WorldCat Identities

Magee, John L.

Overview
Works: 36 works in 36 publications in 1 language and 41 library holdings
Genres: History  Portraits 
Publication Timeline
Key
Publications about  John L Magee Publications about John L Magee
Publications by  John L Magee Publications by John L Magee
Most widely held works by John L Magee
Forcing slavery down the throat of a freesoiler ( Visual )
1 edition published in 1856 in English and held by 2 WorldCat member libraries worldwide
The champion of despotism ( Visual )
1 edition published in 1852 in English and held by 2 WorldCat member libraries worldwide
A satire critical of New York "Courier and Enquirer" editor, James Watson Webb for his journalistic assaults on exiled Hungarian revolutionary leader Louis Kossuth. Weitenkampf dates the cartoon 1852, but it may have appeared as early as December 1851, when Kossuth landed in New York for a much-publicized visit to seek American diplomatic and financial support for Hungary. His visit caused a sensation and he was greeted enthusiastically by most Americans, and was particularly embraced by libertarians and free-soilers. Webb's newspaper, however, was highly critical of Kossuth and his attempts to embroil the United States in the European conflict. Webb strides down the street, with his back to the viewer and a copy of the "Courier & Enquirer" with the headline "Kossuth," protruding from his back pocket. To the left a young apprentice at the entrance of a blacksmith shop points out Webb to his master, who is at work inside. He says, "Say! Boss! he's a comein, yer told me to call yer when he went past, it's the man what wrote all that Stuf agin the Hungarians." The blacksmith looks up and exclaims, "Good Gracious! here Bill, work this bellows here for a minute til I see that man, I wouldn't miss having a good look at that man for a new ten cent peice he must be a curiosity." To the right, two small children and a crowd of people watch Webb pass by, among them a tall man closely resembling Kossuth
Mr. F.S. Chanfrau "as Mose" in the new piece called "A glance at New York" by John L Magee ( Visual )
1 edition published in 1848 in English and held by 2 WorldCat member libraries worldwide
Mr. F.S. Chanfrau, full-length, seated, facing left, making a fist
Liberty, the fair maid of Kansas--in the hands of the "border ruffians" ( Visual )
1 edition published in 1856 in English and held by 2 WorldCat member libraries worldwide
A bitter indictment of the Democratic administration's responsibility for violence and bloodshed in Kansas in the wake of the 1854 Kansas-Nebraska Act. (See also "Forcing Slavery Down the Throat of a Freesoiler" and "Democratic Platform Illustrated," nos. 1856-8 and 1856-11.) The print appeared during the presidential campaign of 1856. In the center stands Democratic incumbent Franklin Pierce, dressed in the buckskins of a "border ruffian," as the violent, proslavery invaders of the Kansas territory from Missouri were known. He has planted his foot on an American flag which is draped over Liberty, who kneels at his feet imploring, "O spare me gentlemen, spare me!!" Pierce is armed with a rifle, and has a tomahawk, dagger, pistol, and scalp on his belt. At right a similarly outfitted Lewis Cass stands licking his lips and scoffing, "Poor little Dear. We wouldnt hurt her for the world, would we Frank? ha! ha! ha! . . ." At the far right Democratic senator Stephen Douglas kneels over a slain farmer and holds up the hapless victim's scalp, exclaiming, "Hurrah for our side! Victory! Victory! "We will subdue them yet." "On the far left Democratic candidate James Buchanan and secretary of state William Marcy (with his characteristic fifty-cent" trouser patch) kneel over another victim and empty his pockets. Buchanan lifts the man's watch, saying,"T'was your's once but its mine now, "Might makes right," dont it." Pierce responds, "You may bet your life on that, ole Puddinhead," and says to Liberty, "Come Sis--sy, you go along wid me, I'le take Good care of "you" (hic) "over the left."" In the left background a cottage burns, and the mad widow of a murdered settler stands before a group of ruffians. Widow: "Come husband let us go to heaven, where our poor Children are." Ruffian, thumbing his nose: "Ho! ho! She thinks I'm her husband, we Scalped the Cus and she like a D--m fool went Crazy on it, and now she wants me to go to heaven with her, . . . " In the distance are further scenes of pillage and murder. Attribution to Magee is based on the print's clear stylistic similarity to his "Forcing Slavery Down the Throat of a Freesoiler" (no. 1856-8). A number of satires published by John Childs during the 1856 campaign are also attributable to Magee on stylistic grounds
Soliciting a vote ( Visual )
1 edition published in 1852 in English and held by 2 WorldCat member libraries worldwide
A cynical view of party competition for the working man's vote in the presidential campaign of 1852. In a polling place, four candidates struggle to force their own election ticket on a short, uncouth-looking character in a long coat. The latter holds a whip, suggesting that he is either a New York cabman or a farmer. The candidates are (left to right): Whig senator from Massachusetts Daniel Webster, Texas Democrat Sam Houston, Illinois Democrat Stephen A. Douglas, and Whig general Winfield Scott. The cartoon must have been produced before the June 5 nomination of dark-horse Franklin Pierce as the Democratic candidate, as Pierce is not shown. Webster: "My honest friend, these men are interested parties, I have no further interest in this matter myself, than the inclination to 'Serve my beloved Country,' My Family cannot subsist on less than 25,000 $ a year." His comment may refer to his own personal financial straits or to the nepotism involved in securing his son Fletcher's lucrative appointment as surveyor of the Port of Boston in 1850. Scott (in uniform, grasping the man's coat): "My good Friend, allow me to present you this Ticket, I am 'Old Genl. Scott' you know me, I licked the British & the Mexicans, if elected I shall probably lick all Europe." Houston: "This is the 'Ticket' for you, my good friend, I am 'Old Sam Houston' if elected I shall not only 'lick all of Europe,' but all 'Creation' to boot." Douglas (his arms around the man): "There, there, go away, go away, don't worry the man, leave him to me, leave him to me." Affixed to the wall at right are two posters or signs marked "DEMT." and "WHIG." In the left background stands Henry Clay leaning against a chair observing the scene, along with President Millard Fillmore who looks in through a window
A little game of bagatelle, between Old Abe the rail splitter & Little Mac the gunboat general ( Visual )
1 edition published in 1864 in English and held by 1 WorldCat member library worldwide
The contest for the presidency in 1864 is depicted as a game of bagatelle (a game similar to pool) between Republican candidate Abraham Lincoln and Democrat George B. McClellan. Lincoln (left) holds a cue "Baltimore" (the site of the Republican national convention) and is about to shoot a ball on "The Union Board." He says to running mate Andrew Johnson (upper right), "I'll do the best I can Andy, I can do no more." Johnson encourages him, "Hurrah for our side, go ahead Old Abe! O aint he bully on the bagatelle? you're only got a few more to make, It's A Sure Thing!!" Johnson points to the scoreboard which reads "Nix" for the "Copper" (i.e., Copperheads or Peace Democrats). The Union side of the board is blank. At left McClellan, dressed as a child, holds a cue "Chicago" (site of the Democratic national convention) and stands on a toppling "Chicago Platform," which appears to have been given a nudge by Lincoln's foot. A "Peace" plank has fallen from it. (McClellan was never entirely committed to the "peace at any price" principle advocated by Copperhead leader Clement L. Vallandigham.) McClellan complains, "This Cue 'is too heavy! and the' Platform's 'shakey!! O! O! I want to go back in the yard!!" His running mate George H. Pendleton (far left) retorts impatiently, "O see here. We cant stand this! Old Abe's getting in all the pots on the board, this game will have to be played over again or there'l be a fight, THAT'S CERTAIN." At the far right Vallandigham sits with crossed legs, saying to McClellan, "There is nothing the matter with the Cue or the Platform, you had the first red and didn't make anything, now he'll win the game." Union general Ulysses S. Grant smokes a pipe and stands near the middle of the table. He advises McClellan, " . . . you travel too near the ground to play on this board, better surrender UNCONDITIONALLY." A grinning black waiter with a tray of drinks watches Pendleton and McClellan. In the foreground are a cat named "Miss Cegenation" (i.e., miscegenation) and a black dog, tied together at the tails by a string attached to a kettle. They chase two rats, "Old Lea" and "Wood," across a paper holding "Caces Sugar Plumbs."
The forty thieves or the common scoundrels of New-York ( Visual )
1 edition published in 1840 in English and held by 1 WorldCat member library worldwide
The title continues: "Breaking up of a Grand Spree in the Tea Room & total abflustification of the common scoundrels." Weitenkampf calls the print a satirical look at members of the New York Common Council "after a spree of eating and drinking," and cites two others by Elton. The artist also suggests corruption in that Tammany-controlled civic body, a center of Democratic power in 1840. It is a crowded scene of drunken merriment. In the foreground are several comical figures in various attitudes, including a reeling heavy-set man who says, "I'm affraid I've not done me juty to me w-a-r-d this evening, let me see what I've had: three Oyster stews . . . " He leans on a smaller man who says, "Don't make yourself uneasy Sir, if you havent done your duty on this occassion, I would like to see the man who has & if there is such a man all I want is his Daguerreotype Likeness to hang on the inside of my shirt to remember him by . . ." (Daguerreotypes were first introduced in 1839, and portrait studios had opened in several major cities in the United States by early 1840.) On the right two others converse. One, with a bulbous red nose, lifts his glass aloft. The second holds a bag marked "40,000." The first says, "Ah! that's the talk! let me see with that amount of stuff, I can cut out forty pairs of pantaloons with a thousand sets of trimmings for each man, o yes Sir depend on it, the documents shall be forthcoming!" The second, "Here is the Stuff for pantaloons & I hope now you will put that matter through & let me have the contract without delay." In the middle ground left a black manservant holds a tray of cups before the open door to a "Tea Room."
American cartoon print filing series (Library of Congress) ( )
in English and held by 1 WorldCat member library worldwide
Shall I vote for ten cents a day? ( Visual )
1 edition published in 1856 in English and held by 1 WorldCat member library worldwide
Print shows a campaign parody somewhat favorable to Republican candidate John C. Fremont, but suggesting a conspiracy between Fremont and Millard Fillmore to defeat Democrat James Buchanan. Buchanan's nickname "Ten Cent Jimmy" was a derisive label applied to him by labor interests. In the background, behind a fence, Buchanan can be seen addressing a working-class gathering. "Gent[leme]n," he harangues them, "if you put me in, why I promise that you shall be on the same plan as the laborers of Europe, Ten Cents a Day." Fillmore crouches this side of the fence, watching. Fremont, with a carpenter's tools and smock, and shirtsleeves rolled, stands in the foreground. Fillmore (aside, to Fremont): "Monte, I've got my eye up on the old Buck--with such a crowd as he's got, he can't go in, I'll Bargain with you? If I can't win, why you shall." Fremont: "All right, agreed and if I don't win why you shall, but look here, If Ten Cent Jimmy wins we working men will have Ten Cents a Day. How are we to live? look at the price of provisions." To the left is a "Cheap grocery & provision store" offering pork at ten to eighteen cents per pound, "Fine Buck" at two and a half cents, cabbages at ten to twelve and a half cents each, and other produce at equally high rates. At right is the boardinghouse of "Mrs Woodbee Late Pierce" (no doubt a disparaging reference to Democratic incumbent Franklin Pierce) offering rooms to mechanics at three dollars per week. A scrawny dog barks at the door
The morning after the election--November 1856 ( Visual )
1 edition published in 1856 in English and held by 1 WorldCat member library worldwide
The victorious James Buchanan sits under a trellis of grape vines, holding reports of election returns on his lap. He reflects, "What a happy morning for my country and myself. Here I find returns for myself & my Kentucky brother [running mate John C. Breckinridge]--beginning with Maine in the North & concluding with Texas in the South. What welcome news to know that the People have not removed a plank of the Democratic Platform. Who will dare breathe Disunion now?" Before him on the ground lie scythes, a shovel, and a pickax; a plough rests nearby. Behind him ripe wheat is visible. On the left, past a low fence, four New York newspaper editors run forward holding up bills for large sums of money. They are a bearded "German editor," Horace Greeley, James Gordon Bennett, and James Watson Webb--frustrated supporters of John C. Fremont, who rides off in the distance saying, "I'm off to Mariposa--Like a foolish fellow, you Editors made me believe papers could do all things--The people you see have used us up. When I get to my gold regions & "back again," I'll pay you "in a horn."" Mosquitoes swarm around him. At right Millard Fillmore emerges from the mouth of a cavern, holding a lantern (a nativist symbol). He confronts Know Nothing founder "Ned Buntline" (Edward Zane Carroll Judson), a bearded man with two pistols at his waist. Fillmore complains, "Oh! Ned! Ned! This is all of your doing. After being a popular Whig President--and walking in the footsteps of Clay, Webster & Cass. I am thrown back by the People into the dark & gloomy caverns of Know Nothingism."
The forty thieves or the common scoundrels of New York by John L Magee ( Visual )
in English and held by 1 WorldCat member library worldwide
Weitenkampf calls the print a satirical look at members of the New York Common Council "after a spree of eating and drinking," and cites two others by Elton. The artist also suggests corruption in that Tammany-controlled civic body, a center of Democratic power in 1840. It is a crowded scene of drunken merriment. In the foreground are several comical figures in various attitudes, including a reeling heavy-set man who says, "I'm affraid I've not done me juty to me w-a-r-d this evening, let me see what I've had: three Oyster stews... " He leans on a smaller man who says, "Don't make yourself uneasy Sir, if you havent done your duty on this occassion, I would like to see the man who has & if there is such a man all I want is his Daguerreotype Likeness to hang on the inside of my shirt to remember him by..." (Daguerreotypes were first introduced in 1839, and portrait studios had opened in several major cities in the United States by early 1840.) On the right two others converse. One, with a bulbous red nose, lifts his glass aloft. The second holds a bag marked "40,000." The first says, "Ah! that's the talk! let me see with that amount of stuff, I can cut out forty pairs of pantaloons with a thousand sets of trimmings for each man, o yes Sir depend on it, the documents shall be forthcoming!" The second, "Here is the Stuff for pantaloons & I hope now you will put that matter through & let me have the contract without delay." In the middle ground left a black manservant holds a tray of cups before the open door to a "Tea Room."
Harmony in the wigwam! Democracy of the right brand-y ( Visual )
1 edition published in 1852 in English and held by 1 WorldCat member library worldwide
A comic scene ridiculing the Tammany Democrats of New York City. Tammany headquarters, known as the "Wigwam," here erupts in a drunken fracas over the Democratic platform for the presidential race of 1852. The platform specifically endorsed the Compromise of 1850, which incorporated the Fugitive Slave Act, a measure highly repugnant to abolitionists and Free-Soil or Barnburner Democrats. The artist also capitalizes on current rumors of candidate Franklin Pierce's bouts of alcoholism. In the center stands a wooden platform, in the process of collapsing on one end under the riotous exertions of abolitionists. On the other end (at left) stand Pierce and his running mate William R. King. Pierce, visibly drunk and swooning, is supported by King. Yet he tries to speak, "Fel-er-cit-zens. I'm bliged to you. I, that is--King? did you put that "Bri" (hic) "Bri" (hic) "Brick!" (damm the word)--in my "Hat?" Fel--citizens? this is my mot (hic) mottoe! "Prin-Ci-Ples, Not, Men--Men, Not Prin-ciples" whichever is the most ex (hic) "Expedient" (damm the word). Fel-Cit-zens? hurray for the Dem (hic) Dem (hic) "Democratic Party." (damm the word) (hic) (hic) ah that last "Brandy Smash" was too Muscular for my constution. "King! King!" your drunk" King: "Come--Pierce stand up like a man, what will your friend think, if you are as limber as this after we get you in the White House, what will become of the country. Come now? stand up, or lay down, one or the other." King leads Pierce toward an Irish tough (far left), one of the party rank and file, who steps onto the platform and declares enthusiastically, "Your the boy for this crowd! slap down yer paw! ... aint we a go in ter have a nice time when we gitm you in the white house? well we is! hoss! wont we lick Mexico again? wont we go ter Cuba and kiss the purty Spanish galls? wont we lamm the British? & Choke Louis Napoleon? well we will! . . ." The platform itself is inscribed with the warning: "In consequence of the Ricketty Construction of this Platform, all Barnburners, Free-Soilers, & Abbolitionists are requested to Tread on it as lightly as possible." The structure breaks up on the right amid a crowd of brawling Democrats, one of them carrying an "Abbolition" banner. In the left foreground, a muscular, bare-chested "Old Hunker" (conservative Democrat) sends a Free-Soiler flying with a punch, saying, "How do you like that for a Change?" To which the Free-Soiler answers, "I should like it better without the change?" In the center sits a man in athletic costume holding a bottle. He looks to the right where Whig candidate Winfield Scott enters on the back of a donkey. The athletic man says, "Hulloa? Scott! is it a fact that you brought down--twelve "Birds" at one "Shot." Scott, dressed as a hunter, with a large sack slung over his saddle, replies, "Yes Sir, brought e'm "Down," and "Bagged" e'm too." As in "Terrible Rout and Total Destruction of the Whig Party" (no. 1852-26) the comic characterization and style of draftsmanship here are unquestionably John L. Magee's, and compare closely with other, signed works by the artist
A dish of "black turtle" ( Visual )
1 edition published in 1852 in English and held by 1 WorldCat member library worldwide
The cartoonist mocks the opportunism evident in Winfield Scott's endorsement of both the abolitionist cause and the Missouri Compromise. Scott, in military uniform, is seated at a table with a plate of soup before him. He lifts his spoon from the plate and finds in it a kneeling black man, with arms outstretched saying, "Dis poor nigger am like Jonah, when de men would'nt let him stay in de Ship; and de whale would'nt let him stay in de water." Scott observes, "Here's a predicament! first I shall have to swallow this nigger to please the north & then take a compromise emetic and deliver him up to please the south. Faugh! what a dose of Ginger, but I am anxious to serve the country at $25,000 pr Annum so down he goes." Appearing from out of the steam is a Southern planter who remarks, "I should think from the flavor of the Generals last plate of Soup that my darkey had tumbled into it. I've heard of 'Green Turtle' and 'Mock Turtle' but that would be a pretty Strong dish of 'Black Turtle." For the origin of the perennial joke about Scott's "hasty plate of soup," see "Distinguished Military Operations" (no. 1846-15). The style of "A Dish of Black Turtle" is similar to that of John L. Magee's "A Magnificent Offer to a Magnificent Officer" (no. 1852-27), and is probably by the same artist
The gladiators of the Senate! The bulley's of the House ( Visual )
1 edition published in 1852 in English and held by 1 WorldCat member library worldwide
The artist parodies recent outbreaks of violence in Congress, and offers a pointed comparison between the elevated rhetorical sparring in the Senate and a more physical brand of combat in the House of Representatives. In the left frame members of the Senate (wearing the togas of Roman senators) watch a bout of swordplay between Alabama Democrat Jeremiah Clemens (here "Clements") and South Carolina Democrat Robert Barnwell Rhett. Clemens lunges blindly at his opponent with his sword while covering his face with a shield marked "Valor." Rhett crouches on the floor beneath his own shield, labeled "Piety." Prominent among the onlookers is Missouri senator Lewis Cass who comments, "The Gladiator from South Carolina is certainly one of the most 'talented' men in the 'Dodging Line' our Country has produced--it's astonishing what practice enables us to accomplish." An unidentified senator exclaims, "Admirable! Admirable! what Suppleness and determination. I fearlessly assert that never in this Chamber has the 'Pious Dodge' been better executed." Another unidentified spectator adds, "Very prettilly done! that dodge was about as neatly executed as anything of the kind I have lately seen." In the second frame two "Bulley's of the House" (one probably Albert Gallatin Brown) fight before a gallery of spectators. Two spectators stand on a bench exclaiming, "Let them fight it out and dont let your anxiety make you perspire to freely. Here--Boy? go and ge me a glass of Brandy & some Crackers & Cheese. we may as well have a pleasent time of it--I bet a Hundred to one Brown whips his man in three minutes" and "Shame!!--Shame!! Where's the Sergeant at Arms!"
Genl. Lopez the Cuban patriot getting his cash ( Visual )
1 edition published in 1850 in English and held by 1 WorldCat member library worldwide
A satiric portrait of Venezuelan-born general Narciso Lopez, leader of an 1850 expedition to liberate Cuba from Spanish rule. Lopez's army of American volunteers captured the Cuban coastal town of Cardenas in May 1850. After a brief occupation Lopez's forces were driven out by Spanish troops, and fled to Key West. Lopez is shown fleeing to the left, holding a sword and a bag marked $50,000 (an exaggerated reference to the small sum of money taken by his men from the Cardenas customhouse). A milestone points "To Cardenas Custom House" in the distance, where a battle rages. Lopez says: "Well! we have not Revolutionized Cuba, but then we have Got what we came for, my Comrades came for Glory, I came for Cash, I've got the Cash, they've got the Glory, & I suppose we're all satisifed. I'm O-P-H [?] for the United States again. Cant Live under a Military Despotism." Weitenkampf dates the print tentatively 1851, the year of Lopez's second Cuban expedition. Specific reference here to the Cardenas affair of the preceding year, however, is persuasive evidence for an 1850 date
The fox without a tail ( Visual )
1 edition published in 1861 in English and held by 1 WorldCat member library worldwide
Satan tempting Booth to the murder of the President by John L Magee ( Visual )
1 edition published in 1865 in English and held by 1 WorldCat member library worldwide
Lincoln's assassin, actor John Wilkes Booth, is goaded by a hideous Mephistophelian figure to shoot the unsuspecting President, who is visible in a theater box beyond. Booth stands erect, his left arm behind his back and a small pistol in his right hand. He stares straight ahead, seemingly mesmerized by Satan, who stands close behind him, pointing with one hand at the pistol and with the other at Lincoln. Rays of light issue from the demon's eyes, mouth, and ears. He wears a peacock feather on his head and is clad in a tassled medieval tunic
Maj. Gen. McCall by John L Magee ( Visual )
1 edition published in 1862 and held by 1 WorldCat member library worldwide
George Archibald McCall, full-length portrait, standing, facing left, in uniform
The poor soldier & his ticket for soup ( Visual )
1 edition published in 1852 in English and held by 1 WorldCat member library worldwide
The presidential aspirations of Whig general Winfield Scott during the 1852 election are again belittled. Scott, in a tattered uniform and supporting himself on a crutch, extends his feathered cap toward the figure of Columbia or Liberty, who stands in the doorway of the "Capitol" holding a liberty cap and staff. Liberty asks Brother Jonathan, who is seated on a small mound beside the doorway, "Jonathan? what does that old fellow want." Jonathan replies, pointing toward Scott, "He's come for his Ticket for--Soup!!" In the background at left is the White House, which has been relabeled "Soup House." (For the origin of the soup joke, see "Distinguished Military Operations with a Hasty Bowl of Soup, "no. 1846-15.)
Dan the fisherman overhauled by British cruisers ( Visual )
1 edition published in 1852 in English and held by 1 WorldCat member library worldwide
A humorous but favorable portrayal of secretary of state Daniel Webster's assertive role in the dispute over American fishing rights in Canadian waters. (See also Edward W. Clay's "John Bull's Fish Monopoly, no.&1 1852-4, for background on this controversy.) The print reflects the belligerent attitude of northeastern Americans toward Britain over the matter. The powerful figure of Daniel Webster looms large in the center of the work. He stands in the fore of a small fishing boat on the Bay of Fundy, bracing his foot against the inside of the bow. He tows a line strung with fish, struggling against a party of English fishermen who pull from another small boat at left. Also lending their weight to Webster's efforts are two American fishermen behind him in the skiff. Old Dan: "Now then, pull away boys! pull away! ah theres no use, them English have got too much bottom for us &ther powerful strong in the arms. I'm afraid we'll lose our fish what shall we do? Negotiate? or Fight." American fisherman: "Why fight first & Negotiate afterwards, to be sure." Behind them are several larger vessels. The repetition of the initial "D" in the title is puzzling. It is probably a fragment of the word "Old," partially obliterated in this and other recorded impressions of the print. (Webster was seventy in 1852.)
 
moreShow More Titles
fewerShow Fewer Titles
Audience Level
0
Audience Level
1
  Kids General Special  
Audience level: 0.92 (from 0.00 for American c ... to 1.00 for Soliciting ...)
Languages
English (19)