From the archives of political satire
these works preserve a tradition of dissent—
continuing its vigilance in the present.
From the archives of political satire
these works preserve a tradition of dissent—
continuing its vigilance in the present.
A depiction of technological warfare and the collapse of civilian protection.
The image presents modern conflict as chaotic and indiscriminate, where claims of control dissolve into panic on the ground. Reassurance is rendered hollow, exposing the distance between official language and lived consequence when violence is framed as progress.
Historical Note
This cover appeared in a 1915 issue of La Baïonnette and was illustrated by Louis Renéfer. It uses bitter irony to critique aerial warfare and the normalization of civilian exposure during the First World War.
5 × 7 in | Casewrap sewn binding | Ruled | Vibrant, crisp vintage tones
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A satirical treatment of the tension between public service and private strain.
The image shifts attention from heroics to an unguarded pause, where composure and fatigue coexist. By lingering on a small, human gesture, authority and endurance are reframed as lived experience rather than spectacle, suggesting that service is sustained as much by vulnerability as by resolve.
Historical Note
This illustration appeared in a 1915 issue of La Baïonnette and was drawn by Léonnec. It contrasts decorated wartime roles with everyday human fragility, using restrained humor to register the personal cost of service away from the battlefield.
6 × 8 in | Metal spiral binding | Interior document pocket | Front illustration with dark grey back cover
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A satirical treatment of superstition, bravado, and the collapse of symbolic authority under violence.
The image depicts confidence unraveling mid-air, where ritual objects and signs of rank offer no resistance once force is unleashed. Assurance gives way to exposure, suggesting that faith in talismans and status dissolves when confronted with material reality.
Historical Note
This cartoon appeared in a 1915 issue of La Baïonnette and was illustrated by Louis Icart. It reflects the magazine’s wartime skepticism toward heroic symbolism, using stark humor to show how belief in charms and authority fails under the conditions of modern war.
6 × 8 in | Metal spiral binding | Ruled | Interior document pocket
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A study in restraint, endurance, and the quiet weight of wartime communication.
The image presents war through pause rather than action, where meaning arrives not in spectacle but in the act of reading. Composure holds, yet strain is evident, suggesting that the deepest costs of conflict are carried inward and revealed through understatement rather than display.
Historical Note
This interior illustration appeared in a 1915 wartime issue of La Baïonnette and was drawn by Sobek. Using minimal gesture and subdued tone, it contrasts official recognition with personal injury to register the human cost of war through stillness.
6 × 8 in | Metal spiral binding | Interior document pocket | Front illustration with dark grey back cover
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Satire aimed at the redefinition of loyalty under conditions of total war.
The image presents transformation as quiet and unquestioned, where familiar roles are repurposed for national ends. What once belonged to private life is recast as public obligation, suggesting how war absorbs everyday symbols and redirects them toward collective duty.
Historical Note
This page appeared in a 1916 issue of La Baïonnette and was illustrated by Jacques Nam. Using a simple two-panel allegory, it reflects how wartime ideology reframed personal loyalty as a resource of the nation.
5 × 7 in | Casewrap sewn binding | Ruled | Vibrant, crisp vintage tones
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A study of enforced silence and the internalization of surveillance.
The image transforms instruction into performance, where caution is exaggerated and restraint becomes visibly anxious. Speech is shaped less by conviction than by fear, suggesting how censorship migrates from decree into everyday expression.
Historical Note
This cover appeared in a 1916 issue of La Baïonnette and was designed by Lucien-Henri Weiluc. It satirizes home-front censorship during the First World War, using direct address and distortion to register the psychological effects of enforced silence.
5 × 7 in | Casewrap sewn binding | Ruled | Vibrant, crisp vintage tones
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A satirical caricature of accumulation and the persistence of profiteering.
The image isolates figures rather than scenes, reducing corruption to a recognizable inventory of faces. No single actor carries the charge; judgment emerges through repetition, suggesting that exploitation functions collectively and survives by familiarity as much as concealment.
Historical Note
This illustration appeared in a 1916 issue of La Baïonnette and was drawn by Sacha Zaliouk. It assembles a typology of wartime profiteers and political operators, using stark caricature to render corruption as a social pattern rather than an exception.
5.75 × 8 in | Casewrap sewn binding | Ruled | Vibrant, crisp vintage tones
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A depiction of inflated rhetoric and the quiet persistence of ordinary life.
The image sets domestic stillness against proclamations of boundless achievement, letting contrast do the work of critique. Heroic language is framed as overreach, while intimacy and calm remain intact—suggesting that progress and glory often sound loudest where their effects are least felt.
Historical Note
This illustration by Jacques Nam appeared during the First World War in a 1917 issue of La Baïonnette. It exemplifies a strand of wartime satire that uses irony and juxtaposition—rather than spectacle—to puncture claims of inevitability and triumph.
6 × 8 in | Metal spiral binding | Ruled | Interior document pocket
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An examination of emotional substitution and the management of fear through symbol.
The image presents intimacy as something compressed and portable, where affection is converted into an object meant to steady the bearer. Comfort appears ritualized rather than relational, suggesting how war reshapes private attachment into a tool for endurance amid industrial violence.
Historical Note
This cover appeared in a January 1917 issue of La Baïonnette and was illustrated by Fabien Fabiano. Titled Fétiches et Mascottes, it reflects wartime practices that encouraged soldiers to rely on talismans and symbolic objects as emotional stabilizers.
Casewrap sewn binding | Ruled | Vibrant, crisp vintage tones
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A study in symbolic belief and the everyday rituals of wartime life.
The image assembles a loose catalogue of objects and figures treated as carriers of meaning, luck, or morale. Without privileging command or combat, it presents superstition as ordinary and pervasive, where official emblems and private rituals coexist without clear hierarchy.
Historical Note
This centerpiece appeared in a January 10, 1917 issue of La Baïonnette and was illustrated by Jacques Nam. It surveys the fetishes, mascots, and symbolic stand-ins that circulated through the French army during the First World War, registering belief as a shared cultural practice rather than an anomaly.
5 × 7 in | Casewrap sewn binding | Ruled | Vibrant, crisp vintage tones
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Satire aimed at theatrical authority and the absurd logistics of war.
The image treats conflict not as heroism or tragedy, but as a stage crowded with gesture, repetition, and bureaucratic confusion. Power appears costumed and performative, exposing how military life converts spectacle into routine and survival into farce.
Historical Note
This 1917 cover from La Baïonnette introduces Pierre-Henri Cami’s satirical feature “Charlot correspondant de guerre,” a wartime parody of Charlie Chaplin’s screen persona. The subtitle “texte et dessins de Cami” signals the issue’s focus on Charlot as a caricatured war correspondent navigating military absurdity. The back cover reproduces material from the same March 22, 1917 issue, preserving Cami’s line drawings and original French dialogue as they appeared in print.
See the full Cami: Charlie Chaplin Collection here
5 × 7 in | Casewrap sewn binding | Ruled | Vibrant, crisp vintage tones
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A satirical critique of authoritarian vanity and wounded imperial pride.
The image presents power as reactive and insecure, where command is unsettled by ridicule and popularity beyond its control. Exaggerated expression and posture turn authority inward, exposing how spectacle and resentment replace confidence when legitimacy falters.
Historical Note
This illustration appeared in a 1917 issue of La Baïonnette and was created by Pierre-Henri Cami. Titled Jalousie!, it depicts Kaiser Wilhelm II reacting to the popularity of Charlot, using caricature to mock imperial vanity and fragility during the First World War.
5 × 7 in | Casewrap sewn binding | Ruled | Vibrant, crisp vintage tones
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An examination of collective force and the removal of unaccountable power.
The image presents political change as a physical and communal act rather than a procedural appeal. Authority is not persuaded or reformed; it is displaced. Power gives way only when pressure gathers from below, exposing accountability as something enforced, not granted.
Historical Note
This illustration appeared in a 1916 issue of La Baïonnette and was drawn by A. Willette. Created amid the collapse of old European empires during the First World War, it reflects a moment when public patience with authoritarian bravado had worn thin.
100% ring-spun cotton | Pearlized tear-away label | Unisex
A satirical critique of group dynamics, noise, and the politics of who gets heard.
The image presents collective life as a performance of attention, where excess speech becomes disruption and silence is imposed for the sake of order. Humor carries the critique gently, suggesting that harmony is often achieved not through agreement, but through exclusion disguised as necessity.
Historical Note
This illustration appeared in a 1916 issue of La Baïonnette and was drawn by Jacques Nam. Using an animal fable, it turns everyday social tension into light satire, relying on posture and composition rather than exaggeration to deliver its wit.
100% ring-spun cotton | Pearlized tear-away label | Oeko-Tex certified | Unisex
Satire aimed at rumor, surveillance, and the social spread of fear.
The image presents suspicion as a shared performance, where secrecy becomes theatrical and vigilance contagious. Authority recedes into the background as paranoia reorganizes everyday interaction, suggesting how control takes hold not only through orders, but through mutual watching and anxious imitation.
Historical Note
This illustration appeared in a 1916 issue of La Baïonnette and was drawn by Gerda Wegener. Using exaggerated posture, fashion, and animal figures, it satirizes wartime paranoia and the way fear reshapes social life under conditions of enforced vigilance.
100% ring-spun cotton | Pearlized tear-away label | Oeko-Tex certified | Unisex
A satirical treatment of enforced silence and fear as a tool of control.
The image presents authority not through violence or command, but as ambient pressure—warnings posted, vigilance normalized, and speech rendered risky by habit. Obedience emerges as routine rather than coercion, showing how censorship settles into daily life through quiet intimidation.
Historical Note
This illustration appeared during the First World War in La Baïonnette and was drawn by Armand Gallo. Using animal figures, it critiques wartime censorship and the internalization of silence on the home front.
100% ring-spun cotton | Pearlized tear-away label | Oeko-Tex certified | Unisex
A satirical treatment of the tension between public service and private strain.
The image shifts attention from heroics to an unguarded pause, where composure and fatigue coexist. By lingering on a small, human gesture, authority and endurance are reframed as lived experience rather than spectacle, suggesting that service is sustained as much by vulnerability as by resolve.
Historical Note
This illustration appeared in a 1915 issue of La Baïonnette and was drawn by Léonnec. It contrasts decorated wartime roles with everyday human fragility, using restrained humor to register the personal cost of service away from the battlefield.
Crew length | Recycled polyester-cotton blend | All-over print with solid black toe and heel accents
Satire aimed at militarism, exhaustion, and the collapse of imperial myth.
The image reduces a symbol of dominance to a figure of strain and injury, stripping authority of spectacle and inevitability. Power appears grounded and diminished, confronting the limits of force once grandeur gives way to consequence.
Historical Note
This illustration appeared during the First World War in La Baïonnette and was drawn by Adolphe Willette. Using the German imperial eagle as a stand-in for militarism, it reflects French wartime satire’s unsentimental critique of authoritarian power.
Crew length | Recycled polyester-cotton blend | All-over print with solid black toe and heel accents
Satire aimed at the redefinition of loyalty under conditions of total war.
The image presents transformation as quiet and unquestioned, where familiar roles are repurposed for national ends. What once belonged to private life is recast as public obligation, suggesting how war absorbs everyday symbols and redirects them toward collective duty.
Historical Note
This page appeared in a 1916 issue of La Baïonnette and was illustrated by Jacques Nam. Using a simple two-panel allegory, it reflects how wartime ideology reframed personal loyalty as a resource of the nation.
Crew length | Recycled polyester–cotton blend | All-over print with solid black toe and heel accents
Satire aimed at the redefinition of loyalty under conditions of total war.
The image presents transformation as quiet and unquestioned, where familiar roles are repurposed for national ends. What once belonged to private life is recast as public obligation, suggesting how war absorbs everyday symbols and redirects them toward collective duty.
Historical Note
This page appeared in a 1916 issue of La Baïonnette and was illustrated by Jacques Nam. Using a simple two-panel allegory, it reflects how wartime ideology reframed personal loyalty as a resource of the nation.
Crew length | Recycled polyester–cotton blend | All-over print with solid black toe and heel accents
A satirical critique of authoritarian vanity and wounded imperial pride.
The image presents power as reactive and insecure, where command is unsettled by ridicule and popularity beyond its control. Exaggerated expression and posture turn authority inward, exposing how spectacle and resentment replace confidence when legitimacy falters.
Historical Note
This illustration appeared in a 1917 issue of La Baïonnette and was created by Pierre-Henri Cami. Titled Jalousie!, it depicts Kaiser Wilhelm II reacting to the popularity of Charlot, using caricature to mock imperial vanity and fragility during the First World War.
See the full Cami: Charlie Chaplin Collection here
Crew length | Recycled poly-cotton blend | All-over print with solid black toe and heel accents
A satirical critique of authoritarian performance and the collapse of imperial bravado.
The image presents power as rigid and overstated, where exaggerated uniform and forced posture reveal authority sustained by spectacle rather than substance. Alongside it, the simplified line-drawing variant strips the figure down to nervous gesture and compressed form, exposing fragility beneath the performance.
Historical Note
These images appeared in a 1917 issue of La Baïonnette and were created by Pierre-Henri Cami. Using caricature and reduction, they mock Kaiser Wilhelm II’s wartime posturing, portraying militarism as brittle and increasingly hollow in the war’s later years.
See the full Cami: Charlie Chaplin Collection here
Crew length | Recycled polyester-cotton blend | All-over print with solid black toe and heel accents
A satirical critique of how care and endurance operate within systems of mass violence.
The image shifts attention away from combat to the quieter labor that sustains life amid destruction. Care appears as presence rather than spectacle, emphasizing steadiness, reassurance, and routine as forms of resistance within the machinery of war.
Historical Note
This spread appeared in a 1915 issue of La Baïonnette and was illustrated by Fabien Fabiano. Organized around a red cross motif, it depicts everyday moments of wartime nursing, highlighting medical care as both labor and refuge in First World War hospitals.
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A study in fear, projection, and the civilian imagination under militarization.
The image presents anxiety as a way of seeing, where ordinary landscapes are reinterpreted as latent threats. Suspicion becomes conversational and self-reinforcing, showing how war teaches civilians to narrate danger into existence long before violence arrives.
Historical Note
This cartoon appeared in a 1915 issue of La Baïonnette and was illustrated by Emmanuel Barcet. It satirizes the spread of wartime paranoia, depicting how military logic reshapes civilian perception during the First World War.
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A satirical treatment of imperial power consumed by its own violence.
The image frames authority as something that endures structurally while eroding morally. Rank, uniform, and command remain intact, but the figure at the center appears hollowed and depleted, suggesting that militarism corrodes those who wield it as surely as those subjected to it.
Historical Note
This cover appeared in an October 1916 issue of La Baïonnette and was illustrated by Gus Bofa. Depicting Kaiser Wilhelm II before and after the toll of war, it reflects French wartime satire that treated empire as self-corrosive rather than heroic.
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Satire aimed at the redefinition of loyalty under conditions of total war.
The image presents transformation as quiet and unquestioned, where familiar roles are repurposed for national ends. What once belonged to private life is recast as public obligation, suggesting how war absorbs everyday symbols and redirects them toward collective duty.
Historical Note
This page appeared in a 1916 issue of La Baïonnette and was illustrated by Jacques Nam. Using a simple two-panel allegory, it reflects how wartime ideology reframed personal loyalty as a resource of the nation.
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An examination of circular authority and the transformation of procedure into power.
The image presents obedience as an end in itself, where rules persist even after purpose disappears. Authority asserts legitimacy through repetition and compliance, exposing how bureaucratic systems maintain control by mistaking activity for meaning.
Historical Note
This cartoon was published in 1916 in La Baïonnette and was drawn by Ray Ordner. It targets the circular logic of authoritarian bureaucracy, depicting an official ordering documents to be sorted and then destroyed, satirizing power exercised through procedure rather than outcome.
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A depiction of procedural performance and the illusion of governance through routine.
The image presents authority as ritualized motion, where gestures repeat and deliberation substitutes for consequence. Continuity is performed as virtue, exposing how power maintains itself by extending process while deferring responsibility.
Historical Note
This illustration was published in 1916 and drawn by Charles Léandre. Titled La séance continue (“The session continues”), it indicts the theater of official deliberation, portraying meetings and debate as self-perpetuating rituals detached from action.
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A study in popular resistance and the refusal to negotiate with authoritarian power.
The image presents expulsion rather than persuasion as the only response to tyranny. Authority is not corrected or reasoned with, but physically removed, underscoring the idea that entrenched power rarely relinquishes control without forceful opposition.
Historical Note
This illustration appeared during the First World War in La Baïonnette and was drawn by A. Willette. Titled “À la porte les tyrans” (“Out with the tyrants”), it channels public anger into a direct visual command, reflecting wartime French satire’s blunt rejection of authoritarian rule.
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A satirical critique of privilege, complaint, and the appropriation of suffering.
The image contrasts lived injury with comfortable grievance, exposing how those shielded from consequence adopt the language of hardship without bearing its cost. Sacrifice is discussed abstractly while its realities sit plainly ignored, making inequality visible through proximity rather than argument.
Historical Note
This cartoon appeared in a 1916 issue of La Baïonnette. It juxtaposes a wounded frontline soldier with a rear-guard bourgeois lamenting rising prices, using irony to critique how privilege reframes inconvenience as sacrifice during wartime.
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A dry satire of bureaucratic confidence under strain.
When institutions insist on their own stability while human consequences recede into the background, irony becomes unavoidable. Wartime satire recognized this tension clearly—and the pattern remains familiar.
Historical note:
The image comes from a 1916 issue of the French satirical magazine La Baïonnette. The cartoon depicts Monsieur Lebureau, buried in documents, insisting that bureaucracy will endure.
An examination of process as power and paperwork as a substitute for responsibility.
The image presents authority turned inward, where procedure replaces purpose and documentation stands in for results. Control is exercised not through effectiveness, but through repetition, compliance, and the quiet intimidation of endless administrative motion.
Historical Note
This illustration appeared in a 1916 issue of La Baïonnette and was drawn by Opnor. It satirizes authoritarian bureaucracy by depicting power absorbed in paperwork rather than problem-solving, critiquing systems that protect themselves through procedure instead of public service.
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Satire directed at figures who profit, posture, and presume themselves untouchable.
When political authority, financial advantage, and moral certainty converge in the same hands, caricature becomes a form of record-keeping. Wartime satire captured these faces with precision—and the type has not disappeared.
Historical note:
The image comes from a 1916 issue of the French satirical magazine La Baïonnette. The caricature page presents a gallery of so-called “undesirables,” targeting politicians, profiteers, and public figures associated with corruption and wartime exploitation. The original caption reads: « Quelques têtes d’indésirables » (“Some undesirable faces”).
Satire aimed at militarism, exhaustion, and the collapse of imperial myth.
The image reduces a symbol of dominance to a figure of strain and injury, stripping authority of spectacle and inevitability. Power appears grounded and diminished, confronting the limits of force once grandeur gives way to consequence.
Historical Note
This illustration appeared during the First World War in La Baïonnette and was drawn by Adolphe Willette. Using the German imperial eagle as a stand-in for militarism, it reflects French wartime satire’s unsentimental critique of authoritarian power.
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An examination of emotional substitution and the management of fear through symbol.
The image presents intimacy as something compressed and portable, where affection is converted into an object meant to steady the bearer. Comfort appears ritualized rather than relational, suggesting how war reshapes private attachment into a tool for endurance amid industrial violence.
Historical Note
This cover appeared in a January 1917 issue of La Baïonnette and was illustrated by Fabien Fabiano. Titled Fétiches et Mascottes, it reflects wartime practices that encouraged soldiers to rely on talismans and symbolic objects as emotional stabilizers.
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A satirical critique of wartime pomposity and the collapse of power into farce.
The image reduces imperial authority to theatrical excess, where costumes and symbols invite ridicule rather than obedience. Violence becomes comic, performance replaces command, and swagger collapses under the weight of its own spectacle.
Historical Note
This cartoon appeared in a 1917 issue of La Baïonnette and was created by Pierre-Henri Cami. Using the figure of Charlot, it turns an encounter with the Kaiser into slapstick, mocking imperial ambition through exaggerated props and physical comedy.
See the full Cami: Charlie Chaplin Collection here
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Satire aimed at authoritarian vanity and the theatrical staging of power.
The image frames empire as a childish performance, where ambition seeks validation through spectacle rather than consent. Authority invites participation in its own myth, only to be met with refusal, exposing how fragile domination becomes once its illusions are challenged.
Historical Note
This caricature appeared in a 1917 issue of La Baïonnette and was created by Pierre-Henri Cami. Using Charlie Chaplin’s screen persona “Charlot,” it mocks Kaiser Wilhelm II’s imperial pretensions, puncturing the fantasy of world domination through humor and refusal.
See the full Cami: Charlie Chaplin Collection here
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A satirical critique of group dynamics, noise, and the politics of who gets heard.
The image presents collective life as a performance of attention, where excess speech becomes disruption and silence is imposed for the sake of order. Humor carries the critique gently, suggesting that harmony is often achieved not through agreement, but through exclusion disguised as necessity.
Historical Note
This illustration appeared in a 1916 issue of La Baïonnette and was drawn by Jacques Nam. Using an animal fable, it turns everyday social tension into light satire, relying on posture and composition rather than exaggeration to deliver its wit.
Natural wood, black, or white frames with matching hands | Silent quartz mechanism
Satire aimed at militarism, exhaustion, and the collapse of imperial myth.
The image reduces a symbol of dominance to a figure of strain and injury, stripping authority of spectacle and inevitability. Power appears grounded and diminished, confronting the limits of force once grandeur gives way to consequence.
Historical Note
This illustration appeared during the First World War in La Baïonnette and was drawn by Adolphe Willette. Using the German imperial eagle as a stand-in for militarism, it reflects French wartime satire’s unsentimental critique of authoritarian power.
A study in popular resistance and the refusal to negotiate with authoritarian power.
The image presents expulsion rather than persuasion as the only response to tyranny. Authority is not corrected or reasoned with, but physically removed, underscoring the idea that entrenched power rarely relinquishes control without forceful opposition.
Historical Note
This illustration appeared during the First World War in La Baïonnette and was drawn by A. Willette. Titled “À la porte les tyrans” (“Out with the tyrants”), it channels public anger into a direct visual command, reflecting wartime French satire’s blunt rejection of authoritarian rule.
100% heavy cotton canvas | Flat corners and sewn construction with reinforced stitching
An examination of paperwork, authority, and the everyday absurdities of military life.
The paired images treat command and compliance as theater, where official gestures carry more weight than outcomes. Bureaucracy appears intimate and intrusive at once, revealing how wartime power asserts itself through forms, orders, and anxious ritual rather than clarity or purpose.
Historical Note
These illustrations appeared in a 22 March 1917 issue of La Baïonnette as part of Pierre-Henri Cami’s feature Charlot correspondant de Guerre. Using Charlie Chaplin’s screen persona, the drawings satirize military paperwork, official posturing, and the small humiliations of life under wartime authority.
See the full Cami: Charlie Chaplin Collection here
100% heavy cotton canvas | Flat corners and sewn construction with reinforced stitching
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