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The Service Franchise, 1884. Artist: Joseph Swain
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The Service Franchise, 1884. Artist: Joseph Swain
The Service Franchise, 1884. The footman complains to the maid that household servants were not going to be recognised with the right to vote. This relates to the recently introduced Franchise Bill. Gladstones Liberal government had started work on this matter after pressure from the Radicals, and it proposed the creation of a new franchise for those occupying lands or tenements worth £ 10 a year or more. From Punch, or the London Charivari, March 15, 1884
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Media ID 14831859
© The Print Collector / Heritage-Images
Footman Heritage Image Partnership John Tenniel Joseph Swain Liberal Party Maid Radical Radicalism Servant Service Industry Sir John Tenniel Swain Tenniel Complaint Franchise Bill
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EDITORS COMMENTS
The Service Franchise, 1884: A Glimpse into the Struggles of Household Servants in the 19th Century". This print by Joseph Swain takes us back to the year 1884, offering a unique insight into the challenges faced by household servants during that era. In this satirical cartoon from Punch, or the London Charivari, we witness a footman engaged in an animated conversation with a maid. The footman's disgruntled expression suggests his frustration over household servants being denied their right to vote. During this period, Gladstone's Liberal government was under pressure from Radical groups advocating for electoral reform. As a response, they introduced the Franchise Bill which aimed to create new voting rights for individuals owning lands or tenements worth £10 or more per year. This bill became a topic of intense debate and discussion within political circles. Swain's artwork masterfully captures both the essence of this political issue and its impact on everyday people like these two servants. Dressed in their respective uniforms, they represent different facets of service industry roles prevalent at that time. Through this monochrome engraving, Swain skillfully combines caricature and satire to shed light on societal inequalities and highlight how certain professions were excluded from participating in important democratic processes. As we observe this heritage image partnership between Swain's artistic vision and John Tenniel's editorial guidance (as seen through his involvement with Punch), we are reminded of how art can serve as a powerful tool for social commentary even centuries later.
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