A Group of Vultures Waiting for the Storm to "Blow Over"–"Let Us Prey" (from "Harper's Weekly," vol. 15, p. 889)

Art Historical Context

This striking wood engraving by Thomas Nast appeared in Harper’s Weekly on September 23, 1871, capturing the sharp political satire for which the artist became famous. Nast depicts a circle of vultures perched ominously beneath gathering storm clouds, their beaks and claws ready to “prey” on whatever—or whomever—survives the tempest. The title’s punning subtitle, “Let Us Prey,” transforms a pious phrase into a biting commentary on corruption, a hallmark of Nast’s work during the turbulent years of post–Civil War New York politics. As a print medium, wood engraving allowed Nast’s designs to reach hundreds of thousands of readers each week, turning Harper’s Weekly into one of the most influential voices in American visual culture. The crisp lines and dramatic contrasts typical of the technique heighten the menacing mood while ensuring the image reproduced clearly on inexpensive newsprint. Today the sheet resides in the Metropolitan Museum’s collection of drawings and prints, where it continues to illustrate how caricature and symbolism can shape public debate. The vultures stand as timeless emblems of opportunistic power, reminding viewers that political storms often reveal those who wait to profit from others’ misfortune.

About the Artist

Thomas Nast|Harper's Weekly · 1840–1902

Thomas Nast (1840–1902) was the most powerful political cartoonist in American history, an artist whose images shaped public opinion, toppled corrupt politicians, and gave enduring visual form to some of the most cherished symbols of American popular culture. Born in Landau, Germany, he emigrated with his family to New York as a child and received his artistic training at the National Academy of D...