ghent. Right of fishing in the Bay of Fundy" toward John Bull, and snarls, "Why consarn you, you tarnal old critter, looke'e here, you wont deny your own hand writin will you--And haven't we been fishin in the Bay for thirty years without any muss--I want to know--Du tell?" John Bull replies, "Don't talk to me about treaties and rights! When did I ever keep a treaty when it suited me to break it? and as to other peoples rights, they may look out for themselves, I can take care of my own!" To the right of John Bull stand a gentleman and frontiersman. The gentleman holds his nose, commenting on the Englishman's scent, "A very ancient and fish like smell! About as musty as his claim for the Navigation of the Mississippi:" The frontiersman wears buckskins and a coonskin cap, and holds a long rifle. He expounds, "May I be kicked to death by grasshoppers if he aint the greediest old shark I ever saw. By the Eternal! as the old General [i.e., Andrew Jackson] used to say, he'll want another New-Orleans lesson!" On the left, a sailor sits forlorn near the door to his cottage, his wife and child consoling him. His nets are hung out. He laments, "There goes my poor old fishing smack; taken by that d--d Britisher--All I can do, Sally, is to go on board a man [of] war, and pay them back in bullets!" Beyond, two ships sail on the water.|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. 207.|Weitenkampf, p. 111.|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 1852-4.

Tammany Hall's political manipulation of the New York Fire Department is the artist's obvious target here, although the print's precise meaning is unclear. The frame of reference may be the creation, in 1839, of a number of "paper" fire companies by the Tammany-controlled city council, a measure devised to give them a significant number of new voting representatives on the Board of Foremen and Assistants. The companies were organized by loyal Tammanyites during June of that year and nicknamed "June Bugs" by an indignant public. The artist shows a number of firemen spraying water on a fire in the building of "Willis, Nichols, Howe, Timpson, Lee & Co." On the backs of their coats symbols, indicative of their trades or businesses (including a druggist's mortar and pestle, a poundcake, a mason's trowel), have been painted by a man who runs off to the right announcing, "24 new Companies. Mr. Chief at your service." Conspicuous on the far left is a man, possibly Democratic mayor Isaac Varian, who watches saying, "This 'werry' plan I recommended in my Message." From the new "firemen" come the following remarks: "Collecting taxes pays better than this." "I must be either Commissioner or property saver." "I'll bet $100 he'll be Chief." "I didn't know there was to be an election tomorrow night" (possibly alluding to the controversial 1839 election of a new chief engineer of the Fire Department). "James I think they'l get enough this time." Two firemen on the right hold amplifying horns. One says, "Lay it on the table eh! John we must pay 'em for that if we don't I'll be damned." The other, with a wagon wheel on the back of his coat, says, "Up with her up to the hub by J--s." A fireman leaning from a window shouts, "Play away no. 140 we want your assistance we can't get down."|H.R. Robinson's Lith; 52 Cortlandt, & no. 2 Wall St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 52.|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 1839-16.

A sheet music cover illustrated with an ornamental vignette and motifs alluding to the Know Nothing party. In the center a nocturnal procession of men in tricornered hats, holding bayonets and a banner with a skull and crossbones. From the crossbar of the banner hang a raccoon and a cock. The scene is framed by a grouping of American flags with a liberty cap and an eagle and shield (above) and by two trees. A raccoon crouches on the limb of a tree at left. Below are pumpkin vines and a rooster standing on a ledge near cornstalks. The raccoon, pumpkins, and cornstalks, all indigenous to North America and distinctly non-European, symbolize the xenophobic orientation of the nativist party. Winner & Shuster were prolific Philadelphia music publishers.|Philada. Published by Winner & Shuster, 110 North Eighth St. New York, Firth, Pond & Co. Boston, G. P. Reed & Co. Indianapolis, A. E. Jones & Co. Cincinnati, W. C. Peters & Son.|The Library's impression of the music sheet was deposited for copyright on August 16, 1854.|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 1854-2.

A caricature of Andrew Jackson as a despotic monarch, probably issued during the Fall of 1833 in response to the President's September order to remove federal deposits from the Bank of the United States. The print is dated a year earlier by Weitenkampf and related to Jackson's controversial veto of Congress's bill to recharter the Bank in July 1832. However, the charge, implicit in the print, of Jackson's exceeding the President's constitutional power, however, was most widely advanced in connection not with the veto but with the 1833 removal order, on which the President was strongly criticized for acting without congressional approval. Jackson, in regal costume, stands before a throne in a frontal pose reminiscent of a playing-card king. He holds a "veto" in his left hand and a scepter in his right. The Federal Constitution and the arms of Pennsylvania (the United States Bank was located in Philadelphia) lie in tatters under his feet. A book "Judiciary of the U[nited] States" lies nearby. Around the border of the print are the words "Of Veto Memory", "Born to Command" and "Had I Been Consulted." |Title appears as it is written on the item.|Weitenkampf cites a variant with 20 lines of letterpress below, attacking Jackson as "a king who has placed himself above the law."|Weitenkampf, p. 26.|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 1833-4.

Zachary Taylor's presidential nomination at the Whig national convention in Philadelphia on June 9, 1848, is represented as a severe blow to Lewis Cass, nominated by the Democrats a few weeks earlier. The extremely simple cartoon shows a cannon ball, marked with a portrait of Taylor, expelled by a cannon marked "Philadelphia Convention." The ball slams Cass backward into a large hat.|Entered . . . 1848 by P. Smith. |Pub. by Peter Smith [i.e., Nathaniel Currier], 2 Spruce St. N.Y.|The Library's impression of the print was deposited for copyright on July 10, 1848.|Title appears as it is written on the item.|Blaisdell and Selz, no. 20.|Weitenkampf, p. 91.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1848-18.

A sheet music cover illustrated with the American nativist device of an eye in an aureole of light. The watchful eye (a commonplace in Masonic iconography) here symbolizes the Know Nothings' vigilance against "foreign influence" in American politics and government. For an earlier instance of the nativist use of this motif see the certificate of the Order of United Americans (no. 1848-1).|Entered . . . 1854 by J. Couenhoven. |Philadelphia James Couenhoven 162 Chesnut St.|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 1854-1.

An illustrated advertising label for soap manufactured in Boston, interesting for its imagery and allusion to the popular "Know Nothing" or nativist movement. In the foreground are two American Indians, emblematic of the movement's prejudice against the foreign-born. In the lower right is a seated brave, leaning against a rock and holding a pipe. Above him a large American flag, with thirty-one stars, unfurls across the main picture area. The flag is supported in the upper left corner by an Indian woman, who points to the words "Know Nothing Soap" emblazoned on it. In the background is a landscape with tepees and a campfire on the bank of a stream.|Entered . . . 1854 by G.A. Hill . . . Massachusetts.|Geo. A. Hill & Co. 56 Federal Street, Boston. L.H. Bradford & Cos. Lith.|The Library's impression of the label was deposited for copyright on October 20, 1854.|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 1854-3.