{"object":[{"sourceId":{"label":"Source ID","value":"4486"},"copyright":{"label":"Copyright","value":"The American Folk Art Museum believes this work to be in the public domain."},"thesconceptsTechnique":{"label":"Technique","value":"http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster24596"},"creditline":{"label":"Credit Line","value":"Gift of the Historical Society of Early American Decoration"},"endDate":{"label":"End Date","value":"1837"},"sortNumber":{"label":"Sort Number","value":"76     5    2"},"invno":{"label":"Accession number","value":"76.5.2"},"medium":{"label":"Medium","value":"Paint, gold leaf, and bronze powder stenciling on wood"},"geographyPlaceregion":{"label":"Place/Region","value":""},"media":{"label":"Media","value":[{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/20939/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"20939"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/20940/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"20940"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/20941/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"20941"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/20942/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"20942"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/20943/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"20943"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/4777/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"4777"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/4778/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"4778"}]},"title":{"label":"Title","value":"Steamboat Veto Box"},"geographyCity":{"value":""},"textEntriesWebsitedisplaytext":{"value":["In 1832, Henry Clay made an impassioned speech before the Senate, denouncing President Andrew Jackson\u2019s veto of the bill to recharter the Second Bank of the United States. In his castigation of what he considered a mischievous use of the power of the veto, Clay characterized the bank as \u201ca mere vehicle; just as much so as the steamboat is the vehicle which transports our produce to the great mart of New Orleans, and not the grower of that produce.\u201d The steamboat depicted in freehand bronze powder on the underside of this box lid has streams of smoke trailing from the two stacks. The name \u201cVeto\u201d is emblazoned over the side paddle wheel and may be a reference to the Bank War that was dividing the country into factions. This box is not unique in addressing the polarization; Ammi Phillips, for instance, painted a virtual army of black-suited, stern-faced New Yorkers between 1829 and 1845, men holding newspapers such as the Albany Argus and the (Poughkeepsie) Anti-Bank Democrat. The exterior of the box, decorated with typical stenciled bronze powder motifs of pinecones, strawberries, multipetaled flowers, and leaves, gives no hint of the political sentiment discreetly hidden inside when the lid is closed.Stacy C. Hollander, \"Steamboat Veto Box,\" in American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 325.","A classical vocabulary influenced by archaeological discoveries in ancient parts of the world became the standard of elegance in European decorative arts by the late eighteenth century. References gleaned from artifacts discovered in these sites were interpreted in gold leaf and painted decoration on furniture, decorative objects, and architecture. The taste was introduced into the urban American market by the turn of the nineteenth century, and as it became more widespread, expensive and labor-intensive materials and decorations were replaced through less costly and timesaving production techniques. The mahogany graining and stenciled embellishments of flowers, leaves, and strawberries in tinted bronze powder on this box are typical of the simplified and desirable Empire-style that was practiced in areas removed from the major urban centers, especially upstate New York. It is not known who made the box nor for whom it was intended; however, it holds a secret political sentiment when the lid is opened, revealing a sidewheel steamship with the word \"Veto\" written on the paddle box. This is likely a reference to the rechartering of the Second Bank of the United States, an issue that erupted in advance of the presidential campaign of 1836, pitting President Andrew Jackson against Senator Henry Clay and dividing the nation into elite and anti-elite factions. Jackson\u2019s suspicion of the power held by the Second Bank of the United States, and his fear that it could be politicized, was well known. The charter was not actually due to expire until 1836, but Clay, Nicholas Biddle, president of the bank, and others who supported the role of the bank in centralizing and stabilizing American finances correctly gambled that the early recharter would receive little resistance in the Senate and the House of Representatives. However, they miscalculated President Jackson\u2019s vehement distrust of the bank and his fear at the political weight it could wield. After it was passed, Jackson used the power of the presidential veto to quash the bill. In response, Henry Clay passionately denounced the President\u2019s veto as \"mischievous,\" characterizing the bank as \"a mere vehicle; just as much so as the steamboat is the vehicle which transports our produce to the great mart of New Orleans, and not the grower of that produce.\" The Second Bank of the United States became a central issue in the presidential campaign. Jackson won an overwhelming victory, presenting Clay, Biddle, and other cronies as the entrenched aristocracy of big government and in direct contraposition to his own anti-elite populist stance. Stacy C. Hollander, \"Steamboat Veto Box,\" exhibition copy for American Perspectives: Stories from the American Folk Art Museum Collection. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2020. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org"]},"collections":{"label":"Collections","value":["Three Dimensional Works","eMuseum - Collection Highlights"]},"geography":{"label":"Geography","value":""},"id":{"label":"Id","value":"155069"},"geographyState":{"value":"New York"},"thesconceptsMaterials":{"label":"Materials","value":"http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster24596"},"geographyCountry":{"value":"United States"},"onview":{"label":"On View","value":"0"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"103","content":"Artist unidentified"}},"classifications":{"label":"Classification(s)","value":"Containers"},"textEntries":{"label":"Text Entries","value":["In 1832, Henry Clay made an impassioned speech before the Senate, denouncing President Andrew Jackson\u2019s veto of the bill to recharter the Second Bank of the United States. In his castigation of what he considered a mischievous use of the power of the veto, Clay characterized the bank as \u201ca mere vehicle; just as much so as the steamboat is the vehicle which transports our produce to the great mart of New Orleans, and not the grower of that produce.\u201d The steamboat depicted in freehand bronze powder on the underside of this box lid has streams of smoke trailing from the two stacks. The name \u201cVeto\u201d is emblazoned over the side paddle wheel and may be a reference to the Bank War that was dividing the country into factions. This box is not unique in addressing the polarization; Ammi Phillips, for instance, painted a virtual army of black-suited, stern-faced New Yorkers between 1829 and 1845, men holding newspapers such as the Albany Argus and the (Poughkeepsie) Anti-Bank Democrat. The exterior of the box, decorated with typical stenciled bronze powder motifs of pinecones, strawberries, multipetaled flowers, and leaves, gives no hint of the political sentiment discreetly hidden inside when the lid is closed.Stacy C. Hollander, \"Steamboat Veto Box,\" in American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 325.","A classical vocabulary influenced by archaeological discoveries in ancient parts of the world became the standard of elegance in European decorative arts by the late eighteenth century. References gleaned from artifacts discovered in these sites were interpreted in gold leaf and painted decoration on furniture, decorative objects, and architecture. The taste was introduced into the urban American market by the turn of the nineteenth century, and as it became more widespread, expensive and labor-intensive materials and decorations were replaced through less costly and timesaving production techniques. The mahogany graining and stenciled embellishments of flowers, leaves, and strawberries in tinted bronze powder on this box are typical of the simplified and desirable Empire-style that was practiced in areas removed from the major urban centers, especially upstate New York. It is not known who made the box nor for whom it was intended; however, it holds a secret political sentiment when the lid is opened, revealing a sidewheel steamship with the word \"Veto\" written on the paddle box. This is likely a reference to the rechartering of the Second Bank of the United States, an issue that erupted in advance of the presidential campaign of 1836, pitting President Andrew Jackson against Senator Henry Clay and dividing the nation into elite and anti-elite factions. Jackson\u2019s suspicion of the power held by the Second Bank of the United States, and his fear that it could be politicized, was well known. The charter was not actually due to expire until 1836, but Clay, Nicholas Biddle, president of the bank, and others who supported the role of the bank in centralizing and stabilizing American finances correctly gambled that the early recharter would receive little resistance in the Senate and the House of Representatives. However, they miscalculated President Jackson\u2019s vehement distrust of the bank and his fear at the political weight it could wield. After it was passed, Jackson used the power of the presidential veto to quash the bill. In response, Henry Clay passionately denounced the President\u2019s veto as \"mischievous,\" characterizing the bank as \"a mere vehicle; just as much so as the steamboat is the vehicle which transports our produce to the great mart of New Orleans, and not the grower of that produce.\" The Second Bank of the United States became a central issue in the presidential campaign. Jackson won an overwhelming victory, presenting Clay, Biddle, and other cronies as the entrenched aristocracy of big government and in direct contraposition to his own anti-elite populist stance. Stacy C. Hollander, \"Steamboat Veto Box,\" exhibition copy for American Perspectives: Stories from the American Folk Art Museum Collection. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2020. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org"]},"beginDate":{"label":"Begin Date","value":"1827"},"thesconcepts":{"label":"Terms","value":"http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster24596"},"displayDate":{"label":"Date","value":"c. 1832"},"exhibitions":{"label":"Exhibitions","value":[{"exhibitionDisplayDate":"Thursday, July 11, 2002 - Sunday, January 5, 2003","exhibitionEndISODate":"2003-01-26","exhibitionID":"73","exhibitionISOBeginDate":"2002-07-11","exhibitionBeginDate":"2002","exhibitionTitle":"American Anthem","exhibitionEndDate":"2003"},{"exhibitionDisplayDate":"Wednesday, June 20, 2012 - Sunday, October 7, 2012","exhibitionEndISODate":"2012-10-07","exhibitionID":"151","exhibitionISOBeginDate":"2012-06-20","exhibitionBeginDate":"2012","exhibitionTitle":"COMPASS: Folk Art in Four Directions","exhibitionEndDate":"2012"},{"exhibitionDisplayDate":"Saturday, May 22, 2021 - Sunday, October 8, 2023","exhibitionEndISODate":"2023-10-08","exhibitionID":"245","exhibitionISOBeginDate":"2021-05-22","exhibitionBeginDate":"2021","exhibitionTitle":"American Perspectives (Travel)","exhibitionEndDate":"2023"},{"exhibitionDisplayDate":"Saturday, July 2, 2016 - Monday, September 19, 2016","exhibitionEndISODate":"2016-09-19","exhibitionID":"159","exhibitionISOBeginDate":"2016-07-02","exhibitionBeginDate":"2016","exhibitionTitle":"AMERICAN MADE","exhibitionEndDate":"2016"},{"exhibitionDisplayDate":"Tuesday, February 11, 2020 - Sunday, January 3, 2021","exhibitionEndISODate":"2021-01-03","exhibitionID":"239","exhibitionISOBeginDate":"2020-02-11","exhibitionBeginDate":"2020","exhibitionTitle":"American Perspectives","exhibitionEndDate":"2021"}]},"thesconceptsObjecttype":{"label":"Object Type","value":"http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster24596"},"dimensions":{"label":"Dimensions","value":"5 1/2 × 13 × 7 5/8\""}}]}