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Records: 41 to 50 of 50
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 Decorative Items 

GROSSI, Augusto. [An 1884 satire featuring the famous Russian Octopus]
Ricreazioni Politiche. Récréations Politiques. Bologna: Il Papagallo, 1884. Chromolithograph. Sheet 425 x 610mm. A few signs of age, pasted on card.
An Italian satire commenting on relations between Germany and Russia during the 1880s. Personifications of Germany (drinking), Austria (baiting a hook), Italy (standing waiting) and Spain (smoking a Prussian cigar) lounge on a motor yacht called 'Alleanza' piloted to Otto van Bismarck, pointedly ignoring the Russian octopus floating by their stern, clutching a mine lettered 'Guerra'. On the left a fish marked Saloccico (Thessaloniki, still in the Ottoman Vilayet of Salonica) looks on in fright; on the right is a buoy with an English sailor's head, marked 'galleggiante' (floating). In the background a mermaid (France?) pulls herself up on a Chinese junk. After the victory of the Franco-Prussian war of 1870 Bismarck was fearful that France would get its revenge by allying with Russian and attacking Germany from two sides. Therefore he did everything he could to stay on good terms with Russia, ignoring their continued southward push. Meanwhile France was extending its influence in the Far East. On the reverse of the card is another Papagallo satire, relating to the European powers preparing to feast on the Madagascan 'turkey'. 'Il Papagallo' was a satirical magazine founded in January 1873 by Augusto Grossi (1835-1919), which specialised in colour-printed caricatures like this one. At its peak circulatiion reached 50,000, and in 1878 a Parisian version, 'Le Perroquet', and London edition, 'The Parrot', were launched. 'Il Papagallo' closed in 1915, when Grossi was 70 years old. This example, with titles and text in both Italian and French was published in Bologna for editions in both countries.
[Ref: 16585]    £2,500.00 ($3,555 • €2,873 rates)

DAILY MAIL PUBLISHING. [Handkerchief published to raise money for the families of Boer War Soldiers]
The Absent-Minded Beggar. London, the Daily Mail Publishing Co. Ltd, c.1899. Linen handkerchief printed in blue, c. 440 x 440mm.
A printed handkerchief published by the Daily Mail to rise funds for the 'Soldiers' Families Fund' after the outbreak of the Second Boer War (1899-1902), the first charitable effort for a war. The map shows the theatre of war, around the South African Republic (the Transvaal) and the Orange Free State. The two portraits are of Lord Roberts, commander of the British Troops, and Queen Victoria, the British Monarch for the first half of the war. The poem, 'The Absent-Minded Beggar' by Rudyard Kipling, was specially commissioned for the Fund, and was given a musical score by Arthur Sullivan (of Gilbert & Sullivan fame). Despite Roberts' portait being entwined in the title, the absent-minded beggar of Kipling’s poem is the British 'Tommy' (private soldier), forgetfully leaving their dependents in need while fighting for their country. The Daily Mail paid Kipling £250 for the poem, which he donated to the fund, as did Sullivan with his £100 payment. Soon afterwards Kipling was offered a knighthood, which he declined. It was not Kipling's favourite work: in his autobiography he wrote that it 'lacked poetry' and became 'wedded... to a tune guaranteed to pull teeth out of barrel-organs'. This did not stop it being a huge success, giving the fund the nickname, 'the Absent-Minded Beggar Relief Corps', and helping it raise £340,000 by the time it was wound up in 1903. Not only was it published worldwide (the New York Journal paid $25 for the privilege), it was recited by actresses including Lily Langtree and Lady Maud Beerbohm Tree. Organising the fund was a coup for the Daily Mail, which had been founded only in 1896. This campaign capitalised on the jingoistic mood of the British public and the paper's circulation soared to over a million issues a day by 1902, the highest in the world. The handkerchief was published by The Graphic and is probably the most famous item of British ephemera produced during the South African War.
[Ref: 16054]    £350.00 ($498 • €402 rates)

DENDY SADLER, Walter. [A genre scene focused on the use of maps]
[The Right of Way.] London: L.H. Lefevre, 1903, First Issue. Etching, remarqued proof signed in pencil by the artist and engraver. 450 x 550mm.
A scene of the interior of a solicitor's office, with three people examining maps and deeds in an attempt to settle a legal dispute over a right of way. The remarque reiterates the theme, showing a footgate with a 'No Trespassing' sign. The print was etched by James Dobie after Walter Denby Sadler (1854-1923), a celebrated artist of genre scenes.
[Ref: 16434]    £290.00 ($412 • €333 rates)

OHARA, Kisaburo. [A Japanese variant of the Serio-Comic map]
[Japanese title.] A Humorous Diplomatic Atlas of Europe and Asia. Tokyo: Yoshijiro Yabuzaki, 1904. Chromolithograph, sheet 495 x 560mm.
A variant of the Frederick W. Rose 'octopus' map of Europe, extended to include more Asian states, including India, Tibet, China, Korea and Japan, with a title in Japanese and English, an English description top left and a longer Japanese text under the map. It was drawn by a student at Keio University on the outbreak of the Russo-Japanese War in 1904 so, of course, the focal point of the map is the 'Black Octopus' of Russia. One of its tentacles reaches down to Port Arthur in Manchuria, which was Japan's first target of the hostilities. Ohara gloatingly writes 'The Japanese fleet has already practically annihilated Russia's naval powers in the Orient. The Japanese army is about to win a signal victory over Russia in Corea and Manchuria'. SOUCACOS: p.178.
[Ref: 17455]    £5,000.00 ($7,110 • €5,745 rates)

LEHMANN-DUMONT, Karl. [A serio-comic map of Europe on the brink of World War One]
Humoristische Karte von Europa im Jahre 1914. Dresden: Leutert & Schneidewind, 1914. Wood engraving, printed in colour, printed area 340 x 485mm. Minor restoration.
A German separate-issue caricature map of Europe on the brink of war, with a strong propaganda content. Both Germany and Austria are depicted as grinning soldiers: Germany has one hand on France's shoulder, the other punches the Russian bear in the head; Austria aims his bayoneted rifle at a bearded Russian face. The Russian, swigging from a bottle of vodka, is chained to the bear by nose rings. England has a mailed fist in his face and a zeppelin in the ribs, while Ireland cuts the chain England holds and the Indian python strangles his bulldog. Turkey reclines, smoking and looking away. In an inset Japan is shown as a half-clothed tribesman, wielding a sword.
[Ref: 16368]    £2,200.00 ($3,128 • €2,528 rates)

ROBIDA, Albert. [The Appetite of the German Octopus]
L'Appétit de la Peuvre. Paris, c.1914. Chromolithograph. Sheet 360 x 260mm. Wear to edges.
A French satire on the aggressively expansionist policies of Germany, depicting the German Eagle with octopus tentacles enveloping the world. Robida worked for this 'La Caricature' magazine between 1880 and 1892, appearing in 650 issues, often on the cover. As well as his caricature work he was also a visionary: his sketches of war depict guided missiles and poison gas. Another sketch showed a mountaineer enjoying the view while listening to his 'phono-opéragraphe', with cables connected to his ears.
[Ref: 17542]    £2,600.00 ($3,697 • €2,987 rates)

GONELLS, R. [A fine manuscript 'Serio-Comic' map of First World War Europe]
1915. Carte d'Europe. Paris, 1915. Ink and watercolour on cartridge paper. 430 x 560mm.
A professional-quality satirical map depicting the countries of Europe during the second year of the First World War. At the centre is a figure representing Germany, wearing a pickelhaube (spiked helmet) and a Kaiser-Bill moustache, sword in one hand and poison-gas canister in the other. Underneath is a decrepid old man on crutches waving a wooden sword, a sad indictment of the fomer glories of the Austro-Hungarian empire. Germany's third ally, the Ottoman Empire, is shown with legs amputated above the knee, with only stilts in their place. Bulgaria sharpens his sword. Surrounding Germany are its opponents: both England and Russia are turning their big guns on Germany, while French, Serbian and Italian soldiers advance with bayonets fixed. Cartographical accuracy is ignored in this satire, with the countries only rough shapes. However it should be noted that Scotland is an island, Serbia is east of Austria and there is no Bosphorus separating Europe and Asia. We assumed that this caricature was drawn for publication: however we have been unable to trace any printed version. The artist was serious when he wrote 'Reproduction interdite' in the bottom corner.
[Ref: 15045]    £6,000.00 ($8,532 • €6,894 rates)

JANNOT, J.B. [A world map as a chocolatier's competition]
Le Tour du Monde en 120 images Grand Concours du Chocalat Menier. Paris: Chocolat Menier, 1956. Poster map, sheet 645 x 810mm. Original folds flattened.
A map of the world centred on the Pacific with a route around the globe, starting and finishing in Paris. Originally there would have been space underneath the map an area to fix 120 'tickets' collected from Menier chocolate products, with three that giving clues to 'Enigmas' that had to be solved. However, as the tickets had to be sent off in order to join the competition, the paper has been snipped off. The artist was J.B. Jannot, who used the pen-name Jan-Loup. He worked as an illustrator for Lisette magazine in the 1950s and early 1960s, as well as authoring his own comic stories and producing book jackets.
[Ref: 16660]    £1,250.00 ($1,778 • €1,436 rates)

Anonymous. [An Italian anti-capitalist satire]
I Popoli Avanzano sulla via del Socialismo e dell'Indipendenza Nazionale. [''The People's Advance on the path of Socialism and National Independence'.] Torino, 1957. Colour printed map, sheet 315 x 435mm. Some surface soiling.
A satire comparing 1917 and 1957. On the left an industrialist of 1917, wearing a stove top hat decorated with the Union Jack & Stars and Stripes and with a howitzer strapped to his back, attempts to keep the world wrapped in his chains; only Soviet Russia has broken free. On the right is the industrialist of 1957, an atomic missle replacing the gun, sweating heavily as the flags of twenty more countries in Europe and Asia break free of the capitalist chains.
[Ref: 18300]    £475.00 ($675 • €546 rates)

Anonymous. [A socialist protest poster after the 1974 military coup in Portugal]
Il Portogallo non sara' il Chile d'Europa. Italian, c.1974. Lithograph, printed in black and red. Sheet 410 x 305mm.
A poster with the head of a soldier wearing a helmet, his face made from a map of Portugal. Above is the anti-fascist slogan 'Portugal will not be the Chile of Europe'; this was the slogan of the 'Carnation Revolution' which overthrew the authoritarian regime of the Estado Novo in April 1974. The hope was that the coup wasn't going to emulate Augusto Pinochet's coup of 1973, which saw a thousand executions in the first six months, the abolition of civil liberties and 500% inflation in the first year. Instead Portugal evolved into a democratic country.
[Ref: 17591]    £900.00 ($1,280 • €1,034 rates)

Records: 41 to 50 of 50
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