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Cartoons

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Kultur (The New York Times, 1915)

During the course of the Great War, few German terms delighted English speaking cartoonists more than the word "kultur" -which is the Teutonic word for "civilization" or "cultural progress". Prior to being picked up by the New York Times, this cartoon originally appeared in a London magazine called, "The Sketch", and was drawn by W. Heath Robinson (dates?).

TOPIC INDEX: WW 1 Cartoons,Old Magazine Cartoons + WW 1,W Heath Robinson British Cartoonist 1910-1919,Jokes,Ha-Ha,Good Jokes,Joke Videos,European Cartoons + WW 1.

The German Occupation of Manhattan (Vanity Fair, 1916)

The famed Conde Nast illustrator from days of old, Ann Fish, assumed the nom de guerre, "Hello" in order to impart to her well-fed audience the terror of German Prussianism. In this cartoon, she illustrates what a German invasion of Manhattan would look like.

Rea Irvin and the New York Home Front (Vanity fair, 1915)

This cartoon pokes fun at the high cost of being charitable. Throughout much of World War One there was always the problem of what to do with the growing number of refugees and orphans -and the answer was never cheap. This drawing reveals a different Rea Irvin, but the drawing style for which he would be remembered is clearly emerging.

Flag Day in Germany (Punch, 1918)

A cartoonist at PUNCH MAGAZINE had a laugh at the expense of Germany and it's humiliation during the first few days of the Armistice.

Armistice Cartoon (American Legion Weekly, 1919)

A good nine-panel cartoon that appeared in an American veterans magazine on the first anniversary of the Armistice. What is especially amusing is the satirical depiction of American front-line officers and the last frame, which fully supports the thesis of Joseph E. Persico's book, "11th Month, 11th Day, 11th Hour" that the American Army was on the attack all the way up to the bitter end.

Rea Irvin Did His Bit (Life Magazine, 1917)

Cartoonist Rea Irvin (1881 - 1972) did the work of ten George Creels during America's participation in the Great War by consistently producing a number of funny gags that served to belittle Imperial Germany. Unlike most cartoonists who were active during the Gilded Age, Irvin has been published at least once a year every year since 1925: he was the creator of 'Eustice Tilly' -the Regency dandy who graced the very first cover of THE NEW YORKER that is re-printed every February. Other cartoons in this series are available upon request.