L'Assiette au Beurre (literally The Butter Plate,[1] and roughly translating to the English expression pork barrel[2][a]) was an illustrated French weekly satirical magazine with anarchist political leanings that was chiefly produced between 1901 and 1912.

The magazine's caricature and editorial cartoon content was drawn from a varied cadre of illustrator-contributors of many backgrounds and disparate artistic styles.

At the time of its founding near the start of the twentieth century, France was divided on crucial issues such as the extension of military service, revanchism (the call of French nationalists to avenge and reclaim from Germany the annexed territories of Alsace-Lorraine), right of association, separation of church and state, freedom of speech, and the emergence of new and radical political and social ideas in France such as revolutionary syndicalism, antimilitarism, anti-clericalism, Proletarian internationalism, feminism and the rise of labour law, which were all subjects of feature in the magazine.

L'Assiette au Beurre is a valuable iconographic testament of the Belle Époque ("Beautiful Era") period in France, characterized by optimism, peace at home and in Europe, new technology and scientific discoveries.

Georges Wolinski (killed in the terrorist attack on Charlie Hebdo), indicated in 2011 that his magazine's work was the legacy of L'Assiette au Beurre.

According to Kevin C. Robbins in Roving Anarchists Flâneurs: The Visual Politics of Popular Protest via Parisian Street Art in L'Assiette au beurre (1900-1914), "For the most sardonic of multi-media exploits, Assiette staff paired artists with noted, left-wing essayists, poets, or novelists who provided suggestions for timely or provocative captions for each image submitted.

The front cover illustration titled "Caisse de grève" ("Strike Fund") was by Théophile Steinlen and referred to the labour movement in the communes of Montceau-les-Mines and the involvement of Pierre Waldeck-Rousseau, among other Interior Ministers.

Although there was little accompanying text, and no clear anarchist theme to the content, the first issue's tone is fiercely satirical and disrespectful of institutions and the affluent; a trend that increased in later editions.

At inception, L'Assiette au Beurre contained no advertising in its body, but was circulated with a 4-page insert, showcasing Sigismund periodicals and literary productions, as well as editions of classic books, to be purchased directly or through a subscription.

Such typographical variation was quite unusual in the media of the day, though Cocorico had previously paved the way by giving their designers freedom to innovate in the manner.

[4]In October 1903, at a time when business in general appeared to be going wrong for Sigismund, he passed management of the magazine over to a certain "de Boulay".

[8] Between 1907 and 1912 Joncières broadened the magazine's appeal abroad by incorporating material about organizations such as the Second International, the CGT and various European socialist parties; the printing of Franco-German and Franco-English special issues, with bilingual captions; inviting outside cartoonists to contribute; and by coverage of significant socio-political events, such as the great French general strike of September 1911.

The purpose of an anarchist, satirical weekly, that considers itself transgressive, is of course to mock forms of authorities of all stripes; the targets ran the map: autocrats, the rich, the military, police, artists and writers, scientists, academicians, politicians, priests and believers, often through fierce caricatures.

In February 1906, Senator René Bérenger, nicknamed " Père la Pudeur" ("Father Modesty") championed a bill focused on child prostitution: under this pretext, he sought to censor what was deemed pornographic and obscene.

With its legality uncertain, the in April 1908 the Chambre des députés (Chamber of Deputies), placed the sale of L'Assiette au Beurre under threat of police sanction.