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.

A figurative portrayal of the presidential race of 1824. A crowd of cheering citizens watch as candidates (left to right) John Quincy Adams, William Crawford, and Andrew Jackson stride toward the finish. Henry Clay has dropped from the race and stands, hand on head, on the far right saying, "D--n it I cant save my distance--so I may as well "draw up."" He is consoled by a man in riding clothes, "Well dont distress yourself--there'll be some scrubbing by & by & then you'll have a chance." Assorted comments come from the crowd, reflecting various sectional and partisan views. A Westerner with stovepipe hat and powder horn: "Hurra for our Jacks-"son."" Former President John Adams: "Hurra for our son "Jack."" Two men in coachmen's livery: "That inne-track fellow [Crawford] goes so well; that I think he must have got the better of the bots [boss?]." and "Like enough; but betwixt you & I--I dont think he'll ever get the better of the "Quinsy."" A ragged Irishman: "Blast my eyes if I dont "venter" a "small" horn of rotgut on that "bald filly" in the middle [Adams]." A Frenchman: "Ah hah! Mon's Neddy I tink dat kick on de "back of you side" is worse den have no dinner de fourt of july." In the left background is a platform and an inaugural scene, the "Presidential Chair" with a purse "|(Swann Fund Purchase)|Crackfardi Delt. et Sct. (David Claypool Johnston, Boston).|The print probably appeared late in the election campaign, as Weitenkampf cites an impression in the New York Public Library with the copyright legend "Entered . . . Oct. 6, 1824." The Library's impression has only the title and signature.|Title appears as it is written on the item.|Century, p. 32-33.|Johnson, no. 41.|Murrell, p. 106, 108.|Weitenkampf, p. 21.|Purchase; Caroline and Erwin Swann Memorial Fund.|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 1824-4.

The race for a $25,000 prize (the president's salary) is a metaphor for the 1844 campaign. The favored contender here is Henry Clay. The other runners are James K. Polk and John Tyler, while commentaries are offered by a farmer, vice presidential candidate Theodore Frelinghuysen, and Whig stalwart Daniel Webster. The print probably appeared before Tyler officially withdrew as a presidential candidate on August 20. Henry Clay is in the lead, about to pass the half-mile marker to the White House. The Capitol appears in the distance. Clay holds an American flag in one hand and a document in the other, and begins to ascend the steeply inclined final stretch. Behind him Democratic nominee James K. Polk stumbles and falls, his foot in a pothole. Clay: "Clear the Road for Old Kentuck!" Polk: "Oh! Lord I've slipped up! I've got fundamental objections to this mode of coming down." Frelinghuysen: "Ha! Ha! Dan there goes Polk! that Tariff grease that I put there has done the business slick!" Support for a tariff was a plank in the Whig platform which was extremely popular in the Northeast. Webster replies: "Why Theodore, Harry [Clay] is a going it in fine style. He'll take the Purse & not half try!" A third contestant, incumbent President John Tyler, notices a woman traveling down another road toward Texas. The woman is elegantly dressed, and holds a parasol which obstructs the view ahead of her. Tyler questions a farmer standing nearby, "I say my friend who is that going down the road yonder . . ." The farmer replies "Oh! thats the Gardeners Daughter that lives in yon house there down the road!" "Well thats the road for me," Tyler continues, "I am used up in the Race. So I'm off! tell them Gentlemen that they must excuse me."|Entered . . . 1844 by J. Baillie.|Litho. & pubd. by James Baillie 118 Nassau St N.Y.|Signed: H. Bucholzer.|The Library's impression of the print was deposited for copyright on August 23, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 79.|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 1844-41.

An illustrated election ticket for Luke Tiernan and George R. Richardson, administration candidates for Baltimore delegates to the Maryland General Assembly in 1828. The ticket bears a woodcut emblem of a flexed arm holding a hammer, framed by a wreath of oak leaves. |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 1828-11.

A Democratic election ticket for the 1844 presidential campaign, issued sometime between May 29, when Polk received the Democratic nomination, and the November canvass. The ticket names the party's eight electors for the state of Maryland and is illustrated with the device of an American flag on a staff topped by a glowing liberty cap.|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 1844-15.

An illustrated cover for a campaign song written for Democratic candidates Horatio Seymour and Francis P. Blair, Jr. Bust portraits of Seymour and Blair are separated by two cornucopias spilling over with flowers that form a wreath around two clasped hands. Above the portraits are vines, olive branches, and palm fronds, the vines circling around to entwine with two American flags below. At the top, an American eagle stands on a shield decorated with stars and stripes.|Chicago Lithographing Co.|Entered . . . 1868 by Lyon & Healy. |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 1868-3.

The artist lays on the Democrats the major blame for violence perpetrated against antislavery settlers in Kansas in the wake of the Kansas-Nebraska Act. Here a bearded "freesoiler" has been bound to the "Democratic Platform" and is restrained by two Lilliputian figures, presidential nominee James Buchanan and Democratic senator Lewis Cass. Democratic senator Stephen A. Douglas and president Franklin Pierce, also shown as tiny figures, force a black man into the giant's gaping mouth. The freesoiler's head rests on a platform marked "Kansas," "Cuba," and "Central America," probably referring to Democratic ambitions for the extension of slavery. In the background left is a scene of burning and pillage; on the right a dead man hangs from a tree.|"Pub. by J.L. Magee 48 Pasyunk Road Phila."|Drawn by John L. Magee.|Title appears as it is written on the item.|Weitenkampf, p. 115.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-8.

An election-year satire favoring Free Soil candidate Martin Van Buren in the 1848 presidential contest. A long-legged John Van Buren carries his father piggyback through Salt River, heading toward the White House on the far shore. "Matty" says, "Thanks to your long legs, John, I believe that I shall pass over this Jordan dry shod." The younger Van Buren assures his father, "Hold on Dad & I'll put you through." Meanwhile, abolitionist editor Horace Greeley and candidates Taylor and Clay are having a more difficult time fording the river. Clay is immersed head first, leaving only his legs visible. Taylor is neck-deep in the water. Greeley yells to Kentucky Whig leader Cassius M. Clay, seated on the near bank, "Help, Cassius, or I Sink." Clay replies, "Can't come there, Horace, I risked my life in Mexico, & I don't like to do it again." (Cassius Clay was a hero of the recent Mexican War).|Entered . . . 1848 by J. Baillie. |Published by James Baillie, 87th St. near Third Avenue, New York.|Signed with reversed initials: H.B. (H. Bucholzer).|Title appears as it is written on the item.|Weitenkampf, p. 97.|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 1848-29.