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World War One

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World War One

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Cartoons of the Great War.  World War One Album of Colorful Cartoons and Caricatures, possibly by a P.O.W.
1 Cartoons of the Great War. World War One Album of Colorful Cartoons and Caricatures, possibly by a P.O.W.
1914(?)-1915/6 Hardcover Very Good 
8vo. 22.5 by 18 cm. 270 pp., almost all with one or more colorfully painted cartoons and caricatures depicting the early part of World War One, beginning in 1914 and possibly all the way through 1915. The album was made with a notebook with ruled lined paper. On most pages, the lines have been covered over, and are at most barely visible. One of the specific events alluded to is the sinking of the Aboukir, Hogue and Cressy by one German submarine, an event which occurred in September, 1914. The sinking of the Lusitania and chemical warfare are alluded to well into the album, which brings the album into the middle of 1915. It is possible the album runs into 1916 but not by much. The jingoistic, and non-subtle analysis manifest in the cartoons, does not give way to a weariness, a questioning, or disillusionment which would certainly have asserted itself later on in the war. The cover has a raised title, not fully legible anymore; from what can be made out, it was probably "Cartoons of the Great War". The identity of the artist is unknown; we were told he was a P.O.W., but there is no concrete evidence corroborating this and the assertion may be unverifiable. Other than the hearsay, support for the hypothesis, for that is what it is to us, comes from the unconventional materials used to produce the album. The paints used are not what someone with such an abiding interest in artwork would have chosen if he had the freedom to do so, but in a P.O.W. camp the artist would settle for what was on hand. The media used to paint the cartoons are various, but most unusual is the heavy use of an oil paint, or a house paint, which was frequently employed as a background, probably in part to blot out evidence that the artwork was applied to a lined notepaper. If these cartoons were done in a P.O.W. camp, the artist had to have been captured at the very outset of the war. Many of the cartoons are not really tied in to day-to-day events, but rather personalize and personify the war into a few stock characters -- the Kaiser, his sidekick of a fictional youthful son named Willie (the Crown Prince was named Wilhelm, but by the time of the war he was not only in his thirties, but also quite unlike this fictional incarnation), a lion representing Britain, John Bull, Uncle Sam, etc. -- who play things out in a Manichaean burlesque. And in this framework the bad guys are repeatedly bested, humbled and humiliated in the satisfying manner of animated cartoon villains. These simplifications are to some extent the diet everyone is fed during wartime, but would it not seem especially consistent with someone who might have been fed limited, and often, misleading information, by an enemy captor, and as an exercise by the artist to bolster his own and his colleagues' spirits? Yet one can not rule out that the album was kept by a soldier in the trenches, where too, the choice of artist’s tools one would expect to have been limited. Throughout the album the artist mines national stereotypes for humor, just as one would expect during wartime, and also during an era with few taboos in such patronizing merriment. Targets include Turkey, or the Ottoman Empire, and Austria-Hungary, as well as Germany. The cartoon captions can be obscure, their humor, lost on us; at times, we suspect, the captions might have come across as heavy-handed or clumsy even back when. Yet it should also be pointed out that much of the time the cartoons make their point with non-literal allegory in very clever ways. The imagery, unlike some of the text, holds up wonderfully well, and it is that we can feast on. One does not really have to know anything about the war, nor have an interest in the war, to enjoy the fancifulness and verve of the pictures. There are cartoons that refer to a channel tunnel, chemical gas warfare, Sinn Fein, Lord Kitchener, von Hindenburg, and on and on. Some of the best work is of caricatures of the leading figures in the war other than the Kaiser; or of the artist’s lampoons of alleged German cartoons; or a number of funny pieces that do not have a direct connection to the war. That said, a considerable amount of the album’s impact is cumulative, and it is the totality of creative energy and vision that make this album so special. The spine is somewhat cocked. The text block juts out a quarter inch from the binding. The binding is scuffed and has moderate to heavy wear. One leaf loose. A few leaves with minor damage. Very Good. Hardcover. 
Price: 25000.00 USD
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2 Don't Waste Man Power. it will win the war
New York Young Men's Christian Association, Bowery Branch First Edition Brochure Very Good 
Brochure to convert Bowery Boys to Doughboys! N.d., 1918. 15 by 9 cm. Wraps, with three panel fold out on front, and 14 pp. The brochure was aimed at the ne'er do wells, drunkards and bums who inhabited the Bowery and turn them into upstanding soldiers in the American war effort. The pitch is akin to that of the Foreign Legion -- here is your chance to turnaround your life, and go from a layabout to a productive member of society, with self-esteem, a purpose, and a chance to overcome your vices in the bargain. Of particular interest are the photos as well as the various factoids presented, such as a description of the pawn shop as a place complicit in the drunk's downfall by providing easy credit. Filled with inspiration stories, perhaps half true. Dating is based on statistics of what was accomplished in 1917, followed by a heading "This Year", although it is possible the brochure was issued in 1917 (and the figures are for the year up to that point. Light wear. 
Price: 50.00 USD
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3 Het Toppunt der Beschaving [Raemaekers Cartoons] Derde Serie,
Amsterdam 1914- 
Six installments, with each installment including 12 folio-sized cartoons, in addition to front cover of the wraps bound in and a smaller vignette on the rear. Captions are generally rendered in Dutch, French and English (always English), not that captions are generally needed to make the point. Ramaeker employed broad strokes in his chalkwork reminiscent of Daumier. His style was perfect for the depiction of brutes, the faceless victims and masses, the pathetic, the macabre! The cover art uses a little shadowy color -- otherwise, the images are black and white. The folio is 15 by 11 inches. The leaves have some waviness that had to have been caused by exposure to moisture. There is light dampstaining to some of the leaves. A few leaves have chunks of paper loss in the margins, and elsewhere some paper surface has been abraded. The images are almost all clean, and while Raemaekers' cartoons are not so hard to come by, they are rare in this original, large and dramatic format! 
Price: 200.00 USD
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4 Silver Bullet. Or the Road to Berlin British Design. Registered. British Made.
NA Very Good 
A scarce relic of anti-German propaganda aimed at children during World War One! N.d., manufactured sometime between 1914 and 1918. The game is the classic dexterity puzzle in which the player tries to manipulate a small metal ball on a course to a final objective while avoiding falling into one of many holes. Unlike other versions of this game, there are two metal balls, and the instructions given on the back of the game board suggest unusually that this is so two can compete against one another on this game. To play the game effectively requires quick movements as the ball is rolling along, and perhaps also a slow and deliberate manipulation of the board so as to prevent the ball from unduly accelerating, causing a loss of control. The final objective in this case is reaching Berlin. Along the way the player must elude holes labelled Cologne, Leipzig, Magdeburg, Dresden, Hanover, Potsdam, Hamburg and Spandau, all of these representing "fortresses". These cities are not in a geographical alignment, so really they represent here a fanciful progression of cities that would have to fall to close in on the German capital. Also captioning holes are "Entrenchments", "Bridge Destroyed" and "Road Mined", and these speak of the typical hazards confronting the British, and also hazards created by the British against the Germans. The Silver Bullet was not the only dexterity game of this sort created during the First World War. We know of another using enemy personalities instead of places, and there were versions in French as well. Instructions are given on the rear card. With the frame, the game measures 24 by 16 cm. The green raised surface -- the land above the trenches -- has some unevenness of coloring as if some areas had been sunned. The pastedown instructions are soiled but still entirely legible. The two balls can sometimes get stuck underneath but a few taps from the back of the board will liberate them. 
Price: 850.00 USD
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5 The Gas Attack Home Again!
Wraps Very Good 
4to. 31 by 23 cm. 68 pp. 
Price: 150.00 USD
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Unsere Helden!  4 Kriegsbilder zum Ausmalen für die deutsche Jugend
6 Unsere Helden! 4 Kriegsbilder zum Ausmalen für die deutsche Jugend
Wraps Very Good 
Scarce, with no copies located on OCLC or elsewhere. N.d., circa 1916. 4to. 29 by 21.5. Unpaginated. Eight heavy leaves, plus wraps. Four chromo illustrations of the war, and next to each was an uncolored version, which the child was supposed to fill in. In our copy, a child has in fact colored most of these pages, with a comparatively neat hand. Light wear besides. 
Price: 350.00 USD
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7 World War One Photo Album
Cloth Very Good Minus 
N.d., circa 1918. Oblong, 28 by 49 cm, 11 by 19 inches. Unpaginated, 58 pp. Photo album -- mostly of photos cut out of other publications -- pasted onto card, one to three photos per page, with most pages having only a single large photo, depicting many aspects of the war, from the front, the ground, the air, hospitals, portraits of ordinary soldiers and generals, the victory celebration in Paris, other parades, etc. Heavily toned. Some small chips to the card stock. The binding is somewhat limp, in the manner heavy oblong bindings can be. Wear to the cloth binding. 
Price: 200.00 USD
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World War One Tabernacle with Intricate Inlay and Marquetry Work:  Wereld Oorlog's Gedenkenis 1914-15-16
8 World War One Tabernacle with Intricate Inlay and Marquetry Work: Wereld Oorlog's Gedenkenis 1914-15-16
Belgium presumed 1916 or 1917 Very Good 
A highly unusual piece, probably one-of-a-kind, and as a memorial to those who sacrificed up to then in the First World War, uncommon in its general conception -- one will not find a lot of examples of artwork that is somewhat similar to this piece either. Large, measuring closed 81 by 54 cm. Each of two panels or doors is 69 by 27 cm and these open to reveal additional decoration. The doors on the outside have ten place names written with inlay running in diagonal zigzags: Vlaanderen, Antwerpen, Mechelen, Leuven, Namen, Zaleszoziki, Dunaburc, Salonika, Kaukasus and Yolmein. In between these place names, which represent battlefronts, places of contention or towns somehow suffering from the attacks by the Central Powers, there are playful inlays, that capture various instruments of warfare, or somehow loosely allude to such, such as a plane, a cannon, a ship. These are rendered with a child-like simplicity. On the inside of the doors the scheme is continued, but here the ten names are of the larger regions that these places are associated with, such as Lotharingen and the Dardanelles. The inlay motives here include a balloon, a red cross cart, a row boat. On the back panel, now also revealed, are the names of the combattants, and this includes both the Allies and Central Powers. Twelve countries are listed, including Japan, Montenegro, Bulgaria, and of course all of the main combatants at that time: England, Germany, Austria, Italy, Russia, Turkey, etc. The dating of this tabernacle, in fact, can be very confidently placed as 1916 or 1917 because of the conspicuous absence of the United States, which was still neutral and didn't enter the war until on April 6, 1917. Beside each of the twelve country names are inlays of tools and weapons of warfare -- a kind of military iconology. Included are things such as an anchor and a trumpet and bugle, however. Among the things making this a highly uncommon piece is that while it was clearly done by a citizen on the Allied side, it seems to express some sympathy for the casualties and suffering in the Central Powers as well. Minor losses of inlay pieces -- none of this is conspicuous or seriously affect the beauty and integrity of the piece. The door panels do not shut completely, as they probably did when the piece was created. 
Price: 2750.00 USD
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9 [Faux Book] Trench Art Brass Box
NA Very Good 
N.d., circa 1917. Dimensions: 127 by 100 mm, 28 mm thick. With lid that opens. Smooth, plain surface on front, back and "spine" side, but with striations on edges to suggest a book's leaves. Some scratches and minor surface patina loss. A greater amount of wear on bottom. 
Price: 75.00 USD
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[Handkerchief] Egypt.  Souvenir The Triple Entente
10 [Handkerchief] Egypt. Souvenir The Triple Entente
London B. Feldman & Co. NA Very Good 
N.d., circa 1915. A 48 cm square. With a distinctive map of the Middle East -- Ottoman territory -- as a centerpiece. The border is decorated with the flags of the Entente members, which included Japan and other lesser players in the Great War -- and pyramid vignettes enliven the corners. The hankie deserves to be framed and hung on a wall for display. The silk hankie is presumed a scarce survivor. With some light soiling, but overall, very attractive. 
Price: 350.00 USD
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[Photo Album] Souvenir 5th November 1920 The Willows Windsor
11 [Photo Album] Souvenir 5th November 1920 The Willows Windsor
Windsor, UK 1920 Half Morocco Very Good 
A group of oversized photos that capture a somber yet celebratory occasion at a grand estate two years after the end of the First World War. Oblong, 27.5 by 38 cm. Twelve large original photographs of a grand country estate called "The Willows", taken when its owner was being honored for having turned it over to the British war effort. As depicted on Downton Abbey, many a palatial home served as a temporary hospital, a hospice, or some other use relating to the war effort. In this instance, the property owner was a man of Indian origin, Sir Dhunjobhoy Bomanji, who had made a fortune in textiles and shipping. From India's Parsee community. Bomanji was an ardent supporter of the British Empire -- He would soon afterward, in 1923, donate a statue of the World War One commander, Douglas Haig (the first Earl Haig), to the City of Edinburgh. Haig in fact is one of the guests at the luncheon party and among the distinguished guests shown in one of the photos. Other distinguished guests included Princess Alice, the Earl of Athlone, Lady Mary Chrichton, Lady Campbell, General Carteret-Carey and Captain Donald Simson. The other photos are of the house decked out with banners and bunting for the entertainment of 700 guests comprised of ex-servicemen, war widows and orphans, the band of the Life Guards, two photos of the dining room set up for but prior to the luncheon, the procession of 300 war orphans by the host and luncheon guests, among them a Hasidic child, the procession of disabled soldiers, the procession of non-crippled ex-servicement, Mr. Bomanji presenting a check of 5,000 pounds to Princess Alice, Earl Haig addressing the diabled soldiers and finally, a group photo of the host and his most distinguished guests -- those at the luncheon. Leather worn along joints in a few spots. Gilt lettering partly rubbed on front board. 
Price: 1500.00 USD
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A Modern Briton, Anonymous artist.  Poem by Harold Begbie
12 Anonymous artist. Poem by Harold Begbie A Modern Briton
1919 Cloth Very Good 
Patriotic World War One poem, "The Man who Keeps his Head", illuminated with exquisite vignettes. Oblong, 24.5 by 31 cm. With eight plates, including title page, plus painted vignette on final leaf. These vignette watercolors, four to eight per page, depict the diversity of British experience, whether its variety of industry, its trades, its modes of farming, its ships, etc. The effect is panoramic and epic, a visual equivalent to Noel Coward's sweep in "Cavalcade", say. Framing it all are Art Nouveau devices and ornament, very much true to the period. The book was easily of publishable quality, and its creation demonstrates that a strain of patriotism and optimism somehow withstood the bitterness and cynicism engendered by the war. Tissue guards with creases, and one with tear. Binding bowed. Other light wear. 
Price: 3500.00 USD
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La Manière Française.  20 images ou culd-de-lampe, Bonfils, Robert, artist.  Preface by Lucien Descaves
13 Bonfils, Robert, artist. Preface by Lucien Descaves La Manière Française. 20 images ou culd-de-lampe
Paris Lutetia 1917 First edition Near Fine 
No. 244 of 320 copies, this copy on papier vergé. 4to. 33 by 25 cm. Title page, two pages of text, 16 hand-colored pochoir plates, table (Ordre des Images, this containing the colophon and limitation), loose in portfolio, as issued. With pochoir illustrations on every page besides the 16 plates. The plates depict the early stages of the war, both on the front and on the home front. The artwork is deliberately naive, the palette somewhat tenebrous, but with a clear intent to employ the French colors or red white and blue when possible. The folio folder itself has hand-colored pictorial boards and endpapers that are quite striking and fitting. With red white and blue striped silk ties. Light soiling to the cover. Minor tears to the paper pastedown along the spine. 
Price: 1750.00 USD
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Nos Frères d’Amérique, Boutet de Monvel, Roger (text).  Guy Arnoux, illustrator.
14 Boutet de Monvel, Roger (text). Guy Arnoux, illustrator. Nos Frères d’Amérique
Paris Chez Devambez 1918 First edition Wraps Good 
With an original pencil and watercolor drawing of a soldier with a cigarette signed by Arnoux on the front blank. Oblong, 13 by 16.5 cm. Unpaginated, with 12 pochoir plates celebrating various aspects of American military life and the American entry into the First World War. On the facing page of each plate (the verso of the prior plate) is a paragraph relating to the image. These short pieces are anecdotal, allusive, imaginative, literary and/or lyrical. They do not directly explain the image but rather offer an literary counterpart to it. The front cover is heavily foxed, and the foxing continues, gradually lightening, until the fourth leaf or so. After that the leaves are clean until the final blanks, when light foxing resumes. There is also a two inch closed tear on the front cover, repaired on the inside cover with archival tape. From the front this tear is not conspicuous. Original tasseled string tie intact. 
Price: 450.00 USD
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15 Guyon, Charles La Guerre Dans Les Airs. [Les Livres Roses Pour la Jeunesse] 16 Gravures
Paris Librairie Larousse 1915 First Edition Wraps Very Good 
12mo. 48 pp. Includes stories about dirigibles and zeppelins. Scarce juvenile literary and propaganda relic from World War One. Heavily age toned text. 
Price: 250.00 USD
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16 Hansi, aka Jean-Jacques Waltz, and Poulbot, Francisque Illustrations by Hansi and Poulbot Tetes de Boches, etc.
Half Morocco Very Good Minus 
Ten mounted caricature postcards by Hansi from the 1916 series, Tetes de Boches (this is the complete series), nine, by Poulbot, all relating to World War One. Hansi, the pen name of Jean-Jacques Waltz (1873 - 1951), was famous both as an illustrator and French patriot, the latter for his unflagging contribution to the French revanchist movement to reclaim the Alsace, lost as a result of the Franco-Prussian War, and returned to France after the First World War. Poulbot (1879 - 1946) was a well-known affichiste celebrated for both his World War One posters and postcards and for his illustrations of Parisian street kids. The Hansi pictures are simple, humorous character portraits rendered in color, while the Poulbot drawings, all black and white line drawings, depict scenes in which the amusing caption explains what is going on. Children figure prominently in the Poulbot scenes; all of them, though, touch on the ongoing war in one way or another. The cards are all attractively mounted onto heavy card stock leaves within rectangular borders. There is no title page as such, but there is a presentation page. This copy was given to Abbe Jean Borde d'Arrere, Aumonier Militaire and Chevalier de la Legion d'Honneur, whose name and title is actually mounted onto the page, suggesting that the same album may have been given to a number of honorees. Nonetheless, this is a scarce item, with no copies to be found on OCLC. Poulbot is mispelled on the spine as "Roulbot". Cover substantially edgeworn and rubbed, with cloth mottled and soiled. The interior is tight and clean. Former owner's pencil inscription on ffep. 
Price: 600.00 USD
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Le Film 1914, Laforge, Lucien
17 Laforge, Lucien Le Film 1914
Paris Clarte 1922 First Edition Wraps Very Good 
Unsettling Dada-esque cartoons to satiric text, mocking the lead-up to the war, the war itself and its aftermath. 4to. Oblong, 25 by 27 cm. Unpaginated, 51 pp. The imagery is blunt and highly economical; its impact is harrowing and disturbing. The images come across deliberately like pieces of a puzzle, with the text written out as if by a very thick nib to look almost like graffiti. Loforge assiduously avoids the pretty and polished as he is portraying the ugly underside of society throughout. His use of long hand to elucidate the imagery is in keeping with what other surrealists were doing at the time. Here and there letters are deliberately dropped from words as if to elude a censor. Heavy age toning, as per the cheap paper that was used. Otherwise, clean. A monumental work of statement art in book form. 
Price: 3750.00 USD
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Der Kriegs-Struwwelpeter.  Lustige Bilder und Verse, Olszewski, Karl Ewald
18 Olszewski, Karl Ewald Der Kriegs-Struwwelpeter. Lustige Bilder und Verse
Munchen Holbein-Verlag 1915 First Edition Cloth Near Fine 
4to. 28 by 22 cm, 11 by 8.75 inches. 24 leaves, with printing on rectos only. This book was of course a derived from the ever popular "Struwwelpeter" by Professor Hoffmann, but although the original work was written in German, it appears that this derivation was inspired by an English wartime knockoff of the year prior, 1914, entitled "Swollen-Headed William", which lampooned the Kaiser. This work, unsurprisingly, mocks the English, French, Belgians, Italians, Russians and more surprisingly, the Americans long before the U.S. entered the war. Followed by 4 pp. catalogue/ad listings of publisher. Gobels, Hundert alte Kinderbucher 1870-1945 pp. 256-7. Minor soiling and wear to cloth binding. Clean and tight within. 
Price: 250.00 USD
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19 Pictures by Joyce Dennys, verses by Hampden Gordon Rhymes of the Red Triangle Y.M.C.A.
London, New York John Lane, The Bodley Head Paper Pastedown on Boards Near Fine 
N.d., circa 1918. 8vo. Unpaginated, 60 pp including prelims. Full of wonderful chromolithographic plates, 30 in all, depicting women and soldiers of World War One. The illustrations have a naive charm that efficiently capture the fashions, culture and ways of the era, and with the verse celebrate light-heartedly the good works done by women who ran the canteens that brought a little comfort and hominess to soldiers wounded or during respites from the front. Here we find the Sallys memorialized in the Kern musical starring Marilyn Miller just two years later, the ballerina that could have inspired Chiparus or Erte and who launched countless Art Deco bookend figurines, the matrons later spoofed in thirties comedies. With its dark olive-hued paper and block lettering, the book should also be appreciated as a cohesive production. Minor soiling to the paper pastedown. 
Price: 150.00 USD
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20 Poulbot Des Gosses et des Bonhommes. Cent Dessins et deux lettres anonymes
Paris By the author. Sold at Messageries de Journaux. Printed by H. Chachoin 1916 Limited Edition Wraps Very Good 
No. 67 of 100 signed by Poulbot and on vieux Japon. 8vo. 22 by 17 cm. Poulbot (1879 - 1946) was a well-known affichiste celebrated for both his World War One posters and postcards and for his illustrations of Parisian street kids, which are front and center of this self-published collection of cartoons. Cover has light soiling, and creased corners. Upper spine tip missing -- about 1/4 inch, or 1 cm, gone. Pages are cut very unevenly, as was intended, and these are clean. 
Price: 200.00 USD
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