Thomas Nast Harper's Weekly New York A Journal of Civilization - The Day We Celebrate April First Toast We are not all Dead 1876 Presidential Election Samuel Tilden vs Rutherford Hayes and the Compromise of 1877

The Day We Celebrate. (April First), Toast; We are not all Dead (1876 Presidential Election, Samuel Tilden vs Rutherford Hayes & the Compromise of 1877)

Thomas Nast's illustration for this original wood engraving is entitled, "The Day We Celebrate. (April First), Toast; We are not all Dead" depicts a well dressed donkey (an ass, a fool?), symbolizing the Democratic party offering a celebratory toast to party members at a banquet on 'April Fools' Day. This satire is a direct attack by Thomas Nast upon the political and electoral corruption that allegedly occurred during the 1876 presidential election and the 'Compromise of 1877. An electoral commission, later known as the 'Compromise of 1877' was established to settled the disputes and although the Democratic candidate, Samuel J. Tilden originally held the lead in that election, the Republican candidate, Rutherford B. Hayes became the 19th president of the United States. The Democrats lost the presidential election but they regained control over the Southern States through bargains made via the electoral commission. This engraving is printed on nineteenth century wove paper as published for Harper‘s Weekly (Journal of Civilization), by Harper & Brothers, New York on April 7, 1877. It contains the artists name on the name card to the left of the donkey. The Fine Arts Museum of San Francisco contains an impression of The Day We Celebrate. (April First), Toast; We are not all Dead in its collection. This is a fine, original example of the important art created by the 19th century American artist, Thomas Nast.

Original Wood Engraving Illustrated by the American artist, Thomas Nast Published for Harper‘s Weekly by Harper & Brothers, New York.

The Day We Celebrate. (April First), Toast; We are not all Dead (1876 Presidential Election, Samuel Tilden vs Rutherford Hayes & the Compromise of 1877)

View Other Original Wood Engravings designed by the American artist, Thomas Nast

Thomas Nast (Landau, Bavaria, 1840 - Ecuador, 1902) (Political Corruption, Coercion, Reforms, The Tammany Ringdom & African-American Rights)
#	Image	Title	Medium	Date	Publisher	Subject
01.-		All Quite on the Hudson. Mr. George B. McClellan in his Element Again - Running for Something (Political Campaigning) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	October 27, 1877	Harper & Brothers, New York	American Caricature and Satire (Political Campaigning, George B. McClellan, Abraham Lincoln)
02.-		An Open Question Still - Uncle Sam, "You Don't Give Bread With--" (The 1877 Halifax Fisheries Commission Fishing Negotiations) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	December 22, 1877	Harper & Brothers, New York	American Caricature and Satire (United States, Britain and Canada Fishing Negotiations)
03.-		Another Such Victory - and I am Undone. Pyrrhus (Political Reform, Rutherford B. Hayes) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	March 24, 1879	Harper & Brothers, New York	American Caricature and Satire (Political Reforms, Fraud, Elephant, Republican Party, Filibusters)
04.-		Ay, There's the Rub - You Can't Change the Nature of the Animal. You Dirty Boy (Grover Cleveland's Governor of New York 1882 Campaign and his Fight Against Political Corruption) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	October 21, 1882	Harper & Brothers, New York	American Caricature and Satire (Governor Grover Cleveland, Great Lakes, Lake Erie, Lake Ontario, Tammany, Copper Heads, Political Corruption, Tammany Rinc)
05.-		He Wants a Change Too (Hamburg Riots, the Hamburg Massacre) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	Oct. 28, 1876	Harper & Brothers, New York	American Caricature and Satire (Hamburg Riots, the Hamburg Massacre, Negroes, African-American Rights, Self-Defence, White Racism)
06.-		Into the Jaws of Death - Temple of Janus (Russo-Turkish War) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	February 2, 1878	Harper & Brothers, New York	Russo-Turkish War, Death, Skulls
07.-		Look Before You Leap (Tammany Ringdom & Boss Tweed) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	November 12, 1882	Harper & Brothers, New York	American Caricature and Satire (Tammany Ringdom, Corruption and Coercion, Boss Tweed)
08.-		More 'Pacification' - 'The Carpet-Baggers' are Protected that's Comfort (1876 Presidential Election, Samuel Tilden and Rutherford Hayes & the Compromise of 1877) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	December 22, 1877	Harper & Brothers, New York	American Caricature and Satire (Political Campaigning, Carpet-Baggers, Political Corruption, Senate, 1876 Presidential Election, Samuel Tilden and Rutherford Hayes, The Compromise of 1877, Electoral Corruption, end of the Reconstruction)
09.-		The Day We Celebrate. (April First), Toast; We are not all Dead (1876 Presidential Election, Samuel Tilden and Rutherford Hayes & the Compromise of 1877) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	April 7, 1877	Harper & Brothers, New York	American Caricature and Satire (Political Campaigning, April Fools' Day, Donkey, Democratic Party, 1876 Presidential Election, Samuel Tilden and Rutherford Hayes, The Compromise of 1877, Political and Electoral Corruption)
10.-		The Elephant Walks Around - And the Still Hunt is Nearly Over (1876 Presidential Election, Samuel Tilden and Rutherford Hayes, the Compromise of 1877) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	October 28, 1876	Harper & Brothers, New York	Political Campaigning, Corruption, Fraud, The Public Schools, The ABC of our Republic - The Republican Vote, Solid for the Union, 1876 Presidential Election, Samuel Tilden and Rutherford Hayes, The Compromise of 1877, Electoral Corruption
11.-		The First Step Toward National Bankruptcy (Mr. Matthews' Resolution - Bonds, Greenbacks) by Thomas Nast for Harper & Brothers, New York	Original Wood Engraving	February 16, 1878	Harper & Brothers, New York	American Caricature and Satire (Uncle Sam, Mr. Stanley Matthews, Associate Justice of the United States Supreme Court 'Mr. Matthews Resolution', Currency, Silver Coinage, Greenbacks, Bonds)
12.-		The Next Debut. Now let General M. C. Butler, of South Carolina Show how Bulldozing is Done (Politics, African Americans, Southern Racism) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	Nov. 1, 1879	Harper & Brothers, New York	American Caricature and Satire (General Mathew Calbraith Butler, Attorney, African Americans, Southern Racism, Hamburg Massacre)
13.-		The Trapper-Trapped (Judge Stanley Matthews - 1876 Presidential Election, the Compromise of 1877 & The Potter Committee Investigation) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	June 29, 1878	Harper & Brothers, New York	American Caricature and Satire (Machine Politics, Mr. Stanley Matthews, Associate Justice of the United States Supreme Court 'Mr. Matthews Resolution', Corruption, Investigations, Potter Committee Investigation)
14.-		Willie, We have Missed You (William M. Tweed, 'Boss Tweed' & the Tammany Ringdom in Prison) by Thomas Nast for Harper's Weekly, New York, A Journal of Civilization	Original Wood Engraving	October 28, 1876	Harper & Brothers, New York	American Caricature and Satire (William Tweed, Boss Tweed, New York, Tammany Ringdom, Corruption and Coercion)

View Other Original Wood Engraving Published by Harper & Brothers, New York

Winslow Homer (Boston, 1836 - Scarboro, Maine, 1910)
#	Image	Title & Artist	Medium	Date	Publisher	-
01-		A Bivouac Fire on The Potomac by Winslow Homer for Harper's Weekly, New York	Original Wood Engraving	December 21, 1861	Harper & Brothers, New York	Sold
02.-		Husking The Corn in New England by Winslow Homer for Harper's Weekly, New York	Original Wood Engraving	November 13, 1858	Harper & Brothers, New York
03.-		The Bathe At Newport by Winslow Homer for Harper's Weekly, New York	Original Wood Engraving	September 04, 1858	Harper & Brothers, New York	Sold
04.-		The Boston Common by Winslow Homer for Harper's Weekly, New York	Original Wood Engraving	September 04, 1858	Harper & Brothers, New York	Sold

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Title:	The Day We Celebrate. (April First), Toast; We are not all Dead (1876 Presidential Election, Samuel Tilden vs Rutherford Hayes & the Compromise of 1877)
Designer:	Nast, Thomas (Landau, Bavaria, 1840 - Ecuador, 1902)
Date:	April 7, 1877
Medium:	Original Wood Engraving
Publisher:	Harper & Brothers, New York
Publication:	Harper's Weekly, New York
Note:	Thomas Nast: Born in Landau, Bavaria, Germany in 1840, Thomas Nast immigrated with his family to America in 1846 at the age of six and settled in New York City. Thomas Nast began work as a full time illustrator at the age of fifteen for Frank Leslie's Illustrated Newspaper. Three years later, Nast contributed his first illustration to Harper's Weekly (1859). That same year, Thomas Nast was hired by the New York Illustrated News and sent to England. During that time, he worked as a war artist following the progress of the Italian war with Giuseppe Garibaldi's army and provided illustrations for the New York Illustrated News and the London Illustrated News. In 1861, Nast returned to New York and in 1862, he began his legendary association with Harper’s, just in time for the outbreak of the American Civil War! The first artist to unreservedly defend the rights of Slaves, Nast launched a series of satirical attacks in his art against the decadent South and its inhumane culture. His political propaganda was so successful in inspiring Union patriotism by humiliating and denigrating the Confederate cause that it prompted none other than President Lincoln to term Nast, “Our best recruiting sergeant.” Throughout his career, Thomas Nast continued his fight for civil rights and the suppression of exploitation, intimidation & violence against African americans, Native Americans, Chinese Americans and immigrants from other countries. He was also a major force in the campaign against political corruption and coercion. In all probability, no man’s art has had a greater social and political impact than that of Thomas Nast. His symbols are with us to this day. He invented the Republican elephant and the Democratic donkey and even our modern day celebration of Christmas and the rotund figure of Santa Claus is due to his art. Thus, through his important art, Thomas Nast influenced the political and social consciousness of 19th century America. He made his last engraving for Harper’s Weekly in 1886. Ending a glorious twenty-five year association. His life came to a close while serving as the American Consul-General in Ecuador. The Day We Celebrate. (April First), Toast; We are not all Dead. In this satire, Thomas Nast directs his attack upon the political and electoral corruption that allegedly occurred during the 1876 presidential election and the 'Compromise of 1877 which allowed the Republicans to win the presidential election while giving the Democrats control over the Southern States. This is a fine original example of Nast's political satire.
	The Day We Celebrate. (April First), Toast; We are not all Dead (1876 Presidential Election, Samuel Tilden vs Rutherford Hayes & the Compromise of 1877): This is one of Thomas Nast's many political attacks against the Democratic party. The Day We Celebrate. (April First), Toast; We are not all Dead depicts a donkey representing the (Democratic Party), offering a celebratory toast to the party members at a banquet on 'April Fools' Day. Thomas Nast's 'Democratic Donkey' was meant as a derogatory statement against their party, labeling its members as stubborn, impulsive and asinine. This engraving is a reference to one of the worst political scandals that had just taken place, the 1876 presidential election. There was a controversy over the electoral returns received from Florida, South Carolina and Louisiana During the 23rd American presidential election of 1876. There was also an objection concerning a 'Republican Elector' who held the office of postmaster in Oregon during the elections. Both, the Democrats and the Republicans argued that the electoral vote had been tampered with during the process. This forced Congress to established an electoral commission, later known as the 'Compromise of 1877'. A committee of the two houses was formed and given the power to pick the presidential winner once the dispute was settled. A series of compromises were made and On March 3, 1877, the Republican candidate, Rutherford B. Hayes was sworn in as the 19th president of the United States, even though the Democratic candidate, Samuel J. Tilden was favored.
	During the Hayes administration, the Democrats were still dissatisfied with the results of the 1876 election. On May of 1878 Congress was once again forced to establish another commission to look into this matter. It was referred to as the 'Potter Commission' or the 'Potter Committee Investigation', chaired by Clarkson D. Potter, a Democrat from New York. In the end, it was decided that the 'Compromise of 1877' was set in motion, nothing was proven and the investigation was concluded in favor of the Republicans.
	This original wood engraving entitled, The Day We Celebrate. (April First), Toast; We are not all Dead appeared in the April 7, 1877 issue of Harper's Weekly. It also refers to the removal of the Union army from South Carolina, a bargain that went into effect during that same week this engraving was published. One of the 'Compromises of 1877' included the removal of the federal troops from the South, which would effectively end the era of 'Reconstruction' and benefit dangerous and racist organizations such as the White League and the Red Shirts that openly backed the Democratic Party. Unfortunately, this political sham left African Americans unprotected and at the mercy of those who did not believe they deserved or had any rights. Yes, the Democrats had lost the presidential election but through their negotiations and tough bargaining power, they regained control over the Southern States which, in reality, spelt defeat for the Republicans. The banquet or feast seems to symbolize that the distribution of political power had been allocated for Democrats and Republicans alike (The turkey had been carved and it was not in favor of African Americans). To finalize this image, Thomas Nast depicts a well dressed donkey (an ass, a fool?), which we know he used to symbolize the Democratic party. In the end, it was generally felt that the North had politically capitulated to the white South due to the 'Compromise of 1877' now enforced by the newly elected President Hayes. It left many asking if peace had finally come to the South and if so, at what price? Who was the fool here (the politicians or the people?), and why had so many died? African Americans were left to suffer the consequences of this political arrangement and would not see the benefit of true Democracy for a century to come.
	The Fine Arts Museum of San Francisco contains an impression of this engraving in its collection. Accession Number: 1963.30.2052. The Macculloch Hall Historical Museum, Morristown contains one of the largest collections of Thomas Nast's original works of art in the United States.
	Harper & Brothers: A leading American publishing and printing firm based in New York, 'Harper & Brothers' was originally founded by James Harper (1795-1869) and his brother, John Harper (1797-1875), when they opened their first printing firm as 'J. & J.' in 1817. Later, their two younger brothers, Joseph Wesley Harper (1801-1870), and Fletcher Harper (1806-1877), joined the firm. During the following years, their printing firm flourished. In 1833, 'J. & J.' was renamed as 'Harper & Brothers', and under that name, their firm entered into the publishing business. Harper & Brothers was among the first printing and publishing firms to adopt case binding and to use stereotype and electrotype printing plates and steam - powered printing. It has been noted that by the mid 19th century, 'Harper & Brothers' had become one of the largest printing and publishing firms in the world.
	Harper & Brothers Periodicals, Journals & Magazines: During the second half of the nineteenth century, periodicals, journals and magazines such as Harper's Weekly, New York, 'Frank Leslie's Illustrated Newspaper', 'Every Saturday', 'The Aldine', Puck in the United State and 'The Illustrated London News', 'The Illustrated London Almanack', and 'The Graphic', in England, created pictorial journalism on a grand scale. They covered, literature, arts, sciences, sports, social and political events, fashion, and fiction. Wood engraving (invented around 1780) at last made it possible for publishers to print images and words on the same page without the extravagant costs of producing etchings or engravings from metal plates. From about 1850 engraving upon wood became the dominant means of distributing information along with pictorial imagery, and continued in this role until around 1900, when the practical application of photography took control. In addition to being one of the most prestigious printing and publishing firms for books and printed matter commissioned by both national and international firms, 'Harper & Brothers' decided to enter the 'Big Race' for journalistic supremacy. They began to issue their own illustrated periodicals, starting with the launch of their first magazine, originally known as 'Harper's New Monthly Magazine', later known as 'Harper's Magazine'. It was first issued in (1850) and continued to do so into the twenty first century. 'Harper's Magazine' is now published by HarperCollins Publishers LLC. It was originally established as a literary and educational monthly magazine dealing with politics, culture, arts and finance. As their circulation increased it was followed by 'Harper's Weekly (A Journal of Civilization)' (1857-1916), an illustrated and interesting higher toned, better illustrated paper featuring political issues, domestic and foreign news, literary fiction and other stories. The Day We Celebrate. (April First), Toast; We are not all Dead is an original wood engraving designed by the famous American Satirical artist Thomas Nast in 1882 for 'Harper's Weekly'. In 1867, Harper & Brothers launched their first issue of 'Harper's Bazar', a magazine that is still active today, and is now published by the Hearst Corporation. 'Harper's Bazar', started out as a weekly periodical (magazine), mostly for feminine interests and culture. It was devoted to various departments of literature, fashion and domestic arts and as noted in their 1886 issue "A Repository of Fashion, Pleasures, and instruction". 'Harper & Brothers' offered a subscription to all three publications for only 10.00 dollars a year or any two for 7.00 dollars, and special offers for group subscriptions. They also sold 'Popular Editions' at a higher price and' Household Editions' at a lower price. In 1878, the Franklin Square Library was formed and was renamed 'Harper's Franklin Square Library' in 1881, remaining active until 1893. 'Harper & Brothers' was among of the first to publish a selection of books to help confront and regulate the piracy of their material by rogue printers and publishers. Those books were published under the Harper Franklin Square Library imprint at a loss and were available through subscriptions offered to businesses (Booksellers). In 1879 they began the weekly publication of 'Harper's Young People', an illustrated magazine aimed at America's boys and girls of all ages. The publication contained both instructional and entertaining topics which included a variety of well written stories, poetry, serials, games, and other areas of interest written and illustrated by noted authors and artists. In 1895, 'Harper's Young People' was renamed as 'Harper's Round Table', another well written and illustrated weekly magazine for America's youth, but this one was aimed at an older generation of kids (teenaged boys), priced at five cents a copy or two dollars a year. The last issue of 'Harper's Round Table' was published in 1899.
	Harper & Brothers Illustrators: The firm of Harper & Brothers, New York hired some of the finest engravers, illustrators and journalists of the period. Throughout its life, skilled artists maintained a very high level of craftsmanship in their illustrative art, thus, for well over one hundred years, these original engravings have attracted serious collectors who recognize both the historic and artistic value of these images. In fact, one of the first avid collectors of these engravings was Vincent Van Gogh, who, for several years, entertained thoughts of working as an illustrative artist for the publications. American illustrators who contributed works to 'Harper & Brothers' included such distinguished painters and watercolor artists as, Frederick Stuart Church (1842-1924), who began his career as an illustrator for Harper's designing graceful fantasy scenes, many dealing with women, children and animals. Walter Sheila (1838-1909), and Stephen G. McCutcheon, (c. 1846 - 1884) illustrated articles and fiction to such magazines as as Harper's, Scribner's, St. Nicholas and The Century. William Ludwell Sheppard, 'W. L. Sheppard' (1833-1912), is recorded to have illustrated the Southern side of the American Civil War, contributing many of those designs to Harper's and Picturesque America. Winslow Homer (1836-1910), contributed his first of many designs to Harper's Weekly of New York in 1857. Homer's role as a pictorial journalist during the American Civil War is of significant historical importance. The artist, Frederick Dielman (1847-1935), contributed such works as the Celebration of the Abolition of Slavery in the District of Columbia by the Colored People in Washington, Harper's Weekly (1866), and Mirandy Encourages Phil's Talent, Harper's Bazaar (1886). Americas's political cartoonist, Thomas Nast (1840-1902), began his legendary association with Harper's in 1857, just in time for the outbreak of the American Civil War. Nast's famous illustration of Merry Old Santa Claus (1881), which appeared in Harper's Weekly is responsible for our modern day image of Santa. The Day We Celebrate. (April First), Toast; We are not all Dead and He Wants change Too are striking examples of the illustrations created by Thomas Nast for Harper's Weekly, New York, (Journal of Civilization). During the last part of the nineteenth century and the first quarter of the 20th century another important group of young artists began to appear, such as, Arthur Burdett Frost (1851-1928), an American artist mostly known for his sporting subjects. Frost contributed many illustrations to Harper & Brothers periodicals, such as, An Archery Meeting, Harper's Weekly (1879), Woodcock Shooting, Harper's Weekly (1893), The Sparrow's Christmas Dinner Harper's Bazar (1886), etc. William James Aylward (1875-1956), began his career as an illustrator for both Harper's and Scribner's magazines, creating such as The Christmas-Tree Ship, Harper's Weekly, (1909), The Secret Sharer, Harper's Magazine (1910), Steamboating Through Dixie written and illustrated for Harper's Monthly (1915). And, Harry Everett Townsend (1879-1941) established a strong reputation as a leading illustrator and was regularly commissioned by such popular magazines as Harper's, The Century and McClure's. By 1962, the firm of 'Harper & Brothers' merged with Row, Peterson and Company' and was renamed as 'Harper & Row'. The firm of 'Harper & Row' continued to run under that name until 1990, when it was acquired by William Collins & Sons and renamed as 'HarperCollins'. Today, the firm of HarperCollins remains one of the largest publishing companies in the world.
	The following Thomas Nast engravings were published by Harper & Brothers for Harper's Weekly, New York from 1876 to 1882, a brief selection includes, All Quite on the Hudson. Mr. George B. McClellan in his Element Again - Running for Something, An Open Question Still - Uncle Sam, "You Don't Give Bread With-", Another Such Victory - and I am Undone. Pyrrhus, Ay, There's the Rub - You Can't Change the Nature of the Animal. You Dirty Boy, He Wants a Change Too, Into the Jaws of Death - Temple of Janus, Look Before You Leap, More 'Pacification' - 'The Carpet-Baggers' are Protected that's Comfort, The Day We Celebrate. (April First), Toast; We are not all Dead, The Elephant Walks Around - And the Still Hunt is Nearly Over, The First Step Toward National Bankruptcy, The Next Debut. Now let General M. C. Butler, of South Carolina Show how Bulldozing is Done, The Trapper-Trapped, and Willie, We have Missed You.
Size:	14 1/2 x 9 1/2 (Sizes in inches are approximate, height preceding width of full paper size.)
	Not Matted
Buy Now	Price: $185.00 US
Condition:	Printed on nineteenth century wove paper as published on April 7, 1877 by Harper & Brothers, New York for their periodical, Harper‘s Weekly (Journal of Civilization). margins cropped, else a fine printing and in good condition throughout. The Day We Celebrate. (April First), Toast; We are not all Dead is a deservedly famous example of the important art of Thomas Nast.
Subject:	Thomas Nast, The Day We Celebrate. (April First), Toast; We are not all Dead (1876 Presidential Election, Samuel Tilden and Rutherford Hayes & the Compromise of 1877) by Thomas Nast, Satirical art, Harper's Weekly, American Caricature and Satire (Political Campaigning, April Fools' Day, Donkey, Democratic Party, 1876 Presidential Election, Samuel Tilden and Rutherford Hayes, The Compromise of 1877, Political and Electoral Corruption)
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Thomas Nast (Harper's Weekly, New York, A Journal of Civilization)

The Day We Celebrate. (April First), Toast; We are not all Dead (1876 Presidential Election, Samuel Tilden vs Rutherford Hayes & the Compromise of 1877)