Caricature of Baron James de Rothschild as a dog hiding his money

Identifier
irn539584
Language of Description
English
Alt. Identifiers
  • 2016.184.319
Dates
1 Jan 1900 - 31 Dec 1900
Level of Description
Item
Languages
  • French
Source
EHRI Partner

Extent and Medium

overall: Height: 25.500 inches (64.77 cm) | Width: 19.625 inches (49.848 cm)

Creator(s)

Biographical History

The Katz Ehrenthal Collection is a collection of more than 900 objects depicting Jews and antisemitic and anti-Jewish propaganda from the medieval to the modern era, in Europe, Russia, and the United States. The collection was amassed by Peter Ehrenthal, a Romanian Holocaust survivor, to document the pervasive history of anti-Jewish hatred in Western art, politics and popular culture. It includes crude folk art as well as pieces created by Europe's finest craftsmen, prints and periodical illustrations, posters, paintings, decorative art, and toys and everyday household items decorated with depictions of stereotypical Jewish figures.

Archival History

The poster was donated to the United States Holocaust Memorial Museum in 2016 by the Katz Family.

Acquisition

United States Holocaust Memorial Museum Collection, Gift of the Katz Family

Funding Note: The cataloging of this artifact has been supported by a grant from the Conference on Jewish Material Claims Against Germany.

Scope and Content

Poster with a caricature of Baron James de Rothschild with his face on the body of a crouching dog hoarding sacks of money. It was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. The Rothschild family was not involved in the scandal, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Conditions Governing Access

No restrictions on access

Conditions Governing Reproduction

No restrictions on use

Physical Characteristics and Technical Requirements

Offset lithograph poster in black ink on light brown paper depicting a caricature of a man’s head on the thin body of a dog. His ears are pointed, there is a large hairy mole on his cheek, and he has exaggeratedly stereotypical Jewish features: thick eyebrows, a large, pointed nose, and a fleshy lower lip. His curly black hair is receding and he has a bristled mustache with bushy mutton chops. He is standing on his haunches in quarter left profile, hunching forward, his eyes wide with concern, as though worried someone might see him. His front legs are held out, a full money bag marked 30,000 between his paws. Behind him, there is a curved wall of similarly marked bags stacked 4 rows high. There is French text across the top and bottom. The edges are unevenly torn and taped.

People

Subjects

Genre

This description is derived directly from structured data provided to EHRI by a partner institution. This collection holding institution considers this description as an accurate reflection of the archival holdings to which it refers at the moment of data transfer.