Entered according to Act of Congress in the Year 1870 by John Walsh & Co. 37 Spring St. N.Y. in the Clerk's Off. of the Dist. Court of the U.S. for the S. Dist. of NY. Lith F. Ratellier 23 Dey St N.Y. Published by John Walsh & Co. 37 Spring St. N.Y.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

An unusually well-drawn satire on the failure of Congress to pass a national bankruptcy act before it adjourned in July 1840. The measure was passed by the Senate in May 1840 but later defeated in the House. The drawing and title of the cartoon have anti-semitic overtones. A well-dressed gentleman, evidently a Jew, grips another man by the throat, saying from one side of his mouth, "Pay me what thou owest" and from the other side, "Forgive us our debts as we forgive our debtors." The victim protests, "Have patience with me." The dialogue is taken in part from the parable of the unmerciful servant in Matt. 18:25-35. The parable tells of a servant who, pardoned by his master for owing money, put a fellow servant in jail for the same offense.|Entered . . . 1840 by John C. White.|Published by John C. White, 141 Nassau-street, New-York.|The Library's impression was deposited for copyright on September 29, 1840, and received in the Department of State on October 2.|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 1840-65.

A broadside condemning the sale and keeping of slaves in the District of Columbia. The work was issued during the 1835-36 petition campaign, waged by moderate abolitionists led by Theodore Dwight Weld and buttressed by Quaker organizations, to have Congress abolish slavery in the capital. The text contains arguments for abolition and an accounting of atrocities of the system. At the top are two contrasting scenes: a view of the reading of the Declaration of Independence, captioned "The Land of the Free," with a scene of slaves being led past the capitol by an overseer, entitled "The Home of the Oppressed." Between them is a plan of Washington with insets of a suppliant slave (see "Am I Not a Man and a Brother?" no. 1837- ) and a fleeing slave with the legend "$200 Reward" and implements of slavery. On the next line are views of the jail in Alexandria, the jail in Washington with the "sale of a free citizen to pay his jail fees," and an interior of the Wasington jail with imprisoned slave mother Fanny Jackson and her children. On the bottom level are an illustration of slaves in chains emerging from the slave house of J.W. Neal & Co. (left), a view of the Alexandria waterfront with a ship loading slaves (center), and a view of the slave establishment of Franklin & Armfield in Alexandria.|Published by the American Anti-Slavery Society, 144 Nassau-street, New-York, 1836.|Title appears as it is written on the item.|William S. Dorr, Pr.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-23.

A challenge to the Northern abolitionist view of the institution of slavery, favorably contrasting the living conditions of American slaves (above) with the lot of the industrial poor in England (below). The first scene is impossibly naive: Southern slaves dance and play as four gentlemen--two Northerners and two Southerners--observe. First Northerner: "Is it possible that we of the North have been so deceived by false Reports? Why did we not visit the South before we caused this trouble between the North and South, and so much hard feelings amongst our friends at home?" Southerner: "It is as a general thing, some few exceptions, after mine have done a certain amount of Labor which they finish by 4 or 5 P.M. I allow them to enjoy themselves in any reasonable way." Second Southerner: "I think our Visitors will tell a different Story when they return to the North, the thoughts of this Union being dissolved is to [sic] dreadful a thing to be contemplated, but we must stand up for our rights let the consequence be as it may." The second scene takes place outside a British textile factory. At left a well-dressed gentleman encounters a ragged, stooped figure, and asks, "Why my Dear Friend, how is it that you look so old? you know we were playmates when boys." The stooped figure responds, "Ah! Farmer we operatives are "fast men," and generally die of old age at Forty." Behind them and to the right an emaciated mother laments over her ragged children, "Oh Dear! what wretched Slaves, this Factory Life makes me & my children." Nearby stand a fat cleric, holding a book of "Tythes," and an equally fat official holding "Taxes." In the right foreground two barefoot youths converse. The first says,"I say Bill, I am going to run away from the Factory, and go to the Coal Mines where they have to work only 14 hours a Day instead of 17 as you do here." The second responds, "Oh! how I would like to have such a comfortable place. . . " Near them another man sits forlorn on a rock, "Thank God my Factory Slavery will soon be over." In the distance a military camp is visible. This dismal picture of the lives of the working class in manufacturing towns comes from Chapter V, Book Second, of Edward Lytton Bulwer's "England and the English," first published in 1833. In the lower margin is a portrait of "[George] Thompson the English Anti-Slavery Agitator" and the quote "I am proud to boast that Slavery does not breathe in England," with reference to "his speech at the African Church in Belknap St." Thompson made a speaking tour of New York and New England in 1850-51.|Entered . . . 1850 by J. Haven. |Published by J. Haven, 86 State St. Boston, 1850.|Title appears as it is written on the item.|Bulwer-Lytton, "England and the English, p. 174-225.|Century, p. 68-69.|Library Company, "Negro History: 1553-1903," no. 117.|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 1850-6.

Another variation on McClellan trying to straddle two horses. (See "Little Mac's Double Feat of Equitation," no. 1864-25.) The artist here predicts the victory of incumbent President Abraham Lincoln over his rival George B. McClellan. Lincoln (left) rides off on a horse "Slow and Steady," the "Union Roadster," carrying a flag "Union, the Government, Laws." As he looks back at his competitor, he declares, "This reminds me of a story I once heard out West." McClellan stands with one foot on "Mac's War-Horse," and the other on "The Peace Donkey, Fawn & Cringe." The latter carries a bag "Rebel War Debt" overflowing with notes or receipts. "Mac's War-Horse" refers to his military record, while "The Peace Donkey" represents his tacit acceptance of the Democrats' "peace at any price plank." He brags to his running mate Ohio congressman George H. Pendleton, "I've seen many a Clown ride two horses that never saw West-Point." Pendleton, dressed in a jester's costume and here called "The Ohio Clown," cracks a whip at "The Peace Donkey," entreating, "Go on, you ugly beast!" In his other hand, he holds a scroll of paper reading "Peace! Peace! Anything for Peace." At far left, a Jewish man in a carriage watches, saying, "By mine Faders Abraham, Isaac and Jacobs I peleif de Old Abe will win!"|Title appears as it is written on the item.|Weitenkampf, p. 143.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-26.

A humorous commentary on Barnburner Democrat Martin Van Buren's opposition to regular Democratic party nominee Lewis Cass. Van Buren and his son John were active in the Free Soil effort to prevent the extension of slavery into new American territories. In this he opposed the conservative Cass, who advocated deferring to popular sovereignty on the question. In "Smoking Him Out," Van Buren and his son (wearing smock, far right) feed an already raging fire in a dilapidated barn. (radical New York Democrats supporting Van Buren were referred to as "Barnburners" because in their zeal for social reforms and anticurrency fiscal policy they were likened to farmers burning their barns to drive out the rats). On the left, Lewis Cass prepares to leap from the roof of the flaming structure while several rats likewise escape below him. The artist seems to favor Van Buren, and his attempt to force the slavery issue in the campaign. The Free Soilers, unlike the Democrats, supported enforcement of the Wilmot Proviso, an act introduced by David Wilmot which prohibited slavery in territories acquired in the Mexican War. John Van Buren, adding another pitchfork of hay to the flames, exclaims, "That's you Dad! more 'Free Soil.' We'll rat'em out yet. Long life to Davy Wilmot." |Entered . . . 1848 by Peter Smith.|Pub. by Peter Smith [i.e., Nathaniel Currier] 2 Spruce St. N.Y.|The Library's impression of "Smoking Him Out" was deposited for copyright on August 12, 1848, just two days after Van Buren was nominated by the Free Soil party.|Title appears as it is written on the item.|Gale, no. 5963.|Weitenkampf, p. 92.|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 1848-49.

Another of HD's portrayals of the New York tradesman's "sober second thoughts" about his support of Democratic hard-money fiscal policies. (See also "Specie Claws," no. 1838-14.) Both prints touch upon the the depressed state of the economy, precipitated by the Panic of 1837, and its effect upon the working class. The catchphrase "sober second thoughts" recurs frequently in Whig rhetoric and cartoons of the 1840 presidential campaign. Here seven representatives of various occupations express their dissaffection with Van Buren's "Sub Treasury" and anti-currency programs. From left to right: Seaman: "Trade & Commerce are broken down, wages reduced from 16 to 12 doll[ar]s & I cannot get a Ship." Carpenter: "We are all out of employment, we cannot vote for a "Sub Treasury" Bank, or union of the Purse & Sword." Mason: "Despots always first impoverish a people, before they destroy their Rights & Liberties." Laborer: "We are in favor of Bank Bills under Five Dollars, but want no Shinplasters." Artisan (metalsmith?): "I have for many years been steadily employed at $2 per day, until recently, and now am told by my Employer that he has nothing to do & I am discharged; and how I am to get bread for my family I do not know. Carman or driver: "Commerce supports us, and we will support commerce. We drive but will not be driven, to the support of wrong measures. 'Beware of any increase of "Executive patronage." Jefferson" Smith: "Gold & Silver have their value, Industry & Integrity should have their value also."|1838 or 1839.|Comparison of figure drawing and general lithographic technique with HD's "Specie Claws" supports attribution to the same artist.|Drawn by HD (Henry Dacre?).|Lith: & publish'd by H.R. Robinson No. 52 Cortlandt St. & No. 2 Wall St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 58.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-15.

Reports of his alcoholism haunted Democratic candidate Franklin Pierce during the 1852 campaign. The matter is taken up here with mocking reference to the Maine Liquor Law of 1851, a landmark prohibition measure first passed in Maine and subsequently adopted in several other states. An obviously inebriated Pierce leans against a large tree at right, holding a bottle out toward a man who passes on horseback. The man holds a document "Maine Liquor Law" and carries a barrel of "Hard Cider" on his saddle. He wears a wide-brimmed hat and a drab outfit, indicating that he is a Quaker, among the chief supporters of the temperance movement. Quaker: "Friend that tree looks as if it was old enough to stand alone--Thee need n't hold it up any longer." Pierce: "You have the advantage of me, stranger.--My name is Frank Pierce & I'll stand as long as this tree will stand by me! I'm granite all over! give us your hand--Will you take a horn? I'll give you a toast--Here's confusion to all Maine Liquor Laws. An owl perched on a branch of the tree hoots twice. The Quaker's barrel of "Hard Cider" has a double meaning: it alludes to an earlier (and successful) Whig presidential candidate, William Henry Harrison, and casts doubt on the Quaker's temperance commitment.|Pubd. by John Childs, 84 Nassau St. N. York.|Title appears as it is written on the item.|Weitenkampf, p. 110.|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 1852-34.

Bucholzer again uses animal characterizations to poke fun at the respective faults of prominent Democrats in the 1844 presidential race. In an interior, Whig nominee Henry Clay conducts a livestock auction, offering (left to right) an ass with the head of incumbent John Tyler, a goose with James K. Polk's head, and fox Martin Van Buren. The animals are guarded by Clay running-mate Theodore Frelinghuysen, who is armed with a whip. At left is a gallery of spectators. Clay stands at a podium raising a gavel in his right hand, saying: "Going--How much gentlemen for these animals? So much for the Lot--A fine fox, can play a variety of tricks--An animal of the goose species that never was heard of before--and a Texian Ass celebrated for the length of his ears. Stir them up Theodore, and let the gentlemen see. Going! Going!! Going!!!" In characterizing Polk an obscure species Clay alludes to the latter's emergence as (to use another animal metaphor) a dark horse nominee. Van Buren: "Might makes right." Polk: "Oh! goosey, goosey gander, where shall I wander?" Tyler: "Veto! Veto!! Veto!!!" (a reference to his repeated vetoes of Whig-sponsored bills to create a national bank). Frelinghuysen: "Stop your noise and stand still, or I'll give you a little more of this Tariff!" The Whig platform included support for a protectionist tariff, very popular in the northern states. A spectator, pointing at Tyler: "I dont like that Ass, he kicks." The idea of an ass kicking its master is probably a figurative reference to Tyler's betrayal of Whig interests during his administration.|Entered . . . 1844 by James Baillie.|Lithography and print coloring on reasonable terms by James Baillie No. 33 Spruce Street New York.|Printed in the lower margin, and probably facetious, is: "Price 1 Shilling." The Library's impression was deposited for copyright on August 7, 1844.|Signed: H. Bucholzer.|Title appears as it is written on the item.|Weitenkampf, p. 81.|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 1844-37.

Entered according to act of Congress, in the year 1864, by Smith & Swinney, in the Clerk's Office of the District Court of the United States, in and for the Southern District of Ohio.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A cynical view of party competition for the working man's vote in the presidential campaign of 1852. In a polling place, four candidates struggle to force their own election ticket on a short, uncouth-looking character in a long coat. The latter holds a whip, suggesting that he is either a New York cabman or a farmer. The candidates are (left to right): Whig senator from Massachusetts Daniel Webster, Texas Democrat Sam Houston, Illinois Democrat Stephen A. Douglas, and Whig general Winfield Scott. The cartoon must have been produced before the June 5 nomination of dark-horse Franklin Pierce as the Democratic candidate, as Pierce is not shown. Webster: "My honest friend, these men are interested parties, I have no further interest in this matter myself, than the inclination to 'Serve my beloved Country,' My Family cannot subsist on less than 25,000 $ a year." His comment may refer to his own personal financial straits or to the nepotism involved in securing his son Fletcher's lucrative appointment as surveyor of the Port of Boston in 1850. Scott (in uniform, grasping the man's coat): "My good Friend, allow me to present you this Ticket, I am 'Old Genl. Scott' you know me, I licked the British & the Mexicans, if elected I shall probably lick all Europe." Houston: "This is the 'Ticket' for you, my good friend, I am 'Old Sam Houston' if elected I shall not only 'lick all of Europe,' but all 'Creation' to boot." Douglas (his arms around the man): "There, there, go away, go away, don't worry the man, leave him to me, leave him to me." Affixed to the wall at right are two posters or signs marked "DEMT." and "WHIG." In the left background stands Henry Clay leaning against a chair observing the scene, along with President Millard Fillmore who looks in through a window.|Probably drawn by John L. Magee.|Title appears as it is written on the item.|Lorant, p. 21.|Weitenkampf, p. 105-106.|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 1852-9.

Published & for sale by J.L. Magee, no. 34 Mott St, NY.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

One of the well-known "coffin hand bills" originated by Republican editor John Binns in his campaign against presidential candidate Andrew Jackson. The six coffins across the top of the broadside represent six militiamen executed under Jackson's orders during the Creek War in 1813. Other coffins represent soldiers and Indians allegedly condemned and executed by Jackson. The broadside's text is a catalog of these and similar atrocities attributed to the candidate. A woodcut scene at lower right portrays Jackson assaulting and stabbing Samuel Jackson "in the streets of Nashville." Another version of the handbill, reproduced by Lorant, has the same text but substitutes a reversed copy of the cut at lower right.|Title appears as it is written on the item.|Lorant, The Presidency, p. 105.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1828-2.

A sheet music cover for a song by John M. Crosland, dedicated to President Buchanan. The cover is illustrated with an array of emblems, many of them symbolizing threats to the integrity of the Union. A bust of George Washington dominates the composition, appearing above in an aureole of stars. Above him is an eagle clutching an olive branch and arrows, and below a streamer with his words, "I shall carry with me to my grave a strong incitement to unceasing vows, that your Union may be perpetual." Two hands reach out to push back the dark clouds encroaching from both sides. Lightning flashes from the clouds, toppling the arch of the Union on the left, and tormenting an eagle on the right. Beneath the arch are a plough, cornucopia, flag, and anchor. The eagle loses his grip on his olive branch and lets fall a streamer "E Pluribus Unum." At the bottom two hands threaten the Capitol with burning torches. A foot (left) treads on the Constitution, and another (right) is about to crush the "Union." On the left is a view of the Bunker Hill Monument in Boston, on the right Robert Mills's design for the Washington Monument. On the last page of the sheet music appears the following notice: "The Author has in preparation a Plate of larger size (18 x 24 inches,) presenting in still bolder contrast the prosperity of "Our Union As It Is," and the certain results of an attempt at disunion. This large Edition will be embellished with the portraits of our Presidents, and Coat of Arms of the several States, and in style and execution well suited to the Parlor and Drawing Room, . . . ."|Entered . . . 1860 by John M. Crosland . . . East. Distr. of Pensa.|Indecipherable signature on stone at lower left.|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 1860-5.

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

A biting vilification of the Confederacy, representing it as a government in league with Satan. From left to right are: "Mr. Mob Law Chief Justice," a well-armed ruffian carrying a pot of tar; Secretary of State Robert Toombs raising a staff with a "Letter of Marque" (a governmental authorization to seize subjects or property of foreign state, here a reference to Georgia's January seizure of federal Fort Pulaski and the Augusta arsenal); CSA President Jefferson Davis, wearing saber and spurs. Vice President Alexander Stephens holds forward a list of "The Fundamental Principles of our Government," including treason, rebellion, murder, robbery, incendiarism, and theft. Behind the group, on horseback, is Confederate general Pierre Gustave Toutant Beauregard, commander of forces at the bombardment of Fort Sumter. The delegation is received by Satan and two demonic attendants, who sit in a large cave at right. One attendant has over his shoulder a gallows from which hangs a corpse; the other holds a pitchfork. Satan holds a crown and scepter for Davis in his right hand, while in his left hand he hides a noose behind his back. He greets the Confederates, "Truly! Fit representatives of our Realm." Over his head flies a banner with the palmetto of South Carolina and six stars. A large snake curls round its staff. |Entered . . . 1861 by L. Haugg . . . Eastern District of Pennsylvania.|L. Hough Publ. 600 Chestnut Str. Philada. 3d Story.|The Library's impression of the print was deposited for copyright on June 12, 1861.|Title appears as it is written on the item.|Weitenkampf, p. 128.|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 1861-22.

An imaginative portrayal of the violent suppression of abolitionist propagandizing and insurrectionism in the South. The print may have been stimulated by several instances during the early 1830s of hanging, tarring and feathering of anti-slavery activists in Georgia, Louisiana and Mississippi. In 1835 resolutions were passed by various Southern states urging Northern suppression of the abolitionist societies. In the image a judge with ass's ears and a whip, seated on bales of cotton and tobacco with the Constitution underfoot, condemns a white man (an abolitionist) to hanging. The prisoner is roughly dragged by two captors toward a crowd of jubilant men who surround a gallows. In the distance a cauldron of tar boils over an open fire. The text below the image reads: Sentence passed upon one for supporting that clause of our Declaration viz. All men are born free & equal. "Strip him to the skin! give him a coat of Tar & Feathers!! Hang him by the neck, between the Heavens and the Earth!!! as a beacon to warn the Northern Fanatics of their danger!!!!"|The Library's impression of "Southern Ideas of Liberty" is printed on the same sheet as "New Method of Assorting the Mail" (no. 1835-2). Both prints are closer stylistically to lithographs published in Boston, particularly those of J.H. Bufford, than with ones produced in New York or Philadelphia during this period.|Title appears as it is written on the item.|Weitenkampf, p. 37.|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 1835-3.

A considerably idealized view of slave life in the American South, appearing on a printed label for cigars "expressly manufactured for Georgia and Alabama." The New York firm Salomon Brothers may have sought to appeal to Southern consumers and sympathizers in the tense period immediately preceding the Civil War. The illustration shows a tobacco plantation with manor house and a field in which black slaves harvest tobacco. In the foreground is a well-dressed black couple out for a stroll.|Entd . . . 1859 by Salomon Brothers . . . N.Y.|Title from item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1859-4.

The print may have appeared soon after the Confederate Congress passed a national conscription act on April 16, 1862, to strengthen its dwindling army of volunteers. The artist characterizes regular Confederate troops as unsavory, criminal types. Two of them (in uniform, left and center) have a well-dressed young gentleman in tow. The leader pulls on a rope around the reluctant recruit's neck, saying, "Come along you rascal! and fight for our King Cotton." The man protests, "Let me go, I tell you I'm a Union Man, and don't believe in your Southern Confederacy." He is prodded by the bayonet of a second soldier, gin flask protruding from his pocket, who urges, "Blast your Union! Them as won't go in for the war must be made to do it. Go ahead, or we'll hang you on the next tree." A second group follows. Two men in wide-brimmed hats have seized another gentleman, and urge him at bayonet point toward the left. One of the men, barefoot and ragged, with a knife and pistol in his belt, resembles a Mexican bandit. Atop a nearby hill two soldiers drag a third civilian along the ground by a rope around his neck. The print is comparable in both style and political sympathy to contemporary prints by Currier & Ives, such as "Re-Union on the Secesh-Democratic Plan" (no. 1862-10).|Published by Currier & Ives, New York? 1862?|Title appears as it is written on the item.|Gale, no. 6033.|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 1862-7.

A melodramatic portrayal of the plight of the tradesman during the Panic of 1837, whose financial distress the artist ascribes to Loco Foco politics and the effects of the Specie Circular, or "Specie Clause." Though a product of the Jackson administration, the measure was also associated with the monetary progam of Jackson successor and protege Martin Van Buren. Designed to curb inflationary speculation, the circular stipulated that only specie (i.e., gold or silver) be accepted as payment for federal lands. Radical Democrats, or "Loco Focos," of New York supported Van Buren's anti-Bank fiscal policies. The panic depressed the economy for several years, and caused widespread unemployment. A despondent tradesman, or mechanic, sits at a table in his humble dwelling, a copy of radical Democratic newspaper the "New Era" on his lap. On the wall behind him are prints of Jackson and Van Buren. Strewn at his feet are his tools, and his toolbox is empty but for "Loco Foco Pledges." He laments, "I have no money, and cannot get any work." Beside him are his wife and children. His wife, holding an infant, says, "My dear, cannot you contrive to get some food for the children? I don't care for myself." The children speak: "I'm so hungry," "I say Father, can't you get some "Specie Claws?" and "Father can't I have a piece of bread?" The landlord's agents appear at the door with a warrant of "Distraint for Rent." One says, "I say Sam, I wonder where we are to get our Costs." Weitenkampf tentatively dates the cartoon 1838.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Signed with monogram: HD (Henry Dacre?).|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 1838-14.