Back from Bololand / L.M. Glackens.
Illustration shows a large William H. Taft wearing a stars and stripes turban, with a large knife labeled "The Big Bolo" stuck in his belt, a notice attached stating "For Stand Patters"; he is speaking to a group of diminutive figures labeled variously "Congressman" with a "Manila Souvenir Spoon", "Philippine Industries, Free Trade Promises, [and] Senate Bill". In the background, on the left is the boarding ramp to a ship, on the right, are two entrances to a railroad station platform labeled "To Washington Direct", one entrance is labeled "Philippine Free Trade" and the other is labeled "Stand Pat". Taft is telling them to be sure to choose the correct train, i.e., to enter through the "Stand Pat" gate.
Title from item.
Caption: Our Foremost Filipino Now, boys, after all my talking, don't go and take the wrong train.
Illus. in: Puck, v. 58, no. 1491 (1905 September 27), cover.
Copyright 1905 by Keppler & Schwarzmann.
It wasn't really until the 1700s that caricature truly blossomed as a form of political criticism. In the late 1750s, a man named Thomas Townshend began using the techniques employed by earlier engravers and applying them towards a political model. This gave Thompson's cartoons a much greater feeling of propaganda than previous artistic critiques of the time. The intense political climate of the period, and often accusatory nature of most political cartoons forced many artists to use pseudonyms in order to avoid accusations of libel. Other artists took it a step farther, and left their cartoons completely unsigned, foregoing any credit they may have received. Political higher-ups were notoriously touchy about their reputations and were not afraid to make examples of offenders. Puck was the first successful humor magazine in the United States of colorful cartoons, caricatures and political satire of the issues of the day. It was published from 1871 until 1918.