Pages

The nigger emperor of Nicuragua [sic] on his throne. [graphic] : Attended by Chatfield & his black guards witnessing the detention of the steamer Prometheus, by the English brig of war Express, at San Juan.
Racist political cartoon satirizing the fictitious "Nigger Emperor" of Nicaragua during the "Prometheus-Express" incident of November 1851, which threatened the Clayton-Bulwer Treaty of 1850 between the United States and Britain to abstain from attempting dominion of Central America. Depicts the Emperor as a Black man, partially undressed, attired in a military uniform with epaulettes, a black plumed hat, a sword on his waistband, and black boots. He sits atop a barrel labeled “Jamaica Rum.” He has one boot off that exposes his sock. His trousers are off and draped over his right arm. He smiles with a cigar in his mouth and carries a bottle labeled “Brandy” in his left hand. He looks towards Frederick Chatfield, the United Kingdom’s consul in Central America from 1834 to 1852, standing in the right. Chatfield holds his hands up and says, “They shall pay the money or be blow to attoms for their temerity, let me again entreat your Majesty to condesend (sic) to draw your breeches over your imperial shins.” The Emperor gestures with his right hand to the two ships in the harbor and replies in the vernacular, “Nebber mine, Massa Chatfield, wedder to warm for wear beechum, Yankee hab to cum back and pay money to dis nigger, ya, ya, ya.” Behind the Emperor, several Black guards, attired in tall hats, smile and stand in formation. Also in the print is a small black dog sniffing the Emperor’s sock., The Clayton-Bulwer Treaty of 1850 made Greytown, Nicaragua a free port, denying the British revenue. To circumvent this, the British charged harbor fees. On November 21, 1851, Cornelius Vanderbilt’s ship Prometheus refused to pay the British harbor fees. The British brig o’war Express fired three shots across the bow of the Prometheus. Vanderbilt then paid. However, when the ship arrived in New York he took his case to the U.S. government with the U.S. wanting Britain to withdraw from Central America. In early 1852, the Nicaraguan government sought to assert its authority over the Miskito kingdom. On April 30, 1852, Secretary of State Daniel Webster and British minister John Crampton negotiated a settlement that made Greytown a free city, protected the rights of the Miskito Indians, and established the border between Costa Rica and Nicaragua along the San Juan River., Title from item., Erroneously dated 1839 by Weitenkampf., Appears in The old soldier, New York, February, 1852., Likely drawn by John L. Magee, who worked at 69 Nassau Street at this time., 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.
"The nigger" in the woodpile. [graphic]
Racist political cartoon satirizing the Republican Party platform during the 1860 presidential election. In the right, shows Abraham Lincoln saying, “Little did I think when I split these rails, that they would be the means of elevating me to my present position" as he sits on top of a woodpile labeled, “Republican Platform.” An enslaved African American man, portrayed as a racist caricature with exaggerated features, sits within the intertwined rails of the platform. In the left, New York Tribune editor Horace Greeley is confronted by "Young America," depicted as a white man, who represents the progressive wing of the Democratic Party. Greeley reassures him, "...you can safely vote our ticket, for we have no connection with the Abolitionist party, but our Platform is composed entirely of rails split by our candidate." "Young America" protests "It's no use old fellow! You can't pull that wool over my eyes, for I can see 'the Nigger' peeping through the rails," and he points his finger to the African American man in the woodpile., Title from item., Date from the 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 Southern Distt. of N.Y., Library Company, Annual report, 1967, p. 53., Accessioned 1999., 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.
"No higher law." [graphic] /
Antislavery print denouncing the immorality of the Fugitive Slave Law by exploiting abolitionist Senator William H. Seward's famous quote that "a higher law" than the Constitution should exist regarding slavery. Shows "King Slavery," depicted as a bearded, bare-chested, white man, attired in a crown made of finger bones and armed with pistols in his waistband. The King sits and leans upon the arm of his throne composed of the "Fugitive Slave Bill," the Bible, and human skulls as he defiantly holds a whip of chains above his head. An American flag on a pole billows behind the throne. Below the throne, Seward, depicted as a priest, looks up and raises his left hand toward the King. He stands before a cat-faced altar inscribed "Sacred to Slavery," which rests upon a book of "Law" and pours oil from a container onto the altar fire, generating clouds of smoke. In the right, three enslaved men squat with their heads bowed. Senator Daniel Webster gestures toward them and holds a paper supporting the Fugitive Slave Bill "to the fullest extent." Near them, "Freedom," depicted as a bearded, white man and attired in a robe, displays his sense of defeat by removing his crown and lowering his liberty pole. In the left, an African American man freedom seeker fends off dogs attacking him. An African American woman freedom seeker and two children flee from two white men mercenaries on horseback and run toward a white woman with outstretched arms in front of a house. In the right background, the figure of Liberty falls from her pedestal., Title from item., Place of publication inferred from the residence of the distributor., Weitenkampf suggests date of publication as 1851., Text printed on recto: Price $3 A Hundred And Six Cents Single Copy., William Harned was an abolitionist printer in New York who also published the pamphlet, "The Fugitive Slave Bill:...." in 1850. (LCP Am 1850 Fug 16809.D.1)., A.B. Maurice and F.T. Cooper's The History of the 19th century in caricature (New York: Dodd, Mead, and Company, 1904), p. 156., Lib. Company. Annual Report, 2000, p. 40-2., Purchase 1999., 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.
Northern coat of arms. [graphic]
Racist cartoon expressing anti-abolitionist sentiment within the North by depicting a "Northern Coat of Arms," in which only the rights of African Americans are represented. Depicts a Phrygian cap from which an African American man's large feet protrude. The cap, inscribed "Liberty," is adorned with the American symbols of stars and the eagle with an arrow and olive branches., Title from item., Date from copyright statement: Entered according to act of Congress in the year 1864 by j.E. Cutler in the clerk's office of the district court of the dist. of Mass., Series no. printed on recto: 159., Probably drawn by Joseph E. Baker, Boston., 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.
Not a drum was heard nor a funeral note as his corpse to the ramparts we hurried -- : Not a loco discharged his farewell shot o'er the ditch where our hero we buried. [graphic] / H. Buchholzer.
Cartoon of a funeral procession portraying the erosion of Democratic support for presidential hopeful Martin Van Buren, the "Kinderhook Fox," during the election of 1844. Depicts President Tyler, instrumental in Van Buren's defeat, stating, "Thus do all our hopes end in Clay," as he steers a funeral cart carrying Van Buren, depicted as a dead fox; his son, poet Robert Tyler; and a bale of cabbages. The cart is pulled by Andrew Jackson, depicted as an old nag boasting about his part in Van Buren's death. Following the cart are the devil sobbing and bemoaning that he is Van Buren's only friend and a rotund man in a wide brimmed hat who rings a bell and calls, "Bring out your dead." In the right, two barefooted African American men gravediggers, portrayed in racism caricature and attired in torn and worn clothes, hold shovels as they stand over and comment about the open grave they have dug for Van Buren. "Here comes Pompey, we'll have this Fox earthed at last." A small cabin, with an emaciated white man in the doorway, and labeled "Loco Foco Hall" (Loco Focos were a radical branch of the Democrats who supported Van Buren) stands in the background., Title from item., Date from copyright statement: Entered according to Act of Congress in the Year 1844 by James Baille in the Clerk's office of the Dist Court of the Southern District of N. York., Gift of Mrs. Francis P. Garvan, 1977., 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., Bucholzer was a New York cartoonist whose work was published by James Baillie from 1843 until 1847.
Not very like a whale but very like a fish. Seventh Ward Promenades. [graphic] /. A. Shad
Cartoon depicting the riots caused by the corrupt electioneering tactics and voter coercion during the first general mayoral election in New York City in 1834. In the right, the mob of people shout "Hurrah for Lawrence" ie. Cornelius Lawrence, the Tammany candidate and winner of the election. The crowd, including African American men depicted in racist caricature, carry pieces of wood as they chase the white man attired in a nightshirt and cap, probably New York merchant and 7th Ward Bank investor, Preserved Fish. A dog also runs after him. "Preserved Fish" runs past a building with a banner, "Hurrah for Gulian C. Verplanck," the Whig candidate who contended that he was defrauded of the office. The corrupt 7th Ward Bank funneled money to Tammany officers and supporters. In the left background, another crowd of men is visible., Title from item., Date inferred from content., 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.
Offering a substitute. A scene in the office of the provost marshall [graphic].
Cartoon addressing the impropriety surrounding the purchase of substitute draftees during the Civil War. Depicts four wealthy gentlemen attempting to find substitutes in a draft office. To the right, near an "Avoid the Draft" notice, a gentleman offers a wad of cash to a possible substitute. The man dressed in working man's clothes informs him, "I'm looking for a substitute myself." In the center, two gentlemen, one holding several bills, the other overweight and bemoaning "I walk but one square I chafe," display for inspection their wretched, raggedly dressed substitutes to two Union officers, including a doctor. The physician accepts a "Lee veteran" despite his extreme thinness and missing teeth, while the second officer tells the portly man that he would prefer him to the substitute and that "one days march will take down his fat and a little tallow will remove the chafing." To the left, the fourth gentleman, crying into a handkerchief, tells an officer that he would rather "bleed for his wife" than for his "suffering country." In the background, bandaged and ailing men line up in front of the marshall., Retrospective conversion record: original entry, edited., Digitized by Alexander Street Press for Images of the American Civil War.
Offering a substitute. A scene in the office of the provost marshall [graphic].
Cartoon addressing the impropriety surrounding the purchase of substitute draftees during the Civil War. Depicts four wealthy gentlemen attempting to find substitutes in a draft office. To the right, near an "Avoid the Draft" notice, a gentleman offers a wad of cash to a possible substitute. The man dressed in working man's clothes informs him, "I'm looking for a substitute myself." In the center, two gentlemen, one holding several bills, the other overweight and bemoaning "I walk but one square I chafe," display for inspection their wretched, raggedly dressed substitutes to two Union officers, including a doctor. The physician accepts a "Lee veteran" despite his extreme thinness and missing teeth, while the second officer tells the portly man that he would prefer him to the substitute and that "one days march will take down his fat and a little tallow will remove the chafing." To the left, the fourth gentleman, crying into a handkerchief, tells an officer that he would rather "bleed for his wife" than for his "suffering country." In the background, bandaged and ailing men line up in front of the marshall., Retrospective conversion record: original entry, edited., Digitized by Alexander Street Press for Images of the American Civil War.
Oh! Massa Jeff dis sesesh fever will kill de nigger. [graphic] / [FJB?]
Cartoon depicting the ill effect of secession on enslaved people. In the dwelling of the enslaved African American men, Jefferson Davis, attired in a broad-brim hat and with the Union flag hanging from his pocket, checks the pulse of an emaciated, bedridden African American man with "Bond Plasters" on his chest. An angst-ridden enslaved African American man stands behind the bed and weeps as he holds a bottle of medicine. On the wall behind him are three posters advertising various medicines: "Dr. Jeffy's Celebrated Bond Plasters ...," "The Great Southern Remedies," "Dr. Jeffy's Celebrated Lettres du Marque A Radical Remedy for all Constitutional Afflictions.", Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1861 in the Clerks Office of the District Court of the Southern District of Ohio., Purchase 1961., 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 Old Bull Dog On The Right Track [graphic].
Entered ... 1864, by Currier & Ives ... N.Y., Retrospective conversion record: original entry., Digitized by Alexander Street Press for Images of the American Civil War.
The Old General Ready For A "Movement" [graphic].
Weitenkampf: "Published by Currier & Ives, 152 Nassau St. N.Y.", Retrospective conversion record: original entry., Digitized by Alexander Street Press or Images of the American Civil War.
Old Nick in Wall Street [graphic].
Cartoon mocking Nicholas Biddle, president of the controversial Bank of the U.S., as a corrupt emperor of finance served by New York's financial district. Depicts a self-effacing Biddle on the steps of a bank delivering a speech to a large crowd of his obsequious cheering subjects comprised of bankers and brokers. Two men, possibly New York editors accused of accepting bribes in return for publishing pro-Bank articles, Charles King and/or Mordecai Manual Noah and/or James W. Webb, hoist him on their knees. Biddle declares that he will bear the burden of the attacks of the Bank opponents as those before him will acquit him of scandal. In the far left background, a group of men describe Biddle as a monster and allude to his dubious relationship with New York merchant Silas E. Burrows, who was accused of bribing Noah and Webb. Contains a fabricated verse below the image from the popular poem "The Devil's Walk," commonly misattributed to Robert Porson (as in the cartoon) about the faithless servility of Satan's subjects., Retrospective conversion record: original entry, edited.
Old Nick's new patent plan to make Nova Scotia tories, federals coodies, Hartford conventioners, nullifiers, national republican bankites &c. [graphic].
Cartoon issued during the Bank War attacking Nicholas Biddle, president of the Bank of the United States, and his allegedly bribed New York newspaper editors for propagating an artificial financial crisis to sway public opinion in favor of the Bank. Depicts editors James W. Webb, Mordecai Manuel Noah, and probably Charles King using large screw presses to crush masses of working men ("workies"), including sailors, laborers, and butchers. Noah, fearing the strength of the "workies," loses control of his press from the shifting weight of his men; King twists his press and talks of the "division of the spoils"; and Webb urges a "good screwing" to gain the workers's suport and Biddle's fees. From below, the "workies" criticize the Bank as an institution of the aristocracy; allude favorably to Jackson and his veto of the Bank's recharter; scream their refusal to bow to a "golden calf"; and exclaim that they vote for liberty, not their "merchants breeches pockets." To the far right, Biddle hollers support to his "cousins"; "Jack Downing" questions the success of the presses; and a man with a monocle declares that the "workies" will not vote in the next election if they fail., Retrospective conversion record: original entry, edited.
The old way. The new way. [graphic].
Cartoon satirizing old and modern business practices. Shows a split view of two white men, possibly merchants or bankers. In the left, a thin man with disheveled hair sits on a crate near an overturned basket filled with credit vouchers at his feet. He is attired in a shirt, ragged pants and jacket, and shoes with holes in them. He holds his right hand up to his forehead in a gesture of distress for “he gave credit.” To his right is an open window in which a sign reading “The Poor House” is visible. In the right, a white man, sits, cross legged, in a chair between a table covered with a cloth on which he rests his elbow and a safe on which a “Government Securities” box of “U.S. Bonds” is set. He wears his hair combed back and has long mutton chops. He is attired in a suit, bow tie, vest adorned with a watch fob, and shined shoes. He holds a cigar in his left hand, his lapel in his right hand, and blows smoke from his mouth., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1870 in the clerks' office of the district court of the United States for the southern district of New York., Image captioned: I Gave Credit. I Sell for Cash., Lib. Company. Annual Report, 2019, p. 91.
Our national bird as it appeared when handed to James Buchanan. March. 4. 1857 [graphic] : The identical bird as it appeared A.D. 1861. / "I was murdered i' the Capitol." Shakespeare.
Entered ... 1861 by Thomas W. Strong ... New York., Not in Reilly., [Signed M.A.] Woolf., Retrospective conversion record: original entry, with corrections., Digitized by Alexander Street Press for Images of the American Civil War.
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 is held under the year 1863 by Father Time; Thomas Crawford's statue of freedom; and the hellhound Cerberus fleeing liberty. The Great Central or Sanitary Fair of 1864 was organized by the Philadelphia division of the United States Sanitary Commission to raise money for their soldier relief organization. Although emancipation was a popular theme of the fair, African Americans were excluded from the exhibition., Title from item., Date inferred from content., Inscribed: Price [Fif?]ty Cents., Originally published in "Harper's weekly," January 24, 1863., LCP exhibition catalogue: African American Miscellany, p. 22., Accessioned 1987., 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.
Pay day at the custom house, N.Y. [graphic] / Magee, del.
Cartoon depicting a crowd surrounding the New York City custom house where many upper class men scuffle or flee from tradespeople and shopkeepers demanding payment for bills owed. In the left, a white woman grabs a white man by the coat tails and exclaims, "Stop, you wagabone, & pay your washing-bill, you sarpint!" A rotund white man holds a bill and replies, "Hold on, good woman--Hold on til I get there. He owes me for his Grog score." In the center, a white man local official, attired in fine clothing and a top hat, is surrounded by creditors forming a long line holding bills and demanding payment, including for "five oyster suppers" and his "tailors-bill." A barefoot African American shoeshiner, portrayed in racist caricature and attired in torn and worn clothes asks in the vernacular, "Massa will you pay for brack de boots?" The official responds, "You black rascal, have you the impudence to present a bill to a man who has been chosen to office by the sober second thought of the people?" In the background, creditors chase the custom officials with their bills., Title from item., Date from copyright statement: Entered according to act of Congress in the year 1847 by J. Baillie in the Clerk's Office of the District Court of the Southern District of N. York., Gift of Mrs. Francis P. Garvan, 1977., 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., Magee was a New York cartoonist and lithographer who eventually established his own lithographic firm in Philadelphia in 1850.
A peep into the Antifederal Club. [graphic]
Satire of an Anti-Federalist (ie. Democratic-Republican) Club reflecting the Federalists characterizations of the clubs as atheistic secret societies with a debased membership that promoted revolutionary action and mob rule. Possibly Thomas Jefferson, a founder and leader of the Democratic-Republicans, orates to club members including: a Citizen Genet, a supporter of Edmond Genet, the minister of the French Republic who promoted the principles of the French Revolution for America; naval hero and New York radical Commodore Livingston; Philadelphia astronomer David Rittenhouse peering through his telescope at a satire of the "Creed of the Democratic Party;" the devil; an obese drunkard damning the Federal Government; New York Governor DeWitt Clinton, and an African American man referred to by another member as "Citizen Mungo.", Title from item., Manuscript note on recto: This Caricature the work of an Artist of our own Country is presented to the Library Company by the friends of that Institution., Inscribed: Price one half dollar., LCP exhibition catalogue: Made in America #15., 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.
The peninsular campaign [graphic]
Civil War cartoon referencing George B. McClellan's failed 1862 peninsular campaign to criticize his cautious military performance as commander-in-chief of the U.S. Army and his relationship with financier August Belmont and lawyer Samuel M.L. Barlow, New York Democratic Party leaders with Southern ties. Shows McClellan holding a shovel and sitting backwards on a mule that displays a flag marked "Strategy" on its tails and that Belmont and Barlow desperately try to move past human bones and away from Richmond. He advises the men to "coax" the animal because he does not believe in force and to keep his mule's head to the rear or his plans for "conquering the Rebellion will never be developed." Belmont, with several hats layered on his head and Barlow, a paper printed "Harrisons Landing July 7, 1862" in his pocket, "hold fast" and discuss Belmont's European ties and a letter written by Barlow on McClellan's behalf for the president that will be signed and sent following the general's "change of base.", Originally part of a McAllister scrapbook of materials related to George McClellan and Abraham Lincoln., Digitized by Alexander Street Press for Images of the American Civil War.
The people putting responsibility to the test or the downfall of the kitchen cabinet and collar presses. [graphic] / T.W. Whitley alias Sir Joshua invt..
Cartoon predicting the dire consequences to follow President Jackson's withdrawal of federal funds from the Bank of the United States. Depicts a riot in which Supreme Court Justice John Marshall warns that "the day of retribution is at hand" as anti-bank fiscal advisors Reuben Whitney and Thomas Ellicott use a rope to pull down a statue of Justice, depicted as a white woman holding scales and stepping on a snake, from a pedestal labeled "Constitution." An angry mob of white men farmers, laborers, and tradesmen carry instruments including axes, pitchforks, and shovels and papers labeled, “Broken Bank.” They fight and demand the recharter of the bank, shouting "Send back the deposites! Recharter the Bank!" and "Come back old responsibility." In the right, Jackson escapes on the back of "Jack Downing" cursing Postmaster General Kendall, "By the Eternal Major Downing; I find Ive been a mere tool to that Damn'd Amos [Kendall] and his set, the sooner I cut stick the better." In the left background, under "Senate Chamber," Henry Clay gloats to Daniel Webster and John Calhoun, "Behold Senators the fulfilment of my predictions." In the left foreground, two African American men, portrayed in racist caricature and speaking in the vernacular, predict freedom and the ascension to the throne of abolitionist William Lloyd Garrison, "Hurrah! for Massa Garison, den he shall be King!" A Jewish banker, portrayed in caricature, undercuts a sailor offering him a ten dollar bank note, "Mine Got that ish one of the Pet Bankhs I'll give you one Dollar for the Ten." In the right foreground, newspapers supportive of Jackson, "collar presses," symbolized as dogs with human heads labeled "Evening Post, N. York Standard, Journal of Commerce, Albany Argus," run away chained together., Title from item., Date from copyright statement: Entered according to Act of Congress in the Clerk's Office for the Southern District of New York by T.W. Whitley in the year 1834, and for sale at 104 Broadway., 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., Whitley was a mid-19th-century New York landscape and figure painter who also wrote about art and drama for the New York Herald.
Philadelphia fashions, 1837. [graphic] / C.
Racist cartoon depicting middle class African American Philadelphians used to arouse Northern anti-Black fears that well-to-do African Americans threatened the racial status quo. Depicts a physically attractive and elegantly dressed African American man and woman couple who have stopped during a stroll. The woman, attired in a large bonnet, elegant gown, and holding a parasol asks in the vernacular, "What you look at Mr. Frederick Augustus?" The man, attired in a suit, a top hat, and holding a walking cane in one hand and a monocle to his eye with the other answers, "I look at dat White loafer wot looks at me. I guess he from New York." The man and woman also each wear broaches depicting portraits. The couple are possibly prominent African American Philadelphians Frederick Augustus Hinton and Elizabeth Willson Hinton., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1837, by H.R. Robinson in the Clerk's Office of the Dist Court of the U.S. of the Southern District of N. York., Due to the similar content of this caricature to the prints from the series, "Life in Philadelphia," the lithograph has been catalogued as a part of the series., Purchase 1958., 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., E.W. Clay (1799-1857), born in Philadelphia, was a prominent caricaturist, engraver, and lithographer who created the "Life in Philadelphia" series which racially lampooned middle-class African American Philadelphians of the late 1820s and early 1830s.
The pious Mr. All-bone, taking leave of his directors previous to his departure for Europe. [graphic].
Cartoon about the Panic of 1857 satirizing the dubious overseas departure of the Bank of Pennsylvania president Thomas Allibone preceding the failure of the financial institution in the fall of 1857. Allibone claimed he departed for Europe for health reasons with the support of the Board of Director. The board later charged he resigned while in debt $200,000 to the bank. Shows the Bank of Pennsylvania board wishing a teary-eye Allibone farewell at the "Steamer Europe Sail" wharf. The board stands on "Bank of Pennsylvania" charters and many sneer and hold handkerchiefs to their faces. To the rear of the group, a white woman "reduced to absolute want" from the bank failure, stands with her children, including a baby at her breast, and asks one of the board members "could you not through your influence, obtain me a situation as housekeeper or school teacher?" The member jeers that his influence is "for his friends" and she should get "some tickets for soup." At the front of the group, the wart-nosed, rotund head of the board, shakes Allibone's hand. He assures the departing president of the entire respect and sympathy for his "good care" of the funds of the "Board, and the Widows, and Orphans." He hopes Allibone will return with "renovated health and strength" as well as a purchased title that includes "Gentleman of the Grand Order of the Rag Mill and the Check Marked Good.", Allibone stands on several sheets of "stock" near his valises. He holds a handkerchief to his face, and carries the book of "Common Prayer" in his coat pocket. He responds that if "a liberal expenditure of THEIR money" restores his health that he will attempt to purchase a title. He also suggests that his well-wisher go to church regularly, keep out of jail, and keep his breeches buttoned up and he "will sail through this crisis with flying colors." In the right, an African American woman peddler holds her nose and states in the vernacular that it is because of the "bad odor of dis paper! won't git much fur dis." Beside her, a white boy fishing at the pier remarks to his wriggling, hooked worm that "yer bound to be catched at last." Also shows an African American man, attired in worn and torn clothing, seated and chewing a stick in front of an overturned barrel while a white cabman races his horse-drawn coach down the street of grocery stores in the background. The driver hollers "Stop him! He owes me 130 dollars for Cab-hire." Groceries advertised include onions, molasses, soft sawder (i.e., blarney), sugar, oil, and vinegar., Artist probably John L. Magee., Title from item., Date inferred from content., Weitenkampf incorrectly provides date of 1837., John L. Magee's print "The Dreadful Accident on the North Pennsylvania Railroad" (1856) lithographed on the verso. [7663.Fb], 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.
Platforms Illustrated [graphic] : [Two scenes:] Baltimore, Chicago.
Retrospective conversion record: original entry., Digitized by Alexander Street Press for Images of the American Civil War.
Political "Blondins" crossing Salt River [graphic].
Cartoon lampooning the perilous nature of the platforms of the 1860 presidential candidates caused by the divisive issue of the extension of slavery to the territories. Depicts the candidates' various methods to cross the "Salt River" (i.e., political disaster) between the "North" and "South." Republican Abraham Lincoln, near the "South," wobbles at the end of a too short rail. The rail, balanced on the "Abolition Rock," is unsuccessfully weighed down by the precariously balanced "Tribune" editor, Horace Greeley. Lincoln curses Greeley who is "accustomed" to the "Salt River." Northern Democrat Stephen Douglas attempts to balance on the tightrope "Non Intervention," and yells for "Help" from the excessive weight of "Squatter Sovereignty" on his balancing pole. Southern Democrat Samuel Breckenridge rides the shoulders of the President and "old public functionary" James Buchanan as he crosses the tightrope "Slavery Extension." Constitutional Unionists John Bell and running mate Edward Everett stand on the "Constitutional Bridge" mocking and pitying the other candidates who are not satisfied with the bridge built by the "patriots of 76" which connects the "two shores in an indissoluble bond of union.", 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 Dist of N.Y., Manuscript note on recto: "Blondin celebrated for having walked over Niagara Falls on a tightrope, gave the idea for this caricature." On June 30, 1859, Jean Francois Gravelet Blondin, a professional tight-rope artist trained under P.T. Barnum, was the first man to successfully cross the falls., 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.
Political caricature no.3. The abolition catastrophe, or the November smash-up. [graphic]
Title from item., Date from copyright statement: Entered according to act of Congress in the year 1864 by Bromley & Co. New York in the Clerk's office of the District Court of the United States for the Southern District of New York., Text printed on recto: Single Copies sent pr. mail post paid 25 cts; 5 Copies $1.00; 50 express $9.00; 100 $16.00. Express charges paid by purchaser. Address: Bromley & Co., Box 4265 New York City. Write your address: Post Office, County and State plainly., Third in a series of four., McAllister Collection, gift, 1886., 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., Cartoon criticizing the Republican's self-destructive support of abolitionism during the presidential election of 1864 depicting the "Union" train of Democrats steaming toward the White House passing the wrecked Republican train. Candidate George McClellan engineers the smooth running Democratic train powered by "Democracy" and adorned with the flag "Constitution." Several of the passengers including Horatio Seymour praise McClellan as others mock the Republican Party's demise. The Republican train has crashed into several rocks symbolic of the war including "Abolitionism," "Confiscation," and "Emancipation." The crash ejects Abraham Lincoln. Several African Americans, who are depicted in racist caricature and speak in the vernacular, are crushed and maimed. Tossed and injured prominent Republican passengers include Edwin Stanton; Horace Greeley; Henry Ward Beecher who holds an African American baby; Charles Sumner; William Seward; John McKeon; Benjamin Butler and Thurlow Weed; many of whom pray for help. "John Bull," Emperor Maximilian of Mexico, and France's Napoleon III observe and comment on the crash's effect on the puppet empire of Mexico. Another observer, recently resigned Secretary Salmon P. Chase, expresses relief that he left the Republican train in the "nick of time."
Political quixotism. Shewing the consequences of sleeping in patent magic spectacles [graphic] : The diplomatic hercules, attacking the political hydra / From a very big picter in the Jineral's bedroom, drawd off from nater by Zek Downing, historical pain
Anti-Jackson cartoon alleging that irrational motives influenced the President's decision to destroy the Bank of the United States. Depicts a terrified Jackson, in his bedroom, fighting the hydra, "U.S. Bank," during a nightmare. References to the corruption of the Bank are inscribed on the creature's many heads, including "deposits," "pension," and "bribery." Jackson, sword in hand, screams "Stamp the horrid Monster!!! Crush it!!! Nick Biddle!!! Hell & the Devil!!! Bribery & Corruption!!! Assasination [sic]!! Fire!! Murder. Murder!! Where are you Major?" Jackson is being restrained by "Major" Jack Downing, who pulls on his suspenders and implores him to return to bed, "Cum along to Bed agin, Jineral, I tell you Biddle aint here, nor the devil nother as I no on." In the right background is a bed and a chair with a candle on it., Zek Downing was a pseudonym used by various artists on several cartoons, predominately published by Ezra Bisbee, which satirized the Bank War., Retrospective conversion record: original entry, edited.
The Political "Siamese" Twins [graphic] : The Offspring Of Chicago Miscegenation.
Entered ... 1864, by Currier & Ives ... N.Y., Retrospective conversion record: original entry., Digitized by Alexander Street Press for Images of the American Civil War.
Pore lil' Mose sends his Pa a valentine. [graphic] / R.F. Outcault.
Racist cartoon containing vignettes about an African American family, portrayed in racist caricature, with the boy prankster Pore Lil' Mose giving valentines to his gal Happy Lil' Sal and his Pa. In the left, shows Miss Sally Sunbeam, portrayed in caricature and wearing her hair in pigtails with yellow bows and attired in a pink dress with a white ruffled collar, yellow stockings, and boots, standing with her dog. She smiles and holds up the valentine while Mose looks on from behind a fence. Below is a vignette depicting Pa angrily holding and reading his “comic” valentine, “Moses Pryor shif’less coon quit his job de first of June never works again till fall hates to ever work at all.” Mose’s mother, attired in a red headkerchief with white polka dots, a yellow shawl, and a blue dress, smiles as she looks over Pa’s shoulder. A younger brother, attired in a red and white sailor shirt with a green bow and green pants, stands behind Pa and scowls with his hands in his pockets. The next vignette, shows Mose fleeing the kitchen with only his legs visible running out the door as a mule looks on. Pa, tripping over the cat, flies through the air head down and legs up and carrying a stick in his hand. Ma leans back with her hand on her head as the plates, cutlery, and coffee pot are thrown from the kitchen table. In the top right is a portrait of Uncle Jack, wearing white hair and attired in a black top hat, a white and red striped shirt, a yellow vest with red polka dots, blue pants, red socks, and brown shoes, standing with his hands in his pockets. The image of Pa’s valentine depicts a racist caricature of an African American man stealing a chicken at night under the moonlight. Contains 21 lines of text written in the vernacular explicating the scenes ending with the line "Pore Lil' Mose.", Title from item., 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 renowned as the creator of the first published full page comic. He is also the creator of "Buster Brown."
Practical amalgamation. [graphic]
Racist print promoting anti-abolitionists' fears of multiracial personal relationships. Depicts a parlor scene where two inter-racial couples court on a couch. In the left, an attractive white women sits on the lap of an African American man. The man, depicted in racist caricature with grotesque facial features, holds a guitar in his right hand as she engages him in a kiss. In the right, a rotund African American woman holds a fan in her right hand as she is wooed by a slender white man on his knees who kisses her left hand. Portraits of abolitionists Arthur Tappan, Daniel O'Connell (a radical Irish abolitionist), and John Quincy Adams are hung on the wall behind the couch. A white and black dog are in the left corner., Title from item., After E.W. Clay's Practical amalgamation (New York: Published and sold by John Childs, Lithographer, 119 Fulton Street, upstairs, 1839]., Purchase 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 the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Practical amalgamation. [graphic] / ENC.
Racist print promoting anti-abolitionists' fears of multiracial personal relationships. Depicts a parlor scene where two interracial couples court on a couch. In the left, an attractive white women sits on the lap of an African American man. The man, depicted in racist caricature with grotesque facial features, holds a guitar in his right hand as she engages him in a kiss. In the right, a rotund African American woman holds a fan in her right hand as she is wooed by a slender white man on his knees who kisses her left hand. Portraits of abolitionists Arthur Tappan, Daniel O'Connell (a radical Irish abolitionist), and John Quincy Adams are hung on the wall behind the couch. A white and black dog are in the left corner., Title from item., First of a series of five., Lib. Company. Annual Report, 2015, p. 41., Purchase 1957., 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, engraver, and lithographer who created the "Life in Philadelphia" series which satirized middle-class African-Americans of the late 1820s and early 1830s.
Practical illustration of the fugitive slave law. [graphic] /. EC, del.
Antislavery print depicting a fight between Northern abolitionists and supporters of the Fugitive Slave Law of 1850. In the left, abolitionist William Lloyd Garrison and an African American man both raise guns to protect an enslaved African American woman who is attired in a head kerchief, earrings, a short-sleeved dress, and shoes. She raises both arms in the air and clutches a handkerchief in her right hand and exclaims “Oh Massa Garrison protect me!!!” Garrison wraps his right arm around her and says, “Don’t be alarmed, Susanna, you’re safe enough.” In the right, the white man mercenary, attired in a top hat with a star on it, who may represent the federal marshals or commissioners authorized by the act (and paid) to apprehend freedom seekers, carries a noose and shackles. He sits astride Secretary of State Daniel Webster, who is on his hands and knees clutching the Constitution and bemoaning, "This, though constitutional, is extremely disagreeable." Behind them a white man, possibly John C. Calhoun, declares "We will give these fellows a touch of Old South Carolina" and carries two volumes labeled "Law and Gospel." Another white man carries a quill and ledger and says "I goes in for Law & Order." In the background, a number of men on both sides fight. A white man lies on the ground on his back. An African American man grabs a white man enslaver by the head and holds a whip while saying “It’s my turn now Old Slave Driver.” A "Temple of Liberty" stands in the background with two flags flying which read, "A day, an hour, of virtuous Liberty is worth an age of Servitude," and "All men are created free and equal.", Title from item., Probable place and date of publication supplied by Reilly., Weitenkampf attributed this cartoon to the New York artist Edward Williams Clay, but Reilly refutes this attribution on the grounds that the draftsmanship, signature, and political opinions are atypical of Clay., 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.
Practical illustration of the Virginia Constitution. [graphic]: White man the bottom rail.
Cartoon promoting racist fears of the effects of equal rights for African Americans under Virginia's reconstructed constitution by portraying two captioned scenes where African Americans have power over white people. The first, a "Mixed School System," depicts a desegregated classroom in which a seated African American man teacher spanks a white boy as other students witness the punishment. The second scene, a "Negro Court and Jury," depicts an African American man attorney questioning a white woman witness in front of an integrated jury and audience including an African American spectator slumped over asleep in the front row of seats., Title from item., Date of publication inferred from content., Purchase 1969., 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 precarious situation. [graphic]
Cartoon addressing the tenuous position of Republican presidential nominee General Ulysses S. Grant as the candidate of a party whose radicals support African American civil rights and Reconstruction under military rule. Depicts Grant holding up a knife inscribed "military despotism" as he straddles the "radical platform" rope that is stretched across the "Salt River" (i.e., political disaster). One end of the rope is tied to a rifle labeled "military reconstruction." The other end is held by "Negro supremacy" depicted as an African American man, portrayed in racist caricature, barefooted, and attired in torn and worn clothes, who sits upon the tombstone of "Southern Confederacy." He asks in the vernacular, "Whar you be Massa Grant if I lef' go, yah! yah!!" Grant replies, "I'll fight it out if it takes all summer.", Title from item., Date of publication supplied by Weitenkampf., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
The precarious situation. [graphic]
Cartoon addressing the tenuous position of Republican presidential nominee General Ulysses S. Grant as the candidate of a party whose radicals support African American civil rights and Reconstruction under military rule. Depicts Grant holding up a knife inscribed "military despotism" as he straddles the "radical platform" rope that is stretched across the "Salt River" (i.e., political disaster). One end of the rope is tied to a rifle labeled "military reconstruction." The other end is held by "Negro supremacy" depicted as an African American man, portrayed in racist caricature, barefooted, and attired in torn and worn clothes, who sits upon the tombstone of "Southern Confederacy." He asks in the vernacular, "Whar you be Massa Grant if I lef' go, yah! yah!!" Grant replies, "I'll fight it out if it takes all summer.", Title from item., Date of publication supplied by Weitenkampf., Accessioned 1979., RVCDC, Description revised 2021., Access points revised 2021.
A proslavery incantation scene or Shakespeare improved. [graphic]
Antislavery print using an allegory of the cauldron scene from Macbeth to depict James Buchanan and the Democrats' contempt for the freesoilers following the Kansas-Nebraska Act of 1854. Depicts Buchanan, Stephen Douglas, and several animated Democrats, speaking in Shakespearian rhyme, gathered around a boiling cauldron labeled, "Double double, Free State trouble, Till Fremont men are straw & stubble." In the foreground, a white man kneels and blows on the fire, with a pistol labeled "Laws of Kansas" in his back pocket. The fire is fueled with anti-slavery literature, including "Beecher Sermons," "N.Y. Tribune," "Quincy’s Letters," "N.Y. Post," and "Boston Atlas." Buchanan, standing on a platform, states he endorses the laws of Kansas now in force and holds a paper labeled "Ostend Conference," (an attempt by the United States to negate an agreement with France and Great Britain to not annex enslaved-holding Cuba), over the cauldron. Beside him Douglas, holding a whip and shackles, calls for the blood of freemen and revels in the woe caused by his Kansas-Nebraska bill. Shackles, including one marked “Chattel Stock,” also rest at his feet. Many of the Democrats gathered around the kettle are depicted as pro-slavery, white men Southerners and refer favorably to Preston Brook's caning of Charles Sumner while others call out items to be thrown into the pot, such as "fillet of a Free Soil Frog" and the "Ostend conference plot.", Title from item., Date of publication 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., 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.
Protest against the British government; [Portrait of a young woman] [graphic] / Brightly sc.
Political print designed by Joseph H. Brightly protesting the British government's policies toward Ireland containing a half-length portrait in left profile of Robert Emmett above text protesting for the equal rights of the Irish. Portrait surrounded by border captioned "Martyred Emmett. 'Let no man write my epitaph till Ireland is free.'" Text surrounded by a border shaped as a lyre and adorned with a heart marked "Liberty," vines of clover, and two bare-breasted angels holding scrolls. Scrolls inscribed with the names of eighteen Irish nationalists including John Mitchel; T.F. (Thomas Francis) Meagher; P. O'Donohue; and Rich. O'Gorman. Text references the infringement of franchise, a free press, and the separation of church and state; the American Revolution; the epitaph of Emmett; and the 'High court of Heaven.", Portrait showing a young woman holding a bouquet of roses. Roses adorn her hair., Two-sided lithograph containing a political print on recto and portrait on verso., One title supplied by cataloger., Date inferred from content., First line of text: Time is the arbiter of all things; slow in its progress, but wonderful in its results., Gift of Davd Doret.
The question settled. [graphic] / Geo. Whiting, 87 Fulton St. New York; Phelps & Watson, 18 Beekman St. New York.
Cartoon depicting Abraham Lincoln as "Old Abe," a white cat who drives "Jeff," (i.e., Jefferson Davis) depicted as a grey striped cat with a noose around his neck from the "United States" food dish. The black cat, "Contraband," (i.e., African American Civil War freedom seeker) makes his way into the dish from the other side. The plate rests upon the Union flag and a map depicting the lower Southern States blockaded by figures of Union ships., Title from item., Possible date of publication supplied by Weitenkampf., During the Civil War, the U.S government declared African American freedom seekers as "contraband of war.", Purchase 1970., 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 rail candidate. [graphic]
Political cartoon questioning candidate Abraham Lincoln's ability to succeed in the presidential election of 1860 with the controversial antislavery plank as a part of the Republican Party’s platform. Depicts Lincoln with an expression of discomfort on his face and straddling a wooden rail labeled, "Republican Platform." He complains, "it is true I have split Rails, but I begin to feel as if this Rail would split me, it's the hardest stick I ever straddled." Carrying the front end of the rail is an African American man, portrayed as a racist caricature, who says in the vernacular, "Dis Nigger strong and willin, but it's awful hard work to carry Old Massa Abe on nothing but dis ere rail!!" The back end of the rail is carried by New York Tribune editor, abolitionist, and Lincoln supporter, Horace Greeley, who ensures that they will prove Lincoln can split rails and be elected President., 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 Southern Distc. of N.Y., Probably drawn by Louis Maurer., Stamp on verso: L.A. DeVries., Purchase 1960., 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.
Red hot Republicans on the Democratic Gridiron. "The San Domingo war dance." [graphic] / J. Cameron.
Cartoon satirizing liberal Republicans opposed to the Grant administration's proposed annexation of San Domingo. Depicts the devil holding a gridiron above a roaring flame upon which several bare-footed Republicans are jumping up and down from the heat including Carl Schurz, Charles Sumner, Horace Greeley, and probably Schuyler Colfax and Winfield Scott Hancock. Missouri senator Schurz cries, "I am loud on San Domingo, And I can't be stopped by jingo; Tho' the pain I bear provokes me, And the smell of brimstone chokes me." Sumner calls to two African American men who witness the scene from a cliff, "Come Sambo! jump right on the Gridiron with the rest, while its hot and lively." They reply in the vernacular, "no you don't Massa Sumner; Old Secesh Debble hold dat Gridiron and I guess you burn your foot." Comments from the roasting Republicans demonstrate their disapproval of Grant., 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 in Washington., Purchase 1958., 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., John Cameron was a Scottish lithographer who worked for many years with the renowned New York lithographic firm Currier and Ives.
Republican platform, or the political montebank. [graphic]
Cartoon critical of the inequity of the 1868 Republican platform's post-war monetary policy. Depicts pensioners and bond holders witnessing Republican presidential nominee General Ulysses S. Grant, attired in his military uniform and spurs, balancing himself on a plank using a baton inscribed "U.S. Treasury" from which gold pieces shoot out from the one end as greenbacks (paper money without gold backing) shoot out from the other. The gold falls in the direction of the smug, well-dressed, white men bond holders who gladly accept such reimbursement for their government bonds. The greenbacks land on the pensioners, which include a white disabled veteran with an amputated arm and leg and a white, widowed mother with a baby who bitterly question such a form of payment for their war services. The plank is supported by a kneeling Horace Greeley, the New York Tribune editor, and a kneeling African American man, portrayed in racist caricature and speaking in the vernacular, "you as got to carry dis chile on dat platform, Massa Grant, too." Greeley warns that "we must not let this Election go by default, so hurry up you stump speakers.", Title from item., Date from copyright statement: Entered according to act of Congress by John McDermott in the Clerk's Office of the District Court of the Southern District of New York., Purchase 1958., 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.

Pages