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The only Democratic presidential candidate who stands a chance of election in 1884 / F. Opper.
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A weak ticket in the field - and a weaker expected--If the Republicans have done feebly at Chicago, what may we expect of the Democrats at Cincinnati? / J.A. Wales.
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"I've got a permit" / L.M. Glackens.
A sunday show - profit for pagan and preacher / F. Opper.
A painful position for nurse McKinley / F. Opper.
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Summary
Illustration shows the heads of Chauncey M. Depew labeled "Compliments of New York" and Thomas C. Platt labeled "From the Empire State" on desks in the "U.S. Senate" chamber, with Uncle Sam scowling in the background.
It wasn't really until the 1700s that caricature truly blossomed as a form of political criticism. In the late 1750s, a man named Thomas Townshend began using the techniques employed by earlier engravers and applying them towards a political model. This gave Thompson's cartoons a much greater feeling of propaganda than previous artistic critiques of the time. The intense political climate of the period, and often accusatory nature of most political cartoons forced many artists to use pseudonyms in order to avoid accusations of libel. Other artists took it a step farther, and left their cartoons completely unsigned, foregoing any credit they may have received. Political higher-ups were notoriously touchy about their reputations and were not afraid to make examples of offenders. Puck was the first successful humor magazine in the United States of colorful cartoons, caricatures and political satire of the issues of the day. It was published from 1871 until 1918.