Secours Ouvrier International - Ne touchez pas à la Chine 1925

This striking 1925 poster, issued by the Secours Ouvrier International (International Workers’ Aid), is a powerful example of interwar political graphics advocating international solidarity. Titled “Ne touchez pas à la Chine” (“Hands Off China”), it reflects the intense global tensions of the 1920s, when revolutionary movements and anti-imperialist struggles were reshaping political consciousness across continents.

At the heart of the composition stands a dynamic, almost sculptural figure of a Chinese worker. Rendered in bold red linework against a neutral background, he appears in motion—breaking free, resisting, and confronting unseen forces. His torn clothing and tense posture symbolize both suffering and defiance, while the expressive strokes around him convey urgency and agitation. The simplicity of the drawing enhances its emotional impact, making the figure an emblem rather than an individual.

Surrounding him are fragmented elements—broken lines, scattered symbols, and small flags—suggesting the chaos of conflict and the presence of foreign powers. These visual cues allude to the imperialist pressures exerted on China during the early 20th century, particularly in the wake of unequal treaties and foreign interventions. The imagery transforms a complex geopolitical situation into a direct and emotionally charged call to action.

Typography plays a central role in reinforcing the message. The bold headline “NE TOUCHEZ PAS À LA CHINE” dominates the upper portion, functioning as both a warning and a demand. Beneath it, the phrase “Le Droit des Peuples à disposer d’eux-mêmes” (“The right of peoples to self-determination”) situates the poster within a broader ideological framework, echoing principles that resonated strongly in leftist and labor movements of the time.

The lower section addresses workers directly, emphasizing class solidarity: millions of Chinese workers are described as engaged in a struggle against capitalist imperialism, and their fight is presented as inseparable from that of workers elsewhere. This rhetoric reflects the internationalist ethos of the period, in which labor movements sought to transcend national boundaries in pursuit of shared political goals.

Visually and historically, the poster embodies the aesthetics of early 20th-century propaganda—limited color palette, strong contrasts, and direct messaging—combined with a raw, expressive drawing style. It is less concerned with realism than with impact, aiming to mobilize emotion and action rather than simply inform.

Today, this piece stands as a compelling artifact of interwar activism. It captures a moment when art, politics, and international solidarity converged, offering insight into how visual culture was used to shape public opinion and inspire collective engagement across borders.

Original Poster

Politics - Propaganda - China

The Right of Peoples to Self-Determination

Good condition, some creases, restorations