Joined chest comprised of fourteen panels. Frame and façade is made of five panels of oak with the end and rear five panels made in cedar or pine. Embellishment to front and ends of channel molding on stiles muttins, and upper and lower rails, with chamfering on stiles and rails where they abut the panels, ending in lamb’s tongue on stiles and upper rails. Interior rear top rail, rear and end muttins embellished with channel molding. Lid possibly made of pine, with thumbnail edge, cleats, modern mid brace and lock staple and plate. Traces of former snipe hinges on lid and rear top rail, current hinges are modern. Oval metal escutcheon at keyhole. Traces of missing till at left end. Legs are a continuation of stiles. Exterior green surfaces bears traces of paint overall, also cream, brown, and red.
Black and white print with blue tint of a bearded man standing watch on the prairie at night. He has a blanket over his shoulders and holds a rifle resting on its stock in front of him. There are tents in the left background with another guard behind them.
Black and white print, half length portrait of a man (Andrew Wallace) seated and holding a cane in his left hand. He is wearing two medals on his lapel.
This print is a satire on the controversy surrounding charges of election fraud against New York State tobacco inspector James B. Glentworth and other Whigs during the election of 1838. The allegations were made two years after the election by New York Federal District Attorney Benjamin F. Butler, a Democrat. Whigs felt that Glentworth was tried only to make their party look bad and promote Democratic incumbent, Martin Van Buren. The print’s includes a quote from Van Buren, where he references this incident as “a card yet to be played” in his reelection strategy.
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 1840 print is a parody of the popular English nursery rhyme and illustrated children’s book, “The House that Jack Built.” Each scene features caricatures of Andrew Jackson and other Jacksonian personalities alongside a verse from the song. While this print was created four years after Jackson left office, his influence was strongly felt throughout Martin Van Buren’s presidency. Van Buren’s four years as president are often viewed as an extension of Jackson’s, so “the house that Jack built” is still operating even though Jackson himself is no longer in it. Eluding to Jackson no longer being in the house but still having influence, is the opening scene. At the top of the print, Andrew Jackson and Amos Kendall sit smoking pipes and creating a “Sub Treasury” out of the smoke. The “Sub Treasury” was Jackson’s solution to where public money should go following the end of the Second National Bank, but it was never seen as a valid solution especially by the Whigs. Martin Van Buren picked up the fight for a “Sub Treasury,” and worked on establishing an independent treasury system.
The next scenes show boxes of public money, representing the “Malt” in the nursery rhyme, and Secretary of the Treasury, Levi Woodbury as the “Rat” that ate the malt. Woodbury was a key player in ending the Second National Bank, and he was opposed by Daniel Webster, a Whig, who helped found it. In this image, Webster is portrayed as the “cat that caught the rat,” referring to his passionate speeches against Woodbury and the decision to revoke the charter for the Second National Bank. While Webster was firmly against revoking the charter and saw it as unconstitutional, he was challenged by Missouri Senator and Jackson’s ally, Thomas Hart Benton. Benton is portrayed as “the dog that worried the cat,” because like Webster, he was known for impassioned speeches. While Benton may have intimidated Webster, Henry Clay, shown in the next scene as the “cow whit [sic] the crumpled horn that tossed the dog that worried the cat,” was not intimidated by either Benton or Webster. He was very outspoken about the Second National Bank, and as a founder of it, did not want to see it ruined by Jackson. While of an opposing party, Clay found an ally in John C. Calhoun, depicted here as the “maiden all forlorn.”
Both Clay and Calhoun feuded with Jackson, and they worked together on the 1832 nullification crisis to collect tariffs or taxes from South Carolina. This is illustrated by the bucket at Calhoun’s feet reading “nullification.” While Calhoun started as Jackson’s Vice President, political differences led to Martin Van Buren being the Vice President for Jackson’s second term. Despite that, Van Buren, shown as “the man all tattered and torn,” worked with Calhoun, who supported his quest for an Independent Treasury system and opposed William Henry Harrison, Van Buren’s Whig opponent in the Election of 1840. In this image, their cooperation is symbolized by the marriage of the “maiden” and the “man all tattered and torn” by publisher, Francis P. Blair depicted as the “priest all shaven and shorn.” Blair was the editor of the pro-Jackson newspaper, “The Globe,” and was key in promoting Democratic ideas and candidates to the voting public. The final scene of the print is of William Henry Harrison, depicted as “the cock of the walk that crowed in the morn.”
Tieback, corded tieback with rosette in blue, gold, and black. The tieback consists of a central rosette with two cord loops extending out on either side, and two tassels of graduated lengths hanging down in the center. The rosette in the center has two layers of fabric, one brocade, one velvet that create a ruffle around the edge. The ruffles sandwich the cords in place. On top of the ruffles is a wooden disk that is the form for the center of the rosette. The disk is wrapped in blue, black, and gold thread and trimmings to create rays emanating out from the center. The center is demarcated by a gold pom-pom. Below the disk is a ring of decorative knots that create a petal effect. The twisted cord has a solid strand of gold wrapped with twisted blue and black, and blue and yellow strands. The two tassels consist of three wooden beads in graduated sizes. The beads are wrapped with trim in the same manner as the disk. In between the beads sit spacers wrapped in gold and blue thread. Below the largest bead is a row of alternating blue, black, and gold tied tassels that form the outer edge of the tassel fringe. Inside the tied tassels the rest of the tassel strings are gold twisted cord. The two loops of cord on the top are the same type of cord that support the tassels. The leftmost loop is twisted. The gold thread that wraps the wooden forms is breaking off in many places, and the wood itself is quite brittle.
This tieback (part of a set 234919.0055a-k) was donated by the daughters of Walter Tuckerman, a prominent man in the banking, real estate, and naturalist world of Maryland in the 20th century. In his early adulthood, he was part of the Alaskan Border Survey Commission in 1909. His letters home are full of optimism and wonder at the wilderness of Alaska, he even received the honor of a mountain named after him, Mt. Tuck. After he returned from Alaska, he founded The Bank of Bethesda in Bethesda, Maryland. Tuckerman also led the development of the nearby neighborhood of Edgemoor in Bethesda, Maryland. His daughters donated the drapes with a note stating that they came “from our parent’s house” (page 178 of scanned accession file). It is likely that the house in question was the family home called Tuxeden in Bethesda. Walter Tuckerman's lifelong love of adventure and the outdoors became a love of golf later in his life. he was an active member of his local golf club, and he won many trophies.
This 1836 print is in reference to the New York state elections of that year. Vice President and Democratic presidential candidate, Martin Van Buren, is depicted in full military garb, preparing for a “campaign.” Alongside him, are hordes of supporters and fellow candidates for office, including New York gubernatorial candidate, William L. Marcy. Men in the crowd shout out what they are running for, with Whig artist, Henry R. Robinson showing his bias. Among the positions are “Register of cats,” “Inspector of Ladies corsets,” and “Recorder of cold weather.” These imaginary positions suggest that Democrats are unfit for office. The title of the print, makes reference to the “Albany Regency,” the New York political machine created by Van Buren. Regency politicians controlled the New York state government between 1824 and 1838.
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.
Color print of a street scene depicting a dirt road in the foreground descending steeply to a street with a church at its foot. Buildings line the road. A horse and cart with a man beside it are stopped at the top of the road on the left. On the right, two men are sawing a log on a trestle in front of a building with a sign that reads "Chair/Manuf...".
This 1837 hand colored print depicts outgoing president Andrew Jackson in the process of bleeding Uncle Sam into a pan labeled “Safety Fund.” This is in reference to the Safety Fund law passed when Martin Van Buren was the governor of New York that mandated all banks pay into a fund to be used in the event of a banking emergency. This was an early form of deposit insurance, but during the Panic of 1837 which was largely caused by the Jackson Administration financial decisions like the 1836 Specie Circular, the “Safety Fund” was quickly exhausted. Holding the blood pan is Democratic political advisor Amos Kendall, and standing behind him is Major Jack Downing in full dress uniform. Created by journalist Seba Smith, Downing represented the common man and Jackson’s commitment to advocating on their behalf. On the far right of the print, is incoming President/ current Vice President Martin Van Buren, who is acting as the apothecary. The apothecary was not only a pharmacist, but served as the doctor’s assistant. This refers to Van Buren’s loyalty and assistance to Jackson both during his years as his Vice President and later during Van Buren’s own administration.
The lithographer of this print is Thomas W. Whitley. Whitley was an artist from England who settled in Patterson, New Jersey ca 1835. He worked in New York City from 1839 to 1842 and again in 1849, often under the alias of “Sir Joshua.” Whitley exhibited at the National Academy from 1835 to 1863, and at the Apollo Association and the Art Union 1841 and 1848-49. Additionally, he was the author and illustrator of A Guide to Hoboken, the Elysian Fields, and Weehawken, that was published in 1858.
This print is a commentary on the Election of 1836 between Democrat Martin Van Buren and Whig William Henry Harrison, portraying the contest as a boxing match. In the ring, Van Buren and Harrison spar, while their seconds cheer them on. Backing Van Buren are President Andrew Jackson and Democratic advisor, Amos Kendall, and backing Harrison are an unidentified “western lad” (most likely Davy Crockett), and a revolutionary war veteran who looks like George Washington. This print was created by Whig artists Edward Williams Clay and Henry R. Robinson, and their favor of Harrison is represented in this print by Harrison’s depiction of having the upper hand.
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.
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.
This 1836 print refernces the Election of 1836 between Democratic Vice President Martin Van Buren, and a slate of Whig candidates including, William Henry Harrison and Daniel Webster. In this print, there are two soup kitchens run by the opposing political parties. On the left, is the Whig soup kitchen. Four men, South Carolina Senator John C. Calhoun, presidential candidate Hugh L. White, vice presidential candidate Francis Granger, and Kentucky Senator Henry Clay, are all mixing ingredients in a large pot, while Massachusetts Senator Daniel Webster dishes out the soup in a cup labeled “Bank Soup.” Several of the men eating from their pot appear to be sick, and they complain that the soup “smells too rank as if it was made of old wigs.” Behind the soup pot is a clothesline of wigs, as well as flags reading “Constitution in Danger,” and “American Party,” and a cask labeled “Spirits of 76.” On the right, is the Democratic soup kitchen. Van Buren alone stirs the “Democratic Party Soup,” while his running mate, Richard M. Johnson watches from a far. The men eating Van Buren’s soup are cheerful, begging for more and enjoying the “soup particularly recommended by old Hickory.” Behind the soup pot are banners reading, “No Monopoly,” “Union and Victory,” and others depicting the Democratic Party as successful. Party newspapers are spread at the base of each soup pot.
Black and white print of a two-story stone house with a chimney at one end. A picket fence separates it from the road on which a man on horseback is riding.
Color print of a street scene with a procession of men on horseback and a wagon filled wtih band members in the foreground. Behind them are floats of a sailing vessel and houses on wheels and a long line of wagons. The occasion for the procession was "conveying the meat of the stock of exhibition Cattle to Market" on March 15, 1821. Spectators line the street.
Color print of two trotting horse (Lady Thorn and American Girl) pulling wagons racing on a dirt surface. The caption identifies this as a race at Fashion Course, L.I. on July 12, 1869.
Description
A color print of a race between a brown and bay mare (Lady Thorn and American Girl), each pulling a four wheeled trotter and driver. The drivers are intent on the holding reins. They wear caps down on their foreheads, loose shirts, and narrow pants. The dirt track is even. Green fields and gently rolling hills are in the background. It takes place at Fashion Course, LI on July 12, 1869.
Lady Thorn was born on May 9, 1856 from Mambrino Chief and Rodes Mare in Lexington, Kentucky. She was owned by Levi T. Rhodes. Her career spanned 1863 to 1870, when she one 51 of 66 races.
