Social Class Collection (#55)

Soviet poster commemorating May Day, 1950. Artist: A Bearob
Soviet poster commemorating May Day, 1950

Lets Do It!, poster, Russian, 1944. Artist: I Serebriany
Lets Do It!, poster, Russian, 1944. A female worker lifting a pallet of bricks

Domestic servants, 1901. Cook and kitchen maid, parlour maid and scullery maids. Chapter headpiece from The Book of Household Management by Isabella Beeton. (London, 1901). First published 1859-1860

Footman, 1888. Footman presenting a card that a caller has left for the lady of the house. (London, 1888)

The Music of the Future, 1887. Wagners conception of opera as a unification of musical, poetic and scenic elements, which revolutionised the 19th century conception of the genre

The Tempter, 1886. Artist: Joseph Swain
The Tempter, 1886. The spectre of Anarchy looms tall over the working class man as, blindly, he heads towards the edge of a precipice

Our (Very) Friendly Societies!, 1886. Artist: Joseph Swain
Our (Very) Friendly Societies!, 1886. The representative of Britains honest and sober working-class is diligently posting his small savings into the door of the Cormorant Friendly Society

The Great Self-Taxed, 1873. Artist: Joseph Swain
The Great Self-Taxed, 1873. The Liberal Chancellor of the Exchequer, Robert Lowe, makes off with a sack labelled Surplus £ 5, 000, 000

The Real Cap of Liberty, 1871. Artist: Joseph Swain
The Real Cap of Liberty, 1871. The British lion asks the ass What can that Cap Promise, that My Crown doesn t Perform? Eh, Stoopid

Fire and Smoke, 1871. Artist: Joseph Swain
Fire and Smoke, 1871. A Mephistophelean French communist points the way with his petrol bomb as he urges the British workman to fight with him in the cause

Nae That Fou!, 1870. Artist: Charles Samuel Keene
Nae That Fou!, 1870. This cartoon illustrates the growing difficulties that the middle-classes were experiencing in finding, and retaining, good servants

Obstructives, 1870. Artist: Joseph Swain
Obstructives, 1870. In the doorway of the school, a variety of Ministers and Nonconformists argue, whilst Mr Punch tells Policeman Bull that this prevents the two working-class children from entering

Renewing The Lease, 1870. Artist: Joseph Swain
Renewing The Lease, 1870. Madame La France, in the costume of the upper class matron, reads over some papers presented to her by Emperor Napoleon

The Three R s; Or, Better Late Than Never, 1870. Artist: Joseph Swain
The Three R s; Or, Better Late Than Never, 1870. In February 1870 Forster introduced his Elementary Education Bill in Parliament

Tyranny, 1870. Artist: Charles Samuel Keene
Tyranny, 1870. A group of labourers and criminals are shown discussing initiatives that were designed both to improve the education of the working-classes, and to cut crime

A Savage Pastime; or, the Morality of Field Sports, 1870. Artist: Georgina Bowers
A Savage Pastime; or, the Morality of Field Sports, 1870. The rural labourer doffs his hat to the upper class rider who is preparing to set off with the Hunt

A Pleasure Excursion - First-Class!, 1824. Artist: Joseph Swain
A Pleasure Excursion - First-Class!, 1824. A mixed group of passengers enjoy the comforts of first-class railway travel. The large gentleman in the top hat claims to be a director

Womans Wrongs, 1874. Artist: Joseph Swain
Womans Wrongs, 1874. A brutish working-class husband prepares to beat his wife who still bears the insignia of previous violence

Necessitas Non Habet Bye-Laws!, 1874. Artist: Charles Samuel Keene
Necessitas Non Habet Bye-Laws!, 1874. The perils of over-indulgence and mistaking the alarm bell for one that summons servants are illustrated in this cartoon about the gentleman travelling first

The Sunday Question, 1869. Artist: John Tenniel
The Sunday Question, 1869. The drinking habits of the working classes was always a cause for concern amongst their social superiors

Wisdom and Wind-Bag, 1866. Artist: John Tenniel
Wisdom and Wind-Bag, 1866. The master of rhetoric, Thomas Carlyle, is shown commenting on a speech being given to the masses by John Bright

Lessons in the Vacation, 1866. A public school-man says He-ar Cabby, We ll Give you Eighteen-Pence to take us to Brixton. The cabby replies Well, I generally do carry Children Alf Price

Going Down to the House, 1866. Artist: John Tenniel
Going Down to the House, 1866. Lord Russell remarks Well, Bright, What do you Want? Jonny Bright replies Anything your Honour is Willing to Give me Now

Oxford in the Future, or the New Freshman, 1865. Artist: John Tenniel
Oxford in the Future, or the New Freshman, 1865. The Navvy says Gallon O Audit Ale, Guv nor, Please. Is got I Blunt to Pay Vor n The Liberal MP, Lord Palmerston

Corn versus Chaff, 1860. John Bull represents the agricultural worker in the heat of the day working to gather the harvest so that the people may be fed through the coming winter

One Good Turn Deserves Another. The Working Man Enlightening the Superior Classes, 1858. This was a time in which the educated minority spent much time posing as the Working Mans Friend

The Aristocratic Fate at Cremorne, 1858. Terrific Descent Amidst Showers of Water-Works. Here Punch pokes fun at the aristocratic ladies who had arranged a major fete in Cremorne Gardens

Seasonable Advice - Put by for a Frosty Day, 1861. Mr Punch encourages a labourer to join the queue of fellow workers at the Post Office rather than spend his money on drink

The Strike, a Subject for the Consideration of the Real Working Man, 1859. Committee Man and General Talker says: What I say, my Boy, is-Hold out

The Supporters of the Working Man, 1859. Disraeli introduced his Reform Bill to the House early in 1859. However, because it was seen as a blatant attempt to conjure up extra Conservative votes

The Homeless Poor, 1859. Two members of the ragged underclass are shown sheltering in a doorway, emphasising the point that they do not have any homes of their own

FRANCE: FOUR TRUTHS, c1825. The Fourth Truths of Our Century. Epinal print, c1825

COURTIER AND COUNTRY MAN. Woodcut from Robert Greenes A Quip for an Upstart Courtier, 1592

The Life of Charles Dickens The uneducated father in fustian and the educated boy in spectacles. Dickens on seeing these two characters in Chatham, Kent

From Margaret Sangers Birth Control Review, 1918. Mrs. Poor Patient: If you re rich, the law don t count
CARTOON: BIRTH CONTROL. From Margaret Sangers Birth Control Review, 1918. Mrs. Poor Patient: If you re rich, the law don t count. Drawn by Lou Rogers

ENGLISH WOMEN. An English lady and country woman at the time of Queen Elizabeth I. Line engraving, 19th century

PLIT2A-00125
Fieldings Tom Jones refused admittance by the noblemans porter. Hand-colored woodcut of an illustration by Thomas Rowlandson

PART2A-00041
Young society couple, 1890s. Hand-colored woodcut of a 19th-century Charles Dana Gibson illustration

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"Exploring Social Class Through Art: A Glimpse into the Struggles and Aspirations" In this captivating collection of artworks, we delve into the intricate tapestry of social class, unraveling its complexities and shedding light on the lives of individuals across different strata. Each piece tells a unique story, offering us a glimpse into the struggles and aspirations that defined their existence. The Worker and Kolkhoz Woman sculpture by Vera Mukhina stands tall in Moscow, symbolizing the unity between laborers and farmers during Soviet times. This powerful black-and-white photograph captures their strength amidst societal divisions. Moving to 1872 Westminster, Gustave Doré's The Devils Acre transports us to a notorious slum area where poverty reigns supreme. With meticulous detail, Doré exposes the harsh reality faced by those trapped in destitution while challenging society's indifference towards their plight. Hubert von Herkomer's Our Village takes us back to c1890 when rural life was marked by simplicity and close-knit communities. Here we witness an idyllic scene where neighbors come together, transcending social barriers through shared experiences. An Elegant Lady in a Rowing Boat presents an intriguing contrast as it portrays opulence against a serene backdrop. This oil painting invites contemplation on how wealth can shape one's position within society while highlighting leisurely pursuits enjoyed exclusively by the upper classes. Gustave Doré returns with Limehouse Dock in 1872, revealing another facet - industrialization versus manual labor. Amidst towering cranes and bustling activity, workers struggle for survival amidst unforgiving conditions imposed upon them. Juxtaposing time periods further is The Crane on the Antwerp quay by the frozen Scheldt from 1622—an ode to maritime commerce that fueled economic disparities during Europe's Golden Age. It reminds us how trade shaped hierarchies within societies centuries ago.