John Bull kust de schoenen van Benjamin Disraeli Possibly 1844 - 1846

Curator: John Doyle's print, "John Bull Kisses the Shoes of Benjamin Disraeli," likely from the 1840s, is a rather potent image. It's interesting how the printmaking process itself—the labor of engraving, the mass production—lends itself so well to political caricature, wouldn’t you agree? Editor: Absolutely. The level of detail that the engraver, Doyle, was able to achieve here is quite fascinating for something intended for mass consumption. What's your take on this piece beyond its materials? Curator: The act of kissing the shoe strikes me first. We see a very material exchange of power enacted: the working classes literally abasing themselves before Disraeli, note the fine fabrics of his clothing compared to the simple suit of John Bull, but more than that, this print implicates its audience in this exchange, they're literally purchasing an image that perpetuates class difference. Isn't that something? Editor: It does make you wonder about the intentions behind its creation and consumption. Were the buyers in support, or critical? Curator: A crucial question. And I wonder about the labour involved in this chair Disraeli sits in. Did the working class create it and sell it off for the aristocrat to sit comfortably on? Who produced this hat and robe Disraeli sports? And how were they compensated? By looking into those very questions of production, labour and social mobility, this portrait turns into something far more complex than the immediate narrative. Editor: That’s a fascinating angle. Thinking about the object and production itself really changes how I understand it. Thank you for sharing this material perspective! Curator: Of course. I think interrogating art in this way keeps us grounded in the reality of its making and the social forces that shape both its creation and consumption.