This political cartoon vividly illustrates the conflicts over the operation of the strengthened Fugitive Slave Law, passed by Congress as part of the Compromise of 1850. At the left, an African-American woman cries, “Oh Massa Garrison, protect me!!!” Beside her stand abolitionists William Lloyd Garrison and Frederick Douglass, armed with pistols. Garrison reassures her, “Do’nt be alarmed Susanna you’re safe enough.” At center right, a figure representing the slave interests rides atop Daniel Webster, a chief architect of the Compromise, who is down on his hands and knees. The figure says, “Do’nt back out Webster, if you do we’re ruin’d,” and Webster, clutching the Constitution, responds, “This, though Constitutional, is extremely disagreeable.” Another proslavery figure carries large volumes labeled “Law & Gospel” and declares, “We will give these fellows a touch of Old South Carolina,” while another says, “I goes in for Law & Order.” In the background, from the “Temple of Liberty” wave two flags with the inscriptions, “A day, an hour, of virtuous Liberty, is worth an age of Servitude” and “All men are born free & equal.”

The artist "E.C." is possibly Edward Williams Clay, but cataloging at the Library of Congress concludes that “the signature, the expressive animation of the figures, and especially the political viewpoint are, however, uncharacteristic of Clay.”

“what shall I say of Douglas’s infamous Nebraska bill now I suppose pending in the Senate  I feel indeed at a loss for language to convey my abhorrence of so vile a scheme.... I never knew such united indignation against any thing as pervades the community here respecting the bill…”

A Quaker farmer in western New York writes to his representative in Congress, mentioning a petition (not present) and universal opposition. He praises Morgan’s letter to New Yorkers as “plain unvarnished protest against wickedness.” Within three months, the Nebraska bill became the Kansas-Nebraska Act.

“The People of Massachusetts who are opposed to the extension of slavery, are requested to assemble in Public Primary Meetings in their several towns and cities, and elect delegates, in the proportion of three delegates for each representatives…”

“Planters! Here’s a chance, Here are limbs to work or dance…”

Scarce English abolitionist music signed in print by composer Henry Russell on the front page.

In Dred Scott v. Sandford (1857), Chief Justice Roger Taney wrote for a 6-2 majority, declaring that all blacks, slaves as well as free, were not and could never become citizens of the United States. The court also declared the 1820 Missouri Compromise, and any law that prohibited slavery in a territory, to be unconstitutional, and that slaves did not become free when taken into free territory.

In Dred Scott v. Sandford (1857), the Supreme Court declared that blacks could not be United States citizens and that the 1820 Missouri Compromise was unconstitutional. The decision inflamed sectional tensions and helped trigger the Civil War. The decision was published simultaneously in New York and Washington, D.C. Both are considered the First Edition. In his “House Divided” Speech, Lincoln replied that the decision did “obvious violence to the plain unmistakable language” of the Declaration of Independence and our other founding documents.

“Every slave … who shall come or be brought, or be involuntarily in this state shall be free.”

In May 1858, Martin M. Lawrence (1807-1859) took a photograph of John Brown at his studio at 381 Broadway in New York City, where he had worked as a daguerreotypist since 1842. He took it at the request of Dr. Thomas H. Webb (1801-1866) of Boston, Secretary of the New England Emigrant Aid Company. In November 1859, shortly before Brown’s execution, an engraving based on this photograph appeared on the cover of Frank Leslie’s Illustrated Newspaper.

“It is a fact that the enslavement of human beings has so far infused its insidious poison into the very hearts of the Southern people, that they have come to believe and declare the evil of slavery to be a good, and to require the power of Government to be exerted to maintain, extend, and perpetuate an institution that enables thousands to sell their own children, to be enslaved, with all their posterity, into hopeless bondage....”

The founder of New York City’s Cooper Union for the Advancement of Science and Art echoes the language and logic of the Emancipation Proclamation (as well as citing some Southern pro-slavery arguments to demonstrate their ridiculousness) in this open letter to President Lincoln. Cooper and the Cooper Union had long been advocates of abolition and both Lincoln and Frederick Douglass had famously lectured at the institution.

“A Black Man on the War, An Address By Frederick Douglass at the Cooper Institute” occupies four columns on page 7.

Reporting the Battle of Antietam, the bloodiest day in American history, and the occasion for Lincoln to issue his preliminary Emancipation Proclamation warning the South to return to the Union or face losing their slaves.

Johnson accompanied Lincoln from Springfield to Washington, D.C., served as the President’s valet, and traveled with him to Antietam (25 days before this check) and a year later to Gettysburg.

A monumental Frederick Douglass Civil War recruiting broadside.

This most dramatic and important recruiting poster signals a seismic shift in policy. African American men had joined Union forces in limited numbers from the start of the Civil War, but it took Abraham Lincoln’s signing of the Emancipation Proclamation on January 1, 1863, to officially allow, encourage, and remove barriers to their enlistment.

“By virtue of the power, and for the purpose aforesaid, I do order and declare that all persons held as slaves within said designated States, and parts of States, are, and henceforward shall be free; and that the Executive government of the United States, including the military and naval authorities thereof, will recognize and maintain the freedom of said persons…”

One of the first obtainable printed editions of Abraham Lincoln’s final Emancipation Proclamation, January 1863, issued by the State Department.

An early report of the Emancipation Proclamation, where the editors describe Lincoln’s bold move as “a farce coming in after a long tragedy....Most of the people regard it as a very foolish piece of business.”

Two black teamsters duel on the front page; the text of the Emancipation Proclamation is printed on page 2; the execution of 38 Indian murderers at Mankato, Minnesota on page 4, Thomas Nast centerfold: “The War in the West, the War in the Border States.”

Also, illustrations: Winslow Homer, “A Shell in the Rebel Trenches”; a map of Mississippi; the “Reception of the Authorities of New Orleans by General Butler”; “General Bank’s Forces Landing at Baton Rouge, Louisiana”; “Brigadier General James Blunt”; “Brigadier General John M’Neil”; and a cartoon of a black man celebrating his emancipation by declaring himself no longer part of a farm’s livestock, but instead a man.

General Tom Thumb and his bride grace the front page, but “The Effects of the Proclamation—Freed Negroes Coming Into Our Lines at Newbern, North Carolina” is the most significant illustration, occupying all of the fourth page. Also, “Departure of the Great Southern Expedition from Beaufort, North Carolina”; The Rebel Rams Engaging Our Blockading Fleet Off Charleston, South Carolina”; “Hearts and Hands, St. Valentine’s Day, 1863” is the romantic centerfold; “Ft.  Hindman, Arkansas”; “Iron Clad ‘Montauk’ Engaging the Rebel Fort M’Allister in the Ogeechee River.”