By Michael Wynn Jones (Macmillan)
ASIN: B001H0OAOOÂ Â Â Â Â Â Â Â Â Â ISBN: 0-333-19805-0
Just picked this up in a second-hand shop and thought of you – well, some of you anyway – on this anniversary day…
We’re far too reluctant in this country to celebrate the history and quality of our own cartooning tradition; preferring simply to remark on the attention-grabbers or impressive longevity of one or two classic and venerable veterans of the pen-&-ink game, when the actual truth is that for an incredibly long time the political art movement of the Empire and Commonwealth – and its enemies – was vast, varied and fantastically influential.
The British wing of the form has been magnificently serviced over the centuries by masters of form, line, wash and most importantly ideas, repeatedly tickling our funny bones or enraging our sleeping consciences and sensibilities, all whilst poking our communal pomposities and fascinations.
From its earliest inception, satiric draughtsmanship has been used to attack and sell: initially ideas, values, opinions and prejudices or but eventually actual products too. In newspapers, magazines and especially comicbooks, the sheer power of graphic narrative, with its ability to create emotional affinities, has led to the creation of unforgettable images and characters – and the destruction of real people or social systems.
When those creations can affect the daily lives of millions of readers, the force that they can apply in the commercial or political arena is almost irresistible…
In Britain the cartoonist has held a bizarrely precarious position of power for centuries: the deftly designed bombastic broadside or savagely surgical satirical slice instantly capable of ridiculing, exposing, uplifting or deflating the powerfully elevated, unapproachable and apparently untouchable with a simple shaped-charge of scandalous wit and crushingly clear, universally understandable visual metaphor.
For this method of concept transmission, lack of literacy or education is no barrier. As the Catholic Church proved millennia ago with the Stations of the Cross, stained glass windows and a pantheon of idealised saints, a picture is worth far more than a thousand words…
For as long as we’ve had printing in this country there have been scurrilous gadfly artists commentating on rulers, society and all iniquities: pictorially haranguing the powerful, pompous, privileged and just plain perfidious through swingeing satire and cunning caricature. Sometimes artists have been just plain mean…
Britain had no monopoly on talent and indignation, and this canny compendium also frequently features European – and latterly American – takes on our scandalous Royals and oddball citizenry…
Released in 1978 and desperately in need of updating and re-issue, A Cartoon History of the Monarchy offers a potted, far from hagiographic history and deliciously skewed view of our Ruling Elite in all their unsavoury glory; an unbroken line of jibes, asides and broadsides gathered from divers sources by jobbing journalist and aficionado of japes, lampoons and sketches Michael Wynn Jones, who here casts a discriminating eye from the reign of Elizabeth I up until just before the Silver Jubilee of the second Regina to bear the name…
Following a handy list of the Kings and Queens of England, the pomposity-puncturing procession commences with The Age of Intolerance, reproducing cartoons and adding commentary dealing with the doings of the ten monarchs from Elizabeth I – George II.
The accompanying essays describe the zeitgeist of those times – the religious question as England, Wales, Ireland and eventually Scotland came to numerous crises regarding succession.
That issue always revolved around whether the land should be Catholic or Protestant. ‘Popes, Plots and Puritans’ led to the final solution when ‘The Men from Hanover’ arrived to settle the matter and fully cement the nation under the Church of England.
The savage sampling of the nation and continent’s opinions are represented here by 26 visual bombards such as the allegorical assault ‘Diana and Callisto’ by Dutch artist Miricenys from 1585, the anonymous ‘England’s Miraculous Preservation’ from 1648 and ‘The Royal Oake of Brittayne’ (from 1649) amongst so many others.
Cartoon grotesques such as ‘Cromwell’s Car’ (1649) or ‘Babel and Bethel’ (1679) appear beside such scandalous foreign attacks as Dutch illustrator Dusart’s ‘Fr. James King’ and the anonymous French pictorial polemic ‘Notice of Burial’ (both from 1690). We British riposted with jeering celebrations of martial triumphs such as ‘The Arrival of William and Mary’ (1689), ‘The Great Eclipse of the Sun’ (simultaneously a topical spin on a solar event in 1706 and the defeat of “Sun King†Louis XIV by the British armies of Queen Anne), and ‘A Bridle for the French King’ from the same year.
Domestic contretemps are highlighted through such draughtsman’s delights as the anonymous 1743 shocker ‘The Hanover Bubble’, Ebersley’s ‘The Agreeable Contrast’ (from 1746 and attacking King George’s brother “Butcher†Cumberland’s treatment of Jacobites after the defeat of the Young Pretender), and the exposure of Popish influence in the Highlands described by ‘The Chevalier’s Market’ from 1745…
Whereas much of this material – both British and foreign – was generally national commentary and straight religio-political assault, by the time period covered in The Wickedest Age: George III – George IV (1760-1830) the cartoon had also evolved into a weapon designed to wound with wit and crush through cruel caricature.
After covering the major crises and scandals of the generally sensible – if parsimonious – third George in ‘The Royal Malady’, ‘“The Dregs of Their Dull Race‒ and ‘Twilight Years’, a veritable Golden Age of popular disapproval and artistic mugging of the Prince Regent and much-delayed, frustrated monarch (and his many mistresses) is covered in ‘The Prince of Whales’, ‘The Secret Marriage’, ‘“Pray Get Me a Glass of Brandy‒ and ‘Delicate Investigations’.
The public disdain of the times generated a fusillade of cartoon prints, represented here by 35 graphic bombards and savage cartoon sallies by names which have become as famous as any ruler. However master character assassins Townsend (‘The Scotch hurdy-gurdy’), George Cruikshank (‘Royal Condescension’), Gillray (‘A New Way to Pay the National Debt’, ‘A Voluptuary under the Horrors of Digestion’), Rowlandson (‘The Prospect Before Us’) and Heath (‘A Triumph of innocence over perjury’) are ably bolstered by lesser lights West (‘The Save-all and the Extinguisher!’), Williams (‘Low Life above stairs’), Vowles (‘The shelter for the destitute’) and Marshall (‘The kettle calling the pot ugly names’) and a few anonymous pen-pricks who nevertheless hit hard with ‘Tempora Mutantor’, ‘The captive Prince’ and ‘Reading of the Imperial decree’ and more.
As periodical publication overtook print-shops as the greatest disseminators of carton imagery, the open savagery and targeted vulgarity of caricaturists was gradually replaced with mannered, if barbed, genteel observation.
Thus The Age of Discretion: William IV, Victoria (spanning 1830-1901) offers a different style of Royal Commentary: no less challenging, but certainly much more overtly respectful when critical. Sometimes, though, this new family-oriented cartooning, even in magazines such as Punch and The Times, simply sunk to fawning veneration as the institution of monarchy became more and more removed from the lives of the citizenry.
William’s times are summed up in text via ‘The Sailor King’ and ‘Reform Billy’ whilst Victoria’s epochal reign and the Parliamentarians who increasingly wielded the decisive power is described through ‘The Queen of the Whigs’, ‘Revolutions are bad for the Country’, ‘The Black and the Brown’ and ‘Years of Widowhood’.
The 36 collected images capture those days of Empire, with Heath, Seymour and Doyle predominant in illustrating bluff sea-dog William’s socially contentious days of Reform.
Victoria’s years, from engaging popular ingénue Queen, through happy bride to politically intrusive grand dame of European Court intrigue, highlights the craft of Doyle (‘The Queen in Danger’, 1837), Leech, (‘There’s Always Something’, 1852), Tenniel (‘Queen Hermione’, 1865, ‘New Crowns for Old Ones!’, 1876), Morgan (‘Where is Britannia?’ and ‘A Brown Study’ – both 1867) and Sambourne (‘Kaiser-i-Hind’, 1876) amongst so many others.
Her latter years also saw a rise in social conscience cartooning as displayed by the crusading Merry with ‘The Scapegrace of the Family’ (1880), ‘The fall of the rebels‘ in 1886 and more, or the telling modernist take of Max Beerbohm whose ‘The rare, the rather awful visits of Albert Edward to Windsor Castle’, cuttingly illustrated the rift between the Empress and her playboy heir…
Despite her well-known disapproval, the good-time Prince became an effective king as was his son, both covered in The Edwardian Age: Edward VII – George V, spanning 1901-1936. Their dutiful achievements are recounted in ‘The Coming King’ and ‘The First Gentleman of Europe’ before war with Germany necessitated a family name change for George – ‘The First Windsor’…
With kings increasingly used as good-will ambassadors and being cited in scandals that frequently ended in court, the 30 cartoons included in this section include many German pieces from not only the war years but also the tense decade that preceded them, as Imperial Superpowers jostled for position and tentatively used propaganda to appeal to the world’s “unwashed masses†for justification for their aims and ambitions.
Beside veteran caricaturists such as Leech, Morgan, May, Partridge, Staniforth and David Low are merciless lampoons from German cartoonists Brandt, Blir, Heine, Gulbransson and Johnson as well as French illustrator Veber and lone American Kirby.
Our pictorial history lesson concludes with The Age of Respectability: Edward VIII, George VI, Elizabeth II generally skipping World War II, concentrating instead on the openly secret scandal of Edward and Mrs Simpson in ‘Abdication’ before the advent of ‘New Elizabethans’ brought a modern age of rulers as sideshow attractions…
Although Fleet Street chose to whitewash and suppress the affair between a King-in-waiting and the American divorcee, the rest of the world made great play of the situation: as seen here with 11 telling cartoon shots from Americans McCutcheon and Orro, whilst French scribbler Effel posited typically insouciant Gallic ‘Une Solution’ and German-based Gulbransson played up the true romance angle…
In the meantime British cartoonist Low had to be at his most obliquely hilarious, delineating the crisis by not mentioning it, and Punch stars like Partridge steadfastly pursued a line of deferential, tragic sacrifice…
Although there is very little material featuring wartime monarch George VI – a propaganda casualty of the conflict – the last 20 images herein celebrate the changing image of a very public Royal Family as pictured by names very familiar to contemporary cartoon lovers.
The imagery is also contextually far more familiar – and presumably comfortable – to modern tastes as print media generally learned to save their vitriol for politicians and celebrities and reserved only minor chidings and silly teasing for “the Royalsâ€, as seen in ‘Birthday Greetings’ and ‘Under the Splendid Empire Tree’ by Shepard from 1947 or Illingworth’s 1951 panels ‘Family Ties’ and ‘Happy Returns’.
Papers were, however, happy to utilise the monarchy to score points against governments, as seen in an attack on Enoch Powell (Cummings’ ‘Ministry of Repatriation’) and the battle between Rhodesia’s Ian Smith and Harold Wilson lampooned in ‘Your Move!’ by Jak (both from 1968) or the legendary Giles’ ‘New Rent Assistance Bill’ (1971).
Also offering acerbic jollity of a far more blueblood-specific variety are cartoon giants Trog and Waite who join the abovementioned in exploiting the Royal Family’s gift for headline-stealing gaffes in such daring gags as ‘I Suppose we did send them to the Right Schools?’, ‘I Suppose she’ll think these are of the Queen Mother’, ‘More Pay’ and ‘Andrew’s Exchange Student’: coming full circle with the best of Hanoverian excesses scrutinised by a cost-conscious government and public – but this time for rather more gentle laughs…
Appended with a scholarly section of Acknowledgements, Illustration sources and Index of artists, this is an extremely welcoming and effective introduction to the lasting relationship between Royalty, Church and Fourth Estate that offers a fantastic overview of Regal adaptability and cultural life through a wealth of cunningly contrived images and pictorial iconography that reshaped society and the world.
These are timeless examples of the political pictorialist’s uncanny power and, as signs of the times, form a surprising effecting gestalt of the never-happy nation’s feeling and character…
None of that actually matters now, since these cartoons have performed the task they were intended for: shaping the thoughts and attitudes of generations of voters. That they have also stood the test of time and remain as beloved relics of a lethal art form is true testament to their power and passion.
Stuffed with astounding images, fascinating lost ephemera and mouth-watering tastes of comic art no aficionado could resist, this colossal collection is a beautiful piece of cartoon history that will delight and tantalise all who read it and truly deserves to be back on bookshelves…
© Michael Wynn Jones 1978. All rights reserved.
