Drawing of militaristic angels approaching two men fighting at sea. One angels holds a bow and above and to the right are three more angels carrying clouds. On the left of the image is a serpent curled around a tree.
A human face in anguish, with hands raised to his cheeks, looks out from the center of a visual field full of slashing diagonals and explosive triangles of color. On the left side, smoke billows.
Otto Dix's "Artillery Battle" is a study in the horrible experience of mechanized warfare in World War I. The painting depicts how it felt to be powerless, completely at the mercy of the mighty machines of war, like artillery.
This 6-fold screen is a depiction of the Battle of Genji and Heike. In samurai armor, the Heike forces approach by ship from the left, while Genji forces rush to the shore on horseback and on foot—drawing the viewer’s attention to the center of the screens, where their confrontation will finally take place. The Heike forces can be identified by the red banners on their ships, while the Genji clan carries white banners.
The most renowned battle in Japan took place in the twelfth century over control of the Heian (794-1185) capitol of Kyoto. This legendary tale was spread by itinerant monks who sang of the drama while playing the biwa, a stringed instrument much like a lute, as they travelled Japan. The details of the struggles for power between the Heike (also known as Taira) and Genji (also known as Minamoto) clans were recorded in what came to be known as the Heike Monogatari (Tale of Heike) over the following centuries. Along with the Tale of Genji, the Heike Monogatari is one of the most famous stories in all of Japan.
A group of men wage battle against each other in a rocky landscape. Some of the men wear ancient Roman armor while others are only partially clothed. The combatants wield spears and swords, and some are on horseback. The mounted soldier in the center of the scene holds a large banner. A burning city is visible in the distance.
Agostino Musi captures the chaos of battle through the dense masses of men and horses locked in struggle within a harsh, rocky landscape. The scene ostensibly represents a battle between the Romans under the command of Scipio and the Carthaginians from north Africa during the Second Punic War (218 to 201 BCE), but does not depict any specific military engagement.
Inscribed in the image, in a tablet held by old woman in upper center, D H, flanking a pinecone; l.l., 97; verso, inscribed in black ink, u.l. corner, M[?] nit/ 7-87; in graphite, u.c., 30; l.l. corner, / [?] D.; BVIII. 485.47/ 64.9.7; in l.c., fr Sir T. Lawrences Coll.
Collector's marks: stamped in black ink, in the image, l.l.: T.L, surrounded by a double oval [monogram of Sir Thomas Lawrence, Lugt 2446]; verso, l.l., stamped in black ink, CDG, entwined [monogram of Dr. C.D. Ginsburg, Lugt 1145] Watermark: indecipherable
This black and white print depicts an animated and detailed scene of nude figures and mythical beasts on the surface of the sea.Two men, with seaweed hair and riding half horse/half fish creatures, strike out at each other. A man and a woman ride a beast with a scaly body and the head of a fierce dog. In the background, a man holding a trident stands with his back to the viewer. Action and motion are expressed with billowing drapery, flowing hair and moving waves. The wide mouthed expressions of the figures and animals suggest yelling and noise in this chaotic scene. Among the many details depicted by the artist is a plaque held by the woman that has his initials.
Daniel Hopfer was a 16th c. German etcher who was first trained as an armor maker and used thin iron plates for his prints - a process he invented. This print depicts one part of a larger composition by the sixteenth-century Northern Italian painter Andrea Mantegna (1430/31–1506), itself based on the relief (shallow) carving decorating a Roman sarcophagus. Mantegna frequently made reference to Roman relief sculpture in his work and his designs in turn inspired the work of engravers, whose prints provided a wider dissemination of his art. This image, in which nude figures astride fantastical creatures dominate, has been interpreted as an allegory on the theme of envy. This impression once belonged to the British painter Sir Thomas Lawrence (1769–1830), whose collector’s mark is visible at the lower left corner.
A woodblock print, with monochromatic black ink. The impression is good, especially given the detail of the design, although the block appears to have been worn at the outside edges.
An image of the Manjushri, the bodhisattva of wisdom, shown seated on his lion mount, who in turn rests on a large lotus. Manjusri holds a sword high in his right hand, and a lotus flower in his left hand. A profusion of flowers surrounds the image. In the upper left hand corner is a moon, and in the upper right hand corner, a sun.