Energy & Power

• Amos Announcing at the White House the Result of the N York Election

  Description (Brief)

  This print is a reference to the New York state election of 1837, where the Democrats lost to the Whigs. Democratic advisor, Amos Kendall is depicted holding an oversize copy of the newspaper, the “New York Courier and Enquirer,” with part of a headline visible and reading, “Whig Gain.” He reads the news to President Martin Van Buren, a native of New York who was heavily involved in state politics prior to ascending to the presidency, saying, “Oh Sir, we are undone. The Empire State is lost. We are routed in erry [sic] direction. The Whigs have 22,000 maj.” Van Buren who is seated and reviewing various reports on issues such as “Indian Treaties” and the “Treasury,” is visibly angry, holding a similar expression as former president, Andrew Jackson whose portrait he is sitting in front of. Instead of immediately addressing the electoral loss however, Van Buren runs through a list of other concerns, ending with “meanwhile, Blair must make the best of it.” That is a reference to Francis Preston Blair, the editor of the pro-Jackson newspaper, the “Globe.” This print serves to show that Van Buren had bigger things to worry about than the Whigs winning an election, though he should have been worried as he was defeated in the election of 1838 by Whig, William Henry Harrison.

  The lithographer of this print is Moses Swett. He began his career in Boston around 1826, working with the Pendletons and Annin and Smith, and as the superintendent of the Senefelder Lithographic Co. from 1828 to 1829. In 1830 he moved to New York, and worked with George Endicott until 1836 when he moved to Washington.

  Location

  Currently not on view

  Date made

  1837

  depicted

  Van Buren, Martin

  Jackson, Andrew

  Kendall, Amos

  maker

  Swett, Moses

  ID Number

  DL.60.3400

  catalog number

  60.3400

  Data Source

  National Museum of American History

• The Vision

  Description (Brief)

  This 1834 print is a commentary on the state of American democracy following President Andrew Jackson’s decision to remove the deposits from the Second National Bank of the United States in October of 1833. On the right, Jackson, playing the fiddle, is depicted wearing a crown and an ermine trimmed robe. He is speaking to Major Jack Downing, a fictional character created by journalist Seba Smith used to symbolize the common man. Downing is encouraging Jackson to “put a little more Veto Rosin on [his] bow,” so that he can continue to continue to play his “intarpitation [sic] of the Constitution.” Jackson replies, “d—m the Constitution… it is under my feet.” Behind Jackson, Vice President Martin Van Buren peeks out from behind a “globe” symbolizing the pro-Jackson Democratic newspaper, the “Globe.” Also behind Jackson, is a mob of supporters labeled, “Kitchen Scullions & Patriots.” They are crudely drawn, and meant to symbolize the common man, whose interests Jackson worked most closely to protect. To the left of the protestors, the U.S. Capitol Building burns, symbolizing the feeling of opponents that Jackson let Democracy go up in flames. In the foreground of the print, John Bull, the personification of England, stands by a grave stone reading, “Sacred to the Memory of Dame Freedom. Born July 4th 1776 and departed this life Oct. 1, 1835.” Bull smugly states that Brother Jonathan (the personification of the United States) has to stop “bragging all over the world about his freedom,” as he watches Jackson manipulate the Constitution to suit his needs. Beneath the print there is a mock news article detailing the murder of “Dame Freedom” by “Andrew Veto” on the floor of the “Senate Chamber.”

  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.

  Location

  Currently not on view

  Date made

  1834

  depicted

  Van Buren, Martin

  Jackson, Andrew

  originated character

  Smith, Seba

  maker

  Bisbee, Ezra

  ID Number

  DL.60.3384

  catalog number

  60.3384

  Data Source

  National Museum of American History

• The Spirit of 1921 or Toying with the Income Tax

  Description

  Camera-ready pen and ink drawings by Rube Goldberg for single cell cartoon The Spirit of 1921 or Toying with the Income Tax, and series Mike & Ike, They Look Alike dated Friday March 11, 1921. Goldberg drew for the Mike & Ike... series between 1915 and 1935.

  The artist pokes fun at individuals calculating their tax deductions and concludes that the income tax has got you licked!

  Location

  Currently not on view

  Date made

  Friday March 11, 1921

  original artist

  Goldberg, Rube

  ID Number

  GA.23493

  catalog number

  23493

  accession number

  1972.299186

  Data Source

  National Museum of American History

• Camera-ready drawing, entitled "The Duke of Windsor".

  Description

  John T. McCutcheon (1870-1949) was a Pulitzer-Prize winning cartoonist, known for his political cartoons and fascination with technology, particularly aviation. In this drawing, the Duke leaves home because he has no privacy from reporters, but arrives in the United States with his wife and feels disappointment, as he has absolutely no press to follow him. On reverse, "(King Edward Ex) is thinking of coming."

  Location

  Currently not on view

  date made

  09/30/1937

  original artist

  McCutcheon, John T.

  publisher

  Tribune Printing Company

  ID Number

  GA.24201

  catalog number

  24201

  accession number

  1976.320859

  Data Source

  National Museum of American History

• drawing, ink and crayon

  Location

  Currently not on view

  maker

  Robinson, Boardman

  ID Number

  2010.0099.21

  accession number

  2010.0099

  catalog number

  2010.0099.21

  Data Source

  National Museum of American History

• drawing, ink and crayon

  Location

  Currently not on view

  maker

  Robinson, Boardman

  ID Number

  2010.0099.13

  accession number

  2010.0099

  catalog number

  2010.0099.13

  Data Source

  National Museum of American History

• The Bill Poster's Dream

  Description (Brief)

  Color print depicting a young man in lower left asleep with his head propped against a lamppost. City buildings are in the background. Numerous advertising posters are pasted on a wall beside him. They are arranged so that they are humorous when read from top to bottom.

  Location

  Currently not on view

  Date made

  1877

  copyright holder

  Novelty Publishing Co.

  maker

  Mayer, Ferdinand

  Meineke, Emil

  ID Number

  DL.60.3079

  catalog number

  60.3079

  accession number

  228146

  Data Source

  National Museum of American History

• Dag Hammarskjold stamp proof

  Location

  Currently not on view

  date made

  1961-1963

  Associated Name

  United States Postal Service

  United Nations

  maker

  United States Postal Service

  graphic artist

  Weber, Martin J.

  ID Number

  2011.0071.163

  Data Source

  National Museum of American History

• The Presidential Fishing Party of 1848

  Location

  Currently not on view

  Date made

  1852

  1848

  depicted

  Van Buren, Martin

  Taylor, Zachary

  Hale, John Parker

  Cass, Lewis

  maker

  Currier, Nathaniel

  Smith, Peter

  ID Number

  DL.60.3469

  catalog number

  60.3469

  Data Source

  National Museum of American History

• The Great American Steeple Chase for 1844

  Description (Brief)

  This 1843 print features the leading Democratic and Whig candidates for that year’s presidential nomination. The candidates are depicted as riding animals. Long known as the Sly Fox of Kinderhook, former Vice President, Martin Van Buren is mounted on a fox. He lost the nomination to William Henry Harrison, but was eager to reenter the presidential race as the Democratic nominee. He is right behind fellow Democrat, John C. Calhoun, but Van Buren desires to beat him: “Confound Calhoun! He is right in my way! I’ll take a short cut though the path is crooked and rather dirty. I don’t care so that I get in.” Above Van Buren is Calhoun, mounted on a turtle and stuck in a “clay bank,” no longer able to rely on his “nullification turtle” to get him votes. Calhoun had worked closely with Clay on the nullification crisis years earlier, but that bipartisan cooperation came back to hurt him as he sought the Democratic ticket. While Calhoun is blocking Van Buren in one direction, and James Polk, riding a donkey, is blocking him in the other direction. Polk is standing above Liberty Party candidate and abolitionist James Gillespie Birney, who is admitting defeat, with Polk saying, “I’am [sic] an Old Soldier, but I shall never get in unless I can turn this Donkey’s head the right way!” Polk ran on the promise of fulfilling Manifest Destiny, the idea that the United States had a commitment to expanding and settling the entire country. At the top of the path closest to the White House, is prominent Whig, Kentucky Senator, Henry Clay. He casually leans back on his half alligator, half horse creature, saying, “Hurrah! Old Kentuck will distance them all yet, and then the views of the lamented Harrison will be carried out in full, and treachery will meet its reward.” Clay deeply disliked the late President Harrison after a personal dispute, and felt similarly about President John Tyler, who took over following Harrison’s death in office. Tyler was a Whig in name only, and went against party ideals. Depicted inside the White House, at the top left of the print, John Tyler is woken by his son, Robert Tyler. President Tyler is not concerned by his chances for reelection even though his party abandoned him, saying, “no matter, I’m the people’s favorite and belong to no Party. They will reelect me! If they don’t I’ll veto the whole concern d—n me!” In the background of the print are three men: Commodore Charles Stewart on a sailboat, General Winfield Scott on horseback, and Massachusetts Senator, Daniel Webster cooking chowder in a pot over an open fire. All three men express that they have no interest in entering this presidential race, though all of them had previously run or ran in elections following. At the end of the nomination process voters were left with the choice between James K. Polk and Henry Clay. Polk ultimately claimed victory.

  Location

  Currently not on view

  Date made

  1843

  depicted

  Van Buren, Martin

  Tyler, John

  Polk, James K.

  Calhoun, John Caldwell

  Webster, Daniel

  Scott, Winfield

  Tyler, Robert

  Stewart, Charles

  artist

  Clay, Edward Williams

  maker

  Robinson, Henry R.

  ID Number

  DL.60.3361

  catalog number

  60.3361

  Data Source

  National Museum of American History

• Ancient Art Of The Province Of Chiriqui, Colombia, By William H. Holmes

  Description

  Test

  Location

  Currently not on view

  printer

  Government Printing Office

  publisher

  Bureau of American Ethnology

  author

  Holmes, William Henry

  ID Number

  1980.0219.0001

  accession number

  1980.0219

  catalog number

  1980.0219.0001

  Data Source

  National Museum of American History

• drawing, ink and crayon

  Location

  Currently not on view

  maker

  Robinson, Boardman

  ID Number

  2010.0099.12

  accession number

  2010.0099

  catalog number

  2010.0099.12

  Data Source

  National Museum of American History

• See Saw in Danger

  Description (Brief)

  This undated print is a reference to President Andrew Jackson’s decision to remove the deposits from the Second National Bank of the United States and redistribute them amongst state banks. In this print, Jackson sits suspended in the air on one end of a see-saw. He is losing his pipe, walking stick, top hat and sword, and is panicking about his situation. He begs Martin Van Buren to get him down, but Van Buren who is seated on the other end of the see-saw along with five other men, can’t because their weight is what is holding him there. In between Jackson and Van Buren are sacks of money that are slowly sliding towards Van Buren and the men. These represent the deposits that Jackson removed to redistribute to the state banks, and they are being tipped towards the bankers by the horde of common men who are holding up the see-saw. Below Jackson, a well-dressed man holds up a scroll that makes reference to Whig victories in Connecticut, New York, Virginia, and Philadelphia, and a sign points towards Jackson’s home “The Hermitage.”

  The lithographer of this print is Anthony Imbert. Imbert is considered a pioneer of American lithography, but he got his artistic start painting marine scenes inspired by his long imprisonment in England as a naval officer. Upon arriving in America he was commissioned to prepare lithographic plates for illustration, leading to a long career in lithography. He captured life in New York City, and many of his prints are important for historical documentation of the city. Imbert died around 1838, as his wife, Mary Imbert, is listed as a widow in that year’s city directory.

  Location

  Currently not on view

  Date made

  n.d.

  depicted

  Jackson, Andrew

  Van Buren, Martin

  Kendall, Amos

  maker

  Imbert, Anthony

  ID Number

  DL.60.3434

  catalog number

  60.3434

  Data Source

  National Museum of American History

• Sub Treasurers Meeting in England

  Description (Brief)

  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.

  Location

  Currently not on view

  Date made

  1838

  depicted

  Swartout, Samuel

  Price, William M.

  maker

  Robinson, Henry R.

  ID Number

  DL.60.3387

  catalog number

  60.3387

  Data Source

  National Museum of American History

• Daniel Webster

  Location

  Currently not on view

  date made

  1904

  depicted (sitter)

  Webster, Daniel

  maker

  Reich, Jacques

  ID Number

  2014.0250.58

  accession number

  2014.0250

  catalog number

  2014.0250.58

  Data Source

  National Museum of American History

• This Is the House That Jack Built

  Description (Brief)

  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.”

  Location

  Currently not on view

  Date made

  1840

  depicted

  Van Buren, Martin

  Jackson, Andrew

  Harrison, William Henry

  Kendall, Amos

  Clay, Henry

  Webster, Daniel

  Benton, Thomas Hart

  Calhoun, John Caldwell

  Blair, Francis Preston

  Woodbury, Levi

  maker

  Childs, John

  artist

  Clay, Edward Williams

  ID Number

  DL.60.3357

  catalog number

  60.3357

  Data Source

  National Museum of American History

• print, glass

  Location

  Currently not on view

  ID Number

  2011.0227.129

  accession number

  2011.0227

  catalog number

  2011.0227.129

  Data Source

  National Museum of American History

• Marriage of the Free Soil and Liberty Parties

  Location

  Currently not on view

  Date made

  1848

  depicted

  Van Buren, Martin

  Greeley, Horace

  Van Buren, John

  Butler, Benjamin Franklin

  maker

  Smith, Peter

  ID Number

  DL.60.3486

  catalog number

  60.3486

  Data Source

  National Museum of American History

• Office Hunters for the Year 1834.

  Description

  This 1834 print refers to Andrew Jackson’s desire to rid the government of inefficiency and corruption. Jackson saw the government as dirty and corrupt, and advocated for the removal of many politicians that he felt were incompetent or dishonest. He felt that there should be turnover in political office holders, promoting the “spoils system” of rewarding the politically faithful with office. In this print, Jackson is depicted as winged demon, hovering in the sky holding strings connected to symbols and objects representing political offices. Below him is a crowd of people attempting to reach out for the “political plumbs.” Jackson filled his administration with people loyal to him, promoting patronage.

  The lithographer of this print is Anthony Imbert. Imbert is considered a pioneer of American lithography, but he got his artistic start painting marine scenes inspired by his long imprisonment in England as a naval officer. Upon arriving in America he was commissioned to prepare lithographic plates for illustration, leading to a long career in lithography. He captured life in New York City, and many of his prints are important for historical documentation of the city. Imbert died around 1838 as his wife, Mary Imbert is listed as a widow in that year’s city directory.

  The publisher of this print is James Akin (1773-1846). Akin was born in Charleston, South Carolina, and worked as an engraver, lithographer, print publisher, druggist and restaurant owner in Philadelphia between 1794 and 1846. While primarily based in Philadelphia, he did work briefly as an engraver in Salem and Newburyport, Massachusetts between about 1804 and 1807. Akin’s business moved often during his career, but produced most of his lithographs including “Settling the French Question” at his 18 Prune Street establishment. Following his death, his wife Ophelia, also an engraver, continued to operate at that location.

  Location

  Currently not on view

  Date made

  1834

  depicted

  Jackson, Andrew

  publisher

  Imbert, Anthony

  artist attribution

  Aiken, James

  ID Number

  DL.60.3477

  catalog number

  60.3477

  Data Source

  National Museum of American History

• The Would Be Mayor Preparing to Quell a Riot

  Description (Brief)

  This print is a portrayal of the New York Tammany Democrats mayor candidate in the April 1837 municipal elections. The candidate, aristocratic John J. Morgan, appears in stark contrast to the rioting masses that comprise his party. Morgan is surrounded by an entourage, shaded by an umbrella held by a uniformed attendant, proceeded by an African American carrying two pistols, and followed by a third man holding a chair. They are approaching two poorly dressed “Tammany Irishmen,” who question who Morgan is. The men are likely members of the Loco Foco faction of the party, who due to the split in the party, were running David R. Jacques as their mayoral candidate. Behind the men, is a riot, where men are throwing jabs at both the Tammany Hall Democrats and John J. Morgan who they see as sickly and out of touch. Comments from the rioters include, “Don’t whistle in the face of the new mayor, he may catch the grippe,” and “vel vot of it, who cares for Mr. Morgan, a good puff will blow him away. This print erroneously refers to Morgan as the new mayor, but actually he was defeated in the election by Whig candidate, Aaron Clark.

  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.

  Location

  Currently not on view

  Date made

  n.d.

  depicted

  Morgan, John J.

  maker

  Robinson, Henry R.

  ID Number

  DL.60.3428

  catalog number

  60.3428

  Data Source

  National Museum of American History

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