Artwork

Vanity Fair: Statesman, No. 71 "One of the Lambs of the Political Fold"

Vanity Fair: Statesman, No. 71 "One of the Lambs of the Political Fold" is a print by the Impressionist artist Carlo (Ape) Pellegrini. It dates from 1871 and is held in the collection of the Cleveland Museum of Art. This 1871 lithograph by Carlo Pellegrini was published in Vanity Fair as part of its series of caricatures of prominent public figures.

About this work

Overview

This 1871 lithograph by Carlo Pellegrini was published in Vanity Fair as part of its series of caricatures of prominent public figures.

This 1871 lithograph by Carlo Pellegrini was published in Vanity Fair as part of its series of caricatures of prominent public figures. It portrays a distinguished man in formal attire, rendered with sharp lines and tonal contrast. The image was one of seventy-one in the magazine’s 'Statesman' portfolio, designed to capture the character of contemporary political leaders through satirical yet refined portraiture.

Subject & Meaning

The subject is Sir John A. Macdonald, Canada’s first prime minister, identified by the caption 'One of the Lambs of the Political Fold.' The title subtly critiques his perceived docility in navigating complex political alliances. His composed demeanor, formal dress, and cigar suggest authority, while the lamb metaphor implies a quiet, perhaps passive, role within the British imperial system.

Technique & Style

Pellegrini employed lithography to achieve fine detail and tonal gradation, using chiaroscuro to model the figure against a pale background. The profile view emphasizes facial structure and the angularity of his hat and cane. His attire—top hat, long coat, gloves—is rendered with precision, reinforcing social status. The style balances realism with gentle caricature, avoiding overt distortion while highlighting recognizable traits.

History & Provenance

The print was originally issued in Vanity Fair in 1871 and later acquired by The Cleveland Museum of Art. It entered the museum’s collection as part of its broader holdings in 19th-century British satirical prints. The work’s survival in good condition reflects its popularity and the care with which such periodicals were preserved by collectors and institutions.

Context

Vanity Fair’s 'Statesman' series emerged during a period of heightened public interest in political personalities across the British Empire. Pellegrini, signing as 'Ape,' was among the most influential caricaturists of his time. His images blended wit with social observation, offering the middle class a visual commentary on power, identity, and governance in an era of expanding democracy and imperial administration.

Legacy

Pellegrini’s work helped define the visual language of political satire in Victorian Britain. His prints, including this one, remain valuable for understanding how public figures were perceived and mediated through popular media. The Cleveland Museum’s preservation of the piece ensures continued access to this intersection of art, politics, and print culture in the late 19th century.