Showing posts with label Winsor McCay. Show all posts
Showing posts with label Winsor McCay. Show all posts

Saturday, June 27, 2026

The Recycling Bin of History

Every once in a while, I come across editorial cartoons for these Graphical History Tours that I like, but which don't make the cut for one reason or another.

Which is just to say that there ain't much by way of an overall theme to today's post. And here we go!

"The Grist of War" by Winsor McCay in New York Herald, ca. June 18, 1926

I was all set to include this Winsor McCay cartoon in a recent post about Abd El-Krim's surrender to  colonial French and Spain troops in Morocco, but something just seemed off about it.

Given the timing of its publication, it seems that the cartoon ought to be about the Rif War, but it's curious why the "Militarist" character is drawn with ridiculously exaggerated white lips, in the manner that White cartoonists and minstrel shows of the day portrayed Black people.

German cartoonists in the aftermath of World War I frequently drew African soldiers carrying out French military actions as a way of highlighting African soldiers' presence in France's occupation of the Ruhr region; the cartooning practice was meant to inflame German resentment at being policed by untermenschen.

Was McCay echoing that same racist propaganda here? If so, the cartoon was more likely about French policy against Germany, not France's adventures in Morocco.

"Well, Anyway, a Good Time Was Had By All" by James North in Washington Post, June 4, 1926

Meanwhile, a much-ballyhooed disarmament conference was underway. The French poppinjay in the foreground of James North's cartoon is more representative of how U.S. cartoonists represented France: stiffly waxed goatee and upturned mustache.

"But Isn't It Kind of Dangerous" by Jay N. "Ding" Darling in Des Moines Register, June 1, 1926

Here’s a “Ding” Darling cartoon I liked about New York Governor Al Smith’s position on Prohibition. It didn’t quite fit in with my post on spring primary results — Smith was not in a reelection race — and I already had two other Darling cartoons having to do with Iowa’s GOP Senate primary.

I do like to keep an eye out for cartoons featuring the men who were destined to run for president and vice president later on. I shouldn’t need to warn of a spoiler alert when I explain that Smith would be the Democratic presidential nominee in 1928, and it’s not as if the "Happy Warrior" were an obscure pol in 1926. Nor is he largely forgotten today.

Unlike his 1928 running mate.

By the way, I came across this campaign button at a resale store recently. I wonder whether whoever wrote the price sticker was unaware that Franklin Roosevelt was not at the top of the ticket, but was the vice presidential nominee in that 1920 campaign.

"Kompromissflaggen" by Oskar Garvens in Kladderadatsch, Berlin, June 6, 1926

This cartoon suggesting designs various German political parties and interests might have had for the Weimar Republic's flag didn't fit in with recent posts on European affairs. This is an unretouched image from the Heidelberg's on-line archive; besides adding English translations, I would have tried to eliminate the yellowing of the page and to emphasize the black lines.

Perhaps Herr Garvens would have appreciated my coloring in some red on his flags, too, assuming I would be coloring the correct rectangles. My guess is that the red isn't missing because it has faded over time, but rather that it was never there — because Kladderadatsch could only afford black and yellow ink for the cartoons on its inside pages that week.

Finally, it would have been timely, in this week when the Supreme Court floods the zone with a blizzard of rulings like a college student cranking out all his term papers at once, to have put together a post about historic Supreme Court decisions. Sadly, editorial cartoons about the Court are somewhat rare in the 1920's.

"Memories of Dred Scott" by Wilbert Holloway in Pittsburgh Courier, June 5, 1926

Cartoons about the Court do show up in newspapers appealing to a Black audience, however. This Wilbert Holloway cartoon concerns the Supreme Court's decision that it had no jurisdiction to rule in Curtis & Corrigan v. Buckley et al., a case contesting the legality of private contracts restricting the sale of homes to Black persons.

The case made by the bill is this: the parties are citizens of the United States, residing in the District [of Columbia]. The plaintiff and the defendant Corrigan are white persons, and the defendant Curtis is a person of the negro race. In 1921, thirty white persons, including the plaintiff and the defendant Corrigan, owning twenty-five parcels of land, improved by dwelling houses, situated on S Street, between 18th and New Hampshire Avenue, in the City of Washington, executed an indenture, duly recorded, in which they recited that, for their mutual benefit and the best interests of the neighborhood comprising these properties, they mutually covenanted and agreed that no part of these properties should ever be used or occupied by, or sold, leased or given to, any person of the negro race or blood, and that this covenant should run with the land and bind their respective heirs and assigns for twenty-one years from and after its date.

Justice Edward T. Sanford delivered the Court's decision that the 5th, 13th, and 14th Amendments to the Constitution did not apply to private contracts. Sanford, a Harding appointee from Tennessee, was a friend and protegé of Chief Justice William Howard Taft. Like Taft a conservative jurist, his earlier majority opinion in Gitlow v. New York ironically established precedent for the liberal Warren Court's decisions expanding civil rights. 

Saturday, May 30, 2026

Our Foreign Desk

"The World 'Do' Move" by Dean O'Dell in Dayton Daily News, May 18, 1926

This week's Graphical History Tour takes a quick look overseas to catch up with events in the rest of the world in May of 1926.

Well, Europe and North Africa, at least.

"Rolling Up His Sleeves" by Fred Ellis in Daily Worker, Chicago, May 5, 1926

That May started off with a general strike in Great Britain, to the alarm of commie-fearing cartoonists, but to the delight of their cohorts at the Daily Worker. 

An editorial in London Daily Mail called the general strike revolutionary and subversive, sparking a walk-out by its pressmen.

"A May Day Moving That Will Move" by Arthur G. Racey in Montreal Daily Star, May 1, 1926

The U.S. had a hand in exacerbating issues for British miners. It its effort to stabilize the German economy, the Dawes Plan for Europe subsidized Germany's coal industry; that in turn enabled Germany to provide free coal to France and Italy under the terms of the Treaty of Versailles. As a result of this and overvaluation of the Pound Sterling, British coal exports plummeted and miners' pay was slashed by 35%.

"I Always Bring Trouble" by Daniel Fitzpatrick in St. Louis Post-Dispatch, May 6, 1926

Meanwhile, working conditions in British coal mines were still basically pre-industrial. Whereas German and Polish mining firms had invested in mechanization, the British companies relied exclusively on manual labor.

"Why the Strikes" by T.E. Powers in New York Evening Journal, ca. May 8, 1926

Miners laid down their tools on May 1; the Trade Union Congress (TUC) called on all other workers to join them beginning at midnight May 3. 1.5 million workers from all over Great Britain joined the strike on the first day.

"Streik in England" by Wilhelm Schulz in Simplicissimus, Munich/Stuttgart, May 24, 1926

In response, the government sent police to escort busloads of strikebreakers to the mines and other affected industries, and posted troops at bus stations to ward off violent resistance. London's bus system was immediately overwhelmed. After a week or so, some striking workers began breaking the picket lines. Historian Jessica Brain takes it from there:

"The turning point came when the general strike was identified as not being protected by the Trade Dispute Act of 1906, except for the coal industry, meaning that the unions became liable for the intention to breach contracts. By 12th May, the TUC General Council met at Downing Street, to announce that the strike was being called off with the agreement that no striker would be victimised for their decision, despite the government stating it had no control over employers’ decisions.

"The momentum had been lost, unions faced potential legal action and workers were returning to their place of employment. Some miners continued to resist for as long as November, but to no avail.

"Many miners faced unemployment for years whilst others had to accept the bad conditions of lower wages and longer working hours. Despite incredible levels of support, the strike had amounted to nothing.

"The Sincerest of Flattery" by Dorman H. Smith for Newspaper Enterprise Assn., ca. May 22, 1926

"In 1927 the Trade Disputes Act was introduced by [Prime Minister] Stanley Baldwin, an act which banned any sympathy strikes as well as mass picketing; this act is still in force today. This was the final nail in the coffin for those workers who had taken part in one of the biggest events in industrial history in Britain."

"Gehnsucht" by Arthur Krüger in Kladderadatsch, Berlin, June 6, 1926

On May 11, Poland's former Chief of State, First Marshal Józef Klemens Piłsudski, launched a successful coup d'état against the newly elected Polish government of President Stanisław Wojciechowski and Prime Minister Wincenty Witos, the third administration in the previous six months.

"Polen" by Ernst Thöny in Simplicissimus, Munich/Stuttgart, May 31, 1926

Units of the Army loyal to Piłsudski quickly seized control of the major bridges in Warsaw. The Polish Socialist Party called for a general strike in support of the coup. The Railwaymen's Union brought transportation and communications to a standstill, and the government surrendered on May 14 to prevent further bloodshed.

"Clean-up Week Idea Reaches Poland" by Wm. Hanny in Philadelphia Inquirer,May 27, 1926

At first blush, Hanny's cartoon appears to side with the coup, but he was actually referring to the name given to the new government by its principal leader. Piłsudski announced the creation of what he called a moral "Sanation" (Sanacja) dictatorship. In English newspaper reports:

"Marshal Pilsudski has stated that the policy of the Government immediately is for the restoration of the authority of the State and the introduction of administrative reforms, including the suppression of corruption in public life. He promises to hold a general election after the dissolution of Parliament. In the meantime he claims that only Presidential endorsement shall be required in order to enforce the law. He declares that his sole desire is to save Poland from the reaction of military operations which are not directed against the State or the people. I am, he said, fighting the Government, which since it assumed office has inaugurated a policy of defiance to the interests of the State and the army."

"Pan Pilsudki Imitating Senor Mussolini" possibly by Viktor "Deni" Denisov in Pravda, Moscow, ca. May 22, 1926

The Daily Worker gave no credit for this cartoon, so I am guessing its creator based on the style of the drawing (and overlooking the Roman rather than Cyrillic alphabet on Piłsudski's banner, which might have been used for a variety of reasons).

"Pilsudsky's In the Saddle But Where's the Horse" by J.N. "Ding" Darling in Des Moines Register, May 29, 1926

"Ding" Darling offered a different view of the Polish coup, but the anonymous cartoonist above hit closer to the mark. While Piłsudski never assumed a role as the titular head of state, he remained the real power behind the Polish government until his death in 1935.

Moving on:

"Frühlingslied in Morokko" by Werner Hahmann in Kladderadatsch, Berlin, May 30. 1926

Moroccan rebel leader Abd el-Krim surrendered to Spanish and French forces on May 27, 1926, bringing an end to the five-year-long Rif War (which we have been following here, here, here, and here) and the Al-Jumhūriyyah al-Rif. 

by Daniel Fitzpatrick in St. Louis Post-Dispatch, May 27, 1926

Despite some early successes against the Spanish army, el-Krim’s 9,000 to 13,000 guerillas were no match for the Europeans once France entered the war in support of Spain in September, 1925. Spanish forces re-occupied el-Krim’s home base of Ajdir that October; by March, 1926, the Franco-Spanish armies had gained control of most of Morocco.

"The Triumph" by Ed Gale in Los Angeles Times, May 28, 1926

El-Krim sued for peace in April; but talks collapsed, and the Europeans resumed hostilities. El-Krim was left with no option but to surrender to the French, who promised his safety and that of his family in exchange for the safe return of Spanish and French prisoners of war. El-Krim lived out the rest of his days in exile on Réunion in the Indian Ocean.

"Abd-el-Krim" by Ernst Thöny in Simplicissimus, Munich/Stuttgart, June 21, 1926

As far as some Americans were concerned, the principal outcome of the Europeans' victory was that France could now focus her attention on her dismal economic situation. And, by the way, repaying those wartime debts to the U.S.

"A Stitch in Time—Maybe" by Cecil Jensen in Los Angeles Illustrated Daily News, May 28, 1926

Saturday, January 31, 2026

...and Farewell

"Columbia proved unequal to Uncle Sam and gradually was replaced as a common cartoon character." — The Ungentlemanly Art, Stephen Hess and Milton Kaplan, 1968

Today's Graphical History Tour continues following the career of Lady Columbia into the 20th Century.

"Pan-American Puck" by Samuel Ehrart in Puck, May 8, 1901

As the personification of the nation, Lady Columbia was riding high at the turn of the century. She welcomed South America to the 1901 Pan-American exposition in Buffalo, New York (where President McKinley would be assassinated).

Ehrart's cartoon illustrated the host nation's hope that, in the words of Puck's editors,

"We have extended our trade horizon to include the Antipodes, but we have not yet secured the trade of our nearest neighbors. Central and South America still find reasons for going elsewhere to do most of their shopping. The weightiest of these reasons have to do with a certain protective tariff, and the disposition of them must await the enlightenment of a certain majority of the voters,— a condition happily promising for the near future. ... Incidentally we shall become better acquainted with the resources of our own island possessions and give their people, perhaps, a more favorable view of their relationship to us than they have thus far been able to gather."

"A Fair Return" by Louis Raemaekers in Chicago Examiner,  August 15, 1917

World War I raged in Europe for three years before the U.S. entered the fray. Dutch cartoonist Louis Raemaekers welcomed U.S. entry into World War I by depicting Lady Columbia embracing Marianne, the personification of France, telling her, "When I was a child it was you who saved me."

Columbia's gown doesn't have the usual flag motif in Raemaekers cartoon — perhaps because white stars are hard to draw in charcoal.

"It's a Great Day for America" by Albert T. Reid in National Republican, Nov. 3, 1920

The stars and stripes are back in Albert Reid's cartoon. Lady Columbia, here updating her wardrobe from the robes of classical Rome to congratulate President-elect Warren Harding, was often enlisted to welcome a new administration to office.

"My Harp Is Also Turned to Mourning" by Gennette in Brooklyn Daily Eagle, Sept. 7, 1901

One of Lady Columbia's chief roles in editorial cartoons was as chief mourner for the country. Cartoonists drew her grieving at the deaths of Presidents Lincoln, Garfield, McKinley (in this case), Harding, and the Roosevelts, as well as other prominent figures in the news. 

"Columbia's Anguish" by Clifford Berryman in Washington Evening Star, Jan. 30, 1922

Here she mourned collapse of the Knickerbocker Theater in the nation's capital that killed 98. It is possible that Berryman drew this particular Columbia to represent the District of Columbia, where the tragedy occurred, instead of the bespectacled and bewigged 18th-Century gentleman that he usually drew to represent the capital city. This Columbia lacks the Phrygian cap and wears full-length mourning black.

"Hail and Farewell" by Clyde Batchelor in Washington Times-Herald, April 13, 1945

Every reference I have found about Miss Columbia agrees that she went out of fashion sometime in the 1920's, Uncle Sam, the Statie of Liberty, and the eagle becoming the go-to cartoon personifications of the United States. 

I did find this 1945 Batchelor cartoon of her paying her respects to Franklin Delano Roosevelt upon his death the day before. Perhaps because Batchelor disagreed with much of FDR's policy (his April 12 cartoon accused the administration of covering up warnings of the attack on Pearl Harbor), his Columbia isn't racked with grief she typically was for earlier fallen presidents.

Looking back at my post a few years ago of cartoons drawn after President McKinley's assassination, whereas Columbia knelt in grief, it was Uncle Sam who meted stern justice to the assassin.

Today, Lady Columbia would be horrified and ashamed of the present government’s wanton murder and disappearing of its citizens. What would Uncle Sam be doing?

"His 146th Birthday" by Charles Kuhn in Indianapolis News, July 4, 1922

One does notice Columbia fading into the background, cartoon-wise. At the nation's 146th birthday, she serves the cake; but it's Uncle Sam's birthday, not hers, even though he was at most a mere 110 years old.

"Uncle Sam Will Take a Little of the Stuffing" by Wm. A. Rogers in Washington Post, Nov. 26, 1925

At Thanksgiving, Columbia serves the dinner, and while Uncle Sam frets that he'll have to settle for a little stuffing, there doesn't even appear to be a seat for her at the table. Unless a chair is hidden behind that turkey, Lady Columbia must have been demoted to kitchen staff.

"Why Not Flowers for the Living, Too" by Winsor McCay for Hearst newspapers, May 30, 1925

Would Uncle Sam deliver a bouquet of flowers to wounded veterans?

One theory is that Columbia as a cartoon character fell into disuse in the 1920's once she became the mascot for Columbia Pictures. Columbia Pictures wasn't named after her directly; the movie company was a division of Columbia Records, which was originally headquartered in the District of Columbia.

"Some Day They'll Come Crawling Back to Her" by Joseph Parrish in Chicago Tribune, June 26, 1948

Last week's post began with a cartoon of a female "America Triumphant" drawn before she was given the name Columbia, so we'll end here with one of that familiar lady, back in her liberty cap and Romanesque robe, but without the name coined by Edward Cave over two centuries before.

Saturday, August 30, 2025

Labor Daze

In honor of the last holiday weekend of the summer, today's Graphical History Tour celebrates Labor Day, 1925.

"His Day" by Ed LeCocq in Des Moines Register, Sept. 7, 1925

The holiday fell on September 7 that year, so most of today's cartoons were published on that date. We start with this cartoon by the young man filling in for Jay Norwood Darling during Ding's illness. Old Man Work here graciously permits Organized Labor to join The Public on their way to some picnic grounds.

"Labor Day" by John T. McCutcheon in Chicago Tribune, Sept. 7, 1925

John McCutcheon's Uncle Sam wishes American Labor a sixteen hour day of rest and recreation.

Come those other eight hours, I presume, American Labor was expected to get right back to work.

These first two cartoons do point out that Labor Day was finally a chance for Dad to get out and enjoy some time with his family. Paid vacation was not a thing for most workers a century ago; the "family summer vacation" typically was just for Mom and the kids. Dad stayed behind to keep punching the clock at work every day.

"The Spirit of Confidence" by Dean O'Dell in Dayton Daily News, Sept. 7, 1925

Dean O'Dell's Uncle Sam and American Labor engage in some discreet petting while the heady fumes of prosperity and peace waft from picturesque smokestacks.

"The Giant of Progress" by Tom Foley in Minneapolis Star, Sept. 7, 1925

I'm wondering at what point Tom Foley or his editorial page editor decided that his cartoon needed to be printed as a mirror image of the original drawing. Foley did not customarily sign his cartoons backward; the "LABOR" stone looks to me like something scratched onto the cartoon at the last minute.

"Rare Consistency" by John M. Baer for Labor, ca. Sept. 4, 1925

John Baer has appeared before in these Graphical History Tours in his connection to the Nonpartisan League movement of the 1910's, which had sent him to Congress from North Dakota from 1917 to 1921. After his defeat for reelection in 1920, he literally returned to the drawing board, cartooning for Labor, the newspaper of the National Railroad Union.

In "Rare Consistency" (a title possibly added by the editors of Oklahoma Leader, who routinely pasted text onto the cartoons they printed), Baer highlights the hypocrisy of industrial associations and trusts warning farmers, laborers, and soldiers against collectively organizing. 

"Well, Here's Hoping" by Bill Hanny in Philadelphia Inquirer, Aug. 31, 1925

As Labor Day approached, the threat of a strike by anthracite coal miners loomed. Most homes and businesses were heated by coal in those days, so an interruption of the coal supply in the fall and winter was liable to have serious consequences for much of the country.

"Modest Demands" by O. "Zim" Zimmerman for Daily Worker, Chicago, Sept. 9, 1925

Drawing for the communist Daily Worker, Zimmerman laid out the United Mine Workers' demands: a nationwide contract with higher wages for fewer hours, and unemployment pay to come out of corporate profits. 

"It Does Look Like It" by Winsor McCay for Star Company, ca. Sept. 1, 1925

By Labor Day, negotiations between the UMW, led by John Lewis, and management, headed by operators' scale negotiating committee chair W.W. Inglis, had been dragging on for weeks, with no apparent progress to report.

"Hard Hard-Boiled" by Harry Westerman in Ohio State Journal, ca. Sept. 1, 1925

Harry Westerman's Uncle Sam displays a sterner attitude toward hard coal miners (and their mine operators) than Dean O'Dell's did toward American Labor in general. 

"We're With You" by Bill Sykes in Philadelphia Public Ledger, ca Sep. 5, 1925

Most editorial cartoonists placed blame for the possible strike on both labor and management; I'm sure nearly everybody was aware of what a dirty and dangerous job coal mining was and is. Bill Sykes's cartoon , however, comes as close as any I've seen to blaming the union workers.

It is difficult to read the animals' labels in Sykes's cartoon: the bird is labeled "Waste," and the wolf is labeled "Want."

"The Man Who Used to March on Labor Day" by Daniel Fitzpatrick in St. Louis Post-Dispatch, Sept. 7, 1925

Returning to the holiday, Daniel Fitzpatrick's Labor Day cartoon raises more questions than it answers. Is the man who used to march on Labor Day driving alone or in a parade? Is he a really big guy, or is he driving the first subcompact vehicle?

"No One Has a Good Word to Say for Work" by Manuel Rosenberg in Cincinnati Post, Sept. 7, 1925

And finally, Manuel Rosenberg leaves us with some deep thoughts about justification through work.

I hope you are able to enjoy an escape from work this weekend, yet, where applicable, still have a good word to say about getting back to the job on Tuesday.

Saturday, August 16, 2025

Riffing on World Affairs

Today's Graphical History Tour takes a quick check-up on the colonial world:

"Getting Down to Cases" by Wm. A. Rogers in Washington [DC] Post, August 1, 1925

When last we checked on international affairs, France had sent its military to help Spain quell a revolt in Morocco. Abd El Krim's Moroccan guerillas had stymied the Spanish army since 1921 in the mountains of Rif, effectively establishing the independent state of Rif and confining the Spanish to scattered fortified positions along the coast.

"And Still He Gets Away" by Wm. Hanny in Philadelphia Inquirer, August 3, 1925

With the entry of France into the Rif War, the European nations launched all-out war to extinguish the independent Berber nation. 

"Up Against It" by Wm. Hanny in Philadelphia Inquirer, August 22, 1925

Aside from being satisfied to stay removed from the conflict, U.S. cartoonists were divided in their sympathies. The U.S. had allied with France in the Great War, but France's punitive demands against Germany were widely seen as an impediment to a lasting peace; American impatience for France to repay wartime loans from the U.S. was mounting.

"The Iron Dove of Peace" by Douglas Rodger in San Francisco Bulletin, August 10, 1925

As for American attitudes toward Spain, memories of the Spanish-American War were fading — and the U.S. had emerged victorious anyway, so why hold a grudge? Still, it might be telling that, with no justification whatsoever, we blamed the country for the so-called Spanish flu.

"Take Care" by Winsor McCay, ca. August 28, 1925

On the other hand, Americans viewed Europe as a seat of civilization and Africa as part of a backward, benighted world requiring guidance and oversight by White People.

"One of Those English Jokes" by Tom Foley in Minneapolis Star, August 5, 1925

Meanwhile, did we mention war debts?

"Going Up" by Orville Williams for Star Company, ca. Aug. 6, 1925

In part due to protectionist tariffs and trade barriers in vogue between the World Wars, the U.S. demand for rubber to keep everybody's cars on the road had run up against the British Empire trade policy.

"Rubber-r-r" by Dorman H. Smith for Newspaper Enterprise Assn., ca. August 17, 1925

As long as we have the Philippines essentially as a U.S. colony, some Americans argued, why not promote rubber production there?

It has been a while since we have visited the archipelago taken by the U.S. along with Cuba and Puerto Rico as spoils of the Spanish-American War over a quarter century earlier. The U.S. occupation quashed initial independence movements, promising Filipino self-determination someday. Someday just got pushed a little further down the road.

In spite of a tide of isolationism, the U.S. had come to appreciate close ties with its colonial territories.

"Let's Do It Thoroughly" by Orville P. Williams for Star Company, ca. July 1, 1925

Just not too close.