ged, in the 1930s, as one of Fleet Street’s finest cartoonists, and under the pseudonym Gabriel, he put his humour and his brilliant drawing skills to work for the Communist Party's daily paper , the Daily Worker, now published as the Morning Star. In 1935, he sent some satirical political cartoons to the Daily Worker, guessing correctly that it was the only newspaper radical enough to print them. The Daily Worker’s staff liked his cartoons but couldn’t pay him. Friell told them to use them anyway. A few months later the paper offered him a job as their regular cartoonist, and he joined them early in March 1936. By then, the Daily Worker’s staff had transformed a rather humourless propaganda organ, begun in 1930 by the Communist Party of Great Britain, into a fully professional newspaper. Its appearance and contents were as up-to-date as any mainstream Fleet Street paper. The addition of Gabriel’s cartoons gave its leader/editorial page a new cutting edge, as did his other work on the paper. Bill Rust, one of the founders and editors, noted Friell’s arrival: "Gabriel first appeared on the scene in February 1936. In him was immediately recognised an artist with a sure political understanding. Both his artistic and political ‘line’ were just what we were waiting for! Apart from being a cartoonist, Gabriel is also a writer and critic of considerable talent". Jimmy Friell chose an appropriate nom de guerre for his Daily Worker cartoons: "In one way or another then it looked like the last trumpet was being sounded for existing society, so I took the pen name of Gabriel, the Archangel and settled down to helping the process along. My value lay in supplying the humour that the paper rather desperately needed." His cartoons mordantly illustrate WH Auden’s epitaph for the 1930s. “The clever hopes expire, of a low dishonest decade.” His subjects ranged from the Hunger Marchers, the debilitating unemployment and the meagre dole, the state of race relations, the thuggery of the British Union of Fascists to the increasing threat to peace from the Fascists abroad.
Gabriel was particularly witty at using British national symbols to deride the systematic news management of the Government. On the threat of war from the Japanese and the Fascists, he was stri
kingly prescient. His depictions of Franco, Mussolini and Hitler are only exceeded in their bite by his series of attacks on the tragically misguided Neville Chamberlain. Perhaps his most memorable symbol was the Axis horse (or mule?) – a centaur with Hitler’s head, and Mussolini as its hind end. In November 1956, he became disillusioned with the Party and walked out over the stance the newspaper took over the Soviet intervention in Hungary. Sadly for Gabriel, although he did work for other newspapers such as the Evening Standard, his departure from the Daily Worker marked the end of his heyday as a political cartoonist.Jimmy Friell remained a convinced socialist until his death on 4th February 1997.Fallen Angel! The political cartoons of the Daily Worker cartoonist “Gabriel” is at the Political Cartoon Gallery, 32 Store Street, London WC1. The exhibition runs until 28 April.
