Note: the post below includes images of pejorative racial and ethnic stereotypes from 1912.
Today?s image, ?The Mistletoe Tradition at Salt Lake City,? came to my attention via Bunker and Bitton?s The Mormon Graphic Image, 1834-1914, where it illustrates a period (1908-1914) when portrayals of Mormons declined in frequency and hostility. ?Mistletoe…? comes from the British Punch?s Almanack for 1912—an appendage to the more famous Punch—and Bunker and Bitton only included the Mormon part of the full-page, three-panel gag about cultural exchange in British colonialism.  The whole page is below.
The heading text says: ?Despite apathy at home, the good old English Christmas has lost none of its popularity abroad.?
The caption for the second panel is ?Plucking the bird at the forty-ninth cataract,? which is presumably somewhere in Sudan to the south of the six cataracts of the Nile and where hijab is prevalent. The bird is, thus, probably a North African ostrich, and possibly a previously unacknowledged ancestor of the Angry Birds?.
The caption for the third panel is, as noted, ?The Mistletoe tradition at Salt Lake City.? Besides the juxtaposition of the three panels, I am intrigued by the relative size of the man compared to the women; the differences in facial expression, feet placement, and hand position; and the condition of the man?s head and facial hair.
One more piece of information: the artist, E. H. Shepard, is best-remembered by present-day audiences for his illustrations in The Wind in the Willows and Winnie-the-Pooh. 
 Gary L Bunker and Davis Bitton, The Mormon Graphic Image, 1834-1914 (Salt Lake City: University of Utah Press, 1983). Bunker and Bitton label the image as ?Figure 60?; it is discussed on p 71 and reproduced on p 72. The Almanack appears to have been a stand-alone addendum to Punch?s regular editions. I don?t know when it was published. It has a calendar for 1912, which makes me think it came out at the end of 1911. Bunker and Bitton give the publication date as 1912 Jun 26. In the bound collection of Punch (1912, Vol 142) that Google digitized, the Almanack is placed at the end of the year, ie, after the last 1912 December edition of Punch and the index. There are no page numbers, but the image is almost at the end of the Almanack. The image was digitized by Google for the University of California and provided by Hathitrust.
 I am not sure if the artist for the second panel is Shepard; the signature could be ?E. H. S.? but is not clear.