From the category archives:


48453c_008A complete archive of the original artwork, photographs, advertisements, and fully edited and corrected typewritten essays which comprise the official guide to the 1936 Democratic National Convention, held in Philadelphia: including 41 original pen and ink drawings by Lyle Justis used as vignettes and illustrations throughout the text; over 200 original photographs, most with identification stamps, photographers include Harris & Ewing, William Rittase, Earl C. Roper, Arthur Rothstein, Ben Shahn, Lewis Wickes Hine, H.H. Rideout, Phillip B. Wallace, Theodor Horydczak, Underwood & Underwood Studios, Jean Sardou, and Bachrach, departments include the U.S. Bureau of Mines, the U.S. Forest Service, the Treasury Department, the Resettlement Administration, the U.S. Navy, the National Park Service, and the Works Progress Administration; and approximately 47 original typewritten manuscripts, heavily edited and corrected, which make up the essays printed throughout the program, including biographies of important members of the Democratic Party and reports from a wide variety of governmental departments, programs, and administrations; together with typed letters from members of the Democratic National Committee and advertisers in the program, captions, ad copy, and three copies of the program, one final printed version in orig. illus. wrpps. and two mock-ups of the signed limited edition of the program, full calf bindings.




The contributors to the 1936 program include varied and notable figures from politics, journalism, and other fields. Hendrik Willem Van Loon was a historian and the first children’s book author to win the Newbery Medal. Roosevelt later called on him to work on his 1940 presidential campaign. Bascon Timmons was an esteemed newspaperman with a career spanning six decades, who served as an advisor to Presidents Coolidge and Roosevelt.


Edward A. Filene was known for building the Filene’s department store chain and for his role in pioneering employee relations, a 40-hour work week, minimum wage for women, profit sharing, paid vacations, and credit unions. Claude Bowers, who served President Roosevelt as ambassador to Spain and Chile, wrote such influential histories of the Democratic Party that they moved Roosevelt to build the Jefferson Memorial. James Hamilton Lewis was the first Senator to hold the title of “Whip” in the United States Senate, and was a leader in getting much of Woodrow Wilson’s “New Freedom” legislation passed. Cordell Hull was the longest-serving Secretary of State in US history, and received the Nobel Peace Prize in 1945 for his key role in establishing the United Nations.


Henry Morgenthau, Jr. served as Secretary of the Treasury under FDR and was instrumental in designing and securing financing for the New Deal, as well as playing a major role in establishing the financing for US participation in World War II through a system of war bonds. Homer Cummings, the U.S. Attorney General from 1933 to 1939, secured the passage of twelve laws related to the “Lindbergh Law” on kidnapping, made bank robbery a federal crime, established Alcatraz prison, and strengthened the FBI. James Farley served simultaneously as Chairman of the Democratic National Commitee and Postmaster General under the first two Roosevelt administrations, and revolutionzed the use of polls and polling data.


Harold L. Ickes served as Secretary of the Interior and Administration of Public Works, was reponsible for implementing much of Roosevelt’s New Deal, and was in charge of the Public Works Administration relief program. Frances Perkins Wilson was the longest-serving Secretary of Labor and the first woman appointed to the Cabinet. During her tenure, she helped pull the labor movement into the New Deal coalition, assisted in getting the Civilian Conservation Corps and Public Works Administration up and running, crafted laws against child labor, enacted the Fair Labor Standards Act which cemented minimum wage and overtime laws and defined the 40-hour work week, and established the Social Security Act which included unemployment benefits, pensions for the elderly, and welfare for the poor. Marriner S. Eccles was a banker, economist, and member and chairman of the Federal Reserve Board, whose essay in this program titled “The Economic Program Since 1932” is a sort of blueprint for the New Deal.


Harry L. Hopkins was one of the architects of the New Deal, especially the relief programs of the Works Progress Administration, which he directed and turned into the largest employer in the country. During the War, Hopkins also acted as Roosevelt’s unofficial emissary to Winston Churchill. Rexford G. Tugwell was an economist who took part in Roosevelt’s first “Brain Trust”, a group of academics who helped develop policies leading up to the New Deal. Tugwell helped design the New Deal farm program, the Soil Conservation Service following the Dust Bowls of the 1930s, the Federal Food, Drug, and Cosmetic Act, and the Resettlement Administration, a unit of the Federal Emergency Relief Administration which helped the rural unemployed.


Mary Williams (Molly) Dewson was a feminist and political activist who served as the head of the Women’s Division of the Democratic National Committee where she worked with FDR to bring the women’s vote into action. She also worked with delinquent girls and domestic workers, served with the American Red Cross in France during World War I, and as president of the New York Consumers’ League, worked closely with Eleanor Roosevelt to pass labor laws for women. Fannie Hurst was a novelist and suffragist who fought for women to preserve their maiden names after marriage. Charl Ormond Williams was a teacher and suffragist who became the first woman to serve on the Democratic National Committee, and was the youngest and first southern woman to serve as President of the National Education Association.





Cuba, OSPAAAL (Organization of Solidarity with the People of Asia, Africa, and Latin America), 1971 and 1972 

Extensive and Culturally Significant Archive of Approximately 500 Political Posters. An important, unique, and carefully curated collection of political posters, dated from approximately the 1960s to the 2000s, from a wide variety of leftist and militant groups in Europe, the Middle East, Asia, and Latin America, related to a broad range of domestic and international movements and issues, providing an essential overview of the global political climate at the time with regards to radicalism, solidarity, and liberation. Some with scattered soiling, marginal tears, tack holes, and other minor losses, overall excellent condition. Various sizes. Various cities, 1960s-2000s.


France, MRI (Mouvement Revolutionaire Internationaliste), 1980s

This collection documents a vital period in the history of both Western Europe and Third World countries in the second half of the 20th century, a time of political upheaval, domestic terrorism, radical left-wing groups, and liberation movements. The posters that make up this collection can be roughly divided into three categories. First, a large number of the posters document the struggle of the militant left at home within Europe, with movements from Germany, Belgium, France, the Netherlands, Spain, Italy, and Ireland covered including Antifaschistische Aktion, RAF (Red Army Faction), RZ (Revolutionäre Zellen), Secours Rouge, CCC (Cellules Communistes Combattantes), CPN (Communist Party of the Netherlands), Kraakbeweging, RVF (Rood Verzetsfront), AFAPP (Asociación de Familiares y Amigos de Presos Politicos), Moviment de Defensa de la Terra, FRAP (Frente Revolucionario Antifascista y Patriota), Circolo Lenin Catania, Sinn Féin, and the Irish Republican Army. These posters cover a range of issues, including the treatment of political prisoners, hunger strikes, anti-capitalism, anti-imperialism, anti-NATO, urban development, housing shortages, squatters, election reform, the women’s movement, and the labor movement.


Netherlands, Communistische Partij van Nederland, Circa 1965


Ireland, Irish Republican Movement, Circa 1980


Germany, Autonomen Gruppen/Antifaschistische Aktion/RZ (Revolutionäre Zellen), 1984

A second large group demonstrates the solidarity of Western European groups for the assorted liberation movements and uprisings happening across the Third World. These include posters from CISNU (Confederation of Iranian Students National Union), Chili Komitee Nederland, Komitee Jongeren Voor Vietnam, MPLA (People’s Movement for the Liberation of Angola), Inlichtingen Angola-Comité, Palestina Komitee, Solidariteits Komitee Argentinie Nederland, UJPA Belgique (Union des Jeunes Progressistes Arabes), Collectif Pour la Libération de Georges Ibrahim Abdallah, Comité Catalá de Solidaritat Internacionalista, Asociacion de Amistad y Solidaridad con El Pueblo Saharui, Halkin Kurtulusu, MPP (Mouvement Populaire Perou), Association de Solidarité avec Timor Oriental, and MRI (Mouvement Revolutionaire Internationaliste).


Netherlands, Palestijnse Vereniging, 1976


Spain, Circa 1980s


Netherlands, MPLA (People’s Movement for the Liberation of Angola), Circa 1975


Netherlands, Vietnambeweging Delft, Circa 1973

Lastly, the third group of posters represents the political climate within the Third World countries themselves, including organizations such as the Cuban group OSPAAAL (Organization of Solidarity with the People of Asia, Africa, and Latin America), FMLN from El Salvador (Farabundo Martí National Liberation Front), Partido Comunista del Peru, ASALA (Armenian Secret Army for the Liberation of Armenia), FATAH (Palestinian National Liberation Movement), PLO (Palestine Liberation Organization), PFLP (People’s Liberation Front of Palestine), GUPW (General Union of Palestinian Women), PKK (Kurdistan Worker’s Party), YJWK (Patriotic Women’s Union of Kurdistan), ERNK (National Liberation Front of Kurdistan), and YAJK (Free Women’s Army of Kurdistan).


“Either Palestine…Or Hell”, Palestine, FATAH (Palestinian National Liberation Movement), 1983


El Salvador, FMLN (Farabundo Martí National Liberation Front), 1980s or 1990s


Peru, Partido Comunista del Peru, 1986


Palestine, P.L.O. (Palestine Liberation Organization), Department of Information and Culture, 1980s



Journalism in France has a rich tradition of political satire and caricature, dating back many hundreds of years and gaining footholds at many crucial moments in France’s history. Popular in the 17th century, Molière and Jean de la Fontaine earned their fame mocking the upper echelons of society through comic plays or fables, often accompanying their stories with caricatures mimicking the physical characteristics of the protagonists. A century later, around the time of the Revolution, particularly ubiquitous were scandal sheets targeting the royal family, especially Marie-Antoinette, with illustrated and sometimes even pornographic tales depicting the sexual antics and corruption taking place at the court in Versailles. And surrounding the July Revolution of 1830, satire was used to help create a middle-class political critique.

It was during the 19th century that political satire truly blossomed as a form of media, but this type of humor soon became threatening to the monarchy. In 1829, the French interior minister François-Régis de la Bourdonnaye, Comte de la Bretèche, complained, “Engravings or lithographs act immediately upon the imagination of the people, like a book which is read with the speed of light; if it wounds modesty or public decency, the damage is rapid and irremediable.”

While satire was at first severely cracked down upon, it eventually became banned all together. In 1830, a law was passed outlawing attacks on the “royal authority” or the “inviolability” of the King’s person. Under this law, both Honore Daumier and Charles Philipon were arrested in 1831 for drawing unflattering cartoons of King Louis Philippe. Between 1831 and 1835, twenty-eight issues of the weekly La Caricature, the best-known satiric newspaper of the time, were seized, and the paper’s founder was prosecuted in six different cases. And finally, under the September Laws of 1835, a law was passed restricting freedom of the press, specifically targeting and prohibiting political satire altogether, calling a caricature an “act of violence” and mandating that violators be tried by tribunal rather than by jury, and consequences for breaking the law became much harsher.

In 1881, an important law was passed which cut back on many of the policies regarding censorship. While certain types of libel were still outlawed, including some forms of defamation, the effect in the media and in journalistic output was immediate. The number of periodicals and newspapers published in France doubled over the course of a decade.

F.A. Bernett Books currently has in its holdings six important satirical publications which date to the time just before and after the passing of the freedom of the press law of 1881. These serials demonstrate how the thread of satire continued in France through the 19th and into the 20th century, leading to the creation decades later of periodicals like Hara-Kiri and Charlie Hebdo.




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L’Eclipse. Year 1, No. 1 (Jan. 26, 1868) through Year 9, No. 400 (June 25, 1876) (all published). 443 issues (incl. 37 bis, and 6 suppl.) in 3 vols., most 4 pp., numerous issues with caricatures on front and rear covers, this edition with title, half-title and table of contents preceding each year, the final volume bound together with the portfolio “Dessins de l’Eclipse: Interdits par la Censure”: 21 lithographs of alternate covers refused by the Parisian censors. Folio. Contemporary half-leather boards, raised spine, gilt-tooled title and ornament, marbled endpapers. Paris 1868-1876.

Comprising a complete run of the satirical weekly newspaper that succeeded publisher François Polo’s La Lune after it was banned by the authorities. L’Eclipse was one of the most important satirical papers of its time. The extraordinary and inflammatory caricatures primarily by André Gill, with examples from other artists including Paul Hadol, Alfred Le Petit, and Pépin [Claude Guillaumin], lampooned volatile French politics of the late Second Empire, the Franco-Prussian War (the paper was suspended from Sept. 1870-June 1871 following the collapse of the Empire and during the Paris Commune) and the Third Republic, with allegorical images and frequent depictions of Napoleon III, Bismarck, Léon Gambetta, Adolphe Thiers, and François-Vincent Raspail, alongside literary and artistic celebrities including Jules Verne, Gustave Courbet, Emile Zola, Richard Wagner, and Victor Hugo. During the time of its publication, it suffered twenty-two seizures by the law.


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La Lune Rousse. Year 1, no.1 (10 Dec. 1876) through year 4, no. 159 (21 Dec. 1879) (all published). 159 issues, 4 pp. each. Folio. Issues loose as issued in self-wrpps., housed in early boards portfoli. Paris, 1876-1879.

La Lune Rousse was launched by André Gill as a successor to L’Eclipse, and the weekly paper featured ironical and humorous texts about contemporary events and public figures accompanied by striking and dramatic full-page, front-cover and double-page, center-spread caricatures by Gill. It also attracted the attention of authorities, who seized and banned at least 10 issues of the weekly serial during its first year of publication. Despite its stated intentions to merely amuse its readers, Gill did not conceal his Republican, scientific and anti-clerical leanings in his caricatures. Among the figures his drawings either celebrated or lampooned were such notables as Sarah Bernhardt, Émile Zola, Victor Hugo, Charles Darwin, and Gill’s bitter rival, the conservative Catholic journalist Jules Veuillot.


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Gil Blas Illustré. Year I, no. 1 (28 June 1891) through Year XIII, no. 33 (14 August 1903) (plus supplements) (all published). 1891. Bound in 13 volumes, with additional material. Uniformly bound in cloth-backed boards with labels mounted on spines, all original illustrated covers bound in. Paris 1891-1903.

This complete run of the richly illustrated weekly supplement to the daily unillustrated Gil Blas included literary contributions by Verlaine, Courteline, Zola, Maupassant, Mallarmé, Paul Bourget, and other key figures in fin-de-siècle Paris, and featured illustrations, including caricatures and cartoons, by Steinlen, Chéret, Louis Legrand, Jacques Villon, and their contemporaries. Gil Blas Illustré reflects the life and humor of turn-of-the-century Paris, particularly through the great number of drawings of Parisian life that Theophile Alexandre Steinlen contributed, some of which provided harsh criticisms of societal ills, depicting some of the privileged and many of the poor people and children of the city.


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La Libre Parole Illustrée. Year 1, No. 1 (Jul. 17, 1893) through Year 4, No. 200 [i.e. 220] (Sept. 25, 1897) (all published). 220 issues bound in 3 vols.; nos. 1-55, 16 pp. each; nos. 56-220, 8 pp. each. Tall 4to. Half canvas, orig. self-wrpps. bound in. Paris 1893-1897.

This complete run of the illustrated weekly supplement to the French anti-Semitic newspaper La Libre Parole was published under the direction of the far-right journalist Édouard Drumont, with items related to politics, contemporary events, fashion, and sports. Above all, however, it served as a mouthpiece for Drumont and his virulent Ligue Nationale Antisémitique de France, and was mainly known for its denunciation of various scandals and its rampant anti-capitalism, due to the like perceived by Drumont between Jews and capitalism. The paper earned notoriety for its coverage of the Panama Scandal, which got its name from a story in La Libre Parole. It also became a leading anti-Dreyfusard forum and the principal organ of Parisian anti-Semitism during the Dreyfus Affair, and was notable for its dramatic caricatures by a number of well-known humorists and illustrators including Adolph Willette, Lucien Émery (a.k.a. Chanteclair), Émile Cohl, and Émile-Antoine Bayard.


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La Feuille. No. 1 (Oct. 6, 1897) through No. 25 (Mar. 28, 1899) (all published). 25 issues of the broadsheet. Newsprint leaves loose as issued. Folio. Orig. printed portfolio. Paris 1897-1899 (portfolio states 1900).

A complete run in 25 issues of the satirical broadsheet edited by Zo d’Axa (née Alphonse Gallaud de la Pérouse), the prominent and spirited French anarchist and Dreyfusard. Each issue contained a radical political text by d’Axa and a full-page lithographed caricature or illustration, most by the Swiss painter Théophile Steinlen, a regular contributor to Gil Blas et al. Zo d’Axa justified the use of violence as an anarchist, comparing it to works of art. He was exiled and imprisoned twice in relation to the unsparing political criticism of his earlier publication, the anarchist newspaper L’Endehors. La Feuille achieved special notoriety when d’Axa used its pages to endorse a donkey as a candidate for the Chamber of Deputies.


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Le Canard Sauvage. Tous les Samedis. 1903. Numbers 1-31 (all published). 31 issues, each approx. 16 pp. containing text and illustrations. Large 4to. 1/2 leather and boards, raised spine, orig. wrpps., bound in. Pairs 1903.

A complete run of all 31 issues of the short-lived turn-of-the-century politico-satirical periodical, Le Canard Sauvage was written in the style of the better-known and more widely distributed Assiette au Beurre, and with many of the same group of collaborators. The journal, edited by Edmond Chatenay, was anti-clerical, anti-militarist, and libertarian, and ran from 21 March 1903 until 26 September 1903. Textual contributors include Alfred Jarry, Octave Mirbeau, Jules Renard, Ch.-L. Philippe, et al., and illustrators include Steinlen, Valloton, Caran d’Ache, Pissaro, Bonnard, Kupka, Kees van Dongen, Iribe, Herman Paul, et al. Complete runs of this periodical have become quite rare.

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Anni di piombo. The Lead Years, 1968-1982.

Thumbnail image for Anni di piombo. The Lead Years, 1968-1982. August 11, 2014

“Anni di piombo” (“The Lead Years”) has little nostalgic resonance in the US. Unlike “Mai ‘68”, which instantly evokes exhilarating scenes of French student occupations, demonstrations, police brutality, wildcat strikes, riots, and barricades. (And perhaps some fervent threesomes if you made it through Bertolucci’s The Dreamers.) While Mai ‘68 appears retrospectively as both the unfulfilled […]

Contest of Realism. Novyi Lef.

Thumbnail image for Contest of Realism. Novyi Lef. March 11, 2014

Novyi Lef. Zhurnal Levogo Fronta Iskusstv. Year 1, No. 1 (January 1927) through Year 2, No. 12 (December 1928) (all published). 24 issues, published in 22 vols. as issued, comprising a complete first edition of the Soviet avant-garde monthly designed by Alexandr Rodchenko under the editorial direction of Vladimir Mayakovsky, followed by Sergei Tret’iakov, each […]

“The Bankers Shall not Make the Peace” Labor Day Sketch Book 1947

Thumbnail image for “The Bankers Shall not Make the Peace”  <i>Labor Day Sketch Book 1947</i> June 10, 2013

Sally, Ted (drawings). Labor Day Sketch Book 1947. Los Angeles CIO Council. Unpaginated (ca. 32 pp.) presentation of proposed designs, drawn by Sally, for floats, banners, costumes, and other accoutrements for a union-oriented progressive Labor Day parade. Oblong large 4to. Orig. printed wrpps. Los Angeles (CIO Council) 1947. (47538) In the spring of 1947, The […]

Picturing Anarchy: The Graphic Design of Rufus Segar.

Anarchy 41: The Land June 27, 2011

Anarchy.  A Journal of Anarchist Ideas. Vol. 1, no. 1 (Mar. 1961) – vol. 10, no. 12 (Dec. 1970) [Alternately numbered nos. 1-118.] (entire first series). 118 numbers in ten consecutively paginated volumes.  8vo.  Illus. wrpps. In the early 1960s, the editors of Freedom Press, those stalwart protectors of the anarchist tradition in Great Britain, […]