This article is devoted to the journey of an antimilitarist lithograph by Jules-Felix Grandjouan at the beginning of the 20th century through anarchist groups and publications in Paris, Stockholm, and Buenos Aires. By analyzing the six versions of this work, the specificities of a transboundary and transtemporal visual interchange based on strategies of appropriation and resignification are elucidated. The characterization of these processes is discussed in light of the historical particularities of the anarchist movement and its aesthetic theory. The study of first-hand graphic sources allows reconstructing an unseen case of iconographic migration in anarchist magazine culture and restituting the isolated figure of the aforementioned artist. In sum, a new perspective on an under-researched aspect of the relation between art and anarchism is provided.