Content note: Period caricature of a rubber collector crushed by a snake with Leopold II's head. This object is shown as it was published. Why

"In the Rubber Coils", 1906 UK cartoon: A Congolese rubber collector is crushed in the coils of a snake wearing King Leopold

"In the Rubber Coils" (Punch, 1906)

A Congolese rubber collector is crushed in the coils of a snake wearing King Leopold II's crowned head, over the caption "Scene - The Congo 'Free' State," turning the regime's own name for itself into the accusation.

Edward Linley Sambourne drew this cartoon for Punch, published on 28 November 1906 during the British press campaign against King Leopold II's rule in the Congo. A Congolese rubber collector is crushed in the coils of a snake that wears Leopold's crowned head, over the caption "Scene—The Congo "Free" State." The caption puts the regime's own name for itself in quotation marks, which is the name-calling, while the snake image attaches a widely feared creature to the king, which is transfer.

Propaganda techniques used in this cartoon

Date
November 28, 1906
Period
Pre-1914
Made by
Punch magazine

Full record

Region, Country, Medium, Issuer type, Regime, Leader, Audience, Purpose, Themes, Event, Source, Rights
Region
Western and Central Europe
Medium
Cartoon
Issuer type
Media
Regime
Campbell Bannerman Government
Leader
Henry Campbell Bannerman
Audience
Domestic public
Purpose
Demonize
Themes
Empire and colonialism, Labor
Event
Congo Reform Campaign
Source
Identified Openly sourced: the speaker is who they say they are
Source
Wikimedia Commons, retrieved September 27, 2026
Rights
Public domain (published 1906; artist died 1910)
Edward Linley Sambourne, "In the Rubber Coils. Scene - The Congo 'Free' State", Punch, 28 November 1906

Text on the object

Original (English) · read from the image, not independently checked

Original (English) · read from the image, not independently checked

IN THE RUBBER COILS.

Scene—The Congo "Free" State.

Linley Sambourne del.

The artist's cursive signature at lower left is stylised and hard to read letter-by-letter; transcribed as 'Linley Sambourne del.' (the artist's standard signing convention, del. = delineavit) based on the visible shapes, matching the documented attribution.