black and white stereograph mounted on orange cardstock; printed on verso "Stereoscopic Views / in / Wesleyan Grove and Oak Bluffs, / Martha's Vineyard / A.C. Brownell, Fall River, Mass / Woodward & Son, Taunton, Mass."; two level gingerbread style cottage with "Newton Highland Cottage" written over first floor windows and door; group of men, women and children gathered on lawn in front of cottage; baby in a pram at center of image; young boy seated on grass with a small dog
black and white stereograph mounted on yellow cardstock; printed on verso "Photographed and Published by / R.G. Shute, Edgartown, Mass. / Views of Martha's Vineyard Camp Ground, Oak Bluffs, Highlands, Gay Head, Edgartown, Katama, Vineyard Haven, Nantucket, A Whaling Voyage / and other Stereoscopic Pictures."; printed on recto "No. 7. Oliver Ames' Villa, Sea View Ave., Cottage City."; view looking at gingerbread style cottage at an angle, wrap around front porch with stairs leading off two visible sides
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 undated caricature of outgoing president, Martin Van Buren depicts the president seated in a cart on top of three large sacks labeled, “Globe,” “Mint Drops,” and “Solitary and Alone.” These along with the dog labeled “Cuba” under the cart represent the negative aspects of Martin Van Buren’s presidency including the Panic of 1837 and desire to establish an Independent Treasury System, the pro-Democrat propaganda paper “The Globe,” and the Amistad case involving Spain and the legality of slavery. On the cart, is a throne, crown, and scepter, an illusion to the tyrannical rule of Andrew Jackson—Van Buren’s predecessor and close advisor. Four men are shown moving the cart: Missouri Senator Thomas H. Benton, Treasury Secretary Levi Woodbury, and South Carolina Senator John C. Calhoun are on the left pulling, and "Globe" Editor, Francis Preston Blair is on the right pushing. These four men were all closely aligned with both Jackson and Van Buren; their support for both the Democratic Party and its policies tarnished their political careers. Standing to the right of the cart on the steps of the White House, is newly elected president, William Henry Harrison and his Vice President, John Tyler. Both Harrison and Tyler were members of the Whig Party. The “Notice to Quit” in Tyler’s hand represents the Whig Party’s win in the Election of 1840 and Van Buren’s removal from office after just one term. Van Buren laments his loss saying: “this the reward for all of my patriotic service,” an ironic sentence given the failures he is symbolically sitting upon.
The lithographer of this print is Henry Dacre. Dacre was born in England, but worked for the lithographer, P.S. Duval in Philadelphia from 1847 to 1850.
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.
Identified as the President’s House, this early view of the White House is a black and white line engraving depicting a Greek Revival-style building with two stories and a lower level. The image, a view during the Jackson presidency, features the South Portico and curved paths framed by brick walls.
During this period much attention was given to the grounds, walks, shrubbery, and flower gardens, which were the pride of the president, the White House gardener John Ousley, and city gardener Jemmy Mahler. The White House was popularly known as President’s House, President’s Mansion, or President’s Palace during the period. It was formally named the Executive Mansion from 1810 until 1901 until Theodore Roosevelt established the name White House–Washington. This print is similar to prints of British and European palaces and estates, proclaiming a national pride in the home of the American president. The print would have been published in a view book with other like engravings and purchased as a gift, commemorative, or souvenir of Washington by an affluent member of society.
The publishing company Carter, Andrews & Co. was based out of Lancaster, Massachusetts. Established in the 1830’s, the original drawing appears to have been created by H. Brown during this period but may have been published later. The engraver may have been Samuel Walker or J. Andrews but is not indicated on the print.
black and white stereograph mounted on yellow cardstock; photograph by Richard G. Shute; printed on verso "Photographed and Published by / R.G. Shute, Edgartown, Mass. / Views of Martha's Vineyard Camp Ground, Oak Bluffs, Highlands, Gay Head, Edgartown, Katama, Vineyard Haven, Nantucket, A Whaling Voyage and other STEREOSCOPIC PICTURES."; printed on recto "No. 228. Barnes' Cottage, Ocean Ave., Cottage City."; image of row of ornate gingerbread style cottages (homes); cottage of Alfred S. Barnes (1817-1888), a North American Publisher and Philanthropist
black and white stereograph mounted on mint green cardstock; printed on verso "Stereoscopic Views / of the / Camp Ground, Oak Bluff, Highlands, and Katama, / By Charles H. Shute & Son, Edgartown, Mass"; handwritten on verso in pencil "No. 12 - View on Clinton Ave."; sidewalk extending from foreground to background on right side of image; gingerbread style cottages line sidewalk down the left side of the image; two of the houses have United States (U.S.) flags draped on the canopy over their front stoop
black and white stereograph mounted on yellow cardstock; handwritten in pencil and black ink on verso "Mr. Spinneys Cottage / Clinton Ave / Gift of W.S.A. 26 June 1923"; exterior of two level gingerbread style cottage with three second floor balconies; men and women gatehred on front porch and balconies in front of home
black and white stereograph mounted on yellow cardstock; printed on verso "Photographed and Published by / R.G. Shute, Edgartown, Mass. / Views of Martha's Vineyard Camp Ground, Oak Bluffs, Highlands, Gay Head, Edgartown, Katama, Vineyard Haven, Nantucket, A Whaling Voyage and other Stereoscopic Pictures."; printed on recto "No. 229. Clinton Ave., from Jos. S. Spinney's Cottage"; view looking down tree lined street, unpaved sidewalk extending from foreground to background at slight angle a little right of center; trees to left of sidewalk separating walk from row of ginerbread style cottages; group of four women and a young girl seated in front of the first cottage