Note: Berghahn recently released the paperback edition of Laurence Grove’s Comics in French and also publishes the journal European Comic Art, which he co-edits. Here he discusses his current work on an exhibit of comics for the Hunterian Art Gallery in Glasgow.

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One of the inspiring things about co-editing European Comic Art, apart from the buzz of working with Ann Miller and Mark McKinney, is the connections it creates.  In recent times we have had the pleasure of receiving scholarship on comic art from England, France, Greece, Canada, Italy, Spain, Argentina and Germany, and from the eighteenth century to the twenty-first. It is not long before you are reminded that whatever your speciality, there are unexpected link-ins elsewhere and contradictions to the knowledge we might have taken for granted.

It may seem strange, therefore, that one of my current projects is to prepare an exhibition whose provisional title, Scotland and the Birth of Comics, could appear to bask in positivist certainties. The display, which will open in Glasgow’s Hunterian Art Gallery before touring, will bring to light a little-known work of primary importance, The Glasgow Looking Glass of 1825. The Looking Glass appears to be the world’s oldest comic, predating the earliest published ‘comics’ by Rodolphe Töpffer by eight years, Le Charivari by seven, and Punch by sixteen.  Building on the historic angle and taking the notion of graphic narrative in its widest sense, the exhibition will allow us to showcase Hunterian treasures from the Roman period to Hogarth and on to contemporary selections, as well as key manuscripts and printed works from Glasgow University Library’s Special Collections and certain related items from Glasgow’s museums.

At the initial research stage (I have the Glasgow Looking Glass in front of me as I write) I have been struck by the intertwining connections. The Looking Glass inspired Punch, but its characters—the street musicians, the clergymen, the medics, and so on—also offer firm reminders of the styles of Töpffer, Rowlandson, and Hogarth. It is thus inevitable that the exhibition will lure the visitor in with the promise of newly-found canonical certainties (comics started in a specific time and place, and that is Glasgow in 1825), only then to make it clear that the complexities are so that such certainties must be flawed.

This week I am going to Geneva to meet with the Director of the Bibliothèque de Genève, Alexandre Vanautgaerden, and his team, with a view to a possible loan of a Töpffer manuscript. Ironically, having made the notion that Töpffer did not invent the comic strip (nor did anyone else) a central theme of my Comics in French (Berghahn Books), I am strangely excited about getting to see the Swiss schoolteacher’s creations in the flesh. It is the fact that life is a hybrid art full of contradictions that makes it such fun. A bit like comics.

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Laurence Grove is is Reader in French and Director of the Stirling Maxwell Centre for the Study of Text/Image Cultures at the University of Glasgow.

To view more images from the collection, visit the Glasgow University Library Special Collections Department.