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The Dogs of War, 1876. Artist: Joseph Swain
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The Dogs of War, 1876. Artist: Joseph Swain
The Dogs of War, 1876. A Russian struggles to control a group of dogs, representing the Balkans, which are pulling at their leashes, eager to chase Murad V, the new Sultan of the Ottoman empire, walking off into the distance. A policeman looking over the fence, (Bull A1, representing Law and Order) advises the dog owner: Take care, my man! It might be awk ard if you was to let em loose!. A contemporary quote from Punch illustrates that Britain was keen to prevent any aggressive action by Russia, which was considering war against the Turks in order to liberate oppressed Christians in the Ottoman empire: All the Powers, agreed with us in thinking that no pressure should be put on the new Sultan. From Punch, or the London Charivari, June 17, 1876
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Media ID 14830408
© The Print Collector / Heritage-Images
Balkans Bosnia And Herzegovina Danger Dangerous Dog Collar Fence Fierce Heritage Image Partnership Herzegovina John Tenniel Joseph Swain Lead Leash Montenegro Serbia Sir John Tenniel Sultan Swain Tenniel Turk Turkey Turkish Warning
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The Dogs of War, 1876 - A Political Satire Unleashed
EDITORS COMMENTS
. In this print by Joseph Swain and John Tenniel, the turbulent political landscape of 19th-century Europe comes to life. The image depicts a Russian figure struggling to control a pack of dogs, symbolizing the Balkans, as they eagerly strain against their leashes. These restless canines represent the desire for independence among various Balkan nations such as Serbia, Montenegro, Bosnia and Herzegovina. Walking away in the distance is Murad V, the new Sultan of the Ottoman Empire. As tensions rise and war seems imminent, a vigilant policeman named Bull A1 (representing Law and Order) peers over a fence offering cautionary advice to the dog owner. His warning serves as an allegory for Britain's stance on preventing Russia from taking aggressive action against Turkey. The accompanying quote from Punch magazine underscores Britain's determination to protect Murad V: "All the Powers agreed with us in thinking that no pressure should be put on the new Sultan". This reflects Britain's concern for maintaining stability within its sphere of influence while also safeguarding oppressed Christians in Ottoman territories. Through clever satire and intricate engraving techniques, Swain masterfully captures both danger and humor in this historic moment. The monochrome aesthetic adds depth to each character depicted – from fierce dogs straining at their leashes to Murad V walking resolutely into an uncertain future. This heritage image partnership between Swain and Tenniel provides us with valuable insight into 19th-century politics while reminding us that even amidst chaos, there are those who strive for peace and order.
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