slavery political cartoon
A simian Irishman holds a black child upside down by his foot and is about to strike him with a club. Patriotism: Versus BummerismThis 1868 lithograph displays the strongly racist character of the Democratic presidential campaign of 1868. "Effects of the Fugitive-Slave-Law.An 1850 lithograph displaying an impassioned condemnation of the Fugitive Slave Act passed by Congress in September 1850, which increased federal and free-state responsibility for the recovery of fugitive slaves. At left is another group. Scott, in military uniform, is seated at a table with a plate of soup before him. The bottom register shows scenes of the war, Southern soldiers bowing to President of the Confederacy Jefferson Davis, a Union graveyard, "Rebels in the North" or spies being arrested, and so on. He is paired with Democratic incumbent and ally James Buchanan, depicted as a goat or (as he was nicknamed) "Buck." The print may have been produced in that context, or during Lincoln's call to arms and rather anxious military build-up of the capital in April. A Northern bias is expressed on both issues. This dismal picture of the lives of the working class in manufacturing towns comes from Chapter V, Book Second, of Edward Lytton Bulwer's "England and the English," first published in 1833. / Til we divided be!" Bowing to Vallandigham's widespread public support, Lincoln reduced the severity of his sentence from imprisonment to banishment behind Confederate lines. Captain John Kimber became a household name among abolitionists in late 18th century Britain. In contrast to the Democratic vehicle, the Republican wagon has stalled before a pile of rocks and a cemetery strewn with bones representing "100,000,000 White Lives, the Price of (RACIAL EPITHET) Freedom!" The other, cleaning a sword, claims, "Dis am de knife wot massa use to cut up de Mexijins wid." Most date between 1840 and 1864, with the presidential election years 1848, 1852, 1856, 1860 and 1864 being well represented. Here, General... An abolitionist print possibly engraved in 1830, but undocumented aside from the letterpress text which appears on an accompanying sheet. Near them another man sits forlorn on a rock, "Thank God my Factory Slavery will soon be over." The title and main... 1 print : lithograph on wove paper ; 33.5 x 43.5 cm. 17th April 1850This 1850 illustration is a somewhat tongue-in-cheek dramatization of the moment during the heated debate in the Senate over the admission of California as a free state when Mississippi senator Henry S. Foote drew a pistol on Thomas Hart Benton of Missouri. Fillmore, who reads from "The Glorious Whig Principles [by] Henry Clay," admonishes Taylor, "This will never do, you must forsake this course,--for our party is a peaceful and righteous sect--free from wickedness." In the center of the floor are a group of toy soldiers and cannon.In this one drawing the illustrator addresses the Wilmot Proviso, which dealt with slavery and the Mexican-American War, Zachary Taylor, Millard Fillmore, John P. Hales, John Tyler, American manifest destiny, the presidential election of 1848, the United States Constitution, the Liberty Party, the ethics of certain military tactics, the United States banking system, the role of African Americans in American life, and the second Seminole War of 1835-1842.Among the many individuals drawn throughout the cartoons are: Abraham Lincoln, Jefferson Davis, Dred Scott, Ulysses S. Grant, George McClellan, Andrew Jackson, William Lloyd Garrison, John C. Calhoun, Henry Clay, William Henry Harrison, John Quincy Adams, Martin Van Buren, Horace Greeley, James K. Polk, Daniel Webster, Salmon P. Chase, Zachary Taylor, Millard Fillmore, Frederick Douglass, Franklin Pierce, William Henry Seward, Winfield Scott, Henry Ward Beecher, James Buchanan, John C. Breckinridge, Charles Sumner, Ambrose Everett Burnside, G. T. Beauregard, and others.The many issues and subjects covered include: Slaves and slavery, Abolitionism and abolitionists, Plantations and planters, Labor and trades, Wilmot Proviso, Compromise of 1850, Emancipation Proclamation, African Americans voting, Great Britain, New York Tribune, Equal Rights Party, Liberty Party, Free Soil Party, U.S. banking system, Presidential elections, Fugitive Slave Act, Whig Party, Nativist movement, Kansas-Nebraska Act, Bloody Kansas, Catholic Church, Temperance movement, women's suffrage and women's rights, Charles Summner beating, Cuba annexation, Irish Americans, 1860 Chicago National Democratic Conventions, Dred Scott, Copperhead movement, and the Ostend Manifesto.Highlights among the illustrations include:The Abolition of the Slave Trade Or the Inhumanity of Dealers in Human Flesh Exemplified in Captn. He shall dwell with thee. Nearby a black couple in rags express their desire to return to their former master. Read political cartoons online at GoComics.com, the world's largest comic strip site for online classic strips like Calvin and Hobbes, Dilbert, Non Sequitur, Get Fuzzy, Luann, Pearl Before Swine, 9 … From Granger - Historical Picture Archive NAST: KU KLUX KLAN, 1874. Other scenes are: "The Constitution Itself Has Been Disregarded." wide." (image) | A critical look at Irish Repeal movement leader Daniel O'Connell's condemnation of slavery in the United States. The bureau is pictured as a large domed building resembling the U.S. Capitol and is inscribed "Freedom and No Work." Foote, restrained from behind by South Carolina's Andrew Pickens Butler and calmed by Daniel Stevens Dickinson of New York (to whom he later handed over the pistol), still aims his weapon at Benton saying, "I only meant to defend myself!" (image) | The artist attacks abolitionist, Free Soil, and other sectionalist interests of 1850 as dangers to the Union. The second responds, "Oh! He announces, "For success to the whole mixture, we invoke our great patron Saint Benedict Arnold." Here Adams cowers prostrate on a pile composed of petitions, a copy of the abolitionist newspaper the "Emancipator," and a resolution to recognize Haiti. The stooped figure responds, "Ah! At the head of a motley procession is Whig candidate and professed antiannexationist Henry Clay, riding a raccoon (which looks more like a fox). Other stones represent "Ruined Commerce," "$30,000,000 stolen from the Treasury," and "Negro Supremacy." (image) | A severe split within the Whig ranks, between partisans of Henry Clay and those of Zachary Taylor, preceded the party's convention in June 1848. The... 1 print : lithograph on wove paper ; 28.6 x 44.2 cm. Slavery is present as part of the context of the political dynamic expressed in each of theses illustrations.These primary historical documents reflect the attitudes, perspectives, sensibilities and beliefs of different times. Click on any image to see links to licensing and related cartoons. Come Father let us start for Canada where it is colder." Behind them and to the right an emaciated mother laments over her ragged children, "Oh Dear! One of the white men fires on them, while two of his companions reload their muskets. Abraham Lincoln displays his Emancipation Proclamation to a group of black men and women. Captain John Kimber stands on the left with a whip in his hand. Many are replete with racial stereotypes and epithets. Fires rage in the background. 12. symbols of slavery, an auctioneer's gavel, whip, auction notices, and shackles lying torn and broken with a notice of Jeff Davis's execution because " . Above the scene is a quote from Henry Ward Beecher's May 31 speech at a Sumner rally in New York, where he proclaimed, "The symbol of the North is the pen; the symbol of the South is the bludgeon." In the foreground are Georgia senator Robert Toombs (far left) and Illinois senator Stephen A. Douglas (hands in pockets) looking vindicated by the event. (Raymond was Webb's chief associate on the "Courier" staff until 1851, when he left to found a rival paper.) After a speech on May 1, 1863, asserting that the Civil War was being fought to free blacks and enslave whites, not to save the Union, Clement Laird Vallandigham, leader of the "Copperheads," was arrested and tried for treason. Scott sits on a chair at center. In marked contrast to his portrayal of the issue as a beautiful woman in "Virtuous Harry" (no. Jeffs infamous house is doom'd to come down." This Nast cartoon, “Worse Than Slavery,” appeared in the magazine on October 24, 1874. The U.S. Capitol is visible beyond. Thomas Jefferson Slavery Political Cartoon Period 4 (1800-1848): Politics and Power | Sutori . In the background Vice President Fillmore, presiding, wields his gavel and calls for order. At the core of this collection are drawings originally designed to express sentiments relating to civic life and government in the United States and were individually issued prints. 1 print : lithograph on wove paper ; 33.2 x 47.7 cm. (image) | Another attack on the 1856 Democratic platform as pro-South and proslavery. Political Cartoons *Slavery* “Doctor Lincoln's New Elixir of Life” This picture is from a newspaper article from the year 1861. At left a well-dressed gentleman encounters a ragged, stooped figure, and asks, "Why my Dear Friend, how is it that you look so old? . Massachusetts representative and former Civil War general Benjamin F. Butler, pushing the wagon from the rear, replies, "I am pushing, Thad! In the background stands William H. Seward, holding a wailing black infant. (image) | The opposition of Northern abolitionists, churchmen, and political figures to enforcement of the Fugitive Slave Act of 1850 is criticized in this rare pro-Southern cartoon. His alleged royalist ambition had been the theme of much rhetoric." At top right, next to the U.S. Capitol, a group of black youths in striped outfits dance and tumble about.Congressional Scales. The artist is poking fun at the measures Webb took in August 1860 to revive his newspaper's flagging circulation, which included a reduction of the paper's price to three cents and the hiring of newsboys to sell the "Courier" on the streets.The above image has two uses of a racial epithet obscured. A Cartoon, 1874, By Thomas Nast Showing Post-Civil War Harassment By The Ku Klux Klan And The White League As Less Tolerable For African-Americans Than Slavery. for a political cartoon, it's kinda funny; but since government has not been able to wipe out poverty, bigotry, or whatever "wage slavery" might be, it also misses the point of the libertarian movement (image) | Foreseeing political death for the Democrats in the election, the artist imagines a funeral of the party's standard-bearers with a procession of the faithful. Town & country making another drive at the great question.--No go!! Forcing slavery down the throat of a freesoiler 1 print : lithograph on wove paper ; 24.8 x 37 cm. Nearby stand a fat cleric, holding a book of "Tythes," and an equally fat official holding "Taxes." The tree of liberty. Photo, Print, Drawing. Nast created 33 paintings, each approximately 8 x 12 feet, for display on a stage as a moving panorama accompanied by an explanatory talk and piano songs. In the distance a military camp is visible. Sacks of "Treason," "Anti-Rent," and "Blue Laws" already simmer in the pot. Clay, presents a loaded contrast between turbulent conditions in Ireland and the idyllic, relative prosperity of the immigrant's lot in America. The burning question of the future of slavery in the United States was addressed by several of the contenders during the 1860 race. The young daughter plays with a lean greyhound which stands before them. Below, the scales are evenly balanced, with several members of Congress, including Henry Clay in the tray on the left, and others, among them Lewis Cass and John Calhoun, on the right. Taylor reads from a book "Congressional Debates 1848. Nast is attacking Johnson because he and others blamed Johnson for causing the July 1866 race riot that occurred in New Orleans when police shot and killed many African American delegates at a Republican convention. (image) | The cartoonist mocks the opportunism evident in Winfield Scott's endorsement of both the abolitionist cause and the Missouri Compromise. At the upper right Republican Abraham Lincoln prances arm-in-arm with a black woman, a pejorative reference to his party's alignment with the abolitionists. Springfield 1858. (image) | A satire on the Democrats' approach to the delicate question of the annexation of Texas. The two Lincolns are shown... Rare Book and Special Collections Division. Garrison: "Bubble, bubble, toil and trouble / Abolition / Our condition / Shall be altered by / (***racial slur***) strong as goats / Cut your master's throats / Abolition boil! This paper will analyze a famous cartoon published in the pre civil war years by Harper’s Weekly, and illustrated by John L. Magee. The quotation is from a speech given by Vallandigham in May 1862: "To maintain the Constitution as it is and to restore the Union as it was." In the right foreground two barefoot youths converse. In this poster a black man lounges idly in the foreground as one white man ploughs his field and another chops wood. Wait until I get loose, Then you will see what fighting is!" In two panels artist Edward Williams Clay illustrates the abolitionist's invocation of a "higher law" against the claim of a slave … Free shipping for many products! I'd jes like to know?" Clay puns, "It's a ridiculous matter, I apprehend there is no danger on foot!" He is followed by three groups of men. The date of the print is uncertain, but it may have appeared as part of the reaction against the Walker Tariff of 1846. At bottom right a group of bummers, a term referring to party hangers-on, carpetbaggers, and other disreputable characters, stand in line to buy tickets to Salt River. There are about 200 pages of information about the images on the disc. Lincoln was the president of the United States, slavery was still being practiced, and the Civil War was raging on. At far left Burnside, who holds a flaming torch, is being choked by a snake representing Vallandigham. What are their importance/relevance to the “reader”? The print shows a group of four black men, possibly freedmen, ambushed by a posse of six armed whites in a cornfield. While these may be omitted in the descriptions below, the images on the disc and their description are uncensored.It was the style of many 19th century political cartoons that the illustrations were a composite of multiple topics, addressed and merge into the political zeitgeist and the predicaments of the individuals drawn.For example in the 1848 drawing, "Studying Political Economy," we see a crudely drawn but complex satire mocking Zachary Taylor's military background and lack of political experience. Prominent antislavery advocate William Lloyd Garrison leads the third group. Brooks's fellow South Carolinian Representative Lawrence M. Keitt stands in the center, raising his own cane menacingly to stay possible intervention by the other legislators present. and "Millions for Tribute! Detail from illustration above "Abolition Frowned Down"Abolition Frowned DownThis 1839 illustration is a satire on enforcement of the "gag-rule" in the House of Representatives, prohibiting discussion of the question of slavery. Frank Weitenkampf, former New York Public Library print curator, cites an impression with an imprint naming Robinson as printer and publisher, this line being apparently trimmed from The Library of Congress' impression.The Political Quadrille. Here the four presidential candidates dance with members of their supposed respective constituencies. (image) | An imaginative but puzzling commentary on sectional tensions over slavery between New England abolitionists and southern agrarian slaveholders. On the left,... 1 print : lithograph on wove paper ; 31.3 x 42.4 cm. Several post Civil War images deal with reconstruction and post slavery south. The image was deposited for copyright to the Library of Congress on January 25, 1855, under the name Anthony Burns. A torn sheet marked "National Bank" lies at his feet. First... 1 print : lithograph on wove paper ; 33.3 x 44.3 cm. Music by Dred ScottThis 1860 lithograph is a general parody on the 1860 presidential contest, highlighting the impact of the Dred Scott decision on the race. . The vignettes are as follows: 1. the "House," showing the door to a slave pen; 2. bales of cotton, "By rebels call'd king;" 3. slaves at work picking cotton, "field-chattels that made cotton king;" 4. slave families despondently awaiting auction; 5. slave auctioneer, "the thing by some call'd a man;" 6. slave shackles; 7. slave merchants; 8. a slave breeder negotiating in an interior with a slave merchant; on the wall appear portraits of Jefferson Davis and Gen. P. G. T. Beauregard; 9. a cat-o-nine-tails; 10. a slave driver flogging a bound female slave; 11. 7 Hell Gate." In two panels artist Edward Williams Clay illustrates the abolitionist's invocation of a "higher law" against the claim of a slave owner, and the application... 1 print : lithograph on wove paper ; 28.3 x 36.3 cm (image) | A satire on the antagonism between Northern abolitionists on the one hand, and Secretary of State Daniel Webster and other supporters of enforcement of the Fugitive Slave Act of 1850. The black man wonders, "Whar is de use for me to work as long as dey make dese appropriations." One of them remarks, "I go for the Good old times! The above image has a racial epithet obscured. (image) | A crudely drawn satire bitterly attacking Democratic presidential candidate Franklin Pierce and appealing to the "Freemen of America." The son gestures toward an elderly black couple with a small child sitting at their feet. Lincoln, who is barefoot and in backwoods dress, drops a paper that reads, "New Black Constitution [signed] A. L. & Co." One of the snakes says, "If you cant read that document drop it." At right a skeleton has just risen from the grave of abolitionist martyr John Brown, whose tombstone is inscribed "Hung in Virginia by Wise [i.e., Virginia governor Henry A. When we are sick you nurse us, and when too old to work, you provide for us!" A lesser portion of this collection includes illustrations from books and magazines.Each image on the disc has its own description page. The latter rises from the fire under the pot, commending them, "Well done, good and faithful servants! Kimber's Treatment of a Young Negro girl of 15 for Her Virjen (sic) Modesty.A 1792 British etching. In two panels artist Edward Williams Clay illustrates the abolitionist's invocation of a "higher law" against the claim of a slave … They are used to illustrate a legacy someone has left behind or, most often, to take down politicians, promote certain issues, and criticize nations. | An abolitionist print possibly engraved in 1830, but undocumented aside from the letterpress text which appears on an accompanying sheet. The cartoon is divided vertically by "Mason & Dixon's Line." You will first look at one of the most famous cartoons from the period called “Worse than Slavery” from Harper’s Weekly drawn by the most famous political cartoonist in U.S. history, Thomas Nast. Taylor stands atop a pair of scales, with a weight in each hand; the weight on the left reads "Wilmot Proviso" and the one on the right "Southern Rights." To the right of Benton stand Henry Clay and (far right) Daniel Webster. Growing antislavery sentiment in the North coincided with increased resentment by southern congressmen of such discussion as meddlesome and insulting to their constituencies. Specific reference here is to the Navy's blockade of one such expeditionary force, which assembled on Round Island under Colonel G. W. White in early September... 1 print : lithograph with watercolor, on wove paper ; 27 x 39.2 cm. “Slavery as it exists in America. Two of the blacks have evidently been hit; one has fallen to the ground while the second staggers, clutching the back of his bleeding head. I have no arm's! Slavery as it Exists in EnglandThis 1850 illustration is a challenge to the Northern abolitionist view of the institution of slavery, favorably contrasting the living conditions of American slaves with the lot of the industrial poor in England. (image) | The opposition of Northern abolitionists, churchmen, and political figures to enforcement of the Fugitive Slave Act of 1850 is criticized in this rare pro-Southern cartoon. The three wear fool's caps and gather, like the witches in Shakespeare's "Macbeth," round a large, boiling cauldron, adding to it sacks marked "Free Soil," "Abolition," and "Fourierism" (added by Greeley, a vocal exponent of the doctrines of utopian socialist Charles Fourier). It is the period of the Irish campaign for repeal... 1 print : lithograph on wove paper ; 29.9 x 44.5 cm. What's sauce for the goose is sauce for the gander 1 print : lithograph on wove paper ; 27.7 x 43.9 cm. / Boil, Free Soil, / Ther Union spoil; / Come grief and moan, / Peace be none. At lower left Stephen A. Douglas dances with a ragged Irishman. See more ideas about slavery, truth, political humor. What's sauce for the goose is sauce for the gander 1 print : lithograph on wove paper ; 27.7 x 43.9 cm. 1. Farmer we operatives are "fast men," and generally die of old age at Forty." The master vows piously, "These poor creatures are a sacred legacy from my ancestors and while a dollar is left me, nothing shall be spared to increase their comfort and happiness. Citizens loyal to the Union vote, while an obviously unruly Irishman is barred. But proslavery supporters also drew transatlantic comparisons. This drawing is attributed to the famed British caricurist and illustrator Issac Cruikshank.America by Edward Williams ClayThis 1841 illustration shows an idealized portrayal of American slavery and the conditions of blacks under this system in 1841. See more ideas about slavery, history, american history. The print may relate to John... Robinson, Henry R. - Dacre, Henry, Approximately 1820. The first, kneeling and wiping a pistol, says, "By golly! The poster specifically characterizes Democratic candidate Hiester Clymer's platform as "for the White Man," and his opponent James White Geary's platform as, "for the Negro." / Fourierism / War and schism / Till disunion come!" The Democratic carriage pulls ahead in the race, heading toward a cheering crowd and a series of floral arches held by young maidens. slavery Cartoons My slavery cartoons are available to license and download at affordable rates for websites, social media, presentations, newsletters, e-mail campaigns, advertising, publications, public speaking events and more. Stevens: "Colfax pulls like the d----l but old tangleleg [i.e., Grant] aint worth a d----n! Brooks's actions were provoked by Sumner's insulting public remarks against his cousin, Senator Andrew Pickens Butler, and against Illinois senator Stephen A. Douglas, delivered in the Senate two days earlier. Two blacks crouch behind Thompson, one saying "de dem Bobolishn is down flat!" Visitors in the galleries flee in panic.The Hurly-Burly PotIn this 1850 lithograph the artist attacks abolitionist, Free Soil, and other sectionalist interests of 1850 as dangers to the Union. The artist contrasts Lincoln's modest posture at the Illinois Republican state convention in Springfield in 1858 with his confident appearance at the 1860 Illinois Republican ratifying convention, also held in Springfield. His followers are the "Abolition Martyrs" (far left), who have been tarred-and-feathered for their activism.Scene in Uncle Sam's Senate. Anti-Slavery Cartoon, 1856 This drawing by John L. Magee in 1856 is a response to the Democratic Party's push to extend slavery into the newly acquired territories of Kansas and Nebraska in the wake of the Kansas-Nebraska Act of 1854. Here Horace Greeley, one of Clay's most influential northern supporters, tries to drive the party wagon downhill toward "Salt River" (a contemporary idiom for political doom).... 1 print : lithograph on wove paper ; 24.9 x 36.3 cm.
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