A satire on the Van Buren administration's involvement in New York State politics. Although the precise context of the cartoon is unclear, specific reference is made to Van Buren's alliance with postmaster general and political strategist Amos Kendall against Senator Nathaniel P. Tallmadge, leader of the conservative faction of New York Democrats. In an interior, Kendall (left) and Van Buren are at a table strewn with "discharge" papers. Kendall, seated below a painting of Andrew Jackson titled "Glory," reads the "Globe" newspaper. Van Buren sits below a portrait of "Globe" editor and administration apologist Francis Preston Blair. Van Buren: "So they've nailed that infernal Tallmadge to the counter-Whole hog fellows these eighteen-we must show our gratitude-any room in your concern Amos?" Kendall: "You're right sir we must back up the Albany Boys. Ill send every d--md whig in my department to "Jones" locker. Theres that old superanuated hero Van Ranselaer [i.e., probably, Canal Commissioner Stephen Van Rensselaer] we'll bury him decently and put a "Flagg" [State Comptroller Azariah C. Flagg] over him." Tallmadge watches from behind a curtain, saying "Those fellows can only conceive of mens souls as marketable commodities." Weitenkampf dates the print tentatively 1836, but the artist's rendering of Kendall is clearly based on Charles Fenderich's life portrait, etched by William W. Bannerman and published in the "United States Magazine and Democratic Review" in March 1838. The likeness of Tallmadge also appears to be from a Fenderich portrait copyrighted in 1839.|Printed & published by H.R. Robinson, 52 Cortlandt Street New York.|Title appears as it is written on the item.|Charles Fenderich, no. 2E7 and B2.|Weitenkampf, p. 43-44.|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 1838-2.

A crude nonpartisan satire, parodying all four candidates in the 1860 presidential election. A map of the United States hung on a wall is being torn apart by three of the candidates. Lincoln (far left) and Douglas tear at the western part of the country, as Breckinridge (center) attacks the South. The fourth, John Bell (right), stands on a stool trying to repair the northeastern section with a jar of "Spaldings," a widely marketed glue of the period. Several boxes of this adhesive appear, prominently labeled, at right. "Dividing the National Map" appears to be part of a series of satires by the same artist as "The Undecided Political Prize Fight" and "The Political Quadrille" (nos. 1860-22 and 1860-23).|Title appears as it is written on the item.|Weitenkampf, p. 121. |Wilson, p. 42-43.|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 1860-24.

An illustrated sheet music cover for a comic song, published "for the benefit of the Soldiers Home Fair, Milwaukee, Wis." The cover is adorned with a caricature of an obese Britannia, seated and holding a trident and shield. Printed in almost monochromatic neutral tones, the oval-format illustration imitates classical medallions or reliefs. The work expresses the abiding Northern resentment over British support of the Confederate war effort.|Signatures have evidently been obliterated, judging by the presence of scratching-out in the stone in the lower portion of the oval. |The Library's impression was deposited 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 1865-10.

A satire directed against the United States Bank, showing the impact of Jackson's September 1833 order for the withdrawal of federal funds from the Bank and their distribution among state banks. In a bedchamber the Bank, portrayed as an obese woman, lies in bed vomiting coins "Deposites [sic]" into a basin "Manhattan Bank." Nearby are two other basins (filled) marked "Mechanics Bank" and "Bank of America," and two broken medicine vials labeled "Veto" and "Order for the Removal of the Deposites." Bank president Nicholas Biddle holds her head. Bank: "Oh! dear Nick! I am dreadful sick!" Biddle: "D--n that Doctor Jackson. This is the effect of his last prescription." At left stand Bank supporters Henry Clay, Daniel Webster and John Calhoun, as physicians in consultation. Clay: "What do you say to the application of my Patent American System?" Calhoun: "Doctor your American System won't do here. Desperate cases require desperate remedies, a few of the leaden pills of Nullification and some blood taken will suffice." Calhoun's reputation in the North was sorely affected by his leadership role in the southern Nullification effort of 1832. Webster (in the center): "I wonder how a few grains of Common Sense washed down with Boston Particular would do?" On the floor at left sits a man, no doubt a pro-Bank newspaper editor, holding a copy of the "National Gazette," moaning: "Alas! Alas! No more fees." Jackson and Major Jack Downing look in through a window at far left. Downing: "Why Gineral, I never know'd You was a Doctor before." Jackson: "No more I ain't Major Downing but I've read the American Family Physician and know what kind of a dose to give to clean out a foul stomach!"|Published and for sale wholesale and retail by Anthony Imbert at his Caricature Store no. 104 Broadway, New York.|Title appears as it is written on the item.|Helfand, p. 9.|Weitenkampf, p. 28-29.|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 1833-10.

An illustrated unionist sheet music cover, condemning secessionist state South Carolina, and probably issued shortly after its Charleston Convention of December 20, 1860. (See "The Palmetto State Song," no. 1861-2.) Strongly militant in tone, the illustration shows an American soldier standing on the palmetto flag of South Carolina, which lies on the ground. The flag is partially draped over a broken military drum. Two cannonballs appear on the ground around it. The soldier holds a saber, whose point seems to pierce the Southern flag, and an American flag. Four lines of the song appear above the ilustration: "Down with the Traitors serpent flag! / Death to the wretch o'er whom it waves! / And let our heaven-born banner float / O'er freemen's Homes & Traitors' Graves!"|Chicago. A. Judson Higgins Publisher.|Entered . . . 1861 by A. Judson Higgins . . . Illinois.|Lith. Chas. Shober 109 Lake St. Chicago.|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 1861-3.

A pro-Jackson satire applauding the President's September 1833 order for the removal of federal deposits from the Bank of the United States. The combined opposition to this move from Bank president Nicholas Biddle, Senate Whigs led by Daniel Webster and Henry Clay, and the pro-Bank press are ridiculed. On the right, Jackson, cheered on by Major Jack Downing, holds aloft an "Order for the Removal of Public Money." Jackson: "Major Jack Downing. I must act in this case with energy and decision, you see the downfall of the party engine and corrupt monopoly!!" Downing: "Hurrah! General! if this don't beat skunkin, I'm a nigger, only see that varmint Nick how spry he is, he runs along like a Weatherfield Hog with an onion in his mouth." From the document emanate lightning bolts which topple the columns and pediment of the Bank, which crash down amidst fleeing public figures and Whig editors. Around them are strewn various newspapers and sheets with "Salary $6,000" and "Printing expenses "$80,000" printed on them. Henry Clay (at left, fallen): "Help me up! Webster! or I shall lose my stakes." Daniel Webster (far left): "There is a tide in the affairs of men, as Shakespeare says, so my dear CLay, look out for yourself." Nicholas Biddle, with the head and hoofs of an ass or demon, runs to the left: "It is time for me to resign my presidency." Two men flee with sacks of "fees." These fugitives may be newspaper editors Mordecai Manuel Noah and James Watson Webb, advocates of the Bank accused of being in the employ of Biddle.|Draw'd off from Natur by Zek. Downing, Neffu to Major Jack Downing.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N. York.|The print appears to be a reversed copy of a work of the same title by Edward Williams Clay, deposited for copyright in the New York District Court on October 5, 1833. Weitenkampf and Davison both list the Clay version.|Title appears as it is written on the item.|Century, p. 40. |Davison, no. 62.|Murrell, p. 127.|Weitenkampf, p. 29.|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 1833-9.

Another in the "bobalition" series of broadsides, parodying black manners, illiteracy, and dialect. (See no. 1819-2.) The text describes, in the words of a "letter from Phillis to her sister in the country," a nocturnal attack by white Bostonians on black freedmen and their homes. The letter is facetiously dated "Ulie 47th, 180027." The illustration shows a group of white men attacking and stoning a black woman and a man on crutches.|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 1827-1.

Two scenes showing the differing perceptions of Franklin Pierce's stand on the issue of slavery, as viewed by the North and South. The cartoon is divided vertically by "Mason & Dixon's Line." An arrow identifies the left panel as the North and the right as the South. On the left, a group of men look skyward, holding tinted panels of glass through which to see an image of Pierce eclipsed by a black man. First man (far left): "There, Sir, look! if that is not the true Free Soil touch, pray where will you find it?" Second man, an abolitionist: "Well, well, upon my conscience in looking through your glass, I see the true Abolition eclipse! verily Franklin is one of us." A man holding copy of the New York "Tribune" exclaims, "Ay, it is true Congo!" A fourth man points up at the eclipse, saying, "The eclipse is very marked, you will observe!" To the right, four southern men also view an eclipse through tinted glass, but an eclipse in which Pierce's head overshadows the black man's visage. One man (second from right) comments: "It may be only fancy Sir: but it does not seem as if I could see something the other side which looks a little SHADY." A second man, seizing the glass: "Come, come now! Oh! my dear Sir! A man of your sense! you didn't hold the glass right, I assure you!" Another, a stout man holding an umbrella, observes: "Ah! that looks well! how they belied him about the Speech at New Boston." A fourth: "Do you see, Sir. No eclipse there. Nothing but the true orthodox color!"|Pubd. by John Childs, 84 Nassau St. N.Y.|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 1852-24.

An impassioned condemnation of the Fugitive Slave Act passed by Congress in September 1850, which increased federal and free-state responsibility for the recovery of fugitive slaves. The law provided for the appointment of federal commissioners empowered to issue warrants for the arrest of alleged fugitive slaves and to enlist the aid of posses and even civilian bystanders in their apprehension. The print shows a group of four black men--possibly freedmen--ambushed by a posse of six armed whites in a cornfield. One of the white men fires on them, while two of his companions reload their muskets. Two of the blacks have evidently been hit; one has fallen to the ground while the second staggers, clutching the back of his bleeding head. The two others react with horror. Below the picture are two texts, one from Deuteronomy: "Thou shalt not deliver unto the master his servant which has escaped from his master unto thee. He shall dwell with thee. Even among you in that place which he shall choose in one of thy gates where it liketh him best. Thou shalt not oppress him." The second text is from the Declaration of Independence: "We hold that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are life, liberty and the pursuit of happiness." The print is unusually well drawn and composed for a political print of the period. The handling of both the lithographic technique and the figures betray particular skill. |Entered . . . 1850 by Hoff & Bloede. |Publ. by Hoff & Bloede New York 180 William Str. Corner of Spruce Str. New York.|Signed in reverse: Th. Kaufmann (Theodor Kaufmann?).|The Library's impression of the print was deposited for copyright on October 30, 1850.|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 1850-5.

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

A comic boar game based on the Erie Railroad wars. Owner of the railroad James Fisk has slipped to the ground after trying unsuccessfully to scale the greased pole. Coins and a bill marked "Erie" fall from his pockets. Among the men who jeer at his predicament is Cornelius Vanderbilt, who, throughout 1868 and 1869, tried unsuccessfully to seize control of the Erie by buying into its stock. At right are directions for the game: "Use two Dice thrown together; if the sum of the throw is an even number, the player places his chip on the first number of the pole and is entitled to successive throws unti his throw is an odd number, in which case the chip is moved down one number, (or off, if on the first square), and the play is made by the next in turn. Doublets entitle the player to move his chip two squares. The game is completed when the successful chip has passed the highest square and is thrown off."|Crichton & Co., Publishers, New York.|Entered . . . 1869 by D.W. DeForest . . . New York.|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 1869-3.

Another in the series of "Spoodlyks's" satires on the Glentworth affair. (See also nos. 1840-60, -61, and -63). Here the artist portrays Glentworth's attempt to remove evidence in the vote fraud inquiry from the recorder's office, and the ensuing scuffle involving the sheriff, the mayor, and the recorder. In the cartoon the recorder's office has erupted in a brawl. Glentworth (center) stands clutching the package of evidence to his chest. City recorder Robert H. Morris (left) and sheriff Jacob Acker, with a writ of replevin in his pocket, try to wrest the package from Glentworth. Sheriff: "By virtue of this writ I claim the package." Morris: "No you dont Mr. Sherriff." Glentworth: "This is my property and I'll Keep it at the risk of my life." On the left Mayor Isaac Varian struggles with another man. Varian says, "The package is gone Officers shut the door." A third man comments, "I like that. Shut the door When the horse is stolen." Others lament "O.K. orful Konspiracy." and "O.K. orful Katastrophe." and "O.K. help the journal of Kommerce." The term "O. K.," standing for Van Buren's nickname Old Kinderhook, was a watchword of Loco Foco Democrats during the election campaign of 1840.|Drawn by "Spoodlyks".|Printed & published by H.R. Robinson, 52 Cortlandt St. N.Y. & Pennsa. Avenue Washington D.C.|Title appears as it is written on the item.|Weitenkampf, p. 171.|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 1840-62.

An attack on New York governor William L. Marcy's controversial decision to surrender Irish fugitives John Bamber, Sr., and his son James to the British consul after their detention in New York. The Bambers, wanted by the British government in connection with the killing of an Irish police constable, had sought asylum in the United States. Marcy's decision to return them to British custody caused a furor among New York Whigs and Irish immigrants. In the title the "A" in Marcy's name is crossed out and replaced with an "E." Marcy is shown leading the two Bambers by a rope tied to their necks toward a stout British consul on the right. The prisoners are in hand and leg irons. In the background a ship sits offshore and a heavyset man with spectacles, city recorder Richard Riker, runs up waving a writ of habeas corpus and crying "Stop! Stop!" On the left is the Hall of Justice; on the right the consul's office. Marcy's trousers are mended with a "50 cents" patch, a joke regarding a tailor's voucher for fifty cents that he submitted during his governorship of New York. Marcy: "Here my dear Sir are these savage Irishmen, whom I gladly deliver over to you, to be dealt with as the Queen's most excellent Majesty may think fit." British consul: "I thank your Excellency for your promptness, and shall represent your conduct in such a light to her most gracious Majesty, that I have not a bit of doubt she will reward you with a pair of new breeches!!" The younger Bamber: "Is this the boasted liberty of the soil? Is this the law for an adopted citizen?" Bamber, Sr.: "Is this the justice of the self-styled People's Party?"|Entered . . . 1838 by H.R. Robinson.|Printed & publd by H.R. Robinson, 52 Cortlandt St & 11-1/2 Wall St. N.Y.|Signed with monogram: C (Edward Williams Clay).|The print was registered for copyright on October 8, 1838.|Title appears as it is written on the item.|Weitenkampf, p. 55.|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 1838-5.

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.