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The dis-united states or the Southern Confederacy. [graphic]
Cartoon mocking the inherent dissension within the newly formed Confederacy depicting the Confederate state leaders as conniving self-opportunists led by the Governor of the first state to secede, South Carolina's Francis Pickens. Pickens, armed with a whip and pistol, is astride the back of an enslaved African American man on all fours, and demands as a "file leader," obedience from Stephen R. Mallory of Florida, William Yancey of Alabama, Jefferson Davis of Mississippi, Joseph Brown of Georgia, and an unidentified white man from Louisiana. The Confederates seated upon representations of their state interests (a wrecked hull, bales of cotton, and a barrel of sugar) ignore Pickens and demand acquiescence to their different state needs including coastal control, control of profits from the sale of cotton, and increased bonds and duties as compensation for separating from the Union., Title from item., Date inferred from content., Date of publication supplied by Reilly., Purchase 1964., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The disappointed abolitionists. [graphic] / C.
Anti-abolition print distortedly portraying the events of the New York freedom seeker episode, "The Darg Case." The case involved a freedom seeker of enslaver John Darg who stole $7000 from him, fled, and was harbored and assisted by African American abolitionist and writer David Ruggle, Quaker arbitrator Barney Corse, and Quaker abolitionist Isaac T. Hopper. Corse had arbitrated a deal with Darg that in exchange for the return of Darg's stolen money, the enslaved man's freedom would be granted, and a small stipend would be paid to Corse. The arbitration was discovered and annulled by the New York police who then arrested Ruggles and Corse. Depicts Darg's sitting room where Hopper is requesting a reward. Ruggles says, "I don't like the looks of this affair. I'm afraid my pickings will not amount to much!" Corse replies, "Yea verily I was but thy instrument Brother Hopper as Brother Ruggles here knoweth!" They are threatened by Darg with a chair to whom they have returned "$6908" of his stolen money, and who bitterly exclaims that they deserve prison., Title from item., Date from copyright statement: Entd accordd to Act of Congress in the year 1838 by H.R. Robinson, in the Clerk's office of the Distt Court of the U. States, for the southern District of New York., Purchase 1968., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Clay, born in Philadelphia, was a prominent caricaturist, lithographer, and engraver who created the "Life in Philadelphia" series which satirized middle-class African American Philadelphians in the late 1820s and early 1830s.
A disloyal British "subject" [graphic].
Civil War cartoon satirizing the awkward foreign relations between the United States and Great Britain caused by the royal proclamation of neutrality in 1861. The Queen issued the proclamation, which recognized the seceded states as having belligerent rights, in response to the Union blockades of Southern ports and its effect on international maritime trade and privateering. Consequently, the United States feared that Great Britain had acknowledged the Confederacy as an independent government. Shows John Bull and "Pat" on a dock discussing the sailor's enlistment in the Navy. Bull, the royal proclamation under his arm, warns the American that should he enlist with "either of the Belligerents" he would not be protected by Britain if taken as a pirate. "Pat" responds he does not want his protection and that the "stars and stripes" for which he fights will protect him. In the background, an American flag waves near a dock house adorned with a Union recruitment poster and a broadside highlighting the major themes of the royal proclamation including "Strict Neutrality"; "Privateering"; and "Letters of Marque.", Date supplied by Weitenkampf., Retrospective conversion record: original entry, edited., Originally part of a McAllister scrapbook of miscellaneous Civil War materials., Digitized by Alexander Street Press for Images of the American Civil War.
Dissolving Views of Richmond [graphic] : Scene 1st.
Title from below: The youthful Napoleon quietly sitteth down 'upon his base' before Richmond intending to take it when he gets ready., Not in Reilly., Retrospective conversion record: original entry., Digitized by Alexander Street Press for Images of the American Civil War.
Distinguished militia gen'l during an action. [graphic].
Not in Reilly., Retrospective conversion record: original entry, with corrections., Digitized by Alexander Street Press for Images of the American Civil War.
A "dodge" that won't work. [graphic] / J. Cameron.
Satire of 1872 Liberal Republican presidential nominee Horace Greeley's attempt to court the African American vote despite his condemnation of civil rights policies under Reconstruction. Depicts Greeley with former Confederate President Jefferson Davis hovering behind him holding shackles and a whip (a reference to Greeley's partial payment of Davis' prison bond). Greeley asks the two African American men if they will vote for him, "Of course Sam and Ceasar, you’ll vote for me your old friend Horace Greely?" The men reply that they will vote for Ulysses Grant. "No Mr. Greely we can’t vote for you, for behind you we see Jeff Davis and behind him is the old lash and bondage." "We vote, as all true hearted colored men will vote; for Mr. Lincoln’s friend General Grant who conquered the rebellion & secured our freedom.", Title from item., Date from copyright statement: Entered according to act of Congress in the year 1872 by Currier & Ives in the Office of the Librarian of Congress at Washington., Accessioned 1979., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., John Cameron was a Scottish lithographer who worked for several years with the renowned New York lithographic firm Currier and Ives.
[Double-sided proof print containing a racist caricature with a mammy and a comic genre scene with a bookmaker] [graphic] / Bernhard Hall 1902.
Left panel depicts an African American mother, portrayed in racist caricature, with her three children in the doorway of a home in the country. The mother, attired in a red headkerchief with white polka dots, a white shirt with pink polka dots and the sleeves rolled to the elbows, a green skirt, and a white apron with blue stripes, stands smiling with her arms crossed. Sitting in front of her are three young barefooted children attired in pink short-sleeved dresses. The children suck on the tubes of their nursing bottles. A small black dog, a cat with two kittens, and a pig gather and watch children. At the right of the door, a barrel rests under a drain pipe. A food tray lies nearby, and a horseshoe hangs above the door. The right panel shows "Joe McK.. Bookmak[er]" accepting bets, seated at his table, outside a stadium. The older white man bookie, attired in a gray bowler hat, a white collared shirt, a red polka dot vest, blue and white striped pants, and yellow shoes, smokes a cigar and accepts money from a young white man waiting at the head of the line. Also shows the backs of men leaving the bookie and headed toward the "Grand Stand" visible in the background., Title supplied by cataloger., Date from copyright statement: Copyright 1905 by J. Hoover & Son Phila., Printed lower left corner: 2039., Gift of S. Robert Teitelman, 2007., RVCDC, Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
A downright gabbler, or a goose that deserves to be hissed. [graphic]
Caricature of Frances [Fanny] Wright, British-born suffragist and abolitionist, depicted as a goose eulogizing in a liturgical setting during her American lecture tour of 1829. Wright, with a goose head, attired in a black dress and long white scarf stands with a book in her raised hand in front of a table laid out with candles, a pitcher of water, and texts. Beside her a well-dressed, white man attendant holds her bonnet and observes., Title from item., Date of publication supplied by Reilly., Accessioned 1979., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The election a medley, humbly inscribed, to Squire Lilliput Professor of Scurrillity. [graphic]
A pro-Franklin cartoon depicting a crowd gathered to vote at the Philadelphia courthouse during the Pennsylvania Assembly election of October 1764. The print advocates Franklin's appointment as provincial agent to Britain despite his election loss which was a result of his double-sided politics in dealing with the "Paxton Boys," white frontiersmen who murdered peaceful Native Americans. Contains thirty-three verses attributed to Rev. Isaac Hunt to be sung to various tunes. Created as an attack on satirist James Dove, referred to in this title as "Squire Lilliput Professor of Scurrillity," in response to his anti-Franklin print, "The Paxton Expedition." The courthouse crowd includes caricatures of James Dove and five African Americans, including a woman stating in the vernacular, "Mase Lidiput you puchuss a me," a reference to a character pursued sexually by Dove in an earlier anti-Dove cartoon, "A Conference between the Devil and Mr. Dove" (1764)., Place and date of publication provided by Snyder and Murrell., Possibly after the work of Henry Dawkins., Manuscript note: Published for the Election of the 1st of 8th 1764 of Philadelphia., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2021., Access points revised 2021.
The election a medley, humbly inscribed, to Squire Lilliput Professor of Scurrillity. [graphic].
A pro-Franklin cartoon depicting a crowd gathered to vote at the Philadelphia courthouse during the Pennsylvania Assembly Election of October 1764. The print advocates Franklin's appointment as provincial agent to Britain despite his election loss which was a result of his double-sided politics in dealing with the "Paxton Boys," white frontiersmen who murdered peaceful Native Americans. Contains thirty-three verses attributed to Rev. Isaac Hunt to be sung to various tunes. Created as an attack on satirist James Dove, referred to in this title as "Squire Lilliput Professor of Scurrillity," in response to his anti-Franklin print, "The Paxton Expedition." The courthouse crowd includes caricatures of James Dove and five African Americans, including a woman stating in the vernacular, "Mase Lidiput you puchuss a me," a reference to a character pursued sexually by Dove in an earlier anti-Dove cartoon, "A Conference between the Devil and Mr. Dove" (1764)., Place and date of publication provided by Snyder and Murrell., Possibly after the work of Henry Dawkins., Manuscript note on recto in Watson's hand: Wrote by the Revd. Isaac Hunt at or before 1764 - when Franklin was made agent to London for this "Medley" says "Franklin will be agent." [and] Property of John F. Watson., Manuscript note on verso: Purchased from John F. Watson, Esq. June 14 1860. C.P. [Charles Poulson]., LCP copy lacking fragments along center vertical fold. Backed with laid paper., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The election, humbly inscrib'd to the Saturday-Nights Club, in Lodge Alley [graphic].
At the top, depicts the 1765 the election for the county and city of Philadelphia. In the left, shows Britannia, depicted as a white woman, with a shield with the Union Jack and a liberty cap and pole, saying "Oh my sons, my sons." America, depicted as a white woman, carries a sword and replies "Don't grieve too much sister." Treachery, depicted as a white women with two faces, stands behind Britannia with a dagger and says, "I hope that will do for you Madam." A large group of men stand in the foreground, including clergymen, and discuss the election. In the background, a line of men enter a building to vote., Title from item., Date from Evans., "About 150 lines of blank verse [in four columns] engraved on copper, with a picture of the election at the top."--Hildeburn., First line: Long with a Cruel, and perfidious Hand:, Manscript note by DuSimitiere: Published after the election of the members for the county and city of Philadelphia for the first of 8be 1765., Retrospective conversion record: original entry, edited.
Emancipation. [graphic] / Th. Nast; King & Baird, Printers, 607 Sansom Street, Philadelphia.
Emancipation print depicting a series of scenes contrasting African American life during and after slavery. Central scene portrays the interior of a free person's home where several generations of the family socialize around a "Union" stove as the mother cooks. Below this scene is a portrait of Lincoln and above it a depiction of Thomas Crawford's statue of freedom, as well as the hell hound Cerberus fleeing Liberty. Scenes to the right display the horrors of slavery including the flogging, branding, selling, and capturing of enslaved people. Scenes to the left display the forthcoming results of freedom including the exterior of a free person's cottage, African American children attending public school, and African Americans receiving payment for their work., Title from item., Date from copyright statement: Entered according to Act of Congress, in the year 1865, by J.W. Umpehent, in the Clerk's Office of the District Court of the United States, for the Eastern District of Pennsylvania., Originally published in Harper's weekly, January 24, 1863., McAllister Collection, gift, 1886., Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Nast was a cartoonist and illustrator most known for his work for the 19th-century periodical "Harper's Weekly."
Emancipation: the past and the future. [graphic] / Th. Nast.
Emancipation print contrasting African American life during and after slavery. Central scene portrays the interior of a free person’s home where several generations of the family socialize around a "Union" stove as the mother cooks. The horrors of slavery are depicted through scenes of the flogging, branding, selling, and capturing of enslaved people. The forthcoming results of freedom are depicted through scenes of the exterior of a free person’s cottage, African American children attending public school, and African Americans receiving payment for their work. Also depicted are: a baby angel freeing the shackles of a kneeling enslaved man as the angel, who has the year 1863 above his head, is held by Father Time; Thomas Crawford’s statue of freedom; and the hellhound Cerberus fleeing liberty., Title from item., Originally published in Harper's weekly, January 24, 1863., Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Nast was a cartoonist and illustrator most known for his work for the 19th-century periodical "Harper's Weekly."
Fate of the radical party. [graphic] / JAL; Am. News Co. Agent N.Y.
Cartoon predicting that the radical members of the Republican Party will be responsible for the party's defeat in the 1868 presidential election. Depicts a steaming locomotive in the shape of a bottle labeled "A Radical Cure - Lowell Bitters" in which Massachusetts representative Benjamin F. Butler is encased. The train heads toward the "Dutch Gap" being dug by incumbent Andrew Johnson holding a shovel of "Veto" dirt (reference to Johnson's numerous vetoes of radical reconstruction policies). Riding on and in the train are: Presidential nominee Ulysses S. Grant who smokes from the pipe-shaped train's smoke stack which is adorned with the head of an African American man, portrayed in racist caricature; Thaddeus Stevens as the engineer; and Vice-Presidential nominee Schuyler Colfax. On the tracks in the background, an African American man, portrayed in racist caricature, sits on a stool and writes atop the pedestal "Fame," and the "Constitutional Line" train proceeds to the White House "Depot.", Title from item., Date of publication supplied by Weitenkampf., Purchase 1979., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The Fifteenth Amendment. Celebrated May 19th 1870. [graphic] / From an original design by James C. Beard.
Commemorative print celebrating the passage of the Fifteenth Amendment depicting a large central scene of the May 19, 1870 Baltimore parade surrounded by several portraits and vignettes. A float of young African American girls leads the parade in view of the city's Washington Monument. The parade consists of African American Zouave drummers, men in top hats on horseback, and ranks of troops. The portraits of African American civil rights supporters framing this scene include President Grant; Martin Robison Delany, the first African American Major; Frederick Douglass; Mississippi Senator Hiram Revels; Vice-President Schuyler Colfax; Abraham Lincoln; and abolitionist John Brown. The numerous vignettes, all captioned, include scenes of an African American classroom, an African American congregation, an African American wedding, an African American officer, an African American man reading to his family, African American masons, and an African American man voting., Title from item., Date from copyright statement: Entered according to Act of Congress in the year of 1870 by Thomas Kelly in the Office of the Librarian of Congress at Washington., LCP exhibition catalogue: Negro history, p. 78., Purchase 1968., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Beard was a respected illustrator most well known for his nature illustrations.
The first of May 1865 or gen'l moving day in Richmond Va. [graphic] / Lith. by Kimmel & Forster, 254 & 256 Canal St., N.Y.
Cartoon relishing the surrender of the Confederacy to the Union depicting a Southern general moving from his war damaged home which is to undergo a "Sheriff Sale" and to be let by "Lincoln & Co." Three white Southerners and two African American men, one who thumbs his nose, witness the General and a mover begin to load a "C.S.A." (i.e., Confederate States of America) cart. The cart, to be pulled by two dogs, is situated next to a "C.S.A Treasury" box of "Waste Paper" that is being urinated upon by another dog. The mover is burdened by several packages, many falling off his back, labeled with the names of Confederate states., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1865, by H. & W. Voight in the Clerk's Office of the District Court for the Southern District of New York., Accessioned 1979., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Kimmel and Forster was a 19th-century firm known more so for their engraving than their lithography.
Fixing a block-head to the Constitution or putting a wart on the nose of old ironsides. [graphic]
Satire of President Andrew Jackson who is represented as a figurehead that is being placed on "Old Ironsides" (i.e. the ship "Constitution") by African American sailors. The white commander, attired in uniform with his back to the viewer, stands beside a bucket of grog and offers the sailors a "double allowance of grog." To the right, eight African American sailors, portrayed in racist caricature and speaking in the vernacular, hoist the figurehead up with ropes. In the left, two African American sailors steady the base of the figurehead with rope and one remarks, "...dey'd better run him up to the yard arm like dey do de pirate." The figurehead of Jackson, who was often criticized for his broad interpretation of the constitutional powers of the executive branch, holds a paper inscribed "My interpretation of the Constitution." In the right, a white man military fifer and a white man drummer play the "rogue's march" instead of "Hail Columbia." Cartoon references the event in July 2, 1834, when mariner Samuel W. Dewey decapitated the figurehead in the middle of the night. The figurehead of Andrew Jackson was added to the USS Constitution (Old Ironsides) in March/April 1834., Title from item., Incorrect publication date of 1832 supplied by Weitenkampf., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., RVCDC, Description revised 2023., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Imbert, a pioneer of lithography in New York City, printed city views and also painted marinescapes.
The follies of the age, vive la humbug!! [graphic]
Critique of the social climate of the year of 1855 mocking several of the year's fads, social movements, and major events, many specific to the city of Philadelphia. Depicts several individual scenes occurring on an active street lined by businesses near a river. Depictions include: a scene representing the case of Jane Johnson, an African American woman freedom seeker aided by abolitionist Passmore Williamson; a group of ragged and armed white men filibusters holding the banner "Sam" rushing off to free Central America from European control; a stand where one is "allowed to drink 48 glasses of Lager Beer" where a white man police officer tries to stop a white man drunkard; a group of white women Mormons on a cart headed to "Salt Lake City"; a white man hugging two white women as his angry wife looks on and calls them "Ceresco free-lovers" after the Utopian society that lasted until 1855; two motley groups of local militias drilling; a caricature of the popular French actress Rachel who had an inauspicious debut in Philadelphia; and groups of individuals partaking of "water cures" and "sea baths." In the background the Camden Amboy train crash of 1855 is depicted as well as the destruction by fire of the Philadelphia steamer "John Stevens.", Title from item., Date inferred from content., Accessioned 1998., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
A foot-race. [graphic]
A satire of the 1824 presidential election showing the candidates; John Quincy Adams, William Crawford, Andrew Jackson, and Henry Clay engaged in a foot race to win the presidency. A crowd cheers them on and remarks about the candidates reflecting the regional and partisan views in the country. A Westerner attired in stovepipe hat with a powder horn exclaims, "Hurra for our Jacks-"son."" Former President John Adams cheers, "Hurra for our son "Jack."" An Irish man, portrayed in caricature and attired in torn and worn clothes, says, "Blast my eyes if I dont "venter" a "small" horn of rotgut on that "bald filly" in the middle [Adams]." A French man states, "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." Two African American men, portrayed in racist caricature, look on and one remarks “Now old Hickory cuts dirt.” In the background is a "Presidential Chair" with a purse "$25,000 per Annum" and the White House., Title from item., Artist and publication date supplied by Reilly., NYPL copy copyrighted October 6, 1824., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Johnston, known as "the American Cruikshank" was a respected comic illustrator, engraver, and lithographer.
The (Fort) Monroe doctrine. [graphic]
Abolitionist cartoon depicting enslaved African Americans fleeing to Fort Monroe, which was occupied by Union General Benjamin F. Butler who had declared freedom seekers to be "contraband" of war. In the right, a white man Virginia enslaver brandishes a whip and says, "come back you black rascal." A bare-chested, barefooted, African American man attired in white shorts, responds in the vernacular, "can't come back nohow massa Dis chile's contraban." To the right of the enslaver, a barefooted African American man, attired in a brimmed hat, a white collared shirt, and striped pants with the cuffs rolled up, watches as he leans on a hoe. A number of other African American freedom seekers run toward the Fort, including a woman with a child., Title from item., Date of publication supplied by Weitenkampf., During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Purchase 1986., RVCDC, Description revised 2021., Access points revised 2021., Digitized by Alexander Street Press for Images of the American Civil War., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
"The Freedman's Bureau." [graphic] / Thos. Worth.
Visual pun on the Freedman's Bureau, a benevolent government organization, which aided formerly enslaved African Americans in the South by providing food, housing, and jobs, as well as establishing schools, hospitals, and a court system. Depicts a simply furnished attic room where an African American man, portrayed in racist caricature, ties his tie as he stands beside his bed and before his dresser/bureau. Atop the bureau, which has its top drawer open, is a stand with a broken mirror upon which you see the man's reflection. A portrait of Lincoln and a bow and fiddle hang on the wall. His overcoat and hat rest on a chair with a broken back behind him., Title from item., Date from copyright statement: Entered according to Act of Congress in the year A.D. 1868 by Currier & Ives in the Clerk's Office of the District Court of the United States for the Southern District of New York., Purchase 1968., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Worth was a comic and genre artist whose popular work was published by the lithographic firm Currier & Ives.
The Freedman's Bureau! An agency to keep the negro in idleness at the expense of the white man. Twice vetoed by the president, and made a law by congress. Support Congress & you support the negro. Sustain the president & you protect the white man [graphic
Racist campaign poster in support of Democratic candidate Heister Clymer published during the Pennsylvania gubernatorial election of 1866 attacking his Republican opponent James White Geary and the Republican Congress's support of the Freedmen's Bureau. Depicts an oversize figure of an African American free man, portrayed in racist caricature with grotesque features, lazing on his back under the quote in the vernacular, "Whar is de use for me to work as long as day make dese appropriations." The figure is surrounded by imagery, including scenes, quotes, and a table, condemning the legislature's financial support of African Americans. Scenes include a white man chopping wood as "the white man must work to keep his children and pay his taxes"; a white man farmer plowing his field for "in the sweat of thy face thou eat thy bread"; and a view of a building similar to the Capitol under the heading "Freedman's Bureau! Negro Estimate of Freedom!" The building is inscribed with divisive words and terms including: "Freedom and No Work"; "Goods to eat & drink. Uncle Sam will have to keep me"; "Idleness"; "White Women"; "Apathy" and a list of foods stereotyped as part of the African American diet. Also includes a table listing appropriations issued by Congress in support of the Freedman's Bureau; a quote indicating the inequity of Civil War veteran's bounties in favor of African Americans; and a statement disapproving of the cost of the Freedman's Bureau to the "Tax-payers of the Nation.", Originally part of a McAllister scrapbook. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021., Readex July 2013 update: This political cartoon is now housed in the Print Room; formerly Lib. Company. Afro-Americana, 3815., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Gallant capture of a ladys wardrobe by the brave troops of Florida [graphic].
Cartoon concerning the enforcement of the Confiscation Act of 1861 depicting the absurd seizure of a Florida woman's wardrobe to "pay the expenses of the troops." A military officer, possibly Union General Winfield Scott, and his troops, bayonets and swords raised, collect the belligerent, Confederate belle's hoop skirt as they trample an American flag. The lady demands the return of her clothes or threatens to go to Union-occupied Fort Pickens (visible behind her) and "man one of the big guns, and blow [the men] to pieces.", Digitized by Alexander Street Press for Images of the American Civil War.
The German bleeds & bears ye furs of Quaker lords & savage curs ... [graphic].
Political cartoon depicting Quakers and racist caricatures of Native Americans riding on the backs of German and Scots-Irish settlers surrounded by burning houses and the bodies of dead men, women, and children. In the left, Benjamin Franklin stands holding a paper reading, "Resolved/ ye Prop[riete]r/ a knave/ & tyrant/ NC D/ gov[erno]r D:o." A fox, representing Quaker Joseph Fox, stands between his legs. Quaker leader Israel Pemberton rides on the back of a Scots-Irish man, who holds a rifle. Pemberton stretches his right hand out to grasp Franklin's paper and holds a band of wampum in his left hand. A rope wrapped around his left arm is attached to the nose of a blindfolded German man who walks behind him carrying a Native American man on his back. The Native American man holds a tomahawk in his right hand and carries a pack on his back labeled, "I.P." In the foreground are bodies of a dead man, woman, and child with cut marks on their heads indicating scalping. Native American men burn houses in the background. Joseph Fox and Israel Pemberton were leaders in the Quaker "Friendly Association" that was often accused of supplying money secretly to the Native Americans., Title from item., Date inferred from content., Attributed to Claypoole., Text printed under image: "The German bleeds & bears ye furs/ Of Quaker Lords & savage Curs/ Th' Hibernian frets with new Disaster/ And kicks to fling his broad brim'd Master/ But help at hand Resolves to hold down/ Th' Hibernian's Head or tumble all down.", Retrospective conversion record: original entry, edited., See Philadelphia printmaking: American prints before 1860 (West Chester, Pa.: The Tinicum Press, 1977), p. 70-89., RVCDC
Grand Federal Menagerie!! [graphic] : Now on Exhibition!!.
Title from below: The great Massachusetts Hyena, an Extraordinary Animal newly discovered, true to his traditional instincts, he violates the grave!., Not in Reilly., Retrospective conversion record: original entry., Digitized by Alexander Street Press for Images of the American Civil War.
A grand slave hunt, or trial of speed for the presidency, between celebrated nags Black Dan, Lewis Cass, and Haynau. [graphic] /. T.C., del.
Cartoon criticizing presidential candidates Daniel Webster (i.e., Black Dan) and Lewis Cass's avid support for the enforcement of the Fugitive Slave Law during the election of 1852. Shows Webster, carrying a copy of the Fugitive Slave Law and a flag, leading a group of white men, including the lagging Michigan Senator Lewis Cass; the infamously cruel Hungarian General Baron Haynau with a pitcher of "Barclay Best" on his head (a symbolic reference to the brewery workers who attacked him in England); and President Millard Fillmore holding a Fugitive Slave Bill. They pursue an enslaved African American woman who runs clutching a baby in her arms and holding the hand of her young son. Additional figures in the background include Horace Mann, Massachusetts Congressman and opponent of the Compromise of 1850; an orator resembling Webster bombasting Mann before a group of kneeling white men admirers; a preaching white man minister with Bible in hand; and an African American woman freedom seeker with her child being tugged between a yelling man and a white man mercenary carrying handcuffs., Title from item., Date of publication supplied by Weitenkampf., Purchase 1967., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The great American steeple chase for 1844. [graphic] / E.
Cartoon depicting the presidential election of 1844 as a steeple chase race to the White House. Henry Clay, guided by the American eagle as he laments about the death of Harrison, leads the chase atop his half-horse/half-alligator mount. He is followed by: Massachusetts Senator Daniel Webster, uneager to leave his cooking cauldron of "Chowder"; South Carolina Senator John C. Calhoun, astride his "nullification Coota Turtle," which is stuck in a "Clay Bank"; former President Van Buren, on a fox, taking a "crooked and dirty" shortcut to avoid Calhoun; an "Old Solider," possibly James K. Polk attempting to "turn" his donkey to the "right way"; Richard M. Johnson, who has fallen off of his "old amalgamation nag," an allusion to his controversial multiracial wife; and a fallen man, possibly abolitionist Supreme Court Justice John McLean, wishing that he had a drop of "Democratic blood to let out." In the background, General Winfield Scott, astride a horse, and Commodore Charles Stewart, who sails a boat, discuss their lack of desire to be president. Inside the White House, Richard Tyler, a scroll inscribed "Irish Repeal" in his pocket, shakes and warns his sleeping father of the approaching "Philistines." Tyler responds smugly that he will be re-elected or "veto the whole concern," an allusion to his excessive use of the veto to stop the establishment of another national bank., Title from item., Date from copyright statement: Entered according to an act of Congress in the year 1843 by H. R. Robinson in the clerk's office in the District court for the Sc District of N.Y., Artist's initial lower left corner., Publication information supplied by Reilly., LCP copy trimmed., Described in Nancy Reynolds Davison's E.W. Clay: American political caricaturist in the Jacksonian era (PhD diss., The University of Michigan, 1980), p. 249-50., Purchase 1958., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The great November contest. Patriotism vs bummerism. [graphic]
Racist cartoon depicting the 1868 Presidential Election as a carriage race between the "patriotic" Democrats and the "bum" Republicans who support Reconstruction. Depicts the elegant Democratic carriage with the banner "This is a White Man's Government" pulled by the horses with the heads of Horatio Seymour and Francis P. Blair racing passed the stalled Republican wagon steered by the asses with the heads of nominees Ulysses Grant and Schuyler Colfax. In the Democrats' carriage are four allegorical figures: Liberty, depicted as a white woman holding the Constitution and a banner which reads "Our Glorious Union Distinct, like the Billows, One, Like the Sea' This is a White Man's Government!"; Navigation, depicted as a white woman holding a miniature ship; Agriculture, depicted as a white woman holding sheaves of wheat and a scythe; and Labor, represented by a bearded white man with a hammer and flywheel. The Republican wagon passengers include radical Thaddeus Stevens, the grim reaper, and an African American man and woman couple, portrayed in racist caricature and speaking in the vernacular. Massachusetts Republican representative Benjamin F. Butler tries to push the stalled wagon passed the bones of those who paid "The Price of Nigger Freedom" and the rocks of "Ruined Commerce," "Debt," and "Negro Supremacy.", In the background, a cheering crowd brandishing American flags near the U.S. Capitol await the winning Seymour and Blair while on the building's other side a group of African American men dance. In the left foreground, Henry Ward Beecher and Horace Greeley play a shellgame looking for Grant and an African American man and woman, attired in torn and worn clothes, discuss another man returning to his former enslaver. In the right foreground, an African American man sits behind a table labeled, "Pompey Smash, Salt River Line Ticket Agent" and sells tickets to "Salt River" (i.e., political disaster) to a white man with a bag labeled, "J.G.B. Boston Carpet Bagger." Behind them, two African American men and a drunken white man holding a bottle talk about the Republican wagon., Title from item., Date from copyright statement: Entered according to an Act of Congress in the year 1868 by Bromley & Co. in the Clerk's Office of the District Court of the U.S. for the southern District of New York., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The great presidential race of 1856. [graphic]
Cartoon ridiculing the Democratic and American (Know-Nothings) Party presidential candidates James Buchanan and Millard Fillmore by depicting them in a race to win the election of 1856. Depicts Buchanan having crashed his mount (i.e, running mate John C. Breckenridge depicted as a buck) into a rickety platform marked "Democratic Platform," Slavery," and "Cuba." An enslaved African American man, portrayed with racistly caricaturized features, and wearing shackles on his ankles and worn and torn clothes, shoes, and a hat, stands upon and ridicules the "Democratic Platform." Buchanan angrily replies, "You infernal Black Scoundrel, if it had not been for you and that cursed Slavery Plank that Scared and upset my Buck, I should have won this race certain." Following Buchanan is Fillmore using his running mate Andrew Jackson Donelson, depicted as a goose, as his mount. Fillmore, the American Party candidate, carries a "Know-Nothing" lamp and fears his loss will dissolve the Union. In the distance, the Republican candidate John C. Fremont pulls ahead to the cheers of many of the spectators. Brother Jonathan, (predecessor of Uncle Sam), stands on an observation or judging deck and carries a timer’s watch. Additional spectators include white men belittling Fillmore as "spineless" and a "goose," and a white boy holding a sign inscribed, "We Po'ked Em in 44; We Pierced Em in 52; and We'll 'Buck Em' in 56." He is being hoisted by two African American men, portrayed with racistly caricaturized features, upon the back of a gruff and annoyed-looking, bearded, white man asking him if he's a "Fre'mounter.", Title from item., Artist and publication information supplied by Reilly., Political cartoon Horse sassengers! A free lunch lithographed on recto. (political cartoons - 1858 Hor, P.2275.18b)., Accessioned 1979., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Magee was a New York cartoonist and lithographer who eventually established his own lithographic firm in Philadelphia in 1850.
The great Republican reform party, calling on their candidate. [graphic]
Cartoon lampooning the Republican Party's constituency of radicals and reformers who supported the first Republican presidential candidate, John C. Frémont, in 1856. In the right, Frémont receives his eclectic array of supporters and promises "You shall all have what you desire--and be sure that the glorious principles of popery, Fourier, ism, free love, womans rights, the Maine law, and above all the equality of our colored brethren, shall be maintained, if I get into the Presidential chair." In the left is a white man puritanical reformer calling for the prohibition of tobacco, meat, and alcohol; a white woman suffragist attired in bloomers, smoking a cigarette, and carrying a riding whip; a white man socialist, attired in worn and torn clothing and wanting “an equal division of property”; an older, white woman libertarian espousing free-love as a "Freemounter"; a white, Catholic priest promoting the Pope; and a racist caricature of an African American man, attired in a white collared, ruffled shirt, a black jacket with tails, black pants, and black shoes, carrying a cane who comments in the vernacular, "De poppylation ob color comes in first--arter dat, you may do wot you pleases.", Title from item., Artist and publication information supplied by Weitenkampf., Originally part of American political caricatures, likely a scrapbook, accessioned 1899. Collection primarily comprised of gifts from Samuel Breck, John A. McAllister, and James Rush., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Maurer was a French-born painter and lithographer who worked for several years with the New York lithographic firm, Currier & Ives.
The Great Rohan & the cattle market. [graphic]
Cartoon depicting a pasture with a tree at the center that shows a white man growing from it. The man holds a paper entitled, "Coal is coal," and states that he needs his roots covered. On one of the branches, perches a figure with the body of a bird and the head of a man who states, "The rascally Whigs killed poor Cilley," a reference to the death of Maine Congressman Jonathan Cilley in a duel with Kentucky Congressman William J. Graves. Surrounding this figure are white men and cattle. In the right, a man attired in a long coat and top hat states that the cattle will not feed on "Rohans" and “if we could whip in the miserable conservatives, it would be really ‘contholing.’” Two other men scrounge on the ground, one labeled "Green Pear" who asks to be let up the "Rohan," and the other, who bemoans being overshadowed by the image of a bloody hand. In the left, an African American man portrayed in racist caricature speaks in the vernacular, “Hold on Massa Gineral, it be oh no use to go to dat market,” as he tries to reign in cattle with human heads that are labeled "Hampton Bull." In the right background, an onlooker warns a cattle driver who is being trampled that he can not drive them., Purchase 1987., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The gunboat candidate at the Battle of Malvern Hill. [graphic]
Retrospective conversion record: original entry, with corrections., Digitized by Alexander Street Press for Images of the American Civil War.
Handicap race presidential stakes 1844. [graphic] /. EWC.
Satire of the presidential election of 1844 depicting the potential candidates; Whig Henry Clay, and Democrats Martin Van Buren, Lewis Cass, John Calhoun, Richard M. Johnson, and John Tyler on various mounts racing for the White House. Clay riding a racoon leads the pack claiming that no one can overtake him. Van Buren follows riding a fox and holding a weather vane labeled "N" (North) and "S" (South) with the slogans "Free Trade Texas" and "Abolition Oregon" attached. He acknowledges that Lewis Cass is closing in. Cass on his hound gloats that he has finally overtaken the "old fox." Calhoun, positioned fourth, rides a lion with an enslaved African American man and child, portrayed in racist caricature, on his shoulders and bemoans his extra weight. Johnson, on foot and holding a hook, follows Calhoun stating he will "hook on" to whomever gets in. Last is Tyler, who switched political parties, trying to ride the two mounts of the "Loco Foco" (radical Democrats) donkey and the "Whig" horse., Title from item., Date from copyright statement: Entered according to act of Congress in year 1844 by J. Childs in the Clerk's Office in the District Court of the Southern District of N.Y., Gift of Mrs. Francis P. Garvan, 1977., Lib. Company. Annual report, 1977, p. 51-52., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Clay, born in Philadelphia, was a prominent caricaturist, engraver, and lithographer who created the "Life in Philadelphia" series which satirized middle-class African Americans of the late 1820s and early 1830s.
Happy Lil' Sal as the queen of the May. [graphic] / R.F. Outcault.
Racist cartoon containing vignettes about a group of African American children, portrayed in caricature, at a May Day party where Happy Lil’ Sal and Por Lil' Mose are crowned as Queen and King. In the left, Mose, attired in a gold crown, a blue sailor suit, and blue shoes, stands holding the may pole. Sal, attired in a gold crown, red roses around her head and neck, a pink dress, yellow stockings, and white shoes, carries sunflowers. At the bottom, a group of African American children hold ribbons and dance around the may pole in exaggerated movements as a boy sits on a wooden fence playing the banjo. The center vignette depicts white men thieves, attired in torn and worn clothes, stealing baskets with the children’s lunch. In the right, a rain storm soaks Mose and Sal, and the wind blows the children off their feet while holding umbrellas. Along the top, shows the parade of children, led by Sal and Mose, followed by a boy playing the drum, children holding ribbons on the may pole, a dog pulling a wagon labeled, “the Prince of May” carrying a small boy, boys carrying the picnic baskets, and a boy playing the horn. Contains 25 lines of text written in the vernacular explicating the vignettes which end with the line "Por lil' Mose., Title from item., Date from copyright statement: Copyright 1901 by the New York Herald Co., The "Por lil Mose" series was published in the New York Herald from 1901 until 1902., Purchase 1978., RVCDC, Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Richard Felton Outcault (1868-1928) is known as the creator of the first published full page comic. He is also the creator of "Buster Brown."
The happy negro. [graphic] / J.F.
Satiric print depicting a "happy" enslaved family in a tropical setting, probably the West Indies. Shows an enslaved man strumming his banjo seated next to his wife and child near palm trees and a flower bush. A dog sleeps near its bowl at their feet and grass-roofed huts are visible in the background. Also contains prose below the image comparing and contrasting the white man's and enslaved person's joys and cares. The white man "full of care, has heart no light, he great deal want, he little get, he sorry, so he fret" whereas the negro 'hub no care, heart is light, me tink not what tomorrow bring, me happy so me sing.", Holland published a series of cartoons critical of the decadence of the West Indies plantation society of the early 19th century., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Lib. Company. Annual report, 2005, p. 62-65., Purchase 2005., Description revised 2021., Access points revised 2021., RVCDC
The Head Of The Confederacy On A New Base [graphic].
Not in Reilly., Retrospective conversion record: original entry., Digitized by Alexander Street Press for Images of the American Civil War.
Head Quarters At Harrison's Landing [graphic] : "See evidence before Committee on Conduct of the War".
"Potomac" in stone, lower left., Not in Reilly., Retrospective conversion record: original entry., Digitized by Alexander Street Press for Images of the American Civil War.
Heads Of The Democracy [graphic].
Not in Reilly., Retrospective conversion record: original entry., Digitized by Alexander Street Press for Images of the American Civil War.
An heir to the throne, or the next Republican candidate. [graphic]
Racist cartoon using African American side-show performer William Henry Johnson to lampoon the extent to which the Republican party supported the rights of African Americans as a part of their Election Platform of 1860. In the left, depicts editor of the Tribune, Horace Greeley, who says, "Gentlemen, allow me to introduce to you, this illustrious individual in whom you will find combined, all the graces, and virtues of Black Republicanism, and whom we propose to run as our next Candidate for the Presidency." In the center, Johnson, depicted with a bald and tapered head and attired in a long-sleeved shirt, shorts, and black shoes, leans on the spear that he holds in both hands and asks in the vernacular, "What, can dey be?" In the right, candidate Abraham Lincoln leans on a rail and says, "How fortunate! that this intellectual and noble creature should have been discovered just at this time, to prove to the world the superiority of the Colored over the Anglo Saxon race, he will be a worthy successor to carry out the policy which I shall inaugurate." In the background is a poster that reads, "Barnum’s What is it. Now exhibiting." William Henry Johnson was born in Liberty Corners, New Jersey to William and Mahalia Johnson, who were formerly enslaved. As Johnson’s head was smaller and sloped, agents from van Emburgh's Circus in New Jersey exhibited him with a story that he was caught in Africa and was a "missing link." P.T. Barnum then exhibited him with the names "Zip the Pinhead" and "What is it.", Probably drawn by Louis Maurer., Title from item., Date from copyright statement: Entered according to act of Congress, in the year 1860, by Currier & Ives, in the Clerk's office of the District Court for the Southn Distt of N.Y., Accessioned 1970., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The Hercules Of The Union, Slaying The Great Dragon Of Secession [graphic].
Retrospective conversion record: original entry., Digitized by Alexander Street Press for Images of the American Civil War.

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