Ain't I Some, after Vernet

This print caricatures an equestrian portrait of a thoroughbred horse and an elegantly outfitted rider. Instead, here, this image shows a windswept man --wearing a loose red shirt, blue pants and a tattered stovepipe hat -- sitting upright in his saddle with his elbows raised, as he pulls the reins of his galloping horse (depicted in a side view). The speeding (possibly runaway) brown horse is stretched out with its tail flying, and its lowered head showing its tongue hanging out of its mouth (at right). All four of its hooves are off the ground, with its front and back legs stretched way back (those closest to the viewer), and, on the other side, with its front and back legs stretched way foreward. The title caption "A'int I Some" misspells "ain't"--the slang contraction for "am not" or "is not" or "are not"; thus, the man is possibly exclaiming "Aren't I quite the horseback rider!" The reference to "after Vernet" in the title probably refers to the French artist Carle Vernet (1758–1836), who excelled at depicting horses and horsemen. Most likely, a Vernet print was the source that R.A. Clarke's used as inspiration for his version, ultimately printed by Nathaniel Currier.

Currier, whose successful New York-based lithography firm began in 1835, produced thousands of prints in various sizes that together create a vivid panorama of mid-to-late nineteenth century American life and its history. People eagerly acquired such lithographs featuring picturesque scenery, rural and city views, ships, railroads, portraits, hunting and fishing scenes, domestic life and numerous other subjects, including political cartoons, as an inexpensive way to decorate their homes or business establishments. As the firm expanded, Nathaniel included his younger brother Charles in the business. In 1857, James Merritt Ives (the firm's accountant since 1852 and Charles's brother-in-law) was made a business partner; subsequently renamed Currier & Ives, the firm continued until 1907.