This 1836 caricature of Andrew Jackson symbolizes his fight to revoke the charter of the Second National Bank. Long distrusting of banking systems and a strong advocate for specie –silver and gold, Jackson made neutralizing the National Bank a top priority of his administration. In this image the twenty four heads on the snake represent the twenty four state branches of the National Bank, with the largest head belonging to bank president and Jackson foe, Nicholas Biddle of Pennsylvania. Jackson’s weapon of choice to defeat the snake is a cane labeled “Veto,” symbolizing his unprecedented use of the presidential veto power. Jackson used that executive power more than any other president, and it is ultimately what afforded him the opportunity to shut down the National Bank. Aiding Jackson in his fight against the snake is Vice President Martin Van Buren depicted holding the head of political rival and former president, John Quincy Adams, and fictional character, Major Jack Downing. Created by journalist Seba Smith, the allegorical persona of Downing symbolized the common man and came to typify the New England Yankee as full of common sense.
The lithographer of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
This 1838 print depicts New York Senator Silas Wright standing in the center holding in his right hand the tail of a donkey, and in his left, the tail of a horse. Mounted on the donkey is Democratic New York Senator, Churchill C. Cambreleng, wearing a wide brimmed hat with a ribbon reading, “Loco Foco Victory,” heading towards Albany. Seated on the horse, is New York City Comptroller (at the time of this print), William L. Marcy in uniform, and also sporting a “Loco Foco Victory” ribbon on his hat, heading towards Washington. The Loco Foco faction of the Democratic Party was prominent in New York City politics, and desired an independent treasury and a break from monopolies. Both men on horseback are posed as if they are about to gallop away towards their respective destinations, but Wright is holding them back stating, “Stop my good fellows, you are going on a fool’s errand. You are counting your chickens before they have hatched!” Both men are expressing what they hope will happen with a Loco Foco victory, with hopes of being Collector (Marcy) and Governor of New York (Cambreleng), but Wright knows that a Loco Foco victory might not be a reality. Ultimately Wright was correct, and a large scale Loco Foco victory never happened. Their biggest success was in 1840 when President Martin Van Buren took their financial policies into consideration and passed the Independent Treasury Act that separated banking from the Federal government. Following 1840 though, the Loco Foco party was only relevant in New York City and had very limited power.
The artist of this print is Sheepshanks, who is most likely a pseudonym for the artist Edward Williams Clay (1799-1857). Clay was a caricaturist, engraver, lithographer, and etcher, as well as a portrait painter. Before his career as an artist, Clay was admitted to the Philadelphia Bar, but quickly left to pursue art in New York City. After losing his eyesight he retired from art and held minor office in Delaware before his death in December of 1857.
The publisher of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
In this undated color print, “Uncle Sam” is seated in a flowered, upholstered armchair, resting and holding a document labeled “Failures.” He is wearing a “Liberty” cap, vest, breeches, moccasins, and an American flag overcoat. Attending to the ill “Uncle Sam,” is “Dr. Hickory”-- Andrew Jackson (characterized as Benjamin Franklin), as well as Missouri Senator, Thomas Hart Benton, and Martin Van Buren dressed as a woman and referred to as “Aunt Matty.” This print is a satire on the state of the United States banking system under the Jackson administration, and employs an extended metaphor of the bank’s failure as an illness throughout the cartoon. Jackson, depicted standing next to a broken statue of “Pater Patriae” (father of the county), George Washington, tells “Uncle Sam” that he is sick because he has been overeating and deserves it. Next to Jackson, Benton holds a clyster enema syringe and suggests that more “mint drops” (coin currency) would cure him of his illness. “Uncle Sam” does not want “mint drops” or “gold pills” however, because they are tying up his bowels and ruining “his Constitution.” He scolds Jackson for ruining his formerly perfect health, and threatens to call on the President of the Second National Bank, Nicholas Biddle to be his Doctor if Jackson and his successor, Van Buren don’t fix the economy. Through the window, “Brother Jonathan,” the personification of New England, can be seen greeting Biddle who is carrying a trunk of “Post notes and bonds.” Brother Jonathan is relieved to see Biddle stating, “Oh Docr. Biddle I’m so glad you’re come. Uncle Sam is in a darned bad way.” The print is undated, but given that “Uncle Sam” is calling “Aunt Matty” his new nurse, holding the paper labeled “Failures” marked with a number of banks and their losses, and that Nicolas Biddle is arriving in the background, this print was most likely a response to the beginning of the Panic of 1837 that happened shortly after Van Buren’s election. Seated behind “Uncle Sam’s” chair, is an Eagle, who states, “I must fly to Texas, for I shall be starved out here.” At the time of this print, Texas was a newly independent nation led by President Sam Houston following the Battle of San Jacinto in April of 1836. Following their independence, the majority of Texans wanted to be annexed by the United States, but neither Jackson nor Van Buren allowed them into the Union. It was not until 1845 under President John Tyler that Texas became a state.
The lithographer of this print is Edward Williams Clay (1799-1857). Clay was a caricaturist, engraver, lithographer, and etcher, as well as a portrait painter. Before his career as an artist, Clay was admitted to the Philadelphia Bar, but quickly left to pursue art in New York City. After losing his eyesight he retired from art and held minor office in Delaware before his death in December of 1857.
In this 1838 caricature, President Martin Van Buren welcomes friends who are members of the Loco Foco party to the White House. The Loco Foco party was an offshoot of the Democratic Party focused on abolishing any antidemocratic and elitist financial policies and disbanding the National Bank. They were originally called the Equal Rights Party, but they became known as the Loco Foco party after Tammany Hall Democrats turned out the gas lights at their nominating convention, forcing them to light their meeting using loco foco matches. The Loco Foco Party never became a national party, and they were often mocked within the Democratic Party and by their opponents. Martin Van Buren calls his Loco Foco visitors dear “old friends,” an illusion to his long standing opposition to the National Bank that he shared with Loco Foco Democrats. On the wall behind Van Buren and the unidentified Loco Foco party member, is a portrait of esteemed journalist, presidential advisor, and Washington Globe editor, Francis Preston Blair. Blair was instrumental in creating Democratic propaganda for Andrew Jackson, so his presence on the wall foreshadows Van Buren’s future decision to satisfy the Loco Foco desire for a treasury completely separate from the federal government via the Independent Treasury Act of July 4th, 1840.
The lithographer of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
This print references the election of 1848. In this image, Free Soil Party candidate and former Democratic president, Martin Van Buren is seated on a stool milking a cow while Whig candidate Zachery Taylor holds her tail and Democratic candidate Lewis Cass holds her horns. Published by Whig artist, Henry R. Robinson, this print serves as a warning of what will happen if the issue of slavery is continually held back by Democrats and Whigs while being “milked” by the Free Soil Party. Both Taylor and Cass hold firm to their party’s principles, while Van Buren says, “I go in for the Free Soil. Hold on Cass, don’t let go Taylor (that’s the cream of the joke).” Both Democrats and Whigs feared that Van Buren and the Free Soil Party would split the vote, ensuring a victory and second presidential for Van Buren and his radical new ideas.
The publisher of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
In this undated caricature, Andrew Jackson stands holding papers in front of a sky decorated with rings of “Glory” indicating his accomplishments. The events chosen as glories solidify that this lithograph is a critique of Jackson, because they highlight some of the unsavory aspects of his life and presidency. The “Ambuthnot and Ambrister Glory” refers to an incident during the 1st Seminole War (1818), where Jackson came under Congressional scrutiny for the execution of two British officers, and the “Destruction of the US Bank Glory” speaks to Jackson’s hatred and subsequent undermining of the Second National Bank of America. In Jackson’s hands are papers reading, “Removing the Deposits Glory,” referring to his decision to take money from the National Bank and redistribute it to local banks around the country. In the image, Jackson is accompanied by fictional character, Major Jack Downing. Created by journalist Seba Smith, the allegorical persona of Downing symbolized the common man and came to typify the New England Yankee as full of common sense. In this image, Downing speaks to Jackson, saying that his last “Ring of Glory” was such a bust that he would have been better of skunk hunting in Downingville- a symbol for mainstream America.
The lithographer of this print is Ezra Bisbee (1820-1856). Bisbee was a political cartoonist and print maker based in New York City and Brooklyn as well as on the island of Antigua.
This 1836 print is a response to President Andrew Jackson’s mission to claim the twenty five million francs owed to the United States as payment for French spoliation during the Napoleonic Wars (1803-1815). During the Napoleonic Wars (1803 to 1815), France, ruled by Napoleon Bonaparte, and their allies, engaged in a series of major conflicts as an extension of the French Revolution. The main target of these conflicts was Great Britain and their allies, but American merchant ships were often damaged by the French Navy. Negotiations to ratify these marine losses began during the war, but rather than helping, they are partially to blame for the War of 1812 as they aggravated the British. Dealings with France regarding this issue were at a stalemate, but early in his first term Jackson proposed the Franco-American Treaty of 1831, calling for France to pay twenty five million francs to the United States to cover the spoliation claims from American merchants. France led by King Louis Phillipe paid European claims, but ignored those of the United States. This angered Jackson, and he threatened military intervention if France did not pay. The threats frustrated France, but they agreed to pay if Jackson apologized. When he refused, payment was again taken off the table. In this print, King Louis is represented by a crow wearing a crown, and Jackson is personified as an eagle perched over a nest of eaglets tucked in an American flag. They are exchanging words across the Atlantic Ocean. Jackson threatens damage to France if King Louis doesn’t “pay the Debt you justly owe,” and Louis retorts that he will only pay if Jackson apologizes. In the middle of the print, is “John Bull,” the personification of Great Britain, crossing the Atlantic “to baulk the cock of all his boasted pride and Eagle’s passion to subside.” In 1836, Jackson finally conceded to France’s desire for an apology, and Great Britain stepped in to help negotiate payment between the United States and France.
The lithographer of this print is Desobry Prosper. He was active in New York from 1824 to 1844, working with the Chanou and Desobry.
This 1838 print is a commentary on two financial scandals involving Collector of Customs for the Port of New York, Samuel Swartwout, and United States District Attorney for New York, William M. Price. Following the expiration of his term as Collector of Customs, Swartwout left for England, taking two hundred thousand dollars to pay remaining fees from his term with him. It soon became clear that he and his employees had embezzled over a million dollars, but Swartwout had fled before the charges were filed. He was ordered to forfeit his personal property to pay the deficit, and only returned to the United States after being guaranteed that he would not be arrested upon arrival. The term “Swartwouted out” came from this scandal, and refers to when someone flees the country after embezzling from the United States government. In this print, Swartwout on the right, is holding a sack labeled “120,000,000 behind his back while embracing Price who is holding a sack labeled “150,000,000” behind his. Both men profess their admiration for the other, saying “of Ex collectors you’re the man I wear within my heart of hearts,” and “Welcome thou pearl of wondrous Price.”In the background of the print, is a poster reading “Theatre Royal.” This poster satirizes their scandals, turning their appearance in England into a spectacle, encouraging people to “catch him who can.” While the context of this print suggests that Price was also involved in a scandal involving money and him leaving the country for England, at this time it is unclear what it actually was.
The lithographer of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
This 1833 black and white caricature of Andrew Jackson and his “Kitchen Cabinet” of personal advisors captures the administration’s decision to remove money from the Second National Bank and move it to local banks supportive of Jackson. In this image two of Jackson’s most trusted advisors, Amos Kendall and William T. Barry sit at a table with Major Jack Downing, while Secretary of the Treasury, Roger Brooke Taney lies on the floor in front of a fire in a fireplace. Major Jack Downing is a fictional character created by journalist Seba Smith, and the allegorical persona of Downing symbolized the common man. His depiction in this cartoon symbolizes Jackson’s commitment to the common man, but also that he himself was one since he values and seeks Downing’s input on what to do in the situation. As Downing prepares to read the pro-Jackson “Globe” newspaper in front of him, the “Bank Beef” burns on the hearth in the background. The cartoon places some of the blame for the destruction of the bank on Vice President Martin Van Buren, who is seen peeking through the curtains in the background, but actually, it was a collective effort that brought down the bank.
The lithographer of this print is Ezra Bisbee (1820-1856). Bisbee was a political cartoonist and print maker based in New York City and Brooklyn as well as on the island of Antigua.
This undated print most likely is in reference to the Election of 1840 between incumbent Democratic president, Martin Van Buren and his Whig opponent, William Henry Harrison. Van Buren is depicted seated, clutching the arm of a chair labeled “US,” while wearing an ermine cape and crown as an allusion to his predecessor, Andrew Jackson. To Van Buren’s left, Harrison dressed as a woman, is pulling at Van Buren’s head with a pair of obstetrical forceps saying, “you must come my baby, if you stay here much longer you will kill your Mammy.” Portraying Harrison as a midwife plays to the metaphor of him removing or “delivering” the country of what the Whigs saw as an “executive Federalist.” Van Buren is struggling against Harrison, and “can’t hold on much longer.” Four men, South Carolina Senator John C. Calhoun, “Globe” editor, Francis P. Blair, Missouri Senator Thomas Hart Benton, and favored Democratic advisor, Amos Kendall, cling to Van Buren, holding his leg and cape in order to keep him on the throne. The men beg “Granny” Harrison to keep Van Buren in the throne until “his incubation be more complete,” but Democrats were unsuccessful, and Harrison easily won the election.
The publisher of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
This undated black and white print is most likely a commentary on the Election of 1840. In this race, Democratic President Martin Van Buren faced off against Whig opponent, William Henry Harrison. Harrison was a longtime political figure, serving as a Representative for the Northwest Territories, a Major in the US Army, and as both a Representative and Senator for the state of Ohio. He ran against then Vice President Van Buren in the Election of 1836, but failed to secure the necessary electoral votes. In 1840 Harrison tried again, and found a stable political platform in attacking Van Buren for the financial crisis that marred his presidency. Under Van Buren’s watch the United States fell into a widespread economic depression known as the Panic of 1837; his desire to change the financial system of the country was not shared by the majority of the country. One of Van Buren’s ideas to change the financial system, was the implementation of an Independent Treasury to remove politics from the country’s financial system. His policies were not popular with the Whigs, as alluded to by the title of this print referencing “working on Sub Treasury metal.” This print depicts President Van Buren laying stretched across an anvil on his stomach, while Harrison (depicted as a heavily muscled man) holds him by his ankle and beats him with a hammer while saying, “I’ll convince any man, I am the best Blacksmith in all Ohio.” Van Buren is actively resisting the blows, shouting, “this horrid battering will surely undo me.” He was correct, and Harrison easily secured the presidency for the Whig Party.
This 1837 caricature of President Andrew Jackson depicts him seated upon a donkey or ass, an emerging symbol for the Democratic Party. As suggested by the title, “The Modern Balaam and His Ass,” this image employs a biblical reference to critique Jackson. In the Bible, Balaam is a wicked prophet, who while on a journey to curse Israel is tested by God. An angel, visible only to his ass, was placed in his path, and when Balaam beat the ass for trying to move around the obstruction, God granted the ass the ability to speak. Only after the ass speaks was Balaam able to see the angel, and it is only because of the great wisdom of the beast that the angel spares the life of the prophet. In this cartoon, Jackson is Balaam, and his “Jack”-ass is the Democratic Party. Jackson is beating the ass with a cane labeled “Veto,” while the Democratic Party speaking as the ass asks, “am not I thine ass upon which thou hast ridden ever since I was thine unto this day?” The Democratic Party was divided at this time on what to do with regarding the banks, symbolized in this print by the saddle bag reading “Specie Currency Circulating Medium.” Similar to the biblical story, Jackson was advised not to harm people via a bad decision, but unlike in the bible, he did it anyway. The handkerchief reading “Farewell Address” flying out of his pocket while Jackson’s successor, Vice President Martin Van Buren walks behind the donkey, shows that the warning was not heeded, and that the Democratic Party will continue to suffer at the hands of its leader.
The lithographer of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
This print while undated, references the election of 1828 between incumbent John Quincy Adams and war hero, Andrew Jackson. Political attacks greatly relied on character assassination during this election, and that is depicted in this print. Philadelphia Democratic Press editor John Binns, published the coffin handbill, alleging that six militia men were ordered executed by Andrew Jackson due to enlistment disputes following the War of 1812. Binns circulated thousands of these handbills in his paper, with the original version titled “Monumental Inscriptions!” depicting six black coffins labeled with the soldiers’ names and alleged infraction. The publication of this handbill proved disatorous for Binns, and he was forced to stop printing it after angry mobs threatened to carry him about town in a coffin. In this print, Binns is depicted carrying the burden eight large coffins as well as incumbent president John Quincy Adams and Henry Clay on his back. Adams and Clay were opponents and foes of Jackson, given what he and many Americans saw as a corrupt deal following the election of 1824. Jackson won the popular vote in that election, but due to electoral college discrepancies it went to the House of Representatives to decide, where Clay cast the deciding vote for Adams if he was promised the role of Secretary of State. In this print Adams and Clay are balanced precariously a top the coffins, with Adams stretching to reach the presidential chair topped with an eagle baring a patriotic shield. Clay realizes that he like Binns, is collapsing under the weight of the coffins, but begs Adams to hold on. Adams and Clay both suffered defeat when Jackson won the election and secured his place as president. One can infer that the two additional coffins carried by Binns were likely meant to be seen as for the Adams and Clay.
This 1836 print was created in response to President Andrew Jackson’s success in claiming monetary compensation for French spoliations dating to the Napoleonic Wars. During the Napoleonic Wars (1803 to 1815), France, ruled by Napoleon Bonaparte, and their allies, engaged in a series of major conflicts as an extension of the French Revolution. The main target of these conflicts was Great Britain and their allies, but American merchant ships were often damaged by the French Navy. Negotiations to ratify these marine losses began during the war, but rather than helping, they are partially to blame for starting the War of 1812. Dealings with France regarding this issue were at a stalemate, but early in his first term Jackson proposed the Franco-American Treaty of 1831, calling for France to pay twenty five million francs to the United States to cover the spoliation claims from American merchants. Following this, France led by King Louis Phillipe paid European claims, but ignored the United States’. This angered Jackson, and he threatened military intervention if France did not pay. The threats frustrated France, but they agreed to pay only if Jackson apologized. When he refused, payment was again taken off the table. In 1836, Jackson finally conceded, and with the help of Great Britain, negotiated to receive the payments. This print shows Jackson’s joyful glee upon receiving the sack of “$25,000,000 francs.” He kicks his feet up in a jig, holding the sack of money in one hand and his hat in the other. Sprawled at Jackson’s feet is the King Louis Phillipe of France who states, “Nom de Dieu [my god]! I try de double shuffle wis dis ole Jackson, and he put me on my back.” Above the King Martin Van Buren is playing a fiddle, alluding to his role in the negotiations as Secretary of State. In the background of the print are a myriad of world leaders, including the Czar of Russia, the Sultan of Turkey, and The Pope. All are expressing their approval of Jackson’s success with the French, and speak to his nonintrusive and understated foreign policy agenda and the overall global displeasure with France.
The lithographer of this print is Edward Williams Clay (1799-1857). Clay was a caricaturist, engraver, lithographer, and etcher, as well as a portrait painter. Before his career as an artist, Clay was admitted to the Philadelphia Bar, but quickly left to pursue art in New York City. After losing his eyesight he retired from art and held minor office in Delaware before his death in December of 1857.
The publisher of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
This print refers to the 1838 New York City mayoral race, in which there was widespread election fraud to assure a victory of Aaron Clark, the Whig candidate. Clark is depicted upon a stalled horse while his opponent, Isaac L. Varian’s horse gallops out of the frame. Varian is holding a flagpole topped with a Liberty Cap and flying a flag that states, “Regular Democratic Nomination! No Monopoly! Down with a Monied [sic] Aristocracy!” Clark also holds a flagpole, his being topped with a sheep and a flag labeled “Lottery Office.” He is handing the pole to Conservative Democrat but Whig sympathizer, Recorder of the City of New York, Richard Riker, asking him to help get his horse going: “Take my rod Dickey, and give her another conservative poke or it will be all Dickey with me.” This is a lewd reference to Riker bringing Clark conservative Democrat’s support, and is backed up by Riker stating, “she’ll go as soon as she feels her oats! If she don’t, I’ll give her the six months,” clearly suggesting collusion between them. At the far right, a stereotyped Jewish leaning on a cane thumbs his nose and comments, "Shtop my friendsch I vill shave you shome troublesh . . . It ish moneysh vat maksh de Mare/Mayor go.!!" This print refers to the 1838 New York City mayoral race, in which there was widespread election fraud to assure a victory of Clark, the Whig candidate. Clark beat Varian in 1838, largely due to the fraud, but lost to him in 1839. During his first term as mayor Varian passed the first voter registration bill in an attempt to ensure that widespread voter fraud would not happen again.
The artist of this print is Sheepshanks, who is most likely a pseudonym for the artist Edward Williams Clay (1799-1857). Clay was a caricaturist, engraver, lithographer, and etcher, as well as a portrait painter. Before his career as an artist, Clay was admitted to the Philadelphia Bar, but quickly left to pursue art in New York City. After losing his eyesight he retired from art and held minor office in Delaware before his death in December of 1857.
The publisher of this print is most likely James Fitzsimmons. No additional information on the publisher is known at this time.