Masterpiece of the Week: Bannalist and Pandour, 'Freikorps Trenck', 1748

Bannalist and Pandour
David Morier, 1748
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Created by David Morier (1705?-1770), this work of oil on canvas was commissioned by William Augustus, Duke of Cumberland (1721-1765). David Morier was a celebrated Swiss painter, known for his military and sporting scenes. 

Morier had a long association with the Duke of Cumberland, starting in 1747, when he painted a group of canvases of the troops under the Duke’s command. Until 1764, Morier was employed as “limner” (or painter) to the Duke of Cumberland on an annual salary of £100. The painting depicts two soldiers facing the viewer. They are posed in front of a flat, open landscape, holding rifles in their right hands. The one on the right is wearing a scarlet uniform, while the one on the left is clad in blue with red boots. 

Drawing of the Day: Loose Talk Can Cost Lives, 1942

Poster
Falter, 1942
The Victoria & Albert Museum

American and British servicemen faced a common problem during the Second World War—“good time girls.” These vixens in their seductive sweaters with their flowing hair, red fingernails, painted lips and flashy baubles were thought to be on the prowl to snare innocent men and shake them down for military secrets.

To be sure, there were a variety of female spies who did, in fact, seduce servicemen into sharing confidential information. However, most of these girls were more interested in making some money than they were in selling intelligence to the Nazis. Nevertheless, men were warned to keep their mouths closed and not get trapped by these “good time girls.” Many a propaganda poster warned against them. Here’s one.

This one was printed in America and depicts such a temptress. She’s the picture of seduction, in fact. She’s even taller and stronger than the soldier who has fallen into her embrace. She’s got him and she aims to corrupt him, and, then go straight to Hitler with whom she’ll laugh while tossing her blonde curls over her broad shoulders.

The poster warns is “Sailor beware.” Still, we can’t be quite sure if he’s pushing her away or returning her so-called “affection.”

The point was…this could be you. Well, not me. But, maybe one of the rest of you. An inscription in black on pale blue at the bottom states: “Loose Talk Can Cost Lives.” Well, we can’t argue that. 

The poster was designed in 1942 by John Falter (1910-1982) for the British and American Ambulance Corps.

Mastery of Design: A Warriors’ “Bravery” Brooch of Diamonds, 1750

Brooch
Rose-cut Diamonds Set in Silver
Western Europe, 1750
Given as a trophy.
Victoria & Albert Museum

Extravagant diamond pieces were not reserved exclusively for ladies prior to the Nineteenth Century. Men often wore opulent jewels not only as adornment, but also as symbols of their station. Going into the Nineteenth Century, Royal gentlemen (such as Prince Albert) continued to wear gemstone badges and brooches, but the practice fell out of favor with people not associated with royalty. Pity.


This diamond brooch from 1750 is a good example of a gentleman’s piece of jewelry. Made in Western Europe, the brooch contains dozens of large rose-cut diamonds set in silver. The design is based on military weapons—a canon, pistol, arrows, axe, flag and plumed helmet. Such a piece was given to a man as a symbol of his bravery and as a trophy of battle. He would wear it proudly to remind himself and others of his accomplishments.

Unusual Artifacts: King George IV’s Uniform Pouch, 1814

Pouch
1814-1816
Made for George IV
The Royal Collection

As I’ve mentioned before, King George III forbade his son from participating in any actual military maneuvers and insisted that he never carry a weapon. Nevertheless, the future King George IV always had a keen interest in the military and, while he couldn’t actually do anything with his soldier friends, enjoyed wearing the uniform bestowed upon him by his honorary title of “Colonel.” Not only did George like wearing the uniform, he enjoyed collecting extravagant uniforms as well.

This pouch—designed to be worn on the uniform’s belt—seems to have never been worn. In fact, it appears to have been made for the purpose of display more so than anything else. An ornate creation of wood, leather, velvet, silk, silver thread, and brass, the pouch is far fancier than those which were actually used in battle.

One of the many uniform accoutrements collected by George IV, this pouch is part of a matching suite of items which are on display as part of the Royal Collection.

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click image to enlarge.

Mastery of Design: A Miniature by Augustus Toussaint, 1800

Miniature
Ivory, Enamel, Watercolor, Gold, Copper, Diamonds
Augustus Touissaint, 1800
The Victoria & Albert Museum

An attractive oval bust-length portrait, this glittering miniature depicts an unidentified English officer. The curators at the V&A suspect that he may be one Captain Richard Lloyd. Like Lloyd, the handsome chap has short fair hair and a distinctive jaw line. He is shown wearing his uniform.

As was the case with most miniatures of the early Nineteenth Century, this portrait is rendered in watercolor on ivory. Set in a frame of gold, blue enamel and diamonds in the form of military flags, the miniature is backed in copper and gold and still retains its original blue leather case.

Object of the Day, Museum Edition: General Sir Garnet Wolseley at Alexandria, 1882-1901

Click on image for larger size
General Sir Garnet Wolseley at Alexandria
The Victoria & Albert Museum

Created in Egypt between 1882 and 1901, this drawing is the work of Orlando Norie (1832-1901). The work of pencil, pen, ink and watercolor has been accented with white gouache.

The illustration shows General Sir Garnet Wolseley who, aside from having a nifty name, landed in Alexandria on August 16, 1882. There, he took command of the British military campaign which was set against the revolutionary forces of Arabi Pasha. And, thus began the British occupation of Egypt. Depicted here are the General and his men at their arrival in Alexandria.

Print of the Day: The Plum Pudding in Danger, c. 1800

Click to enlarge.
The Plum Pudding in Danger
James Gillray
c. 1800
The Victoria & Albert Museum

Illustrated by James Gillray (1757-1815), this satirical drawing was printed around 1800. We see who I believe to be King George III and Napoleon Bonaparte seated at a dining table, carving up the earth which is portrayed as a plum pudding. The meaning is rather obvious.

The piece is really rather attractive, but, then, I like this sort of thing. It is inscribed: 

The Plumb-pudding [sic.] in danger--or--State Epicures taking un Petit Souper.

"the great Globe itself and all which it inherit" is too small to satisfy such insatiable appetites."

Print of the Day: "Going Ashore?" c. 1940

Going Ashore?
Chromolithograph, c. 1940
The Victoria & Albert Museum

Since today is Pearl Harbor Day, I thought we'd look at a few WWII related things.

This World War II propaganda poster was printed in English, Greek, French, Dutch and Norwegian. Like most such posters, it warned against careless talk—not just from the military, but also by civilians. The idea, and quite a correct one, was that you never knew who was listening and how the most innocent comment or data could be used against the cause.

I like these posters quite a lot because they are, often, graphically stunning and wholly demonstrative of their era. Many relied on shadowy, fearsome images of stylized spies and looming danger. But, often, they used bright and humorous images to make their point.

This one is especially charming. “Going Ashore?” our parrot friend asks us. He reminds us that even the most unthreatening individual could be working for the other side. After all, he’s wearing a Nazi officer’s cap.

Lousy Nazi Parrots!

The copy reminds us to “keep what you know to yourself.” Not a bad idea even when not threatened by Nazi parrots.

Print of the Day: Belgium Fights On, 1940-1944

Belgium Fights On
Sturbelle, 1940-1944
The Victoria & Albert Museum

We’ve looked at several World War II propaganda posters. This one was used between 1940 and 1944 after the German occupation of Belgium of May of 1940. This poster was part of a campaign to encourage American support for the Belgian resistance. It’s the work of R. Sturbelle who excelled in creating dramatic and effective images such as this one which juxtaposes a group of bound Belgians about the executed with an image of decided freedom. 

Drawing of the Day: General Sir Garnet Wolseley at Alexandria, 1882-1901

Click on image for larger size
General Sir Garnet Wolseley at Alexandria
The Victoria & Albert Museum

Created in Egypt between 1882 and 1901, this drawing is the work of Orlando Norie (1832-1901). The work of pencil, pen, ink and watercolor has been accented with white gouache.

The illustration shows General Sir Garnet Wolseley who, aside from having a nifty name, landed in Alexandria on August 16, 1882. There, he took command of the British military campaign which was set against the revolutionary forces of Arabi Pasha. And, thus began the British occupation of Egypt. Depicted here are the General and his men at their arrival in Alexandria.

Mastery of Design: A Miniature by Augustus Toussaint, 1800

Miniature
Ivory, Enamel, Watercolor, Gold, Copper, Diamonds
Augustus Touissaint, 1800
The Victoria & Albert Museum

An attractive oval bust-length portrait, this glittering miniature depicts an unidentified English officer. The curators at the V&A suspect that he may be one Captain Richard Lloyd. Like Lloyd, the handsome chap has short fair hair and a distinctive jaw line. He is shown wearing his uniform.

As was the case with most miniatures of the early Nineteenth Century, this portrait is rendered in watercolor on ivory. Set in a frame of gold, blue enamel and diamonds in the form of military flags, the miniature is backed in copper and gold and still retains its original blue leather case.

Precious Time: An Empire Trophy Clock, 1810

Clock
French Case, 1810
Gilt Bronze, Chased and Cast
English Movement
The Victoria and Albert Museum

Clocks in the form of trophies with military themes were popular during the “Empire” period of France. This period’s tastes relied heavily on military motifs with classical styling.

This particular clock of cast and chased gilt bronze has been polished to a mirror-like shine. Dating to 1810,the maker of the case is unknown thought the movement is suspected to have been the work of John Moore & Son. The clockworks were updated later in the Nineteenth Century and replaced with an English movement though the French case remains unaltered.

In the clock’s central shield, the clock face is nestled within a wreath of oak leaves and is supported by the figure of an eagle holding a thunderbolt. Similar leaves adorn flanking figures of a griffin and an eagle as well as two plumed helmets—all symbols of military victory.

Mastery of Design: A Warriors’ “Bravery” Brooch of Diamonds, 1750

Brooch
Rose-cut Diamonds Set in Silver
Western Europe, 1750
Given as a trophy.
Victoria & Albert Museum

Extravagant diamond pieces were not reserved exclusively for ladies prior to the Nineteenth Century. Men often wore opulent jewels not only as adornment, but also as symbols of their station. Going into the Nineteenth Century, Royal gentlemen (such as Prince Albert) continued to wear gemstone badges and brooches, but the practice fell out of favor with people not associated with royalty. Pity.


This diamond brooch from 1750 is a good example of a gentleman’s piece of jewelry. Made in Western Europe, the brooch contains dozens of large rose-cut diamonds set in silver. The design is based on military weapons—a canon, pistol, arrows, axe, flag and plumed helmet. Such a piece was given to a man as a symbol of his bravery and as a trophy of battle. He would wear it proudly to remind himself and others of his accomplishments.

History's Runway: The Prince Regent’s Sabretache, 1818

Sabretache
Thomas Cuff, 1818
Baize, leather, silk, silver and gold
The Royal Collection

We've looked at other bits and pieces of military uniforms before.  However, this one is particularly special due to the personage who wore it.

Though King George III forbid his son, the Prince of Wales (later The Prince Regent, later King George IV) from actually participating in any military activities in which he’d be called upon to carry a weapon, the Prince was quite interested in the military and was thrilled and proud to be appointed Colonel Commandant of the Tenth Light Dragoons.


The Prince channeled his interest in the military into a passion for collecting uniforms and military accoutrements. He also made sure to have a hand in the design of uniforms for various military organizations.

This unusual Sabretache shows the Prince’s influence in design as was most likely made for the Prince to wear on ceremonial occasions. A sabretache is a decorative pocket or pouch (usually of leather) which is designed to be worn from a military officers belt. This ornate sabretache incorporates velvet and silver and gilt thread and was clearly never meant to be worn in battle. 

Drawing of the Day: General Sir Garnet Wolseley at Alexandria, 1882-1901

Click on image for larger size
General Sir Garnet Wolseley at Alexandria
The Victoria & Albert Museum

Created in Egypt between 1882 and 1901, this drawing is the work of Orlando Norie (1832-1901). The work of pencil, pen, ink and watercolor has been accented with white gouache.

The illustration shows General Sir Garnet Wolseley who, aside from having a nifty name, landed in Alexandria on August 16, 1882. There, he took command of the British military campaign which was set against the revolutionary forces of Arabi Pasha. And, thus began the British occupation of Egypt. Depicted here are the General and his men at their arrival in Alexandria.

Print of the Day: Loose Talk Can Cost Lives, 1942

Poster
Falter, 1942
The Victoria & Albert Museum

American and British servicemen faced a common problem during the Second World War—“good time girls.” These vixens in their seductive sweaters with their flowing hair, red fingernails, painted lips and flashy baubles were thought to be on the prowl to snare innocent men and shake them down for military secrets.

To be sure, there were a variety of female spies who did, in fact, seduce servicemen into sharing confidential information. However, most of these girls were more interested in making some money than they were in selling intelligence to the Nazis. Nevertheless, men were warned to keep their mouths closed and not get trapped by these “good time girls.” Many a propaganda poster warned against them. Here’s one.

This one was printed in America and depicts such a temptress. She’s the picture of seduction, in fact. She’s even taller and stronger than the soldier who has fallen into her embrace. She’s got him and she aims to corrupt him, and, then go straight to Hitler with whom she’ll laugh while tossing her blonde curls over her broad shoulders.

The poster warns is “Sailor beware.” Still, we can’t be quite sure if he’s pushing her away or returning her so-called “affection.”

The point was…this could be you. Well, not me. But, maybe one of the rest of you. An inscription in black on pale blue at the bottom states: “Loose Talk Can Cost Lives.” Well, we can’t argue that. 

The poster was designed in 1942 by John Falter (1910-1982) for the British and American Ambulance Corps.

Print of the Day: The Plum Pudding in Danger, c. 1800

Click to enlarge.
The Plum Pudding in Danger
James Gillray
c. 1800
The Victoria & Albert Museum

Illustrated by James Gillray (1757-1815), this satirical drawing was printed around 1800. We see who I believe to be King George III and Napoleon Bonaparte seated at a dining table, carving up the earth which is portrayed as a plum pudding. The meaning is rather obvious.

The piece is really rather attractive, but, then, I like this sort of thing. It is inscribed: 

The Plumb-pudding [sic.] in danger--or--State Epicures taking un Petit Souper.

"the great Globe itself and all which it inherit" is too small to satisfy such insatiable appetites."

Print of the Day: "Going Ashore?" c. 1940

Going Ashore?
Chromolithograph, c. 1940
The Victoria & Albert Museum

This World War II propaganda poster was printed in English, Greek, French, Dutch and Norwegian. Like most such posters, it warned against careless talk—not just from the military, but also by civilians. The idea, and quite a correct one, was that you never knew who was listening and how the most innocent comment or data could be used against the cause.

I like these posters quite a lot because they are, often, graphically stunning and wholly demonstrative of their era. Many relied on shadowy, fearsome images of stylized spies and looming danger. But, often, they used bright and humorous images to make their point.

This one is especially charming. “Going Ashore?” our parrot friend asks us. He reminds us that even the most unthreatening individual could be working for the other side. After all, he’s wearing a Nazi officer’s cap.

Lousy Nazi Parrots!

The copy reminds us to “keep what you know to yourself.” Not a bad idea even when not threatened by Nazi parrots.

Print of the Day: Belgium Fights On, 1940-1944

Belgium Fights On
Sturbelle, 1940-1944
The Victoria & Albert Museum

We’ve looked at several World War II propaganda posters. This one was used between 1940 and 1944 after the German occupation of Belgium of May of 1940. This poster was part of a campaign to encourage American support for the Belgian resistance. It’s the work of R. Sturbelle who excelled in creating dramatic and effective images such as this one which juxtaposes a group of bound Belgians about the executed with an image of decided freedom. 

Print of the Day: “Silence, The Enemy Is Watching Out For Your Secrets;”

Silence, L'Ennemi Guette Vos Confidences
Paul Colin, 1939
The Victoria & Albert Museum

Titled “Silence, L'Ennemi Guette Vos Confidences,” this French propaganda poster dates to 1939 and the first rumbles of the Second World War. This was one of the most prolific posters in France, finding wide distribution.

Designed by artist Paul Colin (1892-1985), the poster depicts the enemy as a dark and sinister shadow creeping up upon two men innocently talking. The image neatly encapsulates the understandable paranoia at the time—the terrifying notion that around every corner, a spy for the other side might be lurking.

Colin was among a group of artists who were influenced by contemporary art movements of the 1930s. Colin’s work, especially, reflects Art Deco influences. He founded the “Ecole Paul Colin” in Paris in 1926, offering exceptional training to dozens of young and ambitious graphic artists. 

And...and...I think the little men upon whom the shadow is spying look like adorable little bears.  But, that's not really the point of the piece.  Still--don't they?