This wall hanging (or poster, if you prefer) was purchased back in 2016, a little ahead of the rise in scholarly interest in children’s creations as outsider art, whether found in illustrated magazines, homemade booklets, or copybooks. Like most pieces of this sort, it presents a mystery about its creator and when and why it was made without offering up enough clues to solve it. It caught the eye of Ian Dooley, then Cotsen’s curatorial assistant and he wrote a post about his investigation.
The boy who made it probably liked the French equivalent of blood-and-thunders–nineteenth-century popular fiction full of adventure, crime, overheated dialogue, stereotypes and lurid illustrations. It reminds me of Booth Tarkington’s Penrod, hiding in the carriage house, filling a notebook full of a serial narrative that could have included a story like this one. Give Ian’s post a pass if you’d rather not look at illustrations of a drunk being stabbed, his body lying in its own blood in the road, a man brandishing a gun, and a public execution.
One of our newest acquisitions here at Cotsen is an example of juvenilia,or a work created by a child writer/artist (we apply it to works made by children who did not grow up to be famous). This particular piece is a cleverly illustrated French-language poster presumably created and inscribed by J. M. Legeay (Jean-Marc?) September 1896 (see final panel). The poster tells a story in pictures about a murder and what ensues after the despicable act, complete with a sobering moral.
Although this murder is resolved and justice is meted out, many mysteries surrounding the piece itself. Where was it made? Who made it? Why was it made? Without further ado: Un Crime Effroyable [A terrible crime].
This handmade poster in ten panels of paper with a folding cardboard border is illustrated in crayon, ink, watercolor, and pencil. All the panels are backed on black linen cloth and is carefully designed so that it can be hung on the wall or neatly folded up.
The top two panels bear a decorative title:
(Notice the string for hanging and the torn hanging hole on the left.)
From these physical facts we might infer that this item was diligently worked on by a young (and presumably amateur artist) with a good degree of skill. It would have taken several hours at least to illustrate, cut, lay out, and paste down on the backing. But we don’t get a clear indication of why he spent so much time creating it. Legeay probably didn’t create a this story of crime and punishment just for his own amusement. Rather, it seems possible that it might have been a school assignment, an exercise in moral education. Let’s see what the young man learned…
In this first scene there are two characters: a middle-class fop in bright yellow pants, who has just left the wine and liquor store in the background, and a small green blob in the middle distance, whom we soon learn is the malefactor.
Here, with no explanation, our friend with the cherubic face who is feeling no pain is stabbed by a mustachioed assailant. But notice how the clothes of the victim and the murderer identify their respective classes. The bourgeois with his top hat and parasol is cut down by a working class man in his plain green coat and matching kepi. At this point we might ask if this is an illustration of class conflict; an instance of a working-class man preying on a defenseless middle class-man by a middle-class child evincing a common bourgeois fear of the supposedly brutal and violent lower class. Of course, the artist Legeay is just a child and foisting a propagandist motivation upon him may not be warranted. I believe he is just reflecting the world views around him in a school assignment.
In this next scene two officers happen upon the hapless body of our victim. Notice their spurs . . . but lack of horses to use them on.
The killer smokes his victim’s pipe, the scoundrel!
Our murderer contently relaxes in a local café after his grisly deed, as the be-spurred officer enters. In this panel are the first clues as to the place of origin for this poster. On the door is written “Café” and “Cidre.” “Cidre” is French for cider, specifically the kind produced in Normandy and Brittany. This familiarity with cidre might be an indication that Legeay is from one of these regions (or just a budding drunk). But as we will see, there is other evidence that points in a very different direction.
The murderer, sandwiched between spurs, is apprehended and clearly startled.
Here our guilty man seems repentant and regretful at the Assize Court. Notice the second sign in the background: Etres Sans Frapper (enter without knocking).
In this scene the action of the story comes to a close. Our killer is escorted to a smiling executioner manning the infamous guillotine.The perpetrator’s escorts are none other than our officers-in-spurs and a crucifix bearing priest. This panel, however, shows us more than just the moments leading up to our murderer’s death. Look closely at the left side of the illustration and you might just be able to make out the most puzzling feature of this item, what appears to be debossed text reading: Hollonge.
Provided here are two closer images of the text (one vertical, one horizontal):
This text could be a hand-written inscription or a trade mark on the paper itself. It seems unlikely that it is the debossed trade mark of a paper manufacturer named Hollonge, because the mark does not appear on any other panel of the poster and no such company was turned up in my research. So it might be an inscription. But who wrote it and why? What does it mean?
“Hollonge” might be a corruption of “Hollogne,” or short hand for the town of Grâce-Hollogne in the Ardennes. But Grâce-Hollogne, it turns out, is located not in France, but in Belgium. Bu tif the poster is from Belgium, why the text is written in French? The Ardennes is located in the province of Liège in the region known as Wallonia and Walloons are French speakers. So perhaps Legeay was a Walloon.
The word “Hollonge” seems to have been etched by a tool. It is composed of recessed markings and some of the strokes appear too thick to have been written by pencil or pen. However it was made, it appears to have been a mistake:if the word is supposed to be “Hollogne,” it is spelled wrong. Furthermore the final character “e” also resembles an “l”. Maybe Legeay wrote “Hollonge” by mistake, which is possible because he made spelling errors elsewhere. But why would Legeay write the place of origin on his own work? Surely he knew (and doesn’t need to share) where he lived and where he made the poster. Though the erroneous word is an inscription, it probably isn’t Legeay’s.
It’s more reasonable to assume that the inscription was written by a later owner of the work, perhaps a collector of juvenilia or an antiquarian bookseller. This owner was probably French, considering that “Hollogne” is written with two l’s rather than with one, which is the Wallonian spelling. The word might have been erased because of the spelling error or because the attempt to place the origin of the work in Hollogne was unfounded.
With the limited evidence we have, all I can do is offer a few guesses about this work’s place of origin. Does the mention of “cidré” point towards Normandy or Brittany or does “Hollonge” point to Belgium? We would need more information to make this call.
But what we can be more certain of is that Legeay is probably a middle-class boy, that he was a better illustrator than he was a speller. This brings us to the final panel:
The tricolour banner, using the three colors of the French flag, directs the possible origin of the work back towards France; or at least informs us that Legeay is a Francophile.
In the bottom right hand corner of the work we get our autograph: J M Legeay. Considering that the “m” is so diminutive, it might denote the second half of a hyphened name. A common name of this form, was (and still is) Jean-Marc. “Sep R/96” I take, for obvious reasons, to represent the month of Septembre (September) and the year 1896.
This final panel delivers the coup de grâce of the piece, a moral from our insightful creator that caps off the story: “N’assasinez point et vous n’serez point gigotiné” [Don’t murder and you won’t get the guillotine]. Pointedly, young Legeay has spelled two words wrong: “assasinez” is missing a the second double ess (“assassinez”) and the spelling of that last word, “gigotiné,” instead of the Francophone “guillotine.” Legeay was much more careless with the text than with his illustrations. I don’t think the boy was as motivated to draw out the moral lesson as in illustrating violence (probably to the chagrin of his teacher).
But let’s return to that very odd word “gigotiné.” It might be indicative of more a child’s bad spelling. Using “gigotiné” might prove that Legeay was cleverer than he appears. “Gigotiné,” if spelled this way on purpose, has a double meaning. Not only does it denote the guillotine, it also associates another word with that infernal machine: “gigotin,” a prepared leg of lamb. Coupled with this association, “gigotiné” reminds us of the outcome of the guillotine.. It’s tongue and cheek, of course, and probably not meant to be taken too seriously. It was probably a common euphemism; not something Legeay came up with himself.
I can’t help but wonder if this piece was ever hung, and where it might have been displayed. Would Legeay’s parents have let that proud child hang this in their living room?
This gory but humorous poster is still shrouded in mystery. I’ve tried my best to explain who might have made this work and why they might have made it, but my interpretation of this child’s work should be taken with a grain of salt. Though this poster begs more questions than it provides answers, it is nevertheless a bracing look into how a child represented with gusto gory murders and swift guillotines.
Once upon a time, cereal shopping was an adventure. While mother did the circuit of the aisles, the child would disappear to the cereal section to decide which cereal had the best giveaway. When mother arrived, negotiations would begin about what brand her darling wanted versus what she was willing to buy. Once the desire was planted to go for all the prizes, the repeat purchases would create brand loyalty. We can give thanks to the Kellogg Company for putting the first promotional giveaway for children, Funny Jungleland Moving Pictures (1909), in boxes of cornflakes.
source for studying how children responded to their representation of regions formerly under French control.
The cookie box contained a color enamel metal flag of an African nation. There were two sets, 20 representing the Muslim countries of Africa, and 28 for the “pays noirs” or Black countries. Cotsen’s set has all of them except for the Rhodesian flag, which is unusual because most copies for sale are seriously defective. Each set was to be displayed on a folded cardboard sheet with perforations illustrated by Wilquin, which the child-collector had to write away for. A full-length portrait of a Berber Tuareg warrior is on the Muslim set, a Bantu warrior on the Black one. The back of the cardboard display has a big illustrated advertisement for Petit-Exquis, but no clues why L’Alsacienne was issuing this elaborate set.
format is unusual because the cards had to fit into the little circular cardboard packages containing the famous semi-soft cheese, which had been available in central Africa since the 1930s. The child determined to assemble a complete set had to convince his mother to purchase over 200 boxes of cheese. Single cards or selections are common, but one as complete as Cotsen’s is very rare.
If cut along the lines on the front and folded as directed, the card could be displayed. There is a caption, but no informational text on the back. To look at these cards, no one would have any idea that the Congo had been roiled by political turmoil since it was granted independence by Belgium in 1960.
To understand why these two French corporations produced such attractive, elaborate promotional giveaways, one needs to know something about the history of European corporate investment in Africa during the twentieth century. However, have economists studied this phenomenon to learn more about how they reflectedcorporate strategies for market growth at home and possibly abroad? Who was responsible for the projects, which could not have executed quickly or cheaply. Was there a motive other than an economic one for taking on projects like these which could not have been developed quickly and cheaply?
