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Cartoon cartoons Stock Photos and Images

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Cartoon cartoons Stock Photos and Images

A Better ‘Ole “Well, if you knows of a better ‘ole, go to it.” When the grim humor of the actual warfare in the trenches superseded cartooning of the preliminaries of the War, the work of the Britisher, Bruce Bairnsfather, stood out at once as the climax of this style of art. Best known of all his cartoons is this one, which has supplied a title both to books and plays. It is typical also, in a larger sense, of Britain’s whole position in the Great War. The fight was not of her seeking. If she could have found any possible way to a “better ‘ole” she would most eagerly have taken it, as her F Stock Photo
RF2HC97BG–A Better ‘Ole “Well, if you knows of a better ‘ole, go to it.” When the grim humor of the actual warfare in the trenches superseded cartooning of the preliminaries of the War, the work of the Britisher, Bruce Bairnsfather, stood out at once as the climax of this style of art. Best known of all his cartoons is this one, which has supplied a title both to books and plays. It is typical also, in a larger sense, of Britain’s whole position in the Great War. The fight was not of her seeking. If she could have found any possible way to a “better ‘ole” she would most eagerly have taken it, as her F
The Spirit of Pan-Slavism “Russia promises to leap straight from the Carpathians to Berlin.” Leon Bakst, the celebrated Russian artist, furnishes this Russian cartoon. In it he proclaims that his country will not be content merely to hold back Austria in a defensive war. When called on to defend the Serbian Slavs, she will cross the Carpathian Mountains, will overrun Austria, and is even able if necessary to fight Germany also. The Russian cartoons contain nothing of the keen insight of Dyson nor of the high spirituality of Raemarkers; they are savage, direct threats, meeting the similar Germ Stock Photo
RF2HC108R–The Spirit of Pan-Slavism “Russia promises to leap straight from the Carpathians to Berlin.” Leon Bakst, the celebrated Russian artist, furnishes this Russian cartoon. In it he proclaims that his country will not be content merely to hold back Austria in a defensive war. When called on to defend the Serbian Slavs, she will cross the Carpathian Mountains, will overrun Austria, and is even able if necessary to fight Germany also. The Russian cartoons contain nothing of the keen insight of Dyson nor of the high spirituality of Raemarkers; they are savage, direct threats, meeting the similar Germ
The Fields of Flanders “Where are the Dead?” “There are no Dead.” Maeterlinck (“The Blue Bird”) This is a Canadian sketch by J A Shepperson, emphasizing that high-hope on which the true Culture of the world has been building for twenty centuries. Mankind, outside of Germany, believed that all the doctrines of materialism break down just because they reckon the dead as dead, and take no heed as to what a man’s labors here shall make him fitted for when he passes beyond earth’s Death. Hence when the Britons and Canadians sacrificed their lives by thousands on the “Flanders Fields” through al Stock Photo
RF2HC108K–The Fields of Flanders “Where are the Dead?” “There are no Dead.” Maeterlinck (“The Blue Bird”) This is a Canadian sketch by J A Shepperson, emphasizing that high-hope on which the true Culture of the world has been building for twenty centuries. Mankind, outside of Germany, believed that all the doctrines of materialism break down just because they reckon the dead as dead, and take no heed as to what a man’s labors here shall make him fitted for when he passes beyond earth’s Death. Hence when the Britons and Canadians sacrificed their lives by thousands on the “Flanders Fields” through al
The Stars – “Those are the Orders of Honor that have been awarded to the dear God for his services to the house of Hohenzollern.” This cartoon depicts a baby Hollenzollern prince explaining the heavens to his brothers and sisters. It is by Theodore Heine, and appeared in the great German comic paper, Simplicissimus, as far back as 1903. Many Germans of that day recognized the enormous arrogance of their Emperor and his sons. But, apparently not realizing to what disaster this vanity tended. They made it the subject of light jest rather than serious reprobation. Simplicissimus, being not a Prus Stock Photo
RF2HC0ME0–The Stars – “Those are the Orders of Honor that have been awarded to the dear God for his services to the house of Hohenzollern.” This cartoon depicts a baby Hollenzollern prince explaining the heavens to his brothers and sisters. It is by Theodore Heine, and appeared in the great German comic paper, Simplicissimus, as far back as 1903. Many Germans of that day recognized the enormous arrogance of their Emperor and his sons. But, apparently not realizing to what disaster this vanity tended. They made it the subject of light jest rather than serious reprobation. Simplicissimus, being not a Prus
The caption for this illustration reads: Between Two terrors (“White” and “Red”). The labels on the characters from left to right are: Monarchy, France, Communism. The man represents Louis Adolphe Thiers, the first President of the Third Republic. The figure representing France embraces him. To the right is the threatening figure of Communism, and to the left the shrouded figure of Monarchy. Opposed by the monarchists in the French assembly and the left wing of the Republicans, Thiers resigned on 24 May 1873. It is taken from the Punch Almanac for 1873. Its date is October 18, 1873. Punch, or Stock Photo
RF2CW1W9P–The caption for this illustration reads: Between Two terrors (“White” and “Red”). The labels on the characters from left to right are: Monarchy, France, Communism. The man represents Louis Adolphe Thiers, the first President of the Third Republic. The figure representing France embraces him. To the right is the threatening figure of Communism, and to the left the shrouded figure of Monarchy. Opposed by the monarchists in the French assembly and the left wing of the Republicans, Thiers resigned on 24 May 1873. It is taken from the Punch Almanac for 1873. Its date is October 18, 1873. Punch, or
The caption for this illustration reads: Between Two terrors (“White” and “Red”). The labels on the characters from left to right are: Monarchy, France, Communism. The man represents Louis Adolphe Thiers, the first President of the Third Republic. The figure representing France embraces him. To the right is the threatening figure of Communism, and to the left the shrouded figure of Monarchy. Opposed by the monarchists in the French assembly and the left wing of the Republicans, Thiers resigned on 24 May 1873. It is taken from the Punch Almanac for 1873. Its date is October 18, 1873. Punch, or Stock Photo
RF2CW1W9J–The caption for this illustration reads: Between Two terrors (“White” and “Red”). The labels on the characters from left to right are: Monarchy, France, Communism. The man represents Louis Adolphe Thiers, the first President of the Third Republic. The figure representing France embraces him. To the right is the threatening figure of Communism, and to the left the shrouded figure of Monarchy. Opposed by the monarchists in the French assembly and the left wing of the Republicans, Thiers resigned on 24 May 1873. It is taken from the Punch Almanac for 1873. Its date is October 18, 1873. Punch, or
The caption for this illustration reads: Sweet-Girl Graduates Afternoon Tea versus Wine. The man in the background is saying: “This is precious slow! Let’s go and have some beer!” It is taken from the Punch Almanac for 1873. Punch, or The London Charivari, was a British weekly magazine of humor and satire established in 1841 by Henry Mayhew and wood-engraver Ebenezer Landells. Historically, it was most influential in the 1840s and 1850s, when it helped to coin the term 'cartoon' in its modern sense as a humorous illustration. Stock Photo
RF2CW1WB6–The caption for this illustration reads: Sweet-Girl Graduates Afternoon Tea versus Wine. The man in the background is saying: “This is precious slow! Let’s go and have some beer!” It is taken from the Punch Almanac for 1873. Punch, or The London Charivari, was a British weekly magazine of humor and satire established in 1841 by Henry Mayhew and wood-engraver Ebenezer Landells. Historically, it was most influential in the 1840s and 1850s, when it helped to coin the term 'cartoon' in its modern sense as a humorous illustration.
Cursed by His Ancestors “Stupid blunderer! Foolish pupil!” Among neutral cartoonists of the War, the most noted after Raemarkers has been the Spanish artist Robida. This is perhaps his most striking cartoon. His designs are like those of the Russians, straight-forward, obvious and unaided by suggestion. From a gas-filled and malodorous heaven Frederick the Great looks down in fury, and Bismarck, now become a winged cherub, glares in disgust. Both curse the blunderer who is ruining their work by stupidly misapplying their crafty falsehoods. While henry II raises the crown of world empire to h Stock Photo
RF2HC108T–Cursed by His Ancestors “Stupid blunderer! Foolish pupil!” Among neutral cartoonists of the War, the most noted after Raemarkers has been the Spanish artist Robida. This is perhaps his most striking cartoon. His designs are like those of the Russians, straight-forward, obvious and unaided by suggestion. From a gas-filled and malodorous heaven Frederick the Great looks down in fury, and Bismarck, now become a winged cherub, glares in disgust. Both curse the blunderer who is ruining their work by stupidly misapplying their crafty falsehoods. While henry II raises the crown of world empire to h
The caption for this illustration reads: Polo Post Futurum. It is taken from the Punch Almanac for 1873. Its date is December 17, 1872. Punch, or The London Charivari, was a British weekly magazine of humor and satire established in 1841 by Henry Mayhew and wood-engraver Ebenezer Landells. Historically, it was most influential in the 1840s and 1850s, when it helped to coin the term 'cartoon' in its modern sense as a humorous illustration. Stock Photo
RF2CW1WA4–The caption for this illustration reads: Polo Post Futurum. It is taken from the Punch Almanac for 1873. Its date is December 17, 1872. Punch, or The London Charivari, was a British weekly magazine of humor and satire established in 1841 by Henry Mayhew and wood-engraver Ebenezer Landells. Historically, it was most influential in the 1840s and 1850s, when it helped to coin the term 'cartoon' in its modern sense as a humorous illustration.
The caption for this illustration reads: Polo Post Futurum. It is taken from the Punch Almanac for 1873. Its date is December 17, 1872. Punch, or The London Charivari, was a British weekly magazine of humor and satire established in 1841 by Henry Mayhew and wood-engraver Ebenezer Landells. Historically, it was most influential in the 1840s and 1850s, when it helped to coin the term 'cartoon' in its modern sense as a humorous illustration. Stock Photo
RF2CW1W9W–The caption for this illustration reads: Polo Post Futurum. It is taken from the Punch Almanac for 1873. Its date is December 17, 1872. Punch, or The London Charivari, was a British weekly magazine of humor and satire established in 1841 by Henry Mayhew and wood-engraver Ebenezer Landells. Historically, it was most influential in the 1840s and 1850s, when it helped to coin the term 'cartoon' in its modern sense as a humorous illustration.
Many political cartoons were published in France during the French Revolution. This one had title 'Vive Le Roi, Vive La Nation.' Stock Photo
RFBCTD0T–Many political cartoons were published in France during the French Revolution. This one had title 'Vive Le Roi, Vive La Nation.'
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