{"title":"Thomas Nast","description":"\u003cp\u003e1840-1902\u003c\/p\u003e","products":[{"product_id":"the-millennium-the-tiger-and-the-lamb-lie-together","title":"The Millennium. : The Tiger and the Lamb Lie Together.","description":"\u003cp\u003eThe tiger licks his chops, quite content. A sign is strapped around his neck, reading, 'For Republican Lamb inquire within - Democratic Tiger.\" Above his head reads, 'Spring Lamb and Peace' and 'Pretty \"Solid\" Thank You!\"\u003c\/p\u003e \n\n\u003cp\u003eThis political cartoon is likely in reference to the Compromise of 1877. Thomas Nast did a series of stinging political works referencing the Compromise after Rutherford Hayes won the hotly contest presidential election of 1876.  The Compromise was made in an effort to help South pull itself back together after the Civil War.. President Hayes promised to pull Federal troops out of the South as long as they agreed to uphold the rights and liberties of the black community. Unfortunately only one side of the agreement was kept. As soon as the Federal troops were withdrawn, the conservative democratic party took back their local and state governments and began placing heavy restrictions on blacks. Today we know these regulations as the Jim Crow Laws.\u003c\/p\u003e \n\n\u003cp\u003eIn this cartoon the Democratic tiger has been pacified after getting exactly what it wanted out of the Republican lamb. The use of 'Solid' in the statement \"Pretty 'Solid' Thank You!\" above the tiger refers to the Solid South. It was a term used during the time period to reference the Southern voting block that concerned itself with the interest of white supremacist.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894356086862,"sku":"91352-2","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/91352-2_107bcb9a-1802-44e1-94c0-2bc3d417f08e.jpg?v=1757702963"},{"product_id":"old-honesty","title":"\"Old Honesty.\"","description":"\u003cp\u003eIn this biting political cartoon, Thomas Nast portrays Horace Greeley, the 1872 Liberal Republican and Democratic presidential candidate, as “Old Honesty”—a title used ironically. Surrounding him is a grotesque crowd described as “all the scum and dregs of humanity,” representing corrupt politicians, former Confederates, and opportunists who had rallied behind his candidacy. Nast mocks Greeley’s willingness to accept support from those he once opposed, highlighting the contradictions and perceived hypocrisy of his campaign. The cartoon reflects Nast’s fierce opposition to Greeley and unwavering support for Ulysses S. Grant’s re-election.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894356119630,"sku":"59923-2","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/59923-2_8d7aa29a-26fb-43b7-986d-4964e3fa731e.jpg?v=1757702964"},{"product_id":"the-only-thing-they-respect-or-fear","title":"The Only Thing They Respect or Fear.","description":"\u003cp\u003eThis powerful cartoon by Thomas Nast shows Boss Tweed and his Tammany Hall cronies recoiling in fear at the sight of a row of hangmen’s nooses—symbolizing the justice they had long evaded. As head of New York’s notoriously corrupt political machine, Tweed oversaw the theft of millions in public funds through bribery, fraud, and political manipulation. Though he was removed from power in 1871, his initial trial was dismissed due to lack of witnesses, and he arrogantly claimed no one would ever imprison him. Nast’s relentless visual campaign helped turn public opinion, and Tweed was ultimately convicted in a second trial, making this image a chilling prediction of his fate.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894357102670,"sku":"59861-3","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/59861-3_c3d3cfc8-7d8a-4ec0-8d37-5efddb14450d.jpg?v=1757702965"},{"product_id":"the-apple-of-discord-at-the-geneva-tribunal","title":"The Apple of Discord at the Geneva Tribunal.","description":"\u003cp\u003eThis political cartoon uses the legend of William Tell to comment on the resolution of the Alabama Claims dispute between the United States and Great Britain. In the scene, an arrow labeled Peaceful Arbitration is shot from a bow marked Settlement, striking an apple labeled Alabama Claims balanced on Uncle Sam’s head. Onlookers watch in suspense as the cartoon plays out under the title “The Apple of Discord at the Geneva Tribunal.”\u003c\/p\u003e\n\n\u003cp\u003eThe Alabama Claims arose after the Civil War, when the United States demanded compensation for damages caused by Confederate warships built in British shipyards, including the infamous CSS Alabama. The U.S. argued that Britain's actions had violated its neutrality and prolonged the war.\u003c\/p\u003e\n\n\u003cp\u003eRather than allow the conflict to deepen, both nations agreed to resolve the issue through arbitration—an unusual and forward-thinking approach for the time. The Geneva Tribunal convened in 1871 and ruled in favor of the United States the following year. Britain agreed to pay $15.5 million in gold as compensation.\u003c\/p\u003e\n\n\u003cp\u003eIn the final panel, Uncle Sam holds the pierced apple in his hand as he exchanges a conciliatory kiss with the figure who fired the arrow. The moment reflects a peaceful resolution and mutual respect—marking the Alabama settlement as a diplomatic milestone rather than a cause for further conflict.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894357135438,"sku":"59904-2","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/59904-2_2e157317-50e4-44fd-9d91-37e9f114b1fe.jpg?v=1757702966"},{"product_id":"arlington-heights-die-wacht-am-potomac","title":"Arlington Heights. Die Wacht am Potomac.","description":"\u003cp\u003ePolitical cartoon depicting the tomb of the Union dead at Arlington.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894357168206,"sku":"59895-2","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/59895-2_0efa42ab-fe24-4f70-92e2-6271bf628bea.jpg?v=1757702967"},{"product_id":"a-liberal-surrender-anything-to-beat-grant","title":"A \"Liberal\" Surrender - \"Anything to Beat Grant.\"","description":"\u003cp\u003e.This political cartoon by Thomas Nast shows the anti-Grant forces surrendering a fort to the twin threats of Democratic corruption and violence—represented by the Tammany Ring and the KKK. The image is a scathing critique of the uneasy alliance between Liberal Republicans and Democrats during the 1872 presidential election.\u003c\/p\u003e\n\n\u003cp\u003eAt the center of the cartoon, perched on the wall of the fort and waving a white flag, is Carl Schurz, founder of the Liberal Republican Party. His flag reads, “Truce. We surrender anything to beat Grant,” mocking the lengths to which the opposition was willing to go just to defeat the sitting president. Next to him is Horace Greeley, the Liberal Republican favorite who would eventually become the Democratic nominee. He holds a trumpet upside down, a nod to his incompetence, and in his pocket is a paper titled What I Know About Blowing—a reference to Nast’s series of satirical cartoons mocking Greeley’s exaggerated self-importance. The joke draws from Greeley’s 1871 book, What I Know About Farming, which was based more on childhood memories than real expertise.\u003c\/p\u003e\n\n\u003cp\u003eOn the right, a group climbs over the fort wall under the banner of the Democratic Party – Seymour Blair, a callback to the party’s previous ticket in 1868. In the center stands a cannon labeled Cincinnati Convention, the only national convention ever held by the Liberal Republican Party, now left largely defenseless against the forces advancing toward it. Off in the distance, on the left, is the approaching Philadelphia Convention, representing the Republican stronghold. Though it wouldn’t convene until June, it was widely expected to reaffirm support for Ulysses S. Grant, who remained popular with the American public.\u003c\/p\u003e\n\n\u003cp\u003eThe cartoon captures Nast’s view of the Liberal Republicans as disorganized and willing to compromise with dangerous elements just to oppose Grant—while the Republicans, in his eyes, stood on firmer and more principled ground.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894357987406,"sku":"59919-2","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/59919-2_2238dac3-1358-484f-b22b-303d525c22a5.jpg?v=1757702968"},{"product_id":"diogenes-still-looking-we-are-the-gentlemen-you-are-in-search-of","title":"Diogenes Still looking. - \"We Are the Gentlemen You Are In Search Of.\"","description":"\u003cp\u003eDiogenes, the ancient Greek philosopher who famously wandered with a lantern in broad daylight looking for an honest man, is used here by Thomas Nast to represent the average American in 1876—disillusioned and searching for truth. But instead of crooked politicians, this time he’s surrounded by newspapers.\u003c\/p\u003e\n\n\u003cp\u003eEach paper in the cartoon loudly claims to be the honest voice he’s looking for, but their names—The Daily Slander, The New York Hoax, The Washington Hatchet, The Innuendo, and others—tell another story. It’s a clear jab at the press, which by then had become crowded, competitive, and often unreliable.\u003c\/p\u003e\n\n\u003cp\u003ePublished during the Long Depression and in the lead-up to a presidential election, Nast’s cartoon suggests that truth had become just another casualty of sensationalism. The media isn’t helping Diogenes find honesty—it’s what’s getting in the way.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358020174,"sku":"91467-1","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/91467-1_2219bf02-d6be-43b3-9e90-beebd6768c87.jpg?v=1757702969"},{"product_id":"captured-at-last-june-3-1875-phil-sheridan-i-am-not-afraid","title":"Captured at Last (June 3, 1875). Phil. Sheridan. \"I am not afraid.\"","description":"\u003cp\u003eOn June 3, 1875, Union General Philip Sheridan married Irene Rucker, daughter of Army Quartermaster General Daniel H. Rucker, and the event was commemorated—and humorously teased—by political cartoonist Thomas Nast. In the cartoon, Sheridan is portrayed as a reluctant groom captured by a troop of cherubic “Banditti,” a satirical jab at the Louisiana White League with whom Sheridan had recently clashed. Two cherubs restrain him with garlands, while another drags him toward “The Union Alter” with a garland chain. Above him, one cherub readies an arrow, and another, standing on the altar, aims his bow, signaling Cupid’s attack. A bespectacled cherub labeled “Court (ship) Marshal” holds a paper, adding a military pun to the matrimonial scene. Posters on the altar declare, “wedding rings must not be broken” and “To be shot on the spot this [heart symbol] is the spot. Unconditional Surrender,” furthering the metaphor of romantic entrapment as military conquest. A flag reading “Union for Ever” hangs above Sheridan’s head, humorously tying his personal union to the broader theme of national unity following the Civil War. After their wedding, Sheridan and Irene settled in Washington, D.C., and went on to have four children: Mary in 1876, twin daughters Irene and Louise in 1877, and Philip Jr. in 1880.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358052942,"sku":"91974-1","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/91974-1_8dca1fa2-ea40-49fb-a490-0488bcf87b27.jpg?v=1757702970"},{"product_id":"where-there-is-an-evil-caesarism-scare-there-is-a-remedy-ridicule","title":"\"Where There is an Evil\" (Caesarism Scare) \"There is a Remedy\" - (Ridicule).","description":"\u003cp\u003ePresident Ulysses S. Grant had begun his second term in early 1873 and was already toying with the idea of a third—something that was entirely legal at the time. No president had ever served more than two terms, though, and the possibility sparked outrage. One of the loudest critics was James Gordon Bennett Jr., editor of the New York Herald, who accused Grant of harboring imperial ambitions.\u003c\/p\u003e\n\n\u003cp\u003eIn this cartoon, Thomas Nast depicts Bennett as a Roman soldier in retreat, dramatically throwing up his hands. The caption says it all: “I cry you mercy! Stop! Stop! I’ll give in. I’ll say no more about Caesarism.” Meanwhile, Nast—seen here as a minstrel, awkwardly strumming a harp—plays a song from his satirical “Th. Nast’s Sweet Music” portfolio, titled Caesarism Scare Crow. Off in the distance, the New York Herald building is labeled “The Bohemian Gas Works,” with a sign reading, “Wanted Immediately: Something New. Caesarism Exhausted.”\u003c\/p\u003e\n\n\u003cp\u003eNast, a staunch supporter of Grant, thought the fears of Caesarism were overblown. Caesar was a dictator; a third presidential term didn’t automatically signal tyranny. Nast wasn’t shy about making that point. He would go on to produce more cartoons mocking Bennett and his comparisons until Grant ultimately discontinued  the idea of running again.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358085710,"sku":"91642-1","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/91642-1_e7f3a4f3-145d-42e8-8a2b-e8ef6e4f5bce.jpg?v=1757702971"},{"product_id":"the-democratic-tiger-in-the-manger-and-the-submissive-m-asses","title":"The Democratic Tiger-in-the-Manger, and the Submissive (M)asses.","description":"\u003cp\u003eThis cartoon comments on the Democratic Party's influence during the Long Depression (1873–1879) and suggests that the public was passively accepting its leadership—despite the economic turmoil. One of the major political battles during this period centered on currency policy: greenbacks versus specie, or paper money versus gold-backed coin.\u003c\/p\u003e\n\n\u003cp\u003eGenerally, Republicans supported specie, fearing the long-term effects of inflation. Democrats, on the other hand, pushed for more greenbacks, believing that an expanded paper currency would stimulate spending and help struggling businesses. The Republicans claimed victory with the Resumption Act of 1875, which set a course for reducing greenbacks and increasing gold-backed currency, with the aim of allowing people to redeem paper money for coin by 1879. However, greenback advocates scored a win of their own in 1878, when Congress reversed some of the limits and expanded greenback circulation once again. In the end, the public was largely indifferent—once people realized paper money held the same value as gold, there was little interest in exchanging it, and the Resumption Act quietly lost relevance.\u003c\/p\u003e\n\n\u003cp\u003eIn the cartoon, a menacing Democratic tiger lounges in a manger stuffed with dollar signs. Scrawled on the wood are defiant phrases like “The People’s Money,” “I Will Not Be Coerced,” and “What Are You Going to Do About It?”—a mockery of the party’s stance on currency control. Behind the tiger, a series of posters ridicule Democratic messaging: “The business of the country crippled. The closing of public buildings. Post offices, Custom-houses… by order of King Democrat 1876,” alongside references to “King George III 1776”, “We want all the money for Southern claims,” and “A Dead-Lock: Business of the Country.”\u003c\/p\u003e\n\n\u003cp\u003eNast’s point is clear: the Democrats are portrayed as economic tyrants, hoarding the nation’s money and blocking progress—while the public, suffering under financial strain, watches on without resistance.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358118478,"sku":"91979-1","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/91979-1_d95cfa90-34ea-4571-967c-a19200658fec.jpg?v=1757702973"},{"product_id":"church-and-state-no-union-upon-any-terms","title":"Church and State - No Union Upon Any Terms.","description":"\u003cp\u003eIn this cartoon the artist, Thomas Nast, reminds the public of the importance of the Separation of Church and State.  Columbia, the female personification of America, brushes away the religious entities seeking aid and political standing within the government. It was a particular problem with parochial schools, which were seeking funding from the state in order to finance their religious teachings. At this point in American history Catholicism was despised throughout much of the country and they were one of the strongest entities demanding financial aid. Allowing it, Nast says in this cartoon, opens the way for all religious entities to demand funding, which would place religion over the needs of the general public.\u003c\/p\u003e \n\n\u003cp\u003eThe crowd trying to overtake Columbia comprises of various religious groups. Behind each of their human entities is a wagon bearing their given religious building. These groups are labeled as \"Roman Catholic\", \"Quaker Meeting\", \"Mormon Tabernacle\", \"Synagogue\", \"Church Around the Corner\" (a reference to the famous church in New York City, where Nast was from), \"Methodist\", \"Holy Trinity\", \"Baptist\", \"Temple of Jupiter\", to name a few.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358151246,"sku":"92233-1","price":75.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/92233-1_5768fa9f-26ba-4ef1-a713-93da138c338a.jpg?v=1757702973"},{"product_id":"out-damned-spot-out-i-say","title":"\"Out, Damned Spot! Out, I Say.\"","description":"\u003cp\u003eThe phrase \"Out, damned spot! Out, I say!\" comes from Shakespeare’s Macbeth, where Lady Macbeth, consumed by guilt over her role in murder, imagines blood on her hands that won’t wash away. Thomas Nast often borrowed this line in his cartoons to call out political corruption, particularly when those responsible tried to cover it up.\u003c\/p\u003e\n\n\u003cp\u003eIn this cartoon, Nast targets Horace Greeley and other newspaper editors who were, in his view, whitewashing the deep-rooted corruption of Tammany Hall—the Democratic political machine that dominated New York City politics. The image shows them literally scrubbing down the “corrupt Hall,” an unmistakable jab at their attempts to excuse or ignore Tammany’s record of bribery, patronage, and graft.\u003c\/p\u003e\n\n\u003cp\u003eThe caption drives the point home: “Here’s the smell of corruption still! All the perfumes of the Cincinnati-Baltimore Platform and the ‘Reform’ press will not sweeten this corrupt Hall.” It’s a bitter parody of the line from Macbeth, with “perfumes” representing the lofty promises made by the reform-minded Liberal Republicans and Democrats during the 1872 election.\u003c\/p\u003e\n\n\u003cp\u003eHorace Greeley, the Liberal Republican candidate who also received the Democratic nomination, ran on a platform of reform and reconciliation. However, Nast saw the alliance with Tammany Hall and other corrupt Democratic interests as hypocritical—painting over corruption with rhetoric, rather than truly confronting it. The reference to the Cincinnati-Baltimore Platform alludes to the national conventions that nominated Greeley and formed the basis of his campaign.\u003c\/p\u003e\n\n\u003cp\u003eThrough the cartoon, Nast suggests that no matter how much the reformers claim to clean things up, the stench of corruption remains—and the public shouldn’t be fooled by fresh paint and flowery words.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358216782,"sku":"59921-2","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/59921-2_c11b299c-08c2-4f24-824d-7eeb14008948.jpg?v=1757702975"},{"product_id":"on-to-washington","title":"On to Washington!","description":"\u003cp\u003eThis political cartoon by Thomas Nast satirizes the ambitions of Democratic presidential hopeful John T. Hoffman, shown attempting to sneak up on the White House alongside Boss Tweed and a motley crew of corrupt Tammany Hall operatives, Erie Railroad Ring members, a Catholic archbishop, newspaper editors, and shady businessmen. The group represents the network of political and financial corruption Nast relentlessly exposed.\u003c\/p\u003e\n\n\u003cp\u003eAt the top of the White House steps, President Ulysses S. Grant sits calmly, reading a newspaper and smoking a cigar, seemingly unbothered by the approaching crowd. A poster beside him reads: “Let us have peace, for another term,” referencing Grant’s famous 1868 campaign slogan and supporting his bid for re-election in 1872. The cartoon reflects Nast’s staunch support for Grant and his campaign to protect the presidency from what he portrayed as the creeping threat of organized corruption.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358282318,"sku":"59917-2","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/59917-2_6c19393c-0dd0-4c10-8d34-b401f793c47e.jpg?v=1757702976"},{"product_id":"we-are-on-the-home-stretch","title":"\"We Are On The Home Stretch.\"","description":"\u003cp\u003eThis political caricature satirizes the failing presidential campaign of Horace Greeley, shown slumped on a stretcher carried by two weary supporters. The caption, “We Are On The Home Stretch,” quotes the New York Tribune—Greeley’s own paper—from October 9, 1872, and is used here ironically to underscore his political collapse.\u003c\/p\u003e\n\n\u003cp\u003eThe cartoon likely appeared in Harper’s Weekly, a publication that frequently opposed Greeley and championed President Grant’s reelection. While the Tribune promoted Greeley’s candidacy, Harper’s—with illustrator Thomas Nast as its sharpest voice—used satire to highlight Greeley’s contradictions and waning public support.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358315086,"sku":"48109-1","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/48109-1_ae5422a1-44fe-407d-b663-aeec59797996.jpg?v=1757702977"},{"product_id":"our-rising-generation","title":"Our Rising Generation.","description":"\u003cp\u003eThe age old comment - the young are lazy, rude and destroying the good nation their elders have worked hard to create. This is precisely what Thomas Nast is portraying in this cartoon, and is further discussed in the article printed on the back.\u003c\/p\u003e\n\n\u003cp\u003eAt the of the cartoon \"The Lost Trades. An honest days work, for an honest days pay\" two young men stand around doing nothing as they smoke their cigars and try to look tough. Behind them are middle aged men, hard at work editing and carving wood engraving plates.\u003c\/p\u003e \n\n\u003cp\u003eOn the left \"The Road to Gentility\" shows the young fighting each other to get to the \"Vanity Fair\" while below the older generation calmly walks \"The Road to Duty and Labor.\" On the left the young are at war with each other and the police in \"Competition Lively.\" In the background is a book store, which has put out a sign advertising \"A clerk and a bookkeeper wanted.\" Meanwhile, the older generation calmly enjoys the day and searches for work in in the newspaper in \"Competition Nowhere.\"\u003c\/p\u003e \n\n\u003cp\u003eThe sentiment, as print in the article on the back, is that the \"rising generation is largely infected with the fallacy that money must be made by short-cuts to fortune, instead of by the surer but longer road  of patient industry. The example of the Tammany Ring has been very pernicious in this respect. Their success has helped to fill young men with the notion that money, however acquired, will secure social positions.\" Tammany Hall is this part of American history was corrupt and had made off with millions in tax payers money. The article suggests that training young men in a trade would remedy this growing ill-minded through process.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358347854,"sku":"59918-2","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/59918-2_64eec384-f8f0-47e9-a6d6-42b1df790c0d.jpg?v=1757702978"},{"product_id":"the-wolf-in-sheep-s-clothing","title":"The Wolf In Sheep's Clothing.","description":"\u003cp\u003eThis powerful political cartoon by Thomas Nast, one of the most influential American illustrators of the 19th century, was published during the turbulent post-Civil War Reconstruction era. The title continues: \"They propose to renew the fight, but not with gun and sabre. They expect to regain, as Democrats, through elections, the power they lost as rebels through war.\" – H. Greeley (The Prophet). The quote, attributed to Horace Greeley, a founder of the Republican Party and editor of the New York Tribune, sets the tone for the cartoon’s pointed commentary on Southern Democrats' efforts to reassert political power through electoral means after their military defeat.\u003c\/p\u003e\n\n\u003cp\u003eIn the illustration, Nast depicts a literal wolf in sheep’s clothing—an age-old metaphor for hidden danger—symbolizing the Confederate cause disguised beneath a more palatable political identity. Cloaked in the garments of democracy, the figure masks its true intentions: a return to white supremacist rule and the undoing of the Union’s wartime gains. Nast’s rendering is rich in symbolism and unapologetically critical, characterizing postwar Democratic efforts as a veiled continuation of the rebellion by other means.\u003c\/p\u003e\n\n\u003cp\u003eAs with many of Nast’s works, the cartoon combines biting satire with vivid imagery to expose what he saw as the hypocrisy and threat posed by former Confederates reclaiming influence during Reconstruction. It reflects his deep commitment to civil rights and his alarm at the North’s waning resolve to uphold them in the face of political compromise.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358380622,"sku":"48111-2","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/48111-2_6ab48c39-5e65-4250-9135-6ec5214ded11.jpg?v=1757702979"},{"product_id":"senator-tweed-in-a-new-role","title":"Senator Tweed in a New Role.","description":"\u003cp\u003eIn this political cartoon, Thomas Nast depicts Boss Tweed as the queen in Hamlet, theatrically pleading for a new city charter from the state legislature. The satirical image mocks Tweed’s attempt to secure greater autonomy and power for New York City through a revised charter—an effort widely viewed as a self-serving grab for political control. By casting Tweed in a woman’s role on stage, Nast highlights both the absurdity and the dramatic hypocrisy of the senator’s appeal, echoing Shakespeare’s theme of appearance versus reality.\u003c\/p\u003e\n\n\u003cp\u003eThe cartoon reflects Nast’s broader campaign against the corruption of Tammany Hall and its leader, William M. “Boss” Tweed, and underscores the illustrator’s genius in blending classical references with sharp political commentary.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42894358413390,"sku":"59925-2","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/59925-2_75e9f483-937f-49b5-84b6-be699a790aa6.jpg?v=1757702980"},{"product_id":"the-fourth-of-july-1864-98199-1","title":"The Fourth of July, 1864.","description":"\u003cp\u003eAppeared in the July 16, 1864 edition of Harper's Weekly, this work by Thomas Nast captures both the turmoil of the Civil War and the unifying force of patriotism during one of the most divided periods in American history.\u003c\/p\u003e","brand":"My Art Dealer","offers":[{"title":"Default Title","offer_id":42945592557646,"sku":"98199-1","price":375.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7033\/8126\/files\/98199-1_366cad11-f9ea-4bd6-92fd-27c2dd240fcd.jpg?v=1758879926"}],"url":"https:\/\/myartdealer.com\/collections\/thomas-nast.oembed","provider":"My Art Dealer","version":"1.0","type":"link"}