This 1837 print is a commentary on the end of Andrew Jackson’s presidency, and depicts him as a dying donkey lying on the ground, stretched out under a copy of the pro-Jackson, Democratic paper, “The Globe.” Above him a priest is holding a crucifix and a candle and performing the Last Rites. Rather than God, the priest is speaking to Satan (seen in the top right corner), asking him to allow Jackson “to pass easily through purgatory,” and for “the continuance of thy favor for this poor fox.” The “poor fox” is Jackson’s successor, President Martin Van Buren, often referred to as the sly fox of Kinderhook. He is chained to Jackson’s foot as a symbol of Jacksonian-Democratic influence, and he is howling that he has been trapped because his tail is caught in a large animal trap (not a rat trap as suggested by the title). In the trap is a parcel labeled “Whig Bait,” suggesting that while the Whigs lost the election they were not going to let Van Buren get away with his politics. In the background the American flag is being flown upside down, symbolizing the Whig’s disapproval with Jackson and his leadership.
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.
Black & white print with tint; 3/4 length portrait of a seated young man (John Banvard) wearing a sailor suit and holding a pencil in one hand and a drawing pad in the other. A boat and a canoe on a river (probably the Mississippi) are in the background.
Black and white advertising print with tinting, depicting an exterior view of the three-story factory of S.F. Jacoby's Keystone Marble Works and four interior views of the cutting room, saw room, polishing room and show room.
A black and white print of a standing race horse with a jockey.
Merry Hampton was an English thoroughbred foaled in 1884 from Hampton and Doll Tearsheet. He was bred by Crowther Harrison and owned by George Alexander Baird. He was also trained by William Stevens and Martin Gurry. Merry’s career lasted from 1887 to 1888. He only raced four times and only won once because of persistent training difficulties and injuries. His one victory was the 1887 Epsom Derby, in which he was ridden by Jack Watts and ripped off a shoe during the running. Following the race, Merry was sent to France for the Grand Prix de Paris, but at the start he was kicked in the leg and was unable to make progress for the rest of the race. When Merry appeared for the St. Leger later in the year, he was recovering from a sprain, and the race left the horse dead lame. Merry Hampton’s acclaim was short-lived and he is considered once of the worst horses to have won the Epsom Derby, although it is agreed that he could have achieved more had he stayed sound. George Barrett bought Merry in 1893 and put him to stud, where he was also unsuccessful.
Small, circular dish or bowl with plain, everted rim, ribbed or lobed sides, and flat well; no foot. Underside of well struck "SILVER / ON / COPPER" in incuse sans serif letters.
Color print of buildings and houses on the banks of a river. Sailing vessels and a steamboat are visible on the river. Two cows are on a rocky hill in the left foreground.
Finger ring cigarette holder with leaf-patterned ring attached to a split shaft ending in two wire grips, oriented perpendicularly, that open and close using the sliding frog collar. No marks.
Color print depicting two rows of multi-storied buildings (woolen mills) with pond and power canal. A ground plan of the site is depicted below the view of the mills. May be insurance plan.
Black and white tinted print with red tint; stock certificate includes vignette of gold miners digging with shovels and picks. One miner observes others while holding reins of a horse. Mountains in background. Structure lower right of image.
Color print of a steamer with a paddle wheel and smoke stack at mid ship and three auxilary masts. Flags are flying. Information about the ship appears below the title.
Black and white tinted print. Text in the center is surrounded by fire apparatus, a figure of Neptune, and at the top an allegorical scene of a man being handed an honorable discharge by a seated woman. The border of the print is a fire hose.
A black and white print of a horse race in progress at a race track. Rounding the bend and approaching the finishing pole are two black horses in close competition. They are identified as Dobbins and Domino. Jockeys urge them on with whips. The horse on the outside of the track cuts towards the fence. Two horses and riders are visible in the rear.
Dobbins was foaled in 1891 from Mr. Pickwick and Thora. He was owned by Richard Croker.
Domino was bred by Major Barak Thomas in 1891 at Dixiana Farm in Lexington, Kentucky from Himyar and Mannie Grey. John R. Keene purchased the yearling for $3,000 to be trained by William Lakeland and ridden by Fred Taral. Domino was considered the fastest sprinter of his time, allowing him to win the Futurity Stakes, but he lacked stamina. His condition was always unstable, forcing him to race in bandages and ultimately retire from a bad foot in 1895. Overall he won 19 of his 25 races and earned $193,550 in purse money. His earning record was not beaten for 38 years. In his stud career, Domino produced 20 foals before dying on July 29, 1897 at age six from spinal meningitis. However, his foals had a 42% win rate compared to the industry norm of 3%. Because of his impressive career, Domino was one of the first horses inducted into the Racing Hall of Fame in 1955.
This print is a commentary on the Bank War, comparing President Martin Van Buren to Shakespeare’s Macbeth. In the play, Macbeth, the main character fearing his eventual removal from the throne, kills his rival Banquo. Later at a gathering of Scottish royalty, the ghost of Banquo appears, startling the guilty Macbeth who exclaims, “Thou canst say I did it. Never Shake thy gory locks at me.” He feels that since he only ordered the murder of Banquo and did not commit it with his own hands, the ghost shouldn’t be haunting him. In this print, Van Buren states something very similar saying, “never shake thy gory locks at me. Thou can’st not say I did it.” He is speaking to the “ghost of commerce,” who is being strangled by the “specie circular” and covered in papers depicting Jackson Administration attempts at ending the Second National Bank of the United States. Similar to Macbeth, Van Buren did not directly have a hand in the murder, but is deeply indicated. Standing with his hand on Van Buren’s shoulder, is former president, Andrew Jackson clothed in a stars and stripes dress. Playing the role of Lady Macbeth, the instigator who in the play encouraged the murders, Jackson downplays Van Buren’s fears and guilt saying “never mind him gentleman, the creature’s scared and has some conscience left.” Jackson is speaking to two men: the one with the mint julep in his hand, tall white hat, and cigar is his mouth representing the cotton planters, and the other holding a glass of gin, with a clay pipe in front of him, toasting "Down with the Bank" represents the Tammany Hall faction of the Democratic Party. Tammany Hall was a political machine in New York City that worked to get Democrats elected to office. The title of this print includes the pun of “Bank-oh’s! Ghost,” solidifying the reference to the classic play.
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.
